Friday Full-Length: Altamont, Civil War Fantasy

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

Altamont, Civil War Fantasy (1998)

If you don’t know Altamont, a side-project led by Dale Crover of the Melvins with Acid King‘s Joey Osbourne on drums and Dan Southwick (ex-Acid King) on bass, you’d have to be forgiven. It’s been a decade since their last album, 2005’s The Monkee’s Uncle, came out on Ipecac-offshoot AntAcidAudio, and their prior label, Man’s Ruin Records, went out of business in 2001. To the best of my knowledge, their 1997 debut EP, Wanted Dead or Alive, has never been reissued, but their first LP, 1998’s Civil War Fantasy, and their 2001 sophomore outing, Our Darling, were compiled onto a limited box set late in 2014 after being remastered by Crover and Toshi Kasai, and certainly Crover has been plenty busy with the Melvins‘ various incarnations in the last 10 years, also taking part in Shrinebuilder during their run, so I can’t imagine the guy is exactly flush with spare time. Still, to listen to Civil War Fantasy, the project certainly has its merits in showcasing Crover‘s songwriting, and though a weirdo chugger like “Whips” had some Melvins-ness to it, the vibe overall was different enough to warrant distinction. Presented in the then-style of Man’s Ruin with the front cover on the back tray of the jewel case — taking advantage of every inch available for artwork — it’s remained an album dug into its niche worthy of taking on by those who’d either happen upon it or purposefully seek it out either via the MelvinsAcid King or producer (also organist) Billy Anderson, maybe seeing it on a list alongside his other works of that era with Sleep and Neurosis.

However one might find it, Civil War Fantasy proves a worthy find, from the Jimi Hendrix cover “Exy Rider” to the noisy grit of “Black Tooth Powder,” an underlying straightforwardness of form allowing CroverOsbourne and Southwick the space to work out either an early-Alice Cooper fetish or tap into ZZ Top as they willed, all the while retaining a post-grunge crunch that would continue to evolve one of the staples of heavy rock that remains prevalent to this day. Of its pre-digital age, for sure, but not necessarily dated either purposefully or inadvertently, the album offers an unpretentious take with some loosely experimental flourish that keeps things interesting for the duration. Altamont may have wound up something of a footnote in one of riffery’s most populous family trees — I’m pretty sure “Melvins” is its own plant species in that regard — but for its motoring catchiness and weirdo edge, Altamont‘s Civil War Fantasy is a footnote that begs investigation all the same.

As always, I hope you enjoy.

I would say this week was one for the ages, but the truth of it is they all have been since about late May when I started working again. It’s been a rush for time ever since, and either my nights are spent writing or trying to catch up on stuff like email, and even downloading releases of stuff I want to check out, let alone getting to the actual, physical mail, is something that hangs over my head. I’m not saying it’s a hardship — well, I guess I am, but only in terms of not having enough time or energy for it, not in the people-sending-me-stuff part; that part I like quite a bit — but I am saying I’m frickin’ tired. All the time.

Getting sick last week was a bummer as well. It carried over well into Wednesday and even a bit yesterday, but I’m more or less back at full speed — much as I’m ever at “speed” — today, so that’s good. And work is good. I feel like I’m decently settled in. I wish I was about a decade less jaded than I am, but one could apply that to any number of existential facets.

But, I’m going down to Jersey this weekend to see family — what could be more restorative than an additional four hours of weekend road time? — and going out tonight to catch Reign of Zaius in Worcester, so I expect that will be good. Look out for that review on Monday or Tuesday, followed by reviews for BloodcowSons of Huns, and hopefully if there’s time, the Effervescent vinyl from All Them Witches. I also still have Radio Adds to do though, so a lot depends on time and energy, which if I was a betting man, is exactly what I’d bet against me having by the time the end of the week rolls around. Still, one does what one can.

I’m gonna get some Chinese food and then start driving. I hope you have a great and safe weekend. Please check out the forum and radio stream.

