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A Quick Look at Destroyer’s ‘Streethawk: A Seduction’ at 25
Tag: writing
A Quick Look at ‘White Blood Cells’ at 25
Best Record of 2001: Day 49
Cover art courtesy of Sympathy For the record Industry
Good morning!
Today we’re taking a quick look at The White Stripes’ White Blood Cells
I catch myself whenever I hear Seven Nation Army ring out from the soccer stand. What a song to co-opt! How odd that a band that’s not exactly obsessed with fame still has 1000s of people singing that song 20+ years on. Is there anyone else in that rarified air? My bemusement aside, Elephant is a solid record. How so much sound can come from two people is beyond me, but here we are. Other than some backing vocals, it really is just the two of them. Meg White’s drumming is simple (and simple is never easy), and Jack White’s guitar (and piano) take us from soccer stand fodder to swamp flats on tracks like “I Want to be the Boy to Warm Your Mother’s Heart.” It’s a no-skips record, even if not everything would sound good being yelled from a terrace.
If Elephant is what put the duo on the map, White Blood Cells is what lays the groundwork. I can almost guarantee at some point today someone will work “masterpiece” into the discourse or refer to it as art. The latter is true- all music is art. The former? Mmmm…I don’t know.
Fair play to “Fell In Love with a Girl “; it’s one of the best singles we’ve come across in Round 1. It’s loud, euphoric, and the kind of messy that says, “I want you to think this didn’t take any effort, but we spent days making it that way.” That sort of disheveled sound taps the same roots that DBT’s Southern Rock Opera did earlier in the week, as well as the likes of MC5 (which, I mean, sure. The White Stripes are from Detroit after all.)
Contrived or not, that simplicity works here—and as mentioned above— simple is never easy. Ask your favorite drummer. As a reformed one myself, I never miss a chance to defend Meg White from people that say “she’s not that good.” First, she’s more talented than 99.99999% of the people that say this, and second, see above. Playing a rudimentary style is easy…for about a minute. Doing it consistently and in a way that matches Jack White’s all-over-the-place stylings is anything but.
Did people do this with VU’s Moe Tucker? Maybe, but I doubt it. Look, I can be as snarky as anyone, but the boo boys can fuck off into the sun with all that.
(Exhale)
The sneering hipster take from Serious Music People ™ is that the basic, stripped-down style is a deficit. Really, it’s their superpower. Sometimes you just want some teeth and something that’s unapologetically loud…. even tracks like “I’m Finding It Harder to Be a Gentleman” and “The Same Boy You’ve Always Known” both of which which, I guess, count as slower tracks here, still have a little intentional grit and edge to ‘em. “We’re Going to Be Friends” is a bit too twee for this record, but people love it, so (Kanye shrug).
This band has always been polarizing, mostly, I think, because their records bring out the worst in the Rock Guy™ and Hipster tribes. So be it. In the meantime, with its mix of blues-y tracks and face melters, White Blood Cells will still be a punchy record that locked in the pair’s style.
Bottom Line: This is the #3 seed in the tourney, and I can’t see it slowing down anytime before Round 4 where it’ll likely face off against Kylie Minogue. Today it’s up against Squarepusher, who seem like almost an afterthought in comparison. Took the safe bet on this one; my bracket pick and vote will be for White Blood Cells.
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
A Quick Look at Guided by Voices’ ‘Isolation Drills’ LP
Best Record of 2001: Day 44
Cover art courtesy of TVT records
Good morning!
Today we’re taking a look at Guided by Voices 2001 LP Isolation Drills.
The glad girls only wanna get you high.
I couldn’t tell you the first time I heard GBV. There was no revelation, no epiphany the way there might’ve been with other bands. It just seems like they’ve always sorta been there, and if i’m honest, that’s kinda how I like it.
In one of my year-end issues, I joked that if we go more than six months without a GBV release, something must be horribly wrong.
I was only half kidding.
The band’s prolific output- or Robert Pollard’s- is no secret. An entire media empire could be built by simply dissecting each record in order.
