Maybe Someday

Wussup mang?! Back from the beyond once again to showcase a fantastic track of silly 70's power rock that I have been humming to myself for nearly two weeks. If there are any early 80's late-night UHF veterans like myself reading, you may remember a reasonably watchable sci-fi flick titled The Alien Factor airing at 3 AM weeknights; directed by Maryland's second prodigal son: the late/great Don Dohler. One of the many beer-cracking moments in the flick is the random performance of Atlantis and their B-side "Maybe Someday" at a local watering hole. Penned earlier in the year by guitarist/singer Lon Talbot and featuring the director's brother Glenn (sporting the most amazing hair in history) on bass, the tune is one of the most catchy movie tracks ever. It's played nearly in full while some girls apathetically dance (seemingly to another song) and a future body count sits at the bar eating peanuts and nursing his beers into a 6oz glass. And the band is giving it their all, totally hamming it up for the camera. Still, laughs aside, the weird chord progression in this song is some real primitive genius and I only wish I could be that creative. Like this song itself, The Alien Factor is way better than it should be and absolutely destroys the shot-on-video dreck from Tubi these days so is definitely worth a watch, if for nothing else than this song. Supposedly, the actual press of this 7" was only around 100 copies; back in the 70's the Jaws copyright lawsuits loomed a-plenty and Atlantis was not immune, instantly cancelling the record's promotion. Discogs had one come for sale as recently as late 2021, and I think this is my next collecting goal. Similarly, I've never actually heard "Moby Shark" ... if that made the cut as the goddamn A-side then I am all ears. Enjoy!

...and then we'll start anew...

No Time To Lose

Man, fucking Gat-Rot. Totally unknown and playing massively better shit than anyone else was at the time except Hatebreed (who were fucking forefronting the scene so cut 'em some slack)... their dry desert brand of Arizonian crossover metalcore should have been totally on everyone's metal mix CDs in the early 90's. Sounding like someone blended Internal Suffering with a Korn demo, it's a tad under-produced, the exact sound the aforementioned Hatebreed was trying to escape from after their Under The Knife demo, but it takes what Biohazard was kinda polishing up (pre their industrial-ish days) and makes it just that excessively bit heavier. For a bunch of West Coasters they really tapped into that Brooklyn back-and-forth lyricist vibe... token NYC accent and fucking all. There's a little token scritch-scratch DJ-ing/white-boy hip hop here and there trying to tap in to what Korn and Limp Bizkit were doing at the time and it's only confusing because it's mixed so weirdly... and kinda unnecessary... like it's an overdub to appeal to idiots. But enough old-man proselytizing, Strength Through Struggle fucking kills. "Equilibrium" is easily akin to the fucking pissed off shit in today's hardcore scene (personally I'd love to re-record this song bare-bones), "Down" has the most ridiculously chant-y bridge breakdown (bass break included), "I Resist" oozes an addictive crossover vibe; there's a weird-ass rolling groove to their songs that just makes you want to jump into your own personal mosh pit. Sure there is a little Bio-worship here and there ("Backfire" especially) but you wouldn't be listening to this band if you weren't quasi-familiar with the old school so whaddya expect? Check their other pre-Us Vs. Them record here and I think they actually get together and play locally - their window to the interweb is here. Enjoy.

I Will Resist

Ball Is Life.

Holy fucking shit... has it been almost a year? I'm not surprised with my absolute disdain of almost everything musical that's come out since 2015 but occasionally there is a diamond in the rough that keeps me from completely deleting this blog out of its induced-coma existence. Introducing the long-defunct Ari... a hardcore four-piece straight outta Louisville, KY (random shoutout to Kinghorse is appropriate here) and one of the few of the zillion things I've found on bandcamp that actually made me pause and listen for more than 15 seconds. Out of the solid 25 minutes of punchy, aggro hardcore, the opener "Womb" and "Dimwit" are easily my faves. "Womb" has got an insanely addictive flowing groove to it while the latter has a cool power-chord-up-the-neck outro with some awesome screaming fucking nonsense that makes me survive my daily morning commutes. Sadly the band hung up their instruments in 2015 but there is still some archival internet presence here and here. Check the rest of their shit out, you probably won't be disappointed.

