Rachael Sage - Chandelier

Produced by Rachael Sage

Recorded by John Shyloski at Carriage House Studios in Stamford, CT

Mixed by Kevin Killen and John Shyloski

Mastered by Greg Calbi

New York singer/songwriter Rachael Sage channels Sarah Bareilles and Tori Amos on Chandelier. The album blends artistic instrumentation with lyrics that are elementary but no less catchy. Backed by The Sequins and a smattering of special guests, including guitarist Adam Levy and Todd Sickafoose on upright bass, Sage blends biblical allusion with medieval imagery filling out an imaginative, high-fantasy-meets-real-life experience with full arrangements.

This brand of poppy poetry mixes Sage's own sweet voice and piano stylings with her string, brass and percussion ensemble for a fun, and sprightly eclectic album. Several tracks' rhythms and synth work are reminiscent of Poe, while others sprinkle brassy jazz atop of memorable pop melodies, creating a palpable blend of sparkling folk music.

Judging by the album's lyrics and bittersweet tone, Sage is heartbreak's recent acquaintance, but stick around and you'll find it is less about lovers lost than it is about lovers yet to be found, and the overall mood of the record is hopeful and life infusing. "Moonlight and Fireflies" is a romantic and wistful, jazzy original; "Beloved" is an artistic yet folksy instrumental that combines powerful string arrangements with Sage's fierce piano ability. The album's solo cover song is Jump Little Children's "Mexico," with Sage on harmonium. The title track commences the album with sheer orchestral enchantment, in a dark tone grappling towards light.

Music, lyrics and elegant cover art to match the title are all composed by Sage herself, who is the founder of her label. Glittering and soulful yet somewhat shallow lyricism notwithstanding, Sage is definitely worth keeping an eye on. (MPress Records)

www.rachelsage.com

-Rebecca Crockett

Laura Brino - Elephant EP

Produced by Laura Brino and Sean Jackson

Mixed by Sean Jackson

“Breathy” is an overused adjective used to describe female vocals, but in this case it is warranted. Laura Brino’s voice breathes through these six songs like a living woodwind.

This prettily packaged EP (against a pale yellow background, little sketched elephants hang onto tree branches like Christmas ornaments) starts with “Elephant” in which a guitar gently plucked and cymbals lightly tapped keep time; midway through the song, a stronger piano and then a snare drum elevate the song to leadoff status. “I Fold,” the disc’s second track, is a crisp light rocker with a simple yet signature piano line. Deft backup vocals of the ooh, ahh, and la la la variety give the songs richness, as do cello and subtly deployed tambourine. While “Elephant” does not break new ground with its arrangements (although the song that plays on Ms. Brino’s website has a unique hand-tapped bongo beat that gives it a Bebel Gilberto-as-remixed feel) the songs have an innate likeability and listenability. Like many musicians before her, Ms. Brino is a lapsed art-student, and her assuredness as an artist comes through from the delightful cover to the lovely set of songs inside. (self-released)

www.laurabrino.com

-Chris Gorham

My Own Worst Enemy - Total Action

Produced by Pete Weiss and My Own Worst Enemy

Engineered by Pete Weiss

Mastered by Pete Weiss at Verdant Studios, Athens, VT

On the latest full-length release from this excellent trio, rumbling toms and drama-building feedback immediately set the stage - you are about to be rocked. The rocking is accomplished without needing a bass guitar, by Steve on guitar wizardry and vocals, Sue on rhythm guitar and sinewy lead vocals and A.J. of the killer drums.

The lead track, "Turn it On" forms a powerful one-two punch with "Born to Be a Fighter," the record's standout second song. Harmonica makes an appearance on Total Action, as does piano, and assorted electronic touches, but this is a guitar record, full of lean, muscular six-string hooks and strong-willed melodies. When the band eases up on the fourth track, another standout, "Green Apple," the result is equally affecting; no matter the tempo, the result is strong without being surly, and honest without being contrived. The honesty of the songs may owe itself to the fact that the band recorded Total Action largely live over three long weekends in Vermont. Recording that way at Pete Weiss's cavernous Verdant Studios, M.O.W.E. makes Total Action hang together like a real record rather than a collection of songs.

Much like their music, the band maximizes the effect of its vocals, without doctoring them up, by adding subtle harmonies to Sue's leads, having Steve and Sue alternate verses, and changing up lead vocal duties and arrangements from song to song.

