Tuesday, July 26, 2011

NOTARY SOJAC (erm, WEEDEN)... The Lost Chapter

Before I get to the meat of this post, let me say one thing:  Notary Sojac was one of the best bands to ever grace the Pacific Northwest.  Ever.  There were others, of course, but none related to their followers as much, none took the music more seriously nor did any lay down as solid a footprint.  Their history is one of idealism and music taken to an extreme with few regrets, if any, for the mistakes made and the goals unmet.  It is a story you have to hear to understand and one day, if I can ever get my shit together, I will write it.  I have the notes and I have the music.  All I need is 401 gallons of coffee and the time to weave the pieces together.

For now, I will talk about them as if they were mere footnotes (they were not) because many of you don't know Notary Sojac and the magic which surrounded them.  Most of you never experienced the pleasure of sitting around Skinners Butte Park on a hot weekend afternoon, watching and listening to NS and Portland cohorts Sand give you a high no joint could match.  Most of you missed it.  It was a supernova which lasted only a few years but was so intense that it created a legend of its own.  No album (though one was recorded), no Hall of Fame (though many of the musicians around Portland and Eugene at that time would gladly vote for their inclusion), no money.  They were communal, loose and, more than that, all about the music.

They didn't just happen, though.  The various members played in their own towns and within their own circles until the stars aligned.  Steve Koski, in fact, spent a few years honing chops until he was ready.  He moved to L.A. for a short time in 1968 to replace The Weeds' guitar player, who had been hospitalized.  By that time, the band had turned into The Lollipop Shoppe and had released an album on UNI Records.  Steve stayed with the band, recorded a few songs with them and when they returned to Portland, they morphed into Weeden.  I mention this because Koski recently ran across some Weeden tapes, buried amongst memorabilia of the Sojac years (Younger brother David had them.  Wottaguy!) and cleaned them up as best he could.  They are rough and recorded during rehearsals, probably with a single mike hanging from the ceiling.  The sound is muddy and the music cuts out here and there and the mix is nonexistent.  And they're some of the best damn tapes I've ever heard from that period.

The first nine tracks reek of the psychedelic folk scene of the time, just singer Fred Cole, singer/guitarist Ron Buzzell and Koski, who also sings and plays guitar.  The songs vary from schizophrenic to folk pop and beyond and could have been background music in any of the underground stoner movies of the day, at times bordering on the folk side of Love and at others the rock side of Barry McGuire.  Cut to shot of beautiful lithe long-haired blond girl wearing flowing and flowery dress riding bicycle down a side street in San Francisco, long-haired dudes turning heads to watch as she passes, sun shining, life good.  You know.  The American version of Georgy Girl the hippie version of Midnight Cowboy--- salt lightly with folk/psych and simmer.  As rough as these recordings are, as hard as Cole struggles to hit certain high notes, I find these songs intriguing at the very least.  In fact, the more I listen the more I'm intrigued. 

None other than Jack Meussdorfer (Sand) broached the subject of Weeden during a conversation a few years ago.  You ever see them?  No.  You missed something.  They were the band we all looked toward.  They were way out in front.

In front, indeed.  A cursory listen to the next eight tracks confirms it.  This is the electric side of Weeden, straightforward and in your face.  Fred Cole gets a chance to turn loose (he was a bit reluctant to let go on the acoustic tracks, possibly due to the way they were recorded) and the band?  Jesus!  This is schizophrenia in a whole other way.  Amps cranked, band wound tight, they give you what for, psychedelic style (which today would probably fall within the 'jam' category).  What Are You Gonna Do? has a touch of later Notary Sojac mixed with early Santana, maybe.  Tim's Song is, indeed, Tim's song, a nine-plus minute jam which gives drummer Tim Rockson room to solo (seems like everyone was doing it back then) and Shoutin' At You is pure Pac Northwest garage.  Crazy Now is a Koski original which he would drag out on occasion in later years, first with Notary Sojac and later, SojacGettin' a Piece starts out normal enough before turning freak-out.

Then there is CarolinaCarolina was the song which impressed me most that afternoon at Skinners Butte Park.  It had something that few other songs I had ever heard had---  a free-flowing jam-based feel that I couldn't even begin to describe.  A rolling bass, riffing and solid drums, fantastic organ and three guitars ripped me a new one and I was sold.  Well, folks, this is where it came from and how cool is it that I can hear it pre-Notary Sojac and in its "original casing".  Undoubtedly, when NS got hold of it, they started putting their individual stamp on it, but it's the same song with somewhat the same feel.  NS, during the years they were together, motored through a number of originals and covers, tossing some to the curb and adding others to keep the sound and feel fresh.  I thank the gods that they kept Carolina.  Every single time I saw them, I waited for it and was thrilled by it.  It's not like I could go home and put it on the turntable.  No album, remember?

