Supergrass - Life on other planets

Supergrass is a band whose name is familiar to us, isn't? and we may have even heard some songs from them haven't we? I believe..But is it worthwhile listening the whole record from them? Yes, it is! I have done it few months ago and today I have done it again over and over again!They are worth it! Life on other planets. Of course I believe there is life on other planets, someone from out space is waiting for our signals and we are waiting for their contact..It would be a joke if we receive extraterrestrial signal that sounds like a Supergrass song..it would be crazy!

 

Does the world still need Supergrass? Did it ever need Supergrass at all? They don’t have a manifesto, they aren’t innovators. They are the simplest of pop groups, who rely solely on instinct when it comes to writing songs. Their most accomplished music touches brilliance - when they are on form, Supergrass are the best at what they do.
But no band can make amazing music all of the time. Sometimes you need something extra to fall back on - interesting lyrics, controversial views, a charismatic frontman, black suits with white ties and shoes... Devoid of any of these things, Gaz Coombes, Danny Goffey and Mick Quinn, tread a fine line. The only thing we have to judge them on is their music - they offer us precious little else. If the tunes aren’t there, Supergrass may as well not be either.
Too many tracks on the band’s third album didn’t work. ‘Supergrass’ sounded like a collection of half-baked ideas, only a handful of which displayed the confidence and verve present on ‘I Should Coco’ and "In it for the money". Inconsistency is still a problem on ‘Life On Other Planets’, but this time there are thankfully more good things than bad.
The negatives first, then; ‘Evening Of The Day’ is the sort of sub-standard album filler that Supergrass should really have got out of their system by now. It is an annoying, lightweight, novelty song with a false ending, daft harmonies and comedy whistling. Stuck slap bang in the middle of the record, it does nothing except destroy the momentum gained by the opening five tracks.
The decision to recruit Tony Hoffer as producer for this record is an interesting one. Hoffer’s previous credits include work for artists such as Air and Beck, and it is clear he has gently attempted to bring a more experimental approach to this band’s notoriously traditionalist recording methods.
On ‘LA Song’ you wonder if it was worth him bothering. The track itself is not really up to much anyway - again it comes over like a badly thought out pastiche, Supergrass forcing their ‘wacky’ side upon us once too often. Add to this a load of unnecessary synthesiser effects that feel like after-thoughts, throw in some rubbish Buggles/Daft Punk-style solo parts, and it’s a proper old mess.
Closing track ‘Run’ is the only other song where you suspect Hoffer was really calling the shots. A thoughtful electro-acoustic piece, it sounds like Supergrass trying to sound like Air, and discovering, surprisingly, that it rather suits them.
Elsewhere, ‘Life On Other Planets’ is mostly conventional Supergrass. The singles ‘Grace’ and ‘Never Done Nothing Like That Before’, whilst being great on their own, fit snugly into the rest of the album, and listening to the latter is like hearing the teenage indie of ‘I Should Coco’ all over again, now fully grown up, more muscular and with hairs on its chest.

Supergrass - Grace
 

 
Sandwiched in-between the glam-rock of ‘Za’ and ‘Seen The Light’, ‘Rush Hour Soul’ is a psychedelic blast of Stones-like guitar riffs, but ‘Can’t Get Up’ and ‘Funniest Thing’ are the album’s standout tracks. Both have strong, classic tunes, fantastic arrangements, and are exactly what you’d expect from a band who don’t need to graft on special effects to create special music.
And Supergrass can be special, but they can also be infuriatingly irritating. ‘Life On Other Planets’ sees them journey to both extremes – which one they will ultimately be remembered for is anyone's guess.

 by Jonathan Rawcliffe 

Kitchens of Distinction - Love is hell

This is one of the records I have in my Mp3 player.In this album apperas songs like In a cave or shiver that recurrently I listen when I am in the mood.

Kicking off with 1989's 'Love Is Hell', their first and arguably best album, their sound was distilled almost perfectly in a collection of nine songs. Oddly, in the opening track, 'In A Cave', Patrick Fitzgerald's vocals veer dangerously close to Michael Stipe territory but as the song reaches its conclusion, his voice chooses to become yearning rather than whining. 'Time To Groan' documents their tender side to perfection; Julian Swales's atypically subtle chiming guitar patterns becoming the perfect foil for Fitzgerald's tale of what appears to be a failed marriage. 'Shiver' impresses similarly with its clever use of dub effects; the conviction of the lyric to "make my flesh shiver" aptly describes the feelings generated from hearing the track. 'Prize' is an anthemic single featuring a lyric of "So do I get a prize for remembering that first time. Do I get a prize for remembering his name?" must be one of the few overtly gay sentiments ever committed to single form but the fact that the song is tremendously exciting and exhilarating is even more important. These four tracks combine to make a terrific opening for an album and in truth of the remainder only the shouty vocals on 'Mainly Mornings' could be referred to as a disappointment with the 6-minute plus 'Hammer' providing a thrilling, thunderous finale.