Your father fucked up...

Sans Lizard King

So your lead singer has either had a heart attack or gone into perpetual Enquierer-esque hiding to escape being famous or some other pretentious bullshit. What does a band do when you've arguably just released your crowning comeback album 6 months earlier? You take the trademark music you've already laid down and throw some Morrison-esque vocals on it. Which brings us to Other Voices, one of the two post-Jim albums the Doors would release, most assuredly as contractual obligations to Elektra. The fact that by the 70's the band was pretty much creating the music and letting Morrison just do his thing when he showed up at the studio so the guys were almost there. That being said, how is it? Actually pretty solid. The music is great, a depressing window into what could have been for their seventh album had the band been whole. Acknowledging the point that some of the Doors' biggest hits weren't written by Morrison ("Light My Fire", "Touch Me", "Love Me Two Times", etc.) all three remaining band members summoned their lyrical skills and gave a best shot trying to channel their deceased lead singer's arcane style to complete the record. So, not surprisingly, if the album has a problem. it's the fact that Krieger and Manzarek aren't great vocalists. It works (kinda) with the harmonizing on the bluesy "Variety Is The Spice Of Life" but on some of the other songs Manzarek just sounds like a kareoke's Mick Jagger or Roger Daltrey (or pretty much any other popular 60's-era lead singer other than Morrison). Not that that's terrible, it's just not the Doors. Musically it's amazing, lyrically it works somewhat, the guys channel the vibe Morrison generally went for - it's just different "voices" and hence the album title I guess. But what the fuck, I really like this shit (especially the crazy end to "Hang On To Your Life" which is definitely shades of their live versions of "Not To Touch This Earth") and it's a somewhat melancholic window into the musical talents and potential future of a band who ended way too soon. Interestingly, the members of the band assured Elektra they never had the record's master tracks after the initial LP release... this album (and its follow up, 1972's Full Circle) never saw life on CD until 2006.

Other Singers

Back From The Dread

First off, after the unexpected shit demise of Photobucket I've finally reset the page to look basically (I think) like how it used to after switching everything over to a new photo host... that being said... music on...

Dude what the fuck is my hard-on for Kool Keith? Everything that fucker touches is gold. Even his new shit which you could argue against is light years past what any old school rapper is trying to do these days. Regardless, my way-cooler-than-me brother was wicked into Ultramagnetic back in the day... while Critical Beatdown is still a good listen, the quartet's best moment is their 1992 The Four Horsemen LP. By this point Keith was easily becoming the apex predator of the group - shit he raps more prolifically on this bitch then he does on some his solo albums. Clinging to all the dark groove samples of the early-90's hip-hop scene it's some of my favorite shit from the soon to be solo KK. Groovy shit with Keith dropping his trademark insane lyrics.... gotta fucking love it. Doo-doo rhyme hooks forever.

See That Man On The Street

Nacogdoches

Twenty-something years ago I fittingly got dragged down to the Drag in Austin to go see some band my roommate had heard good things about. Evidently the band leader was some underground musical savant who was simply revolutionary when it came to jazz. We sat in some tiny empty upstairs club, my curiosity somewhat piqued but not quite... jazz wasn't (and still isn't) really my thing. Well, two hours later, I was rendered speechless and have recalled the story about seeing the Golden Arm Trio ever since. Theirs was the first band sticker I slapped on my Fender which I still play to this day. Gaudy with two decades of scum and slime (and layered with umpteen other band decals), you can still kinda make out the "Trio" in the band logo. Regardless, composer and band leader Graham Reynolds was on the drums that night (and occasionally the piano) and it was amazing to watch whom you would usually consider a background musician absolutely control the group (it was an actual "trio" at that point; later on, while the band's name stayed the same there could be as many as eight folks playing together but we can discuss semantics later). The drums were what really had me - controlling, heavy, almost blast beat death metal grooves at times as opposed to the casual background jazz-ish rat-a-tat-tat I expected. It was something else and only recently did I take advantage of this new thing we have called the "Internet" and see what the fuck ever happened to the band. Turns out a LOT. A couple albums, a movie soundtrack (A Scanner Darkly, 'natch) and some highly praised stage shows... it has been an absolute joy revisiting some of the music I completely considered a one-off show so long ago. Check out the band website here - it's amazing how the dude looks almost exactly the same as he did back in '96. Enjoy their first album... a real treat.