From first song to last, a primitive power-chord rendition of Patti Smith's "Redondo Beach," Total Action is true to its title. (Pristine Indigo Records, 2008)

www.myownworstenemy.net

-Chris Gorham

Laura Delallo – What Do I Know?

Produced by Laura Delallo, Mixed and Mastered by Phil Magnotti at SBR Studios in Brewster, NY

Laura Delallo’s What Do I Know? is rock 'n’ roll with a soulful taste of the blues and a colorful reggae influence. The album is the Connecticut-based singer/songwriter’s second solo-endeavor since serving as lead guitarist and lead vocalist for former band Hieroglyph. Delallo’s new band is a five-piece (with Delallo herself on acoustic guitar) and lays out a sound that is tight-knit, filled with vitality and could be construed as Melissa Etheridge meets Hootie and the Blowfish.

“Good Friends, Bad Wine” is folksy rock 'n’ blues that celebrates making the most of life. “Meant to Meet in Heaven” is a laid-back, rocksteady tune about love postponed - and life moving on. A singular cover track, “Kiss” by Prince, is dynamic but does not stray much from its predecessor.

The original songs are catchy, but some may rely too heavily on their choruses—which leaves the listener hungering for more meat on the bones. The album’s consistent energy level is upbeat, though it lacks somewhat for variety, making the album seem a just little bit redundant. Nevertheless, What Do I Know? features a talent that is full-flavored and robust, and is a worthy second effort by Delallo. (self-released)

www.lauradelallo.com

-Rebecca Crockett

Sister Kay Kay - On the Wings of Love

Produced by Sister Kay Kay

Engineered and mastered by Anton Sturchio

Recorded at Portland Mine Music Studio, Westbrook, ME

Most people would probably be afraid to write a CD review about a nun. A bad review might incur God’s wrath, and the superstitious would be wise to avoid saying anything at all, but music is music, despite all else, and will be given a fair review, perhaps at the cost of this writer’s currently non-smitten state. Besides, nuns are supposed to be forgiving.

On the Wings of Love sounds exactly like a nun’s album should sound like; pleasant acoustic guitar sounds, a “grandma Moses” voice crooning spirituals about her love for Jesus and occasional synthesizer and electric autoharps filling in the chords. Her vocals resemble a female Bob Dylan, sliding up to the pitch, wavering steadily in places, but clearly intentional and well versed in folk music and spirituals. Certainly Sister Kay Kay has acute knowledge of music and musical instruments (having performed all of them herself) as well as a solid grasp on music theory and chord structure. The songs are slow, relaxed, peaceful and, if one were so inclined to think so, spiritual. Although the guitar and synth sounds are beautiful, unfortunately the bass destroys the effect with a loud, fuzzy quality that sounds blatantly unintentional.

All the instruments are mixed so well save the bass tone, which disrupts the overall peaceful effect and reveals every dissonance loudly and painfully.

Sister Kay Kay is obviously talented. The songs are very pretty to listen to, with divine acoustic sounds and the right mix of other instrumentals fitting the style. Her stylistically sliding vocals and serene melodies will touch even the most atheistic of music listeners.

-Sean Mahan

The Crash Moderns - Good Night Glamour, Good Morning Disaster

Engineered & Mixed by the Churchills

Mastered by Chris Gehringer at Sterling Sound, NYC

The Crash Moderns' debut record Good Night Glamour, Good Morning Disaster is an upbeat, hopeful addition to the alternative rock scene. The overall sound is friendly enough to appeal to the masses, yet retains the perfect amount of singularity and spunk to set the group apart from any obvious generalizations. Appearances are deceiving, as each member of The Crash Moderns' ominously appears on the album in all black-- from the clothes to the hair, yet their sound is contrastingly colorful and far from dismal.

The group hails from the New York/New Jersey area and is led by vocalist/guitarist Danny Roselle, along with the other members on keyboards, bass and percussion. It's a simple line-up that reflects the middle-of-the-road sound projected throughout their album. The chords and melodies are never too overbearing, and the steady cohesion of the group keeps you hooked.