KOD formed in Amsterdam, The Netherlands, 1987

Cult band Kitchens of Distinction like to shroud their origins in multiple myths. Sometimes they say that they met in a Turkish sauna; sometimes in a satanist temple in Amsterdam; sometimes - most credibly - at a Dutch gig by the reggae legend Burning Spear. Drummer Dan Goodwin had been involved with East London experimentalists AR Kane; guitarist Julian Swales, had, it was said, been in an early incarnation of fluffy Goth types All About Eve. But singer and bass player Patrick Fitzgerald was not, as was often assumed, the punk poet of the same name: he had been a doctor before deciding to chance it in the world of pop.
The Kitchens' first single, "Last Gasp Death Shuffle", was Single of the Week in the NME. "Prize", which followed in October 1988 on One Little Indian (the label made trendy by the Sugarcubes), was a very fine single, a mixture of the tuneful jangliness that has been indie pop's staple since Orange Juice, and bigger, more ambitious noises that suggested both the Cocteau Twins and dub-reggae. But "Prize" was also one of the first explicitly gay guitar-pop records. Apart from the dabblings of Lou Reed and David Bowie in the early 70s, most openly gay pop had been disco - the Kitchens' candid reflections on queer promiscuity were at odds with the very basic boy-loses-girl agenda of most indie records.
Another cracking single, "The 3rd Time We Opened the Capsule" (1989) led on to the release of the debut album Love is Hell. It picked up good reviews with its mix of lush effects-saturated guitars and dubby rhythms - a harder, more emotional approach than the easily washed away waffles of AR Kane. The autumn's Elephantine EP impressed with it title track, and the anti-Thatcher "Margaret's Injection", plus the impressive reggae-rooted and vast sounding "Anvil Dub". Their live shows were fine too, their down-to-earth wit undercutting any cathedrals-of-sound tendencies in the music. Although they were never consensus music press favourites and were a long way from the Manchester lads who were starting to dominate the charts, it all seemed a matter of time before the Kitchens hit the big time.
Alas, the next single, "Quick as Rainbows", failed to turn them into popular heroes, and 1991's album, Strange Free World, despite providing another fab single in "Gorgeous Love", was somehow flat and lifeless. The Kitchens had become a very poor man's Psychedelic Furs. Even the distinctive, slightly kitsch packaging of their previous records had been dumped for a distinctly humour-free Japanese wave painting.
Still, the band played on, and although Britain had given up on them, America seemed more promising, with college radio play keeping them touring the US. Death of Cool (1992), however, was neither a commercial or qualitative advance on the last one, its title heavy-handed irony, as by this point the Kitchens could not have been further from the zeitgeist. After 1994's Cowboys and Aliens hit the bargain bins without a backward glance, One Little Indian decided that they had had enough and quietly dropped the band. Undeterred, the Kitchens picked themselves up, shortened their name to Kitchens O.D., and signed to the small Fierce Panda label, for one more push.
Mark Elliot
The Rough Guide to Rock

Kitchens of distinction - In a cave

Kitchen of distinction  - Drive that fast

TIm Buckley - Hello and Goodbye

I want to present one of my favourite artist and one of the records I listen pretty often when I go cycling... I really love his work and I am never tired of listening to him. I love peasant street! Tim Buckley was an american talented singer and poet. He was only 28 when he died and he became another young legend of the music history. Enjoy!