/ / / / /

Get A Fucking Life

Goddamn, who the fuck are these guys? I found this little ditty of an album at some point a decade or so ago... unlike everything else on the internet at that time all Napstered the fuck up, these clowns actually had a web domain through their record label where you could just download their mp3's for free (I dug that shit up here). And thanks to last.fm the lyrics and bio of the band have been preserved for as long as they exist (check that shit here). 

That being said and the fact that this amazing two-piece has sadly faded into obscurity, this album fucking RULES. Brutal venom-core bitching at most everything, it's amazing most of this was conceived by two drunk dudes deciding to record a full album in 90 minutes. 23 songs later, post-dubs aside, the You Probably Suck is one brutal riff after another with screamo-ish lyrics killing everything in their path. Fans of Eighteen Visions get ready to jerk without repent. Unreal. Enjoy.

Sell Me Something

Black Hula

Is anyone who checks this sorry blog old enough to have watched a little non-music throwaway show on MTV called Liquid Television? If you did then you'd better be well acquainted with the interminably cute and devastating "Mauna Kea" track used in the smartly apocalyptic "Black Hula" animated short. Starting off with a duo of crudely-drawn Ichthyostegas quietly spawning the human race, the film sarcastically documents and anticipates the future of the human race (and equally idiotic) civilization beyond in barely 3 minutes. After binge watching Liquid TV marathons through my college years, learning ukelele (primitively... but still) and actually traveling to Hawaii since, I really wanted to find some retro Hawaiian sounds that weren't just Iz singing "Somewhere Over The Rainbow". Shit, found them I did. "King" Bennie Nawahi was a young guitar/ukelele/steel guitar player who inexplicably went blind in his 30's but continued playing with a multitude of musicians until the 1970's. This compilation spans his most influential bands; although to me his music with the King Nawahi's Hawaiians is easily the best - almost like listening to the Hawaiian version of Robert Johnson's tunes. Wonderful bluesy shit, probably recorded on a fucking gramaphone. My ex-wife and I went to Kauai for our honeymoon and even though I hate that bitch I still love this stuff. That's saying something. Enjoy.

Wizard Of The Strings

Electronic Go-Go Non-Stop

Un-fucking-believable. Fuck yeah, it's a tireless repost but deservedly so. 7 years after I posted this little fucker I'm still break dancing to this shit in my kitchen. Still my most-est favorite lawn-mowing music ever. I won't bore you with a sad retread of the original post - needless to say I absolutely fucking LOVE this groove and would do anything to find out more about the geniuses behind it. Scatwerk?!?!? Fucking godlike. Enjoy.

Kill. Drive. Repeat.

Better Tomorrow

Yay! Another 15 minutes of wicked fast Northern border grindcore. Reminding me of a poor man's RGTE (Jesus, is that a compliment or a wicked diss? - uh, sorry to both either way), Montreal's Saturation did little more than record one short album to promptly lay in wait for an eager record company to press and promote it. Only took nearly half a decade... the initial release was a scarce vinyl of the analog 8-track recording released and sold by the band itself (welcome to.... NOW!) Eventually the guys got with a label who took 3 years to release the shit on CD with a different album cover, etc. I gotta love the weird breakdowns that only last 8 seconds but there is still some definite groovecore in there that slays the fuck out of anything else out ether. Good sludgy grind to make you want to punch your ex in the face... repeatedly. Enjoy!

Hit A Friend

Back From The Dead (again...)

What better way to belatedly ring in the New Year two months late than with twelve blistering minutes of British Colombian lo-fi powerviolence grindcore. This mini-album had been sitting forgotten on my iPod for who knows how long but it seemed every time a song from it would pop up on shuffle I felt the need to pause and see "who the fuck is this?" Sound is terrifically muddy - primarily due to the cassette format the band staunchly keeps alive - there is a satisfactorily skull-crushing warmth to the throbbing drums that bring to mind some of Loinen's early demos. Moshable groovecore mixed with the wicked fast blastbeats we all know, expect and love. The only letdown is the untitled throwaway final track - more akin to the noisecore dregs of the heavy music subgenre. The boys have a pretty diverse catalog for your perusal here - check 'em out and enjoy.