Indeed, if you want a podcast that goes through most of the band’s catalog—it ended in 2020, so it’s missing, like, 13-14 records— you can start here.
The GBV discography is lengthy, but there’s no shortage of twists and turns along the way. That’s good for variety- and if you are planning a GBV media empire, it will mean no lack of flamethrower takes about each song/release.
In 2001, the phrase hot take didn’t exist yet, but music opinion(s) sure did. And views regarding Isolation Drills were generally positive. If anything, it’s a consistent record.
That’s not meant as a backhanded compliment. GBV can be varied, but sometimes squishing every style onto one record is regressive. With this release, we had a solid long player that did well to keep Pollard from bouncing around too much like a sonic superball.
Helping rein that in was this record’s lineup-specifically ex-Breeders drummer Jim MacPherson. The rhythm section often finds a way to get lost on these records, but this time is different.
To be clear, this is still a guitar-driven poppy record, the treble is set to 11, and the vocals are tailor-made to sing along with in the car. Or in a park…and a bunch of did just that in Milwakuee’s Humboldt Park a couple of summers ago.
Photo by author
When was their breakthrough? What’s their best record? These are the sorts of shibboleths record nerds live for. There’s not nearly enough bandwidth on the world wide web to tackle this, but I’d say by ’01 they were already very much on their way and Isolation Drills is one of their best
For my money, Glad Girls is damn near the poppiest track Pollard ever came up with, but you could make a plausible argument for Fair Touching, Chasing Heather Crazy, and Brides Have Hit Glass. And that’s just this record
The glad girls are alright. And that’s my hot take.
Bottom Line: This is up against They Might Be Giants’ Mink Car. TMBG have their own set of rabid fans, and Chase Roper has an entire newsletter dedicated to their work. If you’re at all interested and/or curious about their sounds, Kiss Me, Son of Blog should be your next stop.
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
Gorillaz, Clearlake, and the Blur of Reality
Best Record of 2001: Day 41
Good morning!
Today we’re taking a look at Gorillaz’ self-titled debut as it faces off against Clearlake’s Lido.
Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.
The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!
Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.
KA—
In an era where AI blurs the line between what’s real and what isn’t, a band of cartoon avatars feels almost quaint. But in 2001, this was all wild-frontier kind of stuff, even if we knew the voices behind the characters. Damon Albarn had seen massive success in Blur, while Del Tha Funky Homosapien had given the world one of the most lethal earworms in the form of “Dobalina.” As part of Cibo Matto, Miho Hatori was also a bit of a cult figure. So yeah, plenty of firepower and street cred in equal measure.
Things kick off with the steady groove of “Re-Hash,” and quickly establish that this is not a Blur record, or a Del or Cibo Matto record, for that matter, but it is a collective effort. And of course, we have to talk about “Clint Eastwood,” the track that put them on the map. The blending of Albarn’s vocals with Del’s and the beat, which, if memory serves, came from the demo mode of a Casio keyboard, made for a fantastic on-ramp for most of us.
“19-2000” is also an all-timer, but for my money, the real star here is “Rock the House” (another Del feature). It’s a dance-floor filler. There’s also plenty of dub and other spacey vibes in every corner of the record, which leads to its biggest fault: for all the highs, there’s an equal amount of not-so-high stuff. This is a 15-track record that could have very easily been a 9- or 10-track masterpiece. With that much talent in one space, it was bound to happen.
Still, the good far outweighs the bad. We know the heights the band will reach later with tracks like “On Melancholy Hill” and “Dare.” But none of that happens without the noodling and adventuring taking place here. It’s a little rough around the edges, but ultimately this is a solid debut from a collective finding its footing.
With Lido, Clearlake seems to have found theirs, which ironically sounds not a little like Blur and later-era Beatles. And with Sunday Evening, maybe a little like Portishead? Maybe that’s just me. Maybe I’m overthinking it. No matter. This was supposed to represent the next wave of Britpop, but people want Parklife or the snotty fury of Oasis. They come close with “Something to Look Forward to” (this writer’s favorite on the record), but mostly this is atmospheric, woozy music with Jason Pegg’s vocals over the top. It’s an aesthetic that only comes from living somewhere that sees a lot of rain. It’s appealing enough, but not something I can see myself returning to.