The lyrics may be borderline squeaky clean in many tracks like "Pimp My Life" ("I'm a bargain for the price, so baby you can pimp my life") and there may be one too many hand-claps (as found in "Where'd All the Scene Girls Go"), but its that harmless quality that characterizes the album as pleasant and highly approachable. "Closer Is Better" stands out as the album's most impressive track, with a slight derivation from the pop-lyric formula, and more focus and exploration is found within the instrumentation. This is where the group has an opportunity to step away from the ordinary and stretch their legs towards a sound full of individuality.

After a successful U.S. tour throughout March and April (including a gig at the SXSW Music Festival in Austin, TX), the Crash Moderns can be seen this summer for a few select gigs for what are sure to be high energy performances worth checking out. (self-released)

www.thecrashmoderns.com

- Jillian Horn

Cortez - Thunder in a Forgotten Town

Recorded and mixed at Buzzville Records

Stoner rock! Cortez’ new release, Thunder in a Forgotten Town, is full of the heaviest, deepest, grungiest guitar sound with balls that you’ll ever hear this side of New England. Having a distinctly Kyuss-like approach to songwriting, with bulky, repetitive riffs and monotone vocals that take on a near screaming but overall harmonious tone in nature. Labeled as a self-described sound being “Heavy, loud and lumbering,” Cortez takes stoner rock to a new level of rock.

Perhaps “heavy” doesn’t describe the guitars of Cortez. Perhaps “a gigantic cave of underground distortion,” or “mind-blowing weight and power” and “bone-crushing bass” will help paint the picture. The tone is so ballsy, but in a laid-back, groovy kind of way. Cortez takes their time while rocking, keeping the heavy rhythm and bass going for most of the song, letting the lead put fills in every now and then, soloing only when appropriate and keeping the fans headbanging the whole time. There’s a definite ease behind the powerful chords; a deep grace that goes along with the ribcage-imploding distortion. Most of the songs clock in at five minutes with their longest track, “Floodwater Rising” extending to 9:36. Although the six-track EP is under 35 minutes, it’s 35 minutes of pure, solid rock. For undisputed heavy, absurdly impressive stoner riffs, check out Cortez. (Buzzville Records)

www.myspace.com/cortezboston

-Sean Mahan

Jenee Halstead - River Grace

Produced by Evan Brubaker

Recorded and Mixed by Evan Brubaker at Forgiveness Recording

Mastered by Ian Kennedy at New Alliance Studios

Clear, cool, smooth and full-bodied. This isn't a description of wine, but rather of Jenee Halstead's voice. Her album, The River Grace, showcases Halstead's writing and vocal talents in ten tracks of varying moods and depths. Firmly rooted in the acoustic folk genre, Halstead experiments with instrumentation utilizing mandolins, dobros and some keyboards.

The album starts off with an upbeat ballad, "Before I Go." Halstead's alto voice hits ethereally high and hauntingly low notes in the track "Deep Dark Sea." Intricate instrumentation in the title track doesn't make up for the lack of a catchy melody, and due to the short length, it isn't the most memorable track.

"Nick Drake" is a tribute to one of her influences, and the wistful lyrics float off Halstead's tongue. "How do you dance all night, when your heart won't feel the rhythm, your feet won't take to flight?" On the track "Darkest Day," Halstead narrates the story of a doomed love, some guns and a highway chase. Comparisons to Dolly Parton and Patty Griffin are bound to arise with Halstead's vocal command and versatility.

The whimsical lyrics of "Drunkard's Lullaby" don't quite match the slow melody, but it's interesting nonetheless. A twangy guitar and lyrics alluding to county fairs make an appearance in the very country "Dusty Rose," while the bluegrass influence, reminiscent of Alison Krauss & Union Station, can be heard in "Reach Up."

Halstead sounds very much like a female Nick Drake on the chorus of "Skipping Stones," with the melody drawing inspiration from Drake's Pink Moon. The album ends with "St. Peter," a track with a strong vocal performance by Halstead, sounding more mature than her young years. The stand out tracks are "Deep Dark Sea," "Nick Drake," and "Reach Up." (self-released)

www.jeneehalstead.com

-Priyanka Boghani

The Wood Floors - Dry White Heat

No Production Information

Dry White Heat is the nineteenth release from New Hampshire’s The Wood Floors, a band as prolific as they are unknown.

As the album progresses, the hooks get deeper and the progressions more recognizable. They’re not afraid to wear their influences up front - with “I’ve Seen That Film Before”'s jangly guitars mirroring the Afghan Whigs’ confessional opening to Gentleman, and the Guided By Voices homage paid in the atonal transition of “You Jumped Too Far” and “If You See Her.”