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Lewis and the Strange Magics Post New Video for “Female Vampire”

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

lewis and the strange magics

Barcelona trio Lewis and the Strange Magics will release their debut album, Velvet Skin, Aug. 21 through Soulseller Records. The full-length follows last year’s impressive Demo (review here), which was among my favorite short releases of 2014 and tapped into that Beatlesian Sabbathery while managing to at the same time remain distinct from Uncle Acid, who one could reasonably argue are the foremost practitioners of the form. All three tracks from the demo will appear on the upcoming record, but the new song “Female Vampire” is the first I’m hearing from Velvet Skin and it proves even more individualized than the prior offering, the three-piece dug in deep to a circa-1967 vision of lysergics that, in the clip, meets with circa-1975 horror, the song taking its name from the title of a film released that year.

Performance clips manipulated with psychedelic visuals and copious NSFW ’70s boobage ensues, mining the ultimately familiar terrain of vintage exploitation and sexualized violence. The song itself has a complementary sense of camp to it, the vocals putting on a Dracula voice — think, “I vant to suck your blood,” — to deliver the title line in the chorus. It suits Lewis and the Strange Magics well to take the whole endeavor not quite so seriously as most of their cult-minded peers, who seem hell-bent on making listeners think they spend their nights at blood-soaked rituals and whatever else, and the reason it doesn’t fall into parody is because the songwriting stands up. As will happen, Baphomet shows up by the end, but they rightly conclude with a plug for the new album, which is one I’ll hope to get the chance to check out.

Video below, followed by PR wire info on Velvet Skin. Enjoy:

Lewis and the Strange Magics, “Female Vampire” official video (NSFW)

On August 21st the debut album “Velvet Skin” by Lewis & the strange magics will be released via Soulseller Records on Cd/Lp(lim.300) and Digital!

LEWIS AND THE STRANGE MAGICS was born in Barcelona, Spain, during the summer of 2014. Shortly after they released their debut demo which received great reception from audience and critics. Only a month later the band signed with Soulseller Records to release the debut LP, “Velvet Skin”, during 2015.

The album talks about human perversion, which is developed from dark ambients with 60s and 70s sounds. It was recorded and mixed by Filippo Medda at Algusano Records Studio (Mataró, Spain), mastered by Pete Weiss at Verdant Studio (Athens Vermont, USA), and the artwork was designed by Jo Riou (Paris, France). The band’s musical influences go from Black Sabbath to The Beatles, mixing heavy riffs with pop melodies, all wrapped up in a psychedelic and dark atmosphere, inspired by cult movies and occultism.

Track list:
1. Carbon Wine
2. How To Be You
3. Suzy’s Room
4. Golden Threads
5. Nina (Velvet Skin)
6. Female Vampire
7. Cloudy Grey Cube
8. Your Evil Trip

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Wino Wednesday: Saviours & Wino, “Limb from Limb” (Motörhead Cover), Live in L.A., 2013

Posted in Bootleg Theater on July 29th, 2015 by H.P. Taskmaster

happy wino wednesday

There has been a lot of quality video from this tour, which Wino undertook with Oakland, CA’s Saviours and Nick Oliveri after the three parties — Oliveri with his band Mondo Generator — opened for Clutch on their annual holiday run leading up to New Year’s 2013. It would also seem to have been the root of Wino‘s recent studio collaboration with Saviours (give me another week or two; we’ll get there) and for the advent of the yet-to-be-realized Royale Daemons collaboration with Oliveri, assuming that’s still a thing in the offing for somewhere down the line. Vague enough? Good.

Point is the tour-as-nexus also yielded much documentation, be it in full-set videos or clips of other on-stage jams between the various players. It must have been a good one, since nobody’s quite let it completely go. Fair enough to revisit, then, as we continue to wind down the Wino Wednesday feature on the march to number 200 in a few more weeks (this is #194, if you’re counting). This time around, it’s Wino and Saviours delivering a killer take on Motörhead‘s “Limb from Limb.”

The clip comes from Los Angeles, was filmed Jan. 11, 2013, at The Satellite, and even this wasn’t the first time Wino and Saviours had jamemd out — the band having brought the legendary frontman on stage at Scion Rock Fest in 2010 as well — but clearly by the time they got out to L.A., they were comfortable sharing a stage together. Of course, the song is the closing track from Motörhead‘s 1979 sophomore outing, Overkill, and it’s no less of a classic than that album as a whole, but Wino and Saviours give it its due, the former hanging onto the microphone in a manner that anyone who saw him with Saint Vitus over the last six years will likely recognize.