Article taken from dereksmusicblog:

In this article, I am going to write about an artist many people will not have heard of, and therefore, will be unaware of the wonderful music he recorded in his career. The artist is Tim Buckley, and in this article i will review one of his finest albums Goodbye and Hello. Goodbye and Hello was released in 1967 on the Elektra label. This was his second album, and was the follow up to his self-titled album Tim Buckley, which was produced by Jack Nitzsche and released in 1966.
Buckley was a singer, songwriter and musician. His self titled debut album, Tim Buckley, had a folk influence, however, through his career, the style of his music evolved, to encompass a jazz, psychedelia, soul, funk and avant-garde sounds and influences. What made Buckley stand out from the crowd at that time, was the way he used his voice almost like an instrument. He had an incredibly wide vocal range, that he used on many of his songs. Buckley was  also a talented guitarist, playing both the Guild 12 String Guitar and a Fender Electric XII.  Sadly, a permanent injury to two fingers on his left hand, sustained whilst playing football in high school, caused Buckley problems when playing the guitar. Some people believe that this led him to play extended chords, as they don’t require the use of barres.
Tim Buckley was born in 1947 in Washington DC, and later, moved to Amsterdam, New York. His first exposure to music was listening to his mother’s progressive jazz records. Throughout his childhood, he was introduced to a wide range of music, from the blues of Bessie Smith and Billie Holiday, to the jazz sounds of Miles Davis, and the country music of Hank Williams and Johhny Cash. 
At high school, he sang he was inspired by the Kingston Trio and formed a group influenced by their music. Towards the end of his school career, he started missing classes to focus more of his attention on music. He was fortunate that he would meet Larry Beckett who was later, to write lyrics for Buckley, and Jim Fielder who played bass in two of the groups he joined. These two groups were The Bohemians, who played popular music,  and The Harlequin 3 who were a folk group. 
Another fortunate meeting for Buckley occurred in 1965, when he met Mary Guibert, a year younger than Buckley. Guibert became pregnant not long after, and they married in October 1965, giving birth to Jeff Buckley, who later became a talented singer songwriter. Mary Guibert was to be an inspiration for much of Buckley’s music. The marriage allowed Tim Buckley to spend time away from home, where his father a much decorated, US Army veteran, had became unstable, and sometimes violent. The marriage was turbulent, and Buckley soon moved into his own apartment, and soon after he realized he could not cope with married life, and the couple saw each other only occasionally thereafter. They divorced a year later in 1966, a month prior to Mary gave birth to Jeff.
Buckley left high school in 1965, and headed to college. However, college and music were too much for Buckley to cope with, and he left college after two weeks to concentrate on his musical career. He spent time playing the folk clubs in LA during 1965, and then played a number of coffee houses in Orange County. In February 1966, Buckley’s big break came. He had played a concert at a club in LA called It’s Boss, when he was spotted by Jimmy Carl Black, the drummer in The Mother’s of Invention. He recommended Buckley to Herb Cohen the manager of The Mother’s of Invention. Cohen liked what he saw, and arranged for Buckley to play a concert at the Nite Owl, in Greenwich Village, New York. It was while Buckley was there, that he met guitarist, Lee Underwood, who went on to be Buckley’s guitarist, playing on his albums. At the same time, Herb Cohen became Buckley’s manager, and arranged for him to record a demo with six tracks on it. This demo was sent to Jac Holzman at Elektra Records. Cohen liked what he heard, and after seeing Buckley live, signed Buckley to Elektra.
Tim Buckley went on to record nine studio albums for Elektra. He was with Elektra throughout his career, and released his final album Look At the Fool in 1974. Throughout his career, he constantly reinvented himself, changing his sound and style. Listen to his nine studio albums, and you will hear Buckley in various guises’ You will hear Buckley sing folk, jazz, funk and soul. On some tracks, his sound is particularly avant garde, an experimental sound, that is unlike his previous work.
Sadly, the Tim Buckley has an unhappy ending. In June 1975, Buckley played his final concert in Dallas, Texas. The day after attending an end of tour party, Buckley died of an overdose of heroin. He had managed to control a drug habit for some time, it is thought that his tolerance level was lowered, and the amount of heroin he had ingested and alcohol he consumed were the cause of his death. He left behind a second wife Judy, and an eight year old son Jeff. When Buckley died, he was only twenty-eight, although he lived a short life, he packed a lot of living into it, and left us with some wonderful music, one of those albums being Goodbye and Hello.
Goodbye and Hello has ten tracks on it, Buckley wrote six songs himself, and co-wrote the other four with Beckett. The first track on the album is No Man Can Find A War. This is an anti-war song, written by Beckett which examines the psychological nature of war. On this song, Buckley it starts with a crash of thunder and Buckley singing accompanied by the guitar. It is a deeply moving song, with evocative and moving lyrics, that tell the story of what is happening to Americans many thousands of miles away. It is a strong song to start the album.
Carnival Song is the next song on the album, and begins with sounds of a carousel. The tempo of the song is interesting, and Buckley sings the song gently. The lyrics seem to be about Buckley’s childhood memories, and have the ability to paint a picture. A picture that the listener can imagine, can visualize and smell, that is how clear the picture painted is.
The next song Pleasant Street, is a different type of song. Although the song starts brightly with guitar and piano, the lyrics are darker and brooding. There is almost a cynical nature to the lyrics. On this track Buckley shows his incredible vocal range. He goes from singing softly one minute, to really letting his voice go the next. This is a song that is well sung, and features some wonderful musicianship.