The album is layered with networks of fuzz and tremolo, borrowing as much from GBV at its most raw as it does My Bloody Valentine at its most polished. Song structures mirror Bee Thousand in their disregard for key and random acoustic outros, while the album jumps from angsty outbursts to dreamy pop bliss.

On “Feel the Revolution,” bass notes and folk chords jump between channels, recalling Phil Elverum’s production on The Glow Part II while airy vocals drip nostalgic for something unknown, floating through the melody and tearing at the heart. The song carries a gentle momentum that easily could have built to a triumphant bridge or chorus, but instead quietly fades into the abrupt opening of “Pretending to Lie,” creating a jarring, surreal moment of vague revelation. For what, I don’t know. Maybe it’s their revolution.

The Wood Floors aren’t afraid to spend three minutes building a progression only to drop it in favor of something new - they hit the hook and cut the rest. Just as “Inferior Complex” becomes almost too catchy to handle, it turns to the visceral release of “You Jumped Too Far,” which just as abruptly turns into “If you See Her.”

Dry White Heat ends with the title track, an ode to “Brother Woodrow/Closing Prayer,” also from the Afghan Whig’s Gentleman, a sprawling, messy affair that tears through melodies with little regard for continuity or structure. And seeing as it’s longer than the previous five tracks combined, it’s fitting, and unexpected, closure. (self-released)

http://thewoodfloors.com/

-P. Nick Curran

Hallelujah The Hills - Prepare to Qualify EP

Recorded by Hallelujah the Hills at Room 35 of the Sound Museum in Brighton and The Soul Shop.

Mixed at the Soul Shop and Ryan Walsh’s Apartment

Mastered by Jeff Lipton at Peerless Mastering

Hallelujah The Hills second release, the Prepare to Qualify EP, features seven songs built on one melody or idea, arranged throughout the entire song with varied instrumentation and themes. Hallelujah often takes one well-refined hook and builds it to a point of destruction, leaves it at the peak and abandons it before natural decay can take hold. They overload their crescendos with barroom sing-along choruses, distorted guitars and waves of undulating feedback, with different instruments rising and descending from the surrounding mix to play their part and be gone.

The opening track, “Nurses 5 Float Past,” introduces frontman Ryan Walsh’s more reserved side, featuring a clean, palm-muted electric guitar and an uncharacteristic sheen on the vocals. “Let It Wave” begins as a skeleton, with a cello drone vaguely outlining the song structure around the backing guitar chords. As the song builds, strings and guitars join the sketch, fleshing it out and building to the slow burn of an aimless crescendo. Voices join the chorus and Walsh, maintaining variations on the same melody, becomes more impassioned, hinting at a scream, but never quite losing control. And at what could have been the halfway point of an epic, the song fades to nothing, a move typical of the EP, and Hallelujah in general. It’s in these drops, and this technique, that Hallelujah’s hooks hold their power - it makes a nod to something swirling in the ether below the song, demanding repeat listens and a hopeless pursuit of something concrete.

“Cataloguing Candy’s Demise” erupts from the ashes of “Let it Wave,” built around a writhing cello and sharp horn blasts, while Walsh’s vocals are distorted to the point of almost being overrun by the surrounding cacophony. The remaining songs adhere to a similar formula, and the EP ends with a live version of “You Better Hope You Die Before Me,” recorded at the Middle East. (Misra Records)

www.myspace.com/hallelujahthehills

-P. Nick Curran

Sly-Chi – The Space

Recorded by Steve Drown and Jim Begley at The Studio

Mixed by Steve Drown

Mastered by Adam Ayan at Gateway Mastering

Produced by Sly-Chi

Sly-chi’s The Space is simply upbeat, funky jazz – nothing more, nothing less. With syncopated chords strummed upwards in jazzy rhythms, funky horn instruments blaring, trumpet screechers screeching, killer basslines walking all over the place and, of course, vocals rocking out with some serious soul.

Drawing from classic big band influences such as Tower of Power, Stevie Wonder, and Earth, Wind & Fire, Sly-chi produces a unique homage of a sound in direct dedication to their predecessors. The horn section takes their cues from the classics, blowing out catchy hooks while screeching trumpets and sax blow the scales perfectly in soloing. The singers seem to be classically trained in jazz/funk and Kelly McKenna’s especially soulful voice impressive. The drums rarely play a typically un-swung pattern and funk guitar and e-pianos are lightly sprinkled in the background.