Koski does something very interesting to cap the Weeden collection off--- he MIDI-izes the first two tracks on the CD.  Burgess Home and Burgess Blend are arrangements taken from the old Burgess Home Weeden track and recorded in 2010.  Koski always was adventurous as hell when it came to music and I get it (and I dig it).  Add a redone 2010 version of Weeden's Without You and there you have it.  A look back from the heart and soul of Steve Koski.  He was not all there was to Weeden, but he is the one who is keeping it alive.

An aside:  When researching and gathering notes for this little dip into the underground,  Koski contacted me with this little bit of trivia.  While he was in L.A. with the Lollipops, he co-wrote two songs with Fred Cole.  He explains it this way:   "Two songs from the movie, Angels From Hell, which I co-composed and performed on, were released on a soundtrack LP in 1968 or 1969. (No longer available, I'm sure....very obscure.) We played at a "love-in" type of rock festival in the film, but only a few seconds of the group are on screen).  They are also on the compilation CD, The Weeds, aka The Lollipop Shoppe. Curiously, I am not listed or mentioned in the CD liner notes nor as co-writer on the two songs (Who's It Gonna Be? and Mr. Madison Avenue)."

I have no idea if anyone out there remembers Weeden.  Until I heard this CD, I had only heard about them.  This is real roots music--- the roots of The Warloks and Notary Sojac.  And I am now wondering if anyone has some old Warloks tapes sitting around.  I can only hope.

If you do remember Weeden, I would happily forward any requests you might have to Koski.  If you are as intrigued by the old music, raw and alive, you might be able to talk him into marketing it in an "as seen on TV" kind of way.  Maybe.  What the hell, eh?  Worth a shot.

And that statement about no albums?  It is basically true.  Notary Sojac released no album during their short existence.  They did, however record one.  There are plans to release it when the funds become available.  In the meantime, you can purchase a double-CD package of rough tracks recorded live during the '72-'73 period.  Cheap, too.  Sample the tracks first.  Like Weeden, they were not recorded for release, but it sure makes me happy that they released them.  Here is the link.

Friday, July 22, 2011

Little Green Blackbird, Spotify, Green Pajamas and More.....

Hot damn!  Finally!  I have in my hands a pretty little green and yellow package that I was beginning to doubt would ever see the light of day and it's like Christmas all over again.  I've been saying that a lot this year because the music is coming hot and heavy and it really is like Christmas when albums you've been waiting for what seems like forever show up in the mailbox (or Inbox, if it is a download).  Kirsti Gholson, who records under the name Little Green Blackbird, has been working on The Summer I Stopped Whining for three years, she wrote in an enclosed note, but not three years straight, "just lots of stops and starts."  Well, she's stopped now and has thrown herself into pure work mode (and not music mode).  Time to get the music to the people, methinks.

This is not the first time I have heard some of these songs.  Kirsti had posted three of them on her sadly departed MySpace page awhile ago, rough demos, and a year and a half ago she included me on her list of the "Sneak Peek" people to whom she sent a handful of songs in rough mix form.  For the past year and a half I have been thinking of writing a review of that, calling it a preview of a review, but Kirsti always led me to believe that release was just around the corner, so I waited, and waited, and waited again.  No more waiting.  It is here.

When I played the album last night, I was taken aback a bit.  I expected a couple of remixes from the "Sneak Peek" CD.  What I heard was mostly remixes.  Remixes and re-recordings and a handful of new songs, one of which put me back on my heels.  This isn't rock, folks.  This is pure Kirsti, or should I say Little Green Blackbird.  She has a sound, a sound which caught my ear when I heard her first album (which she calls a demo but which was released ready for the charts back around 2000).  She continues that sound, though it is more refined and more mature (as I'm sure is Kirsti her own self).

Kirsti, I said that I would take back all of the bad things I've said about you when the album was in-hand.  I take them back, as promised.  Now all we have to do is figure out how the album will be made available to the public.  I'll let you know when she tells me.  Review pending, by the way.

SPOTIFY (What's all the hubbub?).....