Hallucinations is a song of its time. This is song that is in tune with the counter culture that was sweeping America at that time. The song has almost the sound of a band tuning up at the start. Once the song really starts Buckley sings the softly. He sounds a bit like Al Stewart when he sings the lyrics. The lyrics have a surreal quality to them. Although not a bad song, it is not vintage Buckley. The song has a folk feel to it, but sometimes there is a frantic feel to the song, as if it is unfinished. However, one must remember that when this album was released he was only twenty, and that he had written many of the songs on this album whilst at high school.
I Never Asked To Be Your Mountain is a song about his relationship with his wife Mary. In this song he sings of his frustrations and the pressures he felt. This is a very personal song for Buckley. It has a confessional quality to it. Even the quicker tempo of the song suggests that his frustrations and feelings are pouring out. It is as if Buckley is getting his side of the story across. This is one of the best songs on the album.
On Once I Was is a lovely slow song, that finds Buckley singing about fighting on foreign shores, a response to the war in Vietnam, that tragically cost countless lives on both sides. He also sings about being a hunter and a lover, remembering all the things the character in the song has been. However, the point of the song is that once he is gone will he be remembered. This is, by far, the best song on the album. Buckley sings some poignant and beautiful lyrics well. 

With the next track Phantasmagoria In Two the tempo quickens. This is another good song. The lyrics to this song are good, and are some of the best lyrics on the album. Likewise, the song features one of the strongest vocal performances from Buckley on the album. Although the musicians on this album are all good musicians, on this track Don Randi on piano and Eddie Hoh on drums produce great performances, that help make this one of the best tracks on the album.
Knight-Errand is a song that begins with an organ solo. The track has a strong folk influence. This is apparent when one listens to the lyrics. The sound of the track is very different to what has gone before. There is a baroque feel to this track. However, it demonstrates how Buckley liked to change styles and was constantly reinventing himself.
The title track Goodbye and Hello is the next song. This song has an atmospheric feel to it at the start. The song starts slowly, and then almost reaches a frantic tempo. However, just as quickly as the tempo increases, it falls again. This has the effect of being like a shock to the system. This happens several times. The lyrics almost have a medieval theme to them. It is the poorest song on the album. This is, in my opinion, not Tim Buckley’s finest hour, it is certainly not the strongest song Tim Buckley has ever recorded. I do not like the changes in tempo, or Buckley’s vocal delivery on this track. 
The final song on the album is Morning Glory. This is a return to form for Buckley. On Morning Glory he sings some lovely lyrics, and the band’s performance compliments the song. The song is one that is suited to Buckley’s vocal, he sing the song softly, accompanied by a piano playing gently, and some gorgeous backing vocals, singing behind him. This is a fitting end to the album.  
Having taken the time to read this review of Tim Buckley and his second album Goodbye and Hello, I hope I have stimulated your interest in what is a good album. What is hard to believe when you listen to this album, is that Buckley was only twenty when he recorded this album. What is even harder to believe is that some of the songs were written when Buckley and Beckett were only eighteen. They obviously had considerable maturity as songwriters at an early age. Goodbye and Hello was recorded at a time when the world was changing. By 1967 the world was a very different place, and music was very different. In 1962 and 1963, the world was satisfied by The Beatles and Please, Please Me and I Wanna Hold Your Hand. By 1967 music had changed and been influenced by the counter-culture that was sweeping the world. This album is a response to those changes, and when you listen carefully to the lyrics, I am sure you will agree. Within this album there is some great music, and should you enjoy this album, there is a lot more great music for you to explore within Tim Buckley’s back catalogue. A good starting point is Morning Glory: The Tim Buckley Anthology which features some of his greatest songs. Should you wish to buy some of his studio albums, I would recommend Tim Buckley, Happy Sad, Greetings From LA and Look At the Fool. Standout Tracks: No Man Can Find A War, I Never Asked To Be Your Mountain, Phantasmagoria In Two and Morning Glory.