Bottom Line: Gorillaz are seeded 7th here, and going up against #122 seems unfair. Part of me wants to vote for Clearlake just to see what happens, but as maudlin as the record can get, I’m not sure they’d appreciate a pity vote. Bracket pick and vote are both going to 2-D, Murdoc, Noodle, and Russel.
Any thoughts on either of these records? Agree/disagree with my take? Sound off in the comments!
Aaliyah’s Red Album: A Break Out Record Frozen in Time.
Best Record of 2001: Day 37
Good morning!
Today we’re taking a look at Aaliyah’s self-titled record, aka “The Red Album.”
Note: As many of you saw, I recently wrote about a Best Record of 2001 challengeand noted that I’d be writing some of these up.
The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!
Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.
KA—
On August 25, 2001, a small plane crashed just after takeoff in the Bahamas, killing all 9 aboard. This event would likely have been lost to time had one Aaliyah Dana Haughton not been on the manifest.
In aviation, there are multiple layers of safety (the Swiss cheese approach). The idea being that if there is a hole somewhere, there’s another layer to stop things from getting through. Acting as one of those layers is a large part of my day job. It almost always works- there’s a reason we get to complain about things like bad food and long check-in lines and not planes falling out of the sky. There’s never just one single point of failure. But when the holes line up, disaster is usually inevitable. And in late August in Marsh Harbour, they did just that. I don’t want to go too inside baseball here, but almost everything that could go wrong here did. It’s maddening, tbh. If there’s a silver lining, it’s that this incident now serves as a great example of what not to do when it comes to flight safety and demonstrating preventive practices.
Just a few weeks prior, Aaliyah’s self-titled third album dropped. It was a turning point: a record poised to expand her reach beyond R&B’s borders. We didn’t know it yet, but it would also turn out to be the last we’d hear from her, the album now frozen in time as her final statement.
Working closely with Timbaland, Missy Elliott, and Static Major, Aaliyah leans into a hybrid of hip-hop, electropop, and soul. On this record, she’s cast off the New Jack Swing shackles of her previous two records (and R. Kelly, too, for that matter). “We Need a Resolution” wastes no time setting the tone—its stuttering rhythms and negative space give her voice room to glide. Elsewhere, “Rock the Boat” (they were returning from the video shoot when the crash occurred) slows things down into a lush, quiet storm anthem. It’s an all-timer, IMO. These two tracks are the album’s high points—both unmistakably “Aaliyah” and suggest an even greater artistic leap looming on the horizon. In a lot of ways, this reminds me of Janet Jackson’s “Control” album, right down to the red background on the cover.
Elsewhere, the record can feel uneven. There are stretches where the songwriting doesn’t quite match the sophisticated production (you can only pen songs about f**king so many different ways), and a few tracks blur together.
That said, it still makes for a compelling listen. Tracks like “I Can Be” experiment with distorted guitars and fragmented vocal loops, while “It’s Whatever” drifts into airy, soul. The record’s willingness to push at genre boundaries is undeniable—even when the results don’t fully land. I appreciate that she never feels like she has to oversell anything. She’s here, she’s singing, and that’s the deal.
Her death, just weeks after the album’s release, inevitably colors how it’s heard. Aaliyah captures an artist at an early peak, but I couldn’t help but think “what if?” while listening. In another universe, this would have been her breakout album- a statement record, if you will. Instead, it marks the end of life and a career cut down way too soon.
Bottom Line: This is up against Hope Sandoval. Both have incredible voices, and on paper, Sandoval would be my pick on the strength of her duet with The Jesus and Mary Chain alone. but the Red Album makes a compelling case. My bracket pick went to the late Ms. Haughton. My vote? Well, I’m not sure yet…
Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!
What’re You Listening To?