You might be asking yourself that at this very moment.  Seems like big news, though most big news these days used to be advertising just a few years ago.  The reaction to Spotify reminds me of the "news" surrounding Microsoft's Windows 2007, the most secure PC system ever and full of things to make life worth living again.  What a bunch of crap that was, and I'm not saying anything negative about Windows 2007, just that it was not news--- at least, news that belonged on the front page.

Well, here comes Spotify, another of the sites promising to get you your music faster and better than ever.  Will it live up to its hype?  Probably not, but there may be some positives.  One is that accessibility to the music is easy and smooth.  Type in a name and it lists songs by that artist.  Can't get any simpler.  Thing is, though, if you type in something somewhat generic, you might get more than you bargained for.  I typed in "Steve Young" to see what was available and I got Steve Young, all right.  Two Steve Youngs, in fact.  And a ton of Steve Forbert and a bunch of tracks I have no idea about.  Maybe somewhere in the listing of session men there was "Steve" and "Young".  I don't know.  Still, it did give me Steve Young.

Don't think this is going to be the end-all of music sites.  Steve Young, according to my calculations, has a lo-o-o-ng arm of albums they could have included.  I got a finger.  Not the finger, but a finger nonetheless.  Primal Young, in fact.  Now, with all of this yelling and screaming going on about how the major labels and music publishing companies have signed off on this site, I expected more than that.  Young put out albums on three major labels--- Rock Salt & Nails on A&M, Seven Bridges Road on Reprise and Renegade Picker and No Place To Fall on RCA.  He had three on Rounder Records and a number on small independent labels as well.  One might think that one of those might be available, but they might think again.  I also checked out Green Pajamas, a band who has yet to put out a clunker, and I got three--- Essence of Carol, This Is Where We Disappear and Seven Fathoms Down & Falling.  No Poison In  the Russian Room, no All Clues Lead To Megan's Bed, nothing else.  Seriously?  Spotify people, there are 20+ Pajamas and Pajama-related albums out there.  And the Pajamas are hardly unknown!

To be fair, it is early in Spotify's US existence.  They are still signing deals with corporations for the rights to distribute product.  But one wonders.  Could this be another big hooplah?  The big buildup to something that is less than advertised?  They claim to have 15 million tunes on board, but 15 million means nothing if there is not 15 million there.  So why state it that way?  How about "when we reach our goal we will have over 15 million" or "Coming soon!  15 million!"?

On the plus side, I did find a song I have been looking for for decades:  The Blue Sky Boys' Tears On Her Bridal Bouquet.  When I was a kid, my father had a few 45s, blue-green translucent I believe, of The Blue Sky Boys.  I grew up on their music.  Tears On Her Bridal Bouquet was every bit as much to me as the Sgt. Pepper album was to so many others at a later date.  Spotify had it.  If they can do that--- if they can provide a handful of songs you can't find on any other sites, they will be worth it.  To me, at least.

In the meantime, Spotify, I'm watching you.  And I'll be trying to decipher your files to see just how these agreements with labels and artists function and how much money the artist is paid (and how that money is distributed, because if RCA hands two albums' worth of Steve Young tracks to Spotify and keeps the royalties for itself, they're doing nothing more than screwing the pooch as far as I'm concerned).  We'll see.  More later.


I know.  I've mentioned them recently.  A lot.  But hear me out.  I lived off of two albums by these two musicians for a couple of weeks and am overwhelmed not just by their music, but how they could go in to the same recording studio with the same musicians at the same time and come out with two magical and yet different albums.  It fascinated me so much that I had to write about them. I posted this review, but am finding that it is not enough.  The music is so impressive that I feel the urge to spread the word, but what can I do other than write and carry placards at the mall?  I scoured Youtube and came up with these two videos which will give you an inkling of the talent these two have.  The first video is the first of a five part "documentary" put together by an outfit calling themselves BreakThruRadioTV (at least that's their handle on Youtube).  They give the members of Ollabelle, Patscha's band, and one Ben Arthur one day to write and record an original song and recorded the process.  It is this kind of behind-the-scenes stuff that keeps me intrigued by a mostly unfocused and rambling music industry.  For the people who really love music and the way it is made.  Oh, and Ollabelle is at present releasing a new album, which from what little I've heard is outstanding (they play two tracks on their website--- read the review).