Hope you enjoy and have a great Wino Wednesday:

Saviours & Wino, “Overkill” Live in Los Angeles, Jan. 11, 2013

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Bedroom Rehab Corporation Premiere Video for “When all You’ve Got is a Hammer”

Posted in Bootleg Theater on July 28th, 2015 by H.P. Taskmaster

bedroom rehab corporation

It will not take too long into the seven minutes of “When all You’ve Got is a Hammer” before the progress in Bedroom Rehab Corporation‘s style, songwriting and performance shows itself. The Connecticut two-piece were last heard from on their 2013 debut long-player, Red over Red (review here), and having seen them only get better on stage over numerous shows the last two years or so, I’ve been somewhat anxious to get my ears on some new audio, to see if they’d be able to translate their development into a studio setting. Recorded by Justin Pizzoferrato (Elder, Black Pyramid) and finished in the cold winter hours of early 2015, the new Fortunate Some EP will be released Oct. 3 (preorders are available as of this premiere) and if “When all You’ve Got is a Hammer” is anything to go by, it will find them doing precisely that: bringing the tight heaviness and aggression of their stage show to completed studio tracks.

Bassist/vocalist Adam Wujtewicz and drummer Meghan Killimade are each well in command of their modus throughoutbedroom rehab corporation fortunate some the song’s semi-extended course. The verses showcase an increased capacity for melody and the chorus is more aggro, but still catchy in its shout and stomp. As the first audio to be made public from Fortunate Some it bodes well in its captured energy and also its spaciousness, the middle of “When all You’ve Got is a Hammer” moving into an effects-laden instrumental section so fluidly you almost don’t know until you’re already in it working your way back, but of course they slam through with full tonal and percussive brunt to finish out. Directed by Peter Huoppi, the video takes the titular imagery head on. We see a blacksmith and a guy hammering rocks toward some unknown end out in the woods — that’s a job, right? — and both come to discard their hammers and hit the bar where Killimade and Wujtewicz happen to be playing. Somehow at the end, after a trek through the same rocky woods and what looks like the train tracks by Cherry St. Station in Wallingford, CT (actually they’re in Norwich, about an hour’s can’t-get-there-from-here New England drive away), the duo pick up both castaway hammers and make their way down the line.

There’s a lot to enjoy here for those who heard Red over Red, but even if “When all You’ve Got is a Hammer” is your introduction to Bedroom Rehab Corporation, it’s a good time to be introduced, as they’ve just brought their approach to an entirely new level to emerge as a more confident, sonically powerful band.

Video and info follow. Please enjoy:

Bedroom Rehab Corporation, “When all You’ve Got is a Hammer” official video

Bedroom Rehab Corporation – “When All You’ve Got is a Hammer” from the new EP ‘Fortunate Some’ available on LP/Digital October 3, 2015.

Pre-order ‘Fortunate Some’ from BandCamp (you will receive immediate download of “When All You’ve Got is a Hammer”):

Director: Peter Huoppi
Featuring: Chris Holdridge, Clint Wright & Rich Huoppi
Live footage filmed on location at 33 Golden Street, New London, CT

Featured in live footage:
Marko Fontaine, Stephanie Johnson, Pete Egner, Ben LaRose, Bobby Crash, Tim “Grim” Riley, Suz Manning, Corina Malbaurn, Kim Zajehowski Case, Tracy Tremblay, Paul Brockett, Tracey Hollins, Sean Beirne, Greg Gates, Jim Villano, Courtney Cole, Jerrica Cole

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Preorder Fortunate Some on Bandcamp

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Release Show Info

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Iron Man Post Live Video of New Song “Eulogy for Queen City”

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

iron man

Just what the hell is Dee Calhoun talking about in the new Iron Man song “Eulogy for Queen City?” I have no idea, but man that guy can wail. And “Iron” Al Morris can riff, and bassist Louis Strachan and drummer Jason “Mot” Waldmann groove like madmen, so here we are. Iron Man‘s got a new track out. The rest can be sorted later.