The 2-lane highway from Portland’s western suburbs to the Oregon Coast was exactly 72 miles.
It usually took about an hour and a half. It was a little faster if traffic was light and we were in a fast car. Or a little longer if we were in my friend Matt’s VW bus. It never bothered us, though.
It’s hard to be in a hurry when the sun’s out and you’re with your friends.
No one ever felt the need to check their watch while moseying through the Coast Range listening to Bob Marley.
At this point, Marley’s “Legend” compilation record is the default reggae record. Even if you can’t name a single other title or artist, you invariably at least know this one. Released posthumously, it’s the best-selling reggae record of all time, racking up millions of copies sold as of this writing. At least a dozen of those sales were from us.
Is there any other record so closely associated with it’s genre?
Most of us wound up going deeper into Marley’s discography, but like so many others, “Legend” was our on-ramp to his music. There we’d be, singing, “Every little thing’s gonna be all right,” while the bus wheezed and gasped, struggling to carry us over the hills. We sang “get up stand up” and would wind up doing just that through the years. The Bush family derisively referred to Portland as “Little Beirut.” We wore it as a badge of honor.
But over on the left side of the map, those concerns were a million miles away- our only worries being gas money and hitting spots like Indian Beach.
Today, we remember Marley on the 45th anniversary of his passing.
Four decades plus is a long time to have been gone from this life, yet Marley’s music & vision resonate now more than ever.
If we want every little thing to be all right, we need to get up and stand up.
This week’s list has factory fresh tracks from BODEGA, Nightbus, Onesie, and Taxi Girls, and well as the usual sonic comfort food and deep cuts.
Side A is tracks 1-14 (ends with “The Barbeque Party”). Side B is tracks 15-27.
On to the music…
KA—
Other sources: Apple | Qobuz | YouTube Music |
Now it’s your turn.
Any new releases or shows you’re looking forward to? Whatcha got? Share your thoughts in the comments!
De La Soul Grow Up Gracefully on AOI: Bionix
Best Record of 2001: Day 35
Good morning!
Today we’re taking a look at De La Soul’s AOI: Bionix.
Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.
The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!
Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.
KA—
A wise man once famously asked, “Well, how did I get here?” On AOI: Bionix De la Soul seems to be asking the same. Not in a bad, confused, old-man way, but in a bemused, slightly disoriented way. This is made by—and for—people who have graduated, moved out to the suburbs, and might have this playing while cleaning the house, instead of at a house party.
De La Soul sound older here, sure, but “older” doesn’t mean tired or reaching into a tired bag of tricks. They’re still playful, still clever, and still love a good sample. But there’s a polish on AOI: Bionix that makes the whole thing feel more measured than the chaos of 3 Feet High and Rising. Hard to put into words, but it feels like they turned the “sheen” dial up to 11.
That maturity works for me. In fact, it’s a big part of what makes the album interesting. Bionix isn’t trying to recapture youth so much as it’s trying to capture where the trio’s at. The record is uneven—feel free to skip “Pawn Star”— and tbh, it could probably lose three or four tracks and a few of the interstitial skits without sacrificing much (why are these skits a thing?!).
But even with the padding, the middle 100% holds. The production is smooth, the rhythms are locked in, and the samples are still doing that De La thing where they’re just familiar to recognize but also just far enough out of reach that you find yourself going to WhoSampled a lot.
“Baby Phat” is an obvious standout, and for good reason: it’s a banger. Or at least I think that’s still what we’re still callin’ ‘em. “Simply” and “Watch Out” also hit that sweet spot, with effortless grooves. They even took “Wonderful Christmas Time” and smoothed it out into something good. That’s a rare talent! Cee-Lo rocks up and puts in good work, as do Slick Rick and B Real. I’ve seen others comment that these two drag things down, but I didn’t see it that way. Sure, B Real is talking weed. What else did you expect? If anything needs to go, it’s the goddamned skits.