COURAGE WOLF DELCARES…

All of the Courage Wolf sayings I could find.

1. Stand up. Fight.
2. No vampires in Twilight. Only sparkle fairies.
3. Seize the day. By the throat.
4. She fucked my best friend. I fucked her mother.
5. Donate blood. Ask for a gun and a bucket.
6. Falling is not defeat. Not getting up is.
7. Take a shit in the valley of the shadow of death.
8. An obstacle is only something you haven’t torn through yet.
9. The best way out is through.
10. Don’t worry about her. Let her worry about you.
11. Stay high. Kick gravity’s ass.
12. If you’re going through hell, keep going.
13. If you love something, kill it. So no one else can have it.
14. Fall seven times. Stand up eight.
15. Bring a knife to a gunfight. Stab them while they’re laughing.
16. Tits. Or GTFO.
17. If a tree falls in the woods, I fucking hear it.
18. Your power level is over 9000.
19. You call it a basketball hoop. I call it a cock ring.
20. Friday the 13th. My lucky day.
21. Fall on your face. Laugh at the fucking ground.
22. She already has a boyfriend. She can have two.
23. Destroy your car. Run everywhere.
24. Stare into the abyss. Make it blink first.
25. Climb the highest mountain. Punch the face of god.
26. Conform to the establishment. Destroy it from within.
27. Don’t believe in yourself. Believe in me, who believes in you.
28. Life getting tough means god is afraid of your progress.
29. When you’re sick in bed and it hurts so much you wanna die, get up.
30. You were born a winner. You were the fastest sperm.
31. The police are here? Sucks to be them.
32. The doctor said it was cancer. I call it a challenge.
33. The sidewalk is mine. Enjoy the mud.
34. Don’t start fights. Finish them.
35. Get her number. Burn it in front of her.
36. Don’t promise. Threaten.
37. You accept Visa? MasterCard? How about rage?
38. Fuck depression. Pain isn’t real.
39. Troll until banned. Make another account.
40. Kill the weak. Use them for fires.
41. Better to burn out than fade away.
42. If you never give up, you never lose.
43. Fuck what your mom says. You don’t need a coat.
44. Kill it with fire. Serve as a foreign delicacy.
45. Impossible is a word people use to justify giving up.
46. Life’s a bitch. Your bitch.
47. Yes, she has a boyfriend. So fucking what?
48. If it’s pretty, fuck it. There is no gay.
49. Keep your friends close. Kill your enemies.
50. If at first you don’t succeed, kill the guy that did.
51. With great power comes hot bitches.
52. FIND THE LINE. THEN CROSS IT.

Morphine - Cure for pain (1993)

Oh, yeah! This is what I needed tonight, I really like Morphine! All their stuff is great and I recomend any of their records. Recently i have seen a filf about the life of mark Sandman, Cure for pain. he had a hard life, lot of suffering because of lossing two of his brothers.. lot of pain in his family. He found the cure in his music. He was just great! He made up a two strings bass and with the band Morphine develope an incredible sound with just a trio bass-drums-saxo!

Here it is a reviel of the record good taken from the website www.blindcarre.com

Cure for Pain (1993) is the second album by the trio of Cambridge (Massachusetts), led by bassist and vocalist Mark Sandman, published on September 14, 1993, 20 years ago.

After receiving rave reviews for his first LP, Good (1992), his second work allowed them to reach a wider audience. Cure for Pain is an album that evolved from their first album, which was exceeded by forcefulness and quality in the compositions. It is the best and most successful album by Morphine, a masterpiece that contains most of the more classic songs of the band. Songs such as Buena, All Wrong, In Spite of Me, Thursday, Cure for pain, Mary Won’t You Call My Name?, or Sheila, involve (and transmit) rabid and intense feelings that are not available to everyone.

The two-string slide bass of Mark Sandman mixed with the exquisite sound of Dana Colley‘s sax, and with the Sandman compositions that always touch and blend in melancholy, intrigue, and darkness, made that Cure for Pain was, and still being, one of most impressive cutting-edge works in recent decades. The originality of the band was well reaffirmed with their second album.

Mark Sandman used the term “Low-rock” to describe the band, sometimes also “Fuck-rock”. The truth is that Sandman had already a good musical background linked to roots blues and rock mainly, with his former band Treat Her Right. With Morphine he remained bound to the sounds of blues and rock but with new shades of jazz, thanks to the good work of Dana Colley’s sax, something that produced “the turn of the screw”.