“Eulogy for Queen City” marks the first new song Iron Man have made public since the release of their 2013 full-length and Rise Above Records label debut, South of the Earth (review here). The band have had quite a ride since that album came out, playing the UK for the first time and getting at least a fraction of their due as their tenure moved further beyond the quarter-century mark, but I guess it’s reasonable to have them working on new stuff at this point — been a quick two years since that album showed up.

The clip below — prepare yourself for some cymbals early on — was filmed at the first annual Maryland Doom Fest last month in Frederick, MD, which also featured the likes of Spirit Caravan and The Skull. As much as Iron Man have done in their time, it’s hard to imagine them being at home anywhere more than at a Maryland Doom Fest. Their career is more or less an analog for the entire MD doom scene at this point: Quality over profile, vastly underrated. They certainly seem to be in their element in the video, which was filmed by Michael “Lucifer Burns” Lindenauer.


Iron Man, “Eulogy for Queen City” live at Maryland Doom Fest

Upcoming Iron Man shows:
August 15- Tennessean Sludge Fest (Murfreesboro)
August 28 – All That Is Heavy, Ottawa, ON Canada
August 29 – Toronto (benefit)
Sept 3 – Shadow Kingdom Records Riot (Cleveland)
Sept 26 – Shadow Woods Metal Fest (White Hall, MD)
Oct 2 – Sidebar Baltimore

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Friday Full-Length: Hawkwind, Warrior on the Edge of Time

Posted in Bootleg Theater on July 24th, 2015 by H.P. Taskmaster

Hawkwind, Warrior on the Edge of Time (1975)

Of course, the Hawkwind catalog is a complex and ever-expanding universe in itself, full of ups and downs, comings and goings, peaks and valleys. It seems safe to think, however, that 1975’s fifth album, Warrior on the Edge of Time, stands among their greater triumphs, building on the complexity of its predecessors — 1974’s Hall of the Mountain Grill, 1972’s Doremi Fasol Latido, 1971’s genre-defining In Search of Space and their 1970 self-titled debut (don’t even get me started on live records) — to form a progressive vision of space rock the influence of which can still be felt today. From the opening of “Assault and Battery/The Golden Void,” the album is resoundingly immersive and full of depth, the keyboards, Mellotron, violin, flute, saxophone, percussion, etc. adding to an already sprawling swirl of guitar effects and rhythmic push, though some of Warrior on the Edge of Time‘s standout moments come in the interplay of atmospherics and spoken word on songs like “The Wizard Blew His Horn,” “Standing at the Edge” and “Warriors,” these shorter pieces playing off the fiction writing of vocalist Michael Moorcock, who was by 1975 already three books deep into his Elric sequence, the pivotal third, Elric of Melniboné, having been released in 1972, and given a fitting ambient push by guitarist Dave Brock, bassist Ian “Lemmy” Kilmister, saxophonist Nik Turner, violinist/keyboardist Simon House and drummers Simon King and Alan Powell. There are some gorgeous stretches of jamming in “Magnu” and “Opa-Loka,” and in them one can also hear the far-ranging impact Hawkwind continues to have on the current boom of heavy psychedelia.

The life, times and insurmountable discography of Hawkwind are all well documented — you might even say there’s a documentary — but with so much time and so much output, the details are easy to gloss over, and particularly for an album as rich as Warrior on the Edge of Time, it’s twice as worth paying attention to moments like the re-emergence of Moorcock‘s vocals in “The Golden Void” and the later, seemingly-out-of-nowhere hook of “Kings of Speed,” which departs the farther-and-farther-veering conceptual fare of the album’s second half in songs like “Standing at the Edge,” “Spiral Galaxy 28948″ and “Warriors” for a simplistic structure almost in a ’50s rock and roll style that’s of course filtered through the band’s always-multicolor palette. Pervasively weird but singular unto themselves even in the vast sphere of ’70s prog and krautrock, Hawkwind remain an underground entity in part because to embrace them as a whole is such an undertaking, but in bits and pieces, over time, one might almost endeavor to keep up with their lightspeed thrust, which though barely recognizable in its current form(s), endures to this day.