What AOI: Bionix really shows is that De La Soul could evolve without losing their personality. It’s not the wild, youthquake daisy-age energy of their debut, and it doesn’t need to be (nor should it). It’s a late-era album with some extra baggage but also a lot of charm, good taste, and enough great moments to make the uneven parts easy to forgive.
Bottom Line: This is up against Dismemberment Plan’s Change, a record that had we been doing in this in 2001 or even ‘02 or ‘03, I would’ve been lauding from the rooftops. This is very much the lane I was in at the time. And man, even now there are spots that just nail it, yaknow? If I squint hard enough, I can see mid-20s me, dart in one had, steering wheel in the other making my around town listening to this through (almost) blown speakers. They also get bonus points for helping to propagate Maritime (via bassist Eric Axelson); one of the best bands to come of Milwaukee. I dug AOI: Bionix more than I thought I might, but old habits die hard. No changing things up for me; Change it is.
Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!
A Quick Look at Pete Yorn’s Musicforthemorningafter
Good morning!
Today we’re taking a look at Pete Yorn’s Musicforthemorningafter.
Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.
The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!
Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.
KA—
One of my favorite things about writing this series is finding new records. I get that typing something like that isn’t exactly revelatory. The last bracket was packed with personal favorites and a ton of field trips back in time to whenever I first found them. This time around, I find myself wondering what I was doing that caused me to miss these entirely.
Late March of ’01? Good question. It’d be another week before I got my official transfer notice, so my guess is that I was already looking to move. We filed everything manually in those days, filling out triplicate forms and putting them in interoffice mailers, then putting those into big heavy-duty bags marked “COMAT.” From there, someone would grab it off the plane, drop it somewhere else, where yet another person would pick it up and (hopefully!) get it to where it needed to go. Efficient stuff! Yet somehow, it all worked better than what we have now. But I’ve already gone way too far into the weeds.
My point here is that my (now) wife was actively looking to jump off the corporate hamster wheel, and I was looking to get a promotion. I don’t know what all we were listening to, but I can tell you Musicforthemorningafter was not on the list.
Same, really, as this is a goddamn delight. “Folk rock” isn’t usually my bag, and until about 30 minutes ago, I couldn’t have told you the difference between Pete Yorn and Pete Droge (I thought one had done “some” work on Jim Carrey films. Turns out each had a track featured on separate films. Okay then).
Opener “Life on a Chain” grabbed me right away, and “Strange Condition” made for a killer 1–2 punch. Both are strong cuts on a record full of them. “Black” is my favorite on the album. I’m a sucker for a good outro, and the last 60–90 seconds of the track are right up my alley. Same story with “Sense.”
I was looking west (I’d put in to transfer back to Portland), and this is sui generis West Coast indie. Would not be surprised to hear early copies came with a gift card to Coffee People (IYKYK). Even now, as I’m typing this, I can see places where this would’ve fit nicely as a soundtrack. “Murray” would’ve sounded great coming out of my windows on the way to the Gorge. Probably would’ve sounded pretty good on Murray Boulevard too.
Back then I had no taste for sad sacks or ballads, but even the slower stuff on here, like “Lose You,” hits nicely. And the darker moments don’t last long. In doing some reading, it looks like he had a track featured on Dawson’s Creek, which, I mean—who didn’t?
At 15 tracks, there was a greater-than-zero chance this would’ve had some fluff on it, but if it’s there, I didn’t hear it. My favorites happen to be on the front end, but each track feels like it’s pulling its own weight. No Black Tiger, no decaf; everything’s just the right potency.
Bottom Line: This is up against Shakira’s “Laundry Service,” and both are closely seeded. Hoping Yorn wins the day if for no other reason than it’ll be a good excuse to keep playing this.
Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!
Joe Strummer & the Mescaleros vs. The Beta Band
Best Record of 2001: Day 32
For a hot minute, I had a weird streak going: I’d make the drive from Portland to Seattle and tune into 107.7 The End as soon as it came in. And sure as shit, every time I did, I’d hear The Clash’s “Train in Vain.” They certainly made more tracks than that, and certainly made ones that are more resonant, but my point here (besides some musing about the universe working in mysterious ways) is that it was incredibly catchy and stuck with you long after you heard it. It felt like Mssr. Strummer, Jones, Headon, and Simonon could do no wrong. Then came the split, Cut the Crap, and the most important band in the world suddenly… wasn’t.