Brian Cullman and I started out sharing Nick Holmes' music.  The more we communicated, the more I got what he was doing, musically.  He has recorded and worked on numerous albums (one of which was Glenn Patscha's excellent Songs From the Jefferson Highway) and is one of those producers you follow.  I could name a few I've followed over the years--- John Anthony (Van der Graaf Generator, Genesis, Queen, A Foot In Coldwater), Roy Thomas Baker (Lone Star, Queen, The Cars, Free), Johnny Sandlin (Captain Beyond, Cowboy, Eddie Hinton, Allmans).  Let us just say that I place Cullman in like company.  Here is a video of one of Cullman's more adventurous songs--- at least, more adventurous than on his last album (read the review, damn it!).


Have I posted this before?  It is a video that Devon Sproule put together for Shaun of a song on which she sang, from an outstanding folk-oriented album titled Folk-Worn Prose.  The album is as solid as any I've heard over the past couple of years and this track is my favorite.  I give you Shaun Cromwell and Devon Sproule singing I Am Undone.  It's just beautiful.

Speaking of Devon, she has just released a new album in Europe (no mention of a US release yet) titled I Love You, Go Easy and I'm sure it is another superb effort.  I've been a fan since Keep Your Silver Shined and a fanatic after seeing her play arch top guitar on the UK's Jools Holland Show.  Man, she can play!  Here is a teaser, just for fun.

Speaking of fun, Paul Curreri's The Big Shitty is just about up and running.  I've only heard one track, but goddamn!  It looks like Curreri has done it again.  The guy has talent!  Still waiting on Sydney Wayser to market her new one (she says it's really good, but we'll be the judge of that, won't we?).  All I know is that if it is half as good as The Colorful, it'll kick ass!  John Orsi finally put the finishing touches on Knitting By Twilight's Weathering album.  It is more great stuff (review coming soon) and comes in a limited edition package, numbered, with a three-fold jacket graced with a beautiful painting of a nude by William Bougereau titled Biblis.  Class music deserves class artwork, eh?  The Wackers played a reunion gig recently which they hopefully recorded.  First time together in decades.  Mickey Thomas has an album which just today floated through the front door.  I have been busy with this so I haven't had a chance to listen yet, but if it is anything like Bluesmasters... whew!  The Research Turtles are in Alaska playing a few weeks of gigs.  They timed it just about right, what with everything melting down South.  Bright Giant is evidently lost in the cornfields.  They haven't returned any of my thousand or so calls about their impending release.  Dem bums!  Crap!  I know there is more to talk about, but my notes are scattered.  Coming soon, a rundown of radio, the 45 and its importance to rock music--- oh, and the transistor radio.  I may just drink while I write that one (it helps me think until the third beer kicks in).  Stay tuned.  I may be typing swear words en masse.

Sunday, July 10, 2011

Good God! I'm Feeling So Alive!!!

Life is good!  Life is so damn good I'm practically dancing and if any of you know any of my old girlfriends, you know that doesn't happen very often.  Oh, I do the occasional jig if I am drinking (it happens all too seldom these days--- the hazards of getting old and having too much to do) and I have been known to traipse around the dance floor when I find a lady too drunk to say no, but the exhilaration dance?  Doesn't happen much anymore.

I'm dancing now, though!  See the middle finger?  I'm flipping off every person who says that music is dying.  Yeah, that's you, Horkey, and you, Ferd!  I've had it up to my ears with your negativity about music today, how there hasn't been any good music for years and how you could live with nothing but The Beatles the rest of your lives.  I feel sorry for your sorry asses because the music flowing across my desk this year is among the best I've heard and you're missing it.  Hell, I'm thinking of putting 2011 up for a Grammy, that's how good it is.  But let us not get bogged down in my rants and raves.  There is music to hear and talk about, so let's get this discussion started.  In fact, let us start with with a very recent discovery and one which has fired more than one jig since that discovery, just a few days ago.