Songs like “Reap What You Sow” and “Panza Verde” are addictively upbeat and catchy while “New Shoes” could spark a dance riot anytime. (Self-released)

www.slychi.com

-Sean Mahan

Brian Bergeron and The Late Greats - The Glory EP

Produced, engineered and mixed by: Mike Davidson and Alex Giorgetti

Mastered by Eric Masunaga at Modulus Studio Art, Boston

Brian Bergeron has an engaging voice, seemingly unadorned by studio excess or, for that matter, double tracking, harmonies and the like. It is his voice that is the high point of this five-song EP that runs nearly as long as the early Beatles’ records, but without anything like that kind of excitement. It is this lack of energy that does these songs in: Mr. Bergeron’s voice, as good as it is, has that hyper-earnest overlay so in vogue since the Tracy Chapman school of voices was founded. Not that everyone has to deliver like a deadpan Lou Reed, but the tortured sincerity can suck the humor and wit out of songs, as it does here. The arrangements are no help. The usual suspects provide the musical backdrop, with acoustic guitar plucking away often with no drumbeat to keep the heart going. There is a bit of organ, and a nice electric guitar line on the CD’s best track, “You Don’t Love Me (At All),” but overall, the songs progress from chord to chord like an old Van Morrison record, with the listener anticipating every change, bridge, instrumental break. This is good for the coffeehouse, but for the upcoming full-length it would be nice to hear the energy that this talented singer surely has in him. (self-released)

-Chris Gorham

www.bianbergeron.net

Atlas Soul – Maktoub

No Production Information Available

The term “world music” is about as vague as the instructions for a “some assembly required” bookshelf and insulting to anyone not from America. Unfortunately, it seems to be the label of choice for any non-Western music available in the United States. Atlas Soul’s new EP Maktoub can be simply placed into this broad category, but it can also be described as a creative, innovative and sometimes confusing mélange of musical nationalities.

Their music is not for easy listening, as they infuse flamenco beats, jazz solos, Middle Eastern instruments and North African style into an interesting and intellectually stimulating sound. Though the foreign lyrics may be intimidating, you must listen to the other musical elements to fully appreciate Atlas Soul.

The first song on the EP, “Home (Bladie)” starts off with an argument between the brass and guitars, which is soon mediated by Jacques Pardo’s pop-ish sounding singing. This song, along with a few other Atlas Soul songs, conveys the sadness that comes with immigrating to a new country. The string section adds to the dramatic effect and sense of urgency portrayed in the song, and Boujema Razgui’s heart-wrenching violin solo brings it all together for the ending.

“Ana ye wak”’s reggae-like upbeat hits give it a lively, playful feel. Though it could be just my prejudice against the soprano sax (Kenny G ruined the instrument for all of us) the solo in this song doesn’t seem to have the energy that the rest of the song does. Because the soloist doesn’t really communicate with the rhythm section, the solo sounds kind of awkward, with nowhere to go and no help from the band. It’s almost a relief when the vocals come in, getting back to that bouncy, upbeat pulsing sensation that is heard throughout the album.

Lastly, “Mahmouna” slows it down, featuring a growling bari saxophone and a reggae sway that makes me understand what the blues would have been like had they started in Jamaica. The great percussionists in this band break up the monotony of slow hits on the upbeat with precise cymbal crashes and fills placed neatly throughout the song.

Overall, Atlas Soul serves as a refreshing alternative to the often-uniform world of popular music. Just be sure to brush up on your Arabic before listening. (self-released)

www.atlas-soul.com

-Sara DeForest

Dave Smith - Country Rebel

Produced, mixed, and mastered by Mark Allan Miller at Slaughterhouse Studio, Westhampton, MA

Dave Smith can call himself whatever he wants (country rebel you say?) and label his music however he chooses (country western speed punk? I see...) - that is why this is America. A simple label though wouldn't really do justice to either him or the album.

"Country Rebel" is country in its heart and soul and Smith's voice is definitely more that of a punk than a country troubadour but he's also rockabilly in the Supersuckers meets Social Distortion vein without just rehashing what they've already done. The lyrics are standard, not being forgiven when judgment day comes, drinking, women who've been loved or lost or both - nothing innovative here although but that doesn't just make it the same old record you already have spinning on your stereo.