As always, I hope you enjoy.

I’ve been sick the last three days or so. Really beat. Really beat. And a persistent stomach pain, acid reflux, and so on that has really just kicked my ass around the block and then some. I stayed home from work yesterday and spent most of the day in bed, and that seems to have helped put me on the road to recovery — I’m at the office now, so that’s an improvement — but I wouldn’t go so far as to call myself out of the woods. An accompanying, lingering headache has not helped. I have done my best to stay hydrated.

Even putting that aside, it’s been kind of an overwhelming week. Maybe part of that was getting caught up on being away from work in SF last week — was that last week or the week before? — but still, dragging ass. Sorry if that bums you out, I’m just trying to be honest with where I’m at. Five years from now I might look back on this post and be like, “Oh yeah, I remember that time I felt crappy.” These things are important to me.

Busy week, too. If you didn’t see, there’s a new Uncle Acid track that I, with six posts already planned for today, just didn’t have the chance to get to, and I’m already behind on stuff for Monday as well in stories for Mountain TamerThe Skull and Behold! the Monolith. I started out this week pretty much caught up. I did not finish it that way, though it felt good today to review that T.G. Olson vinyl, even if it meant skipping the Radio Adds. I’ll get there one of these days.

Monday, aside from that news, look out for a track premiere from Shabda. I don’t know if you’ve heard them or not, but it’s definitely worth hearing. Tuesday, I’ve got a video premiere slated for Bedroom Rehab Corporation, and Wednesday, audio from Sweat Lodge that was supposed to be this week and got pushed back. Also looking to review the new Undersmile (long overdue) and some vinyl from Greenleaf that won’t even be a review, just me nerding out about how Agents of Ahriman was one of the best heavy rock albums of the aughts. So that should be fun. Hopefully there’s time.

We’re also due for a new podcast. Maybe Monday if I wind up with time on Sunday (unlikely) or some other day thereafter. I’ll get to it as soon as I can. There’s been a lot of good stuff coming in that’s worth highlighting, so keep an eye out either way.

I hope you have a great and safe weekend. If you need me, I’ll be taking my convalescence by the sea. Please check out the forum and radio stream.

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Borracho and Geezer Post Songs from The Second Coming of Heavy Split LP

Posted in Bootleg Theater on July 23rd, 2015 by H.P. Taskmaster


The seeds for what has become the first installment of a Ripple Music series of splits titled The Second Coming of Heavy would seem to lie in the label’s 2011 release Heavy Ripples (review here). While not nearly as ambitious in its title, that offering was a double 7″ that featured four bands — Stone Axe, Grifter, Mighty High and Sun Gods in Exile — who were intended to represent Ripple‘s view of the future of heavy rock, or at very least some underground bands who deserved the exposure that teaming up might bring them. As an opening chapter, The Second Coming of Heavy: Chapter One – The Risen has a loftier feel in terms of its aspirations but also takes a different, more pragmatic approach. It’s a 12″ instead of a double-7″, and it halves the number of acts involved perhaps in an effort to make the idea more sustainable, bringing together Washington D.C. riff-riders Borracho and New York heavy blues specialists Geezer.

Pressed in three separate editions of 100 copies each and set to release Saturday morning, the question as regards The Second Coming of Heavy isn’t whether or not the copies will go, but how fast. Borracho and Geezer are both fairly proven entities when it comes to moving units — the former having had vinyl for both of their full-lengths to date and the latter having seen their Gage LP gone more or less before the news was out about its release. I haven’t yet seen a full tracklisting made public for the 12″, and they also seem to be keeping the back cover a secret, but both bands have posted tracks in advance of the official arrival date, Borracho unveiling “Fight the Prophets” and Geezer getting loose with “Tonight.”

geezer borracho the second coming of heavyFor Borracho, the D.C. three-piece released a split earlier this year with Brooklyn stompers Eggnogg (review here), but “Fight the Prophets” finds them swinging a little looser, a little more boldly than they were on their last full-length, 2013’s Oculus (review here), which was the first to feature guitarist Steve Fisher on vocals. Here, he’s all over the swinging groove from bassist Tim Martin and drummer Mario Trubiano, and they sound more comfortable in their sound than they have yet. The mix sounds similar to “King’s Disease” from the aforementioned Eggnogg split, so I’d wonder if “Fight the Prophets” isn’t from the same session, but either way, their next LP has been one to look out for, and their work at least on this track doesn’t lessen that impression in the slightest.