Publicity maven Kimberely Grant popped River Rouge's Not All There Anymore in the mail last week and I received it on Friday, just in time for a much needed drive to the Oregon Coast (I live about 60 miles inland, but that's too far to smell the ocean breeze, so I hop in the car now and then for what I call the Scenic Drive).  I tossed about four or five CDs on the passenger seat and headed out, reached over when I hit the main road and blindly grabbed the River Rouge CD.  It was the luckiest grab of the day.  Somewhat akin to winning a minor jackpot at a casino, but I didn't know it at the time.  Didn't take me long, though.  Half a minute in, I cut the air conditioner, rolled down the windows and cranked up the sound.  You know how you hear a song and you're not quite sure what you're hearing yet?  It is kind of like waking up and initially being unsure of your whereabouts.  All I knew was there was something going on, something digging into my skin.  When the track finished, I replayed it.  And replayed it again.  And again.  The more I heard it the more I got it.  I pulled off the road and grabbed the CD jacket.  Black Licorice, the track was titled, and there was something in it that made me happy.  I mean really happy!  There was something in the rhythm and the up attitude and the sound that struck a note.  At first, I thought Sir Douglas Quintet.  Then I thought Thee Midniters.  Then I stopped thinking.  When I pulled back onto the road, I let the album play past the first track and realized that the song was an anomaly, that the rest of the album didn't fall in line with Track One.  Thing is, it didn't bother me.  I don't think I want an album of Black Licorice's.  I don't think I could take an album of Black Licorice's.  I would rather listen to the song over and over again than have slightly lesser knockoffs for comparison.  What there is is plenty good anyway--- an Americana-ish blend of pop, rock and country.  Plenty good.  After numerous listens, while I like all the songs, I have adopted Murder of the Crows and Arc Welded Love and Not All There Anymore and Yes as favorites after the thousands of hearings of Black Licorice grow thin.  This is good stuff.  And almost as if the musical gods willed it, those bonny L.A. boys just this  morning put up the official music video of the song that kicked my ass.  My song of the summer.  Here it is:


It is not often I can find an album which will soothe the critical edge of all but the hard core rockers, but Brian Cullman sent me a pre-release of Disappearing Man, an album I surely would have missed if not for Cullman's graciousness. Byron Isaacs, bass player for the outstanding Ollabelle, sidestepped that band to produce songs outside the realm, songs which did not quite fit with the other projects he was working on.  He headed into the studio with Cullman and came out with something I don't think either expected.  The music varies in style but has Isaacs all over it, from the orchestral dreaminess of Seeing Is Believing to the Minnows-like easy rocking Disappearing Man to the New York-ish underground sleaziness of Crazy Love  to the floating fifties-infused ballad Gypsy Wind.  Like Cullman's 2007 album All Fires the Fire, Disappearing Man belongs in the classroom as an example of the importance of arrangement and production.  Watch for this one.  It's a beaut.


Sure, I've mentioned Hannah Gillespie a few thousand times before, and I will mention her a few thousand more.  Until people attach themselves to her like they do Adele and Grace Potter and others of their stature, I will continue to promote her as a prime example of music-beyond-genre.  See, there is a bit of Marianne Faithfull in Gillespie's voice which catches the ear and gives wings to her songs.  I know she's worthy of attention because every one I've turned on to her music--- every single one--- has given an enthusiastic thumbs up.  They aren't clowns off the street.  These are people I trust most (at least, when it comes to music).  Don't believe me?  Listen to her music here and if you still don't get it, meet me at The Buckaroo Tavern.  Bring your gloves.


When I was young, I got into the blues through the back door.  It took Cream and Fleetwood Mac and Canned Heat to get me to listen to the likes of Muddy Waters and John Lee Hooker and Skip JamesJohn-Alex Mason could well fill that space for the young today.  While his base is the blues, he tosses in a potpourri of influences such as funk, rock and trip hop, among others.  Just electric enough to catch the rocker's ear and just acoustic enough to fit in with roots music, Mason could be today's Cream or Fleetwood Mac.  Youth's gateway to the blues.  This video shows Mason raw and live with a band.  He is more known for his one man show lineup--- himself and a handful of instruments. 


The Green Pajamas are a band I'd turned my back on for years thanks to personal circumstances, but when I rediscovered them through Poison In the Russian Room it felt like meeting an old friend after a long hiatus.  I have whiplash because I am forever shaking my head wondering why people haven't made them superstars, but when I look at the quality of superstars these days I don't think I want them in that company anyway.  They have recently reacquainted themselves with their original record label, Green Monkey, and released The Complete Book of Hours, an outstanding look at the early Green Monkey period, before going Country.  An album of country music by the Green Pajamas?  I never would have thunk it, but it sounds great!  Here's a taste.