Smith delivers a punk length album (barely over 30 minutes for eight tracks) with country punk like "Lonesome Train" , more country-ish songs like "Runaway" and a fair helping of rockabilly on "Life of Crime". He manages to do it all with only one song under three minutes and more than a third of the album being over four minutes - therefore debunking any straight up comparison to punk.

Recently having relocated to Nashville, Smith is clearly trying to step up his potential audience (come on, how many of you have actually heard of where he was before - Haydenville, MA?) There is certainly a market for this sort of amalgamation of country punk styles and if this CD displays even a fraction of their potential as a recorded and live band then they might just be in luck. (Country-Rebel Recordings)

www.myspace.com/davesmithrebelcountry

-Andrew Fersch

Elemental Zazen - The Glass Should Be Full

Executive Producer - Jason Trefts

Recorded and Mixed by J. Ferra at the Rhythm Section

Additional mixing by Matty Trump at Waltz Audio

Mastered by Matty Trump at Waltz Audio

It's a fair assumption that if Eminem wasn't trying so damn hard to impress folks with just how shocking he can be he wouldn't have ended up being so big - it's also likely that if he had lived the life that Zazen had lived he might have just put out an album like this. The whiteness is only one similarity (and since these days half of all good rap is white folks - it's no longer new and exciting), the voice starting out on "Silence of the Now" is eerily similar but the second the words start coming out the similarities end.

Zazen's music is more Rhymesayers than Death Row and the lyrics are more intelligent than just about any rap - or any style - you can find. Maybe the loss of his good friend and cousin, drug abuse, and (fortunately) operable brain tumor gave him the mindset that life actually matters - as does what you say.

So from "Handcuffs" to "Dying Planet" he drops straight up knowledge that makes Atmosphere look like he doesn't take his opportunity seriously enough. There's no love for Bush or fake folks but there is plenty of love and so there is a great divide which humanizes Zazem even more - sure he's pissed but he's not being a jackass about it. Production by members of the Non Prophets, Cunnilynguists and Joe Beats (who works with Sage Francis) and some very Jedi Mind Tricks-ish beats makes the whole album flow nicely but never feel stagnant or stuck - it's just a consistently great hip hop album.

What seems most impressive about this album and Zazen in general is that he isn't trying to front in any way; he's comfortable with what he's gotta say and what he's gotta say is pretty damn great. (Gnawledge Records)

www.elementalzazen.com

-Andrew Fersch

Girls, Guns, and Glory - Inverted Valentine

Produced by Rob Loyot for Perriello Productions

Executive Producer - Ward Hayden

Engineered by Rob Loyot, Dan Farwell, and Sean McLaughlin at Noise in the Attic Studio, Scituate, MA

Mastered by Jeff Lipton at Peerless Mastering

The most recent winners of the prestigious 'BCN Rumble (and so very much more), GGG had a lot to live up to after "Pretty Little Wrecking Ball". Although with the local press and townies so on the jock of what is commonly called alt-country (for fear of admitting to be a country fan in the Northeast) it would have taken some effort for this album not to go over well - and it seems to be.

Labeled as a roots group, Inverted Valentine sounds more like the Bastard Sons of Johnny Cash than say Steve Earle both lyrically and musically. Sure, there are songs about jail and drunken nights of heartache - they just don't carry the same weight at times with the faux Southern twang going on in Ward Hayden's voice. Thankfully, it doesn't really matter. This is exactly what they were hoping it is. It is a catchy, beer on the porch, driving around slowly in a pickup music.

The plethora of additional musicians playing everything from the dobro to the accordion add so much on "Temptation" where they rock the flamenco guitar and trumpet and "Suzie" with the "orchestra" throughout. Girls, Guns, and Glory so seamlessly borrow from so many different genres within the greater country genre that, even if it occasionally seems as if there's a little too much effort being put into sounding like they are NOT from Boston vocally, it doesn't negatively affect the album.

So grab a six pack of Lone Star and throw this one on thankful that Boston finally has someone to rival what Cash Money and the Jetsetters so kindly gave us for so many years. (Self-released)

www.myspace.com/girlsgunsandglory

-Andrew Fersch