 

Sandman, who liked homemade instruments, went from the 3-strings guitar with Treat Her Right to the 2-strings slide bass (first even tried it with only 1 string), which along with the aforementioned sax, and the darkness of the front man, gave to the band that unmistakable and characteristic sound.

Cure for Pain sinks you and lifts you steadily, it doesn’t let you choke completely, whips you, paralyzes you, but just before you fall to the ground it holds out his hand and put you back in your place. It could be the soundtrack for a life, for many lives, but especially for Mark Sandman’s life, who collapsed and died of a heart attack on stage in front of 2,000 people during a concert at the Giardini del Principe in Palestrina (Rome, Italy), July 3, 1999. R.I.P.

How Wang-fo was saved

Yesterday I watched How Wang-fo was saved, a short film directed by René Laloux. It is based on a short story written by Margarite Yourcenar.Very nice! 

You can read the story in Spanish here!

“A Chinese emperor, raised in isolation with only a renowned artist’s paintings to serve as an indication of the outside world, sends for the artist in question in order to punish him when he discovers that reality doesn’t come close to matching the beauty of his art, in Laloux’s conventionally animated but thought-provokingly compelling short film.” —Iain Stott
Subtle, fragile, beautiful, brilliant. This kind of film gives me peace.
There is the film itself as art and your reaction to it. There is the reaction of the Emporer to Wang-fo’s art in the face of a reality that doesn’t hold up in comparison. There is the artist’s ability to become so immersed in his art that he is literally able to slip loose of this world.
More than any one of these things, it’s about art and its relationship to humanity. Yet inasmuch as it is about these things it offers no clear answers. Like the greatest questions in life, its answer lies in that peaceful meditation without the need for a firm grasp. For the film, being is enough.

 

The video is in French with Spanish subtitles..

Robyn Hitchcock: Jewels for Sophia

Robyn Hitchcock: Storefront Hitchcock / Jewels for Sophia 

Oh, yeah! I have a crash on this record since i listened to it. I only knew one song: Sally was a legend and when I got the record, I just found that there were many more jewels in it! Great Robyn Hitchcock! Great album!

The following year, 1999, Robyn released Jewels for Sophia, his studio LP follow-up to Moss Elixir. Aided here and there by R.E.M.‘s Peter Buck and former Soft Boys guitarist Kimberley Rew, the record is Robyn’s most raw and rockin’ since the great Egyptians album of ‘86, Element of Light. Tim Keegan joined in once more, and Jon Brion produced the disc. This all-star cast of Robyn’s regular pals kept the sessions loose, resulting in a terrific set of tunes from start to finish.

Upbeat pop numbers like “The Cheese Alarm” and “Viva! Sea-Tac” will leap into your brain and never leave. (It’s been eight years now, and I still can’t look at a picture of the Seattle skyline without happily singing “The Space Needle points toward the sky / And the Space Needle’s such a nice guy”.) Jewels for Sophia sports some of Robyn’s loveliest ballads, too: “I Feel Beautiful”, “You’ve Got a Sweet Mouth on You, Baby”, and the bittersweet “No, I Don’t Remember Guildford” (which debuted live on Storefront Hitchcock). These reflective moments are balanced by rockers like “Elizabeth Jade” and “NASA Clapping”.

For fans of 1980s Robyn Hitchcock, Jewels for Sophia often recalls the Soft Boys and early Egyptians; it is part of a sonic lineage that extends from Underwater Moonlight through to 2006’s Olé! Tarantula. If, however, you prefer your Hitchcock with a softer edge, then Storefront makes for an excellent complement to 1984’s I Often Dream of Trains, 1990’s Eye, and 2004’s mighty fine collaboration with Gillian Welch and David Rawlings, Spooked. Either way, you can’t lose. Get both discs, and you’ll lose even less!

By Michael Keefe

Neko Case is back! I am back as well! we were always there..

Neko Case, she was always there and i found her again. It was my first post indeed but I dont really know how this blog works..I have to figure it out while I try to send some new posts in this blog about me. Once again Andres is back after an absence of more than 4 years. This record was one of my favorites and I listen to it occasionally. How to upload the picture??lets see how I am going to manage altough I have forgotten almost everything i learned...it suppose to be easy,isnt it? Anyway, I dont thing I will search for the links to download the record..just listen something in internet and if you like her, let me know and i will send to you! Enjoy.