Flash forward a couple of years, and Strummer starts writing some songs and playing with the Mescaleros. There’s a record. Rock and the X-ray Style? Not his best work. To be fair, I think the world held him to a high- even if unfair- bar. And maybe this first one was needed to get his sea legs again.
Whatever, the second act would have to wait a bit.
So along comes Global a Go-Go, and it’s clear that Strummer has spent his time shaping the corners. This is an amorphous record that comes across like everyone brought some ideas to the garage just to see what might happen. Remember when you were a kid, and the fixins bar at Fuddruckers seemed like a dare? Yeah, like that. (Just me? Oh. Okay.)
At any rate, all of these elements make for what is often diplomatically called a ‘challenging listening.” It’s catchy in parts, and there are a few spots where I caught myself catching the groove, but it doesn’t have the cohesion of something like Train in Vain or Rock the Casbah. And that’s fine! At this point, the days of Combat Rock were firmly in the rearview mirror. At the same time, I can’t help but wonder if having someone keep him in check a little bit would’ve helped. I mean, an almost 18-minute track to wind things up? C’mon. Some sort of editorial guidance (for lack of a better term) could’ve elevated this from simply interesting to really good.
You know, the kind of thing you hope is playing when you turn your radio on.
While Strummer & the Mescaleros come across as serious musicians trying not to be taken seriously, The Beta Band seems just the opposite. Hot Shots II is also a sprawling, throw-everything-in-the-mixer kind of thing. But sometimes a soufflé collapses in on itself. Every time I thought, “Ah, here we go!” something would shift… or, worse, an annoying crackle or pop that set off my misophonia. Maybe I’d like this better if I still got high? I dunno…
Bottom Line: On Bluesky, someone posted that Strummer should win everything this week, and I’m all in on that. Global a Go-Go it is…
Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!
Discussion: What’re You Listening To?
Happy (choose one):
A) Star Wars Day
B) Dave Brubeck Day
C) Sluttering Day
D) Any combo of the above
One of my mom’s favorite stories to tell is about the time she managed to grab some Star Wars action figures for me as a kid. This was at the peak of the (first) movie’s fame, and to hear her tell it, it was something like emerging victorious from a great battle. The reality is that she worked at a clothing store, and her boss let her bail a little early so she could walk down to a nearby toy store. I was never the biggest Star Wars fan (please don’t @ me), but I like this version. It’s early in the AM as I type this, but I can’t remember anything so consuming us collectively in recent years.
Every year, I snort at the Dave Brubeck memes and tell myself I should put on one of his records….and every year, I’m reminded I don’t actually own any. Why my mind thinks I do, I don’t know. Maybe next year?
So, May 4th is a day for Star Wars (and Dave Brubeck!) memes, but it is also Sluttering Day—half celebration, half inside joke enjoyed by Jawbreaker fans the world over. I will definitely be putting on one of their records today. Of course, that happens most days, but that wasn’t always the case with Dear You. Depending on where you were when it came out, most people were consumed with the idea that they’d sold out. I’m as guilty as anyone, but tbh, that was our loss. That record is fantastic.
No Cantina Theme, Jawbreaker, or Brubeck on this list. But we do have the latest from TV Star, Dari Bay, Me at the Zoo, The Level, and Weird Nightmare (among others), as well as a good dose of the usual sonic comfort food.
Whichever one you’re celebrating today, I hope it’s filled with some killer sounds!
This week, Side A is tracks 1-16 (ends with “Lately”). Side B is tracks 17-31.
On to the music…
KA—
Other sources: Apple | Qobuz | YouTube Music |
Now it’s your turn.
Any new releases or shows you’re looking forward to? Whatcha got? Share your thoughts in the comments!
Kevin Sent 