 I keep wondering if Arborea might be hurting their chances for exposure by living in Maine.  It is a ways off the beaten path and something is keeping them from their share of success.  I can't quite put my finger on it.  They are ethereal, melodic, practically medieval in places and science fiction in others.  Their music smells of honesty and truth.  I once talked with Shanti for awhile outside a tavern in Portland, Oregon, and I don't think I've ever talked with a lady more genuine.  Buck and I share emails on a fairly regular basis.  He loves Robbie Basho and John Renbourn and John Fahey as much as anyone I know and uses every opportunity to spread their music.  A class act and a hell of a musician.  The way I see it, all of my years with Steeleye Span and Fotheringay and Clannad were preparing me for Arborea and their ilk.  While this video does not use a song from their new album, Red Planet, it is so haunting I had to post it instead of a song from that fine, fine album.  Watch and listen.  It is outstanding.


Yeah, I know.  Caught again.  As I am with Hannah Gillespie, I cannot let any instance pass when it comes to Zoe Muth & The Lost High Rollers.  I've seen them twice, posted videos a handful of times and talk about them like they are hometown heroes.  I can't help it.  Just like I can't help using the full band name.  Muth is the center, but for me they are a band.  They aren't country, either.  They are Zoe Muth & The Lost High Rollers.  God love 'em.  'Nuff said (until I deem otherwise).


These guys have come a long way from the old days of country rock and smoky bars.  They have now graduated to bigger smoky bars.  I am kidding, of course. Old Californio has worked their collective asses off to get to this point and it shows.  Their latest album, Sundrunk Angels, is set for official release this next week and I can think of no better way to celebrate it than to post this live video shot last month at The Mint in L.A.  The title track of the new album in all its glory.  I've seen Zoe Muth & The Lost High Rollers, I've seen Mist & Mast.  Next on my list are Research Turtles and Old Californio.  I'm sure I won't be disappointed.  Not even if Old Californio are half as good as they are in this video.

NOTES (& more notes).....

David Jacques of The Dementians just graced my inbox with a new album.  For those who don't know of him, he knocked me out with his humorous take on pop music.  Not only did it make me chuckle, the music was downright good!  Maybe even better than that.  I haven't cracked the file yet, but when I do I'll run it down for you.  If you aren't interested, you obviously don't get good pop music.  My condolences.

Did I mention that Kirsti Gholson contacted me with the news that her album is nearing completion?  I will take back every bad thing I've said to her once I get it in my hands.  Over ten years between albums seems a but absurd to me, but someone once told me that to forgive is to be divine.  Or Andy Devine.  Either one works.  More when the album finds its way here.

I reviewed an album by Fiery Blue not long ago (and I will review the second when time permits) and was surprised that vocalist for that band, Simone Elyse Stevens, has just released a solo album.  I'm surprised because She is well aware of my fan status with Fiery Blue.  She should have known that giving me a heads up would, if it is any good (kidding, Simone), produce a review.  She contacted me this morning.  The CD is in transit.  It had better be, or I'm deleting all my positive raves about Fiery Blue.  Stay tuned.

Bright Giant say they're getting closer.  I heard some rough tracks and am getting a bit anxious.  I don't know if it will be as good as their freakishly good self-titled EP, but I have heard enough to know it will be good.  More on them when they get the harvest in.

I have mentioned Nick Holmes and Brian Cullman in various posts and if you were paying attention you know how much reverence I hold for both as musicians and producers.  I will be writing an in-depth review of Cullman's All Fires the Fire, released in 2007.  The more I hear it, the more I like it.  In fact, I think it has gone beyond like.  Like I mentioned earlier, this album belongs in the classroom.  It is so good on so many levels, it's scary.  If you don't check it out yourself, I will be posting links to the review when it is posted.  I am also in the process of delving deep into Nick Holmes' music and happenings.  They deserve the attention and have gotten way less than is fair.  In the near future.

Did I happen to mention that Charlottesville's Sarah White has made a couple of her releases available for download?  For free!  Crapola!  That's Christmas in July, folks!  You can check them out at this link:  http://sarahwhite1.bandcamp.com/.  Both are solid good.  White Light is Sarah and her early lineup with The PearlsSweetheart is an EP and my introduction to another excellent Charlottesvillain, Ted Pitney, who released an EP a few months ago which knocked my socks off.  It's called The Genesee EP and it is a killer!

Mothership is a hard rockin' band out of Buenos Aires which I stumbled upon a good year or so ago.  They have just completed an album and sent me a link to listen.  I will write a review soon, but let me say that if you like the old hard rockers, they might be right up your alley.  Solid vocals and amped up crunchy guitars.  Sometimes you just have to let loose.

Once again, I know I'm forgetting someone.  I take notes, but I lose my notes.  I'll find them, though.  Give me time.  Until then, keep the faith, my friends.  As long as there is good music, life is not half as bad as it could be.