To contrast, Geezer‘s first audio to be made public is something of a shift from the rolling grooves and blues-inflected vibes one has come to expect. A turn toward the upbeat makes “Tonight” a particularly driving offering, marked out with let’s-get-this-show-started energy from the three-piece of guitarist/vocalist Pat Harrington, bassist Richie Touseull and drummer Chris Turco. The trio toured their way into the Midwest this spring — you might recall they issued the single “Long Dull Knife” to mark the occasion — but “Tonight” is as propulsive as I’ve yet heard them get, and the song succeeds because it also manages to hold onto that classic heavy rock/blues feel, resulting in shuffle just begging for crowd participation. One hopes they have occasion to get it soon.

Again, the 12″ is out this Saturday on Ripple. More info and the preorder link follow the songs, both of which are below.


Borracho, “Fight the Prophets”

Geezer, “Tonight”

Nearly a year in the making, Ripple Music is thrilled to finally unleash the first chapter in the ongoing, limited-edition split 12″ series, The Second Coming of Heavy. Featuring gorgeous art (OBI Cover shown above) by Ghosttown Graphic Art, The Second Coming will feature the best, underground, up-and-coming heavy bands on the planet, with Chapter One featuring stoner blues rockers Geezer, and heavy fuzz monsters, Borracho. Each chapter will come in three editions, shown below, strictly limited to a maximum of 100 each, with no repress. Expect a new chapter to drop about every 3-4 months!

The OBI Edition features a killer, individually number, wraparound OBI strip designed by Ghosttown Graphics. The front is shown above, wait until you see the back! Vinyl is two-tone translucent green and black splatter. Limited to 100 pieces.

Sale starts Saturday July 25th, at 9 am Eastern Standard time, exclusively at

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Wino Wednesday: The Hidden Hand, “The Resurrection of Whiskey Foote”

Posted in Bootleg Theater on July 22nd, 2015 by H.P. Taskmaster

happy wino weds

I’m not sure anyone knew at the time that The Resurrection of Whiskey Foote was going to be the last The Hidden Hand album. Maybe the band itself, which had seen drummer Matt Moulis (now of Unmothered) come aboard as a replacement for Evan Tanner, himself a replacement for Dave Hennessy alongside bassist/vocalist/producer Bruce Falkinburg and guitarist/vocalist Scott “Wino” Weinrich, but certainly not me at the time. I remember having been so enamored of the trio’s prior outing, 2004’s Mother Teacher Destroyer — still for my money among the best albums Wino has played on — that when the follow-up hit in 2007, I appreciated the progression but was left somewhat cold by the affect of the songs as a whole.

Time has for the most part cured me of that. If I’m reaching for a record by The Hidden Hand, I’m probably likeliest to go for their second, but the third has proven worth appreciating on its own level, and just as their 2003 debut had to overcome the fact that it wasn’t Spirit Caravan, so too did The Resurrection of Whiskey Foote have to overcome the righteousness of three years earlier. The Wino/Falkinburg dynamic was at its peak, and more than either of their other albums, the last one finds The Hidden Hand with its own cohesive songwriting process, distinct from what any party might otherwise come up with on their own but still owing a piece of itself to their individual influences.

To wit, “The Resurrection of Whiskey Foote” itself. The title-track hammered home the album’s concept of a new American Revolution — sort of wishful thinking in the dark ages of the Bush era and the Iraq War (how’d that turn out again?) — and did so with a sound definitively The Hidden Hand‘s own. Falkinburg takes the lead on vocals, joined by Wino in the chorus, and the effect of the two of them together is enough to justify a revisit to the record as a whole. If you don’t have it, it was on Southern Lord, so there should still be some copies floating around somewhere.

Enjoy and have a great Wino Wednesday.

The Hidden Hand, “The Resurrection of Whiskey Foote”

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