You're A Fucking Victim

Pretentious Long-Winded Sophomore Album Title>>

Wow, way back when I was proclaiming good ol' Whale as the "next big thing that never happened" my pretentious ass never even realized those crazy Swedes actually released a second album just three years later. With the delicious Cia Berg again at the helm (talk about the pioneer of the "hottie nerd" revolution, no?), Whale's second slab of wax delivers in just that way late 90's alternative rock did. Of course comparisons can be made with nearly every female-helmed band at the time (Breeders, Garbage, Veruca Salt, etc) but Whale owns a weirdly Euro Pop sensibility that most bands this side of the pond lacked (or at least lacked at the time). The band eschews a rocking "Hobo Babe" anthem on this record for a lot more depth and darkness; a bunch of slow, heavy-lyric ballads mixed in with lots of manic trip-hop. Not quite the party album as their debut (unless you are still holding raves in your basement) but a lot more satisfying a listen. The epic "Go Where You're Feeling Free" cannot help but bring shades of "Happy Colored Marbles" or some similar bigger-than-its-britches mini-epic. Solid stuff that still sounds as good 20 years later. Enjoy.

Deliver The Juice

Another Dimension Of Rhythm

Take one part Big L and one part House Of Pain and you pretty much end up with A.D.O.R. With rap skills straight outta Mount Vernon, NY, A.D.O.R.'s career began with producer extraordinaire Pete Rock (just then coming into his own) producing his first single, "Let It All Hang Out" which enjoyed some significant 1992 radio and video play. Floating through the scene and eventually signed by the majors, A.D.O.R.'s career stalled significantly when he was dropped by Atlantic on the cusp of his debut LP release for "creative differences" (generic industry-speak for artists not falling into line with label demands). The Concrete never saw the light of day save for limited promo/review copies and the world would have to wait another year until A.D.O.R. released a quasi-revamped version on his own label (entitled Shock Therapy). As far as the music, it all sounds terribly familiar and will constantly remind you of any number of early-90's rappers (especially anyone on Tommy Boy) but man, it is nice to hear some old-school hip-hop I haven't played to death (to gotta be honest, I had never heard of A.D.O.R. and only recently stumbled upon him thanks to SiriusXM's Backspin). The rip I have is culled from vinyl (possibly one of the promo out there?) so there are some skips and cracks but it's the most complete version out there I could find. Enjoy.

A Declaration Of A Revolution

Glamorgan Sludge

Oh man, is it about fucking time for some heavy music. Merciful thanks to the Welsh sludge quartet Hogslayer for not falling into the typical post-debut breakup rut and staying together long enough to release their sophomore studio album Defacer. What a surprise it was to randomly stumble back upon Hogslayer’s bandcamp page only to discover they released a motherfucker of a full-length album way back in July last year. Jesus, where the fuck was I? Another crushing audio siege from these Welsh sludgelords, the 8 tracks pick up exactly where the previous eponymous EP left off, pounding Iron Sloth-influenced dirges overlayed with a howling vocal assault. Don't expect any big pick guitar solos or wailing harmonies - each song opens with a blister of feedback and followed by a hypnotic bombardment of downtuned riffs. Highly recommended.

Bludgeon

Dream Punk

Already a fan of his long-running Rocket Science blog, I was pleased to read curator Dave G’s involvement in the promotion of local record label Killing Horse Records. Himself the once-owner of a DIY indie label defunct for nearly two decades, Killing Horse launched in 2010 and focused primarily on northern NJ bands (half of which the guys were friends with). One of the earliest records Dave G reviewed was 2012’s self-titled debut by NJ’s Wreaths, a refreshing genre-spanning album which quickly brought to mind flashes of Ween and the Flaming Lips. At a time when Ween had just broken up (and, to be honest, I never found La Cucaracha terribly satisfying) this was exactly what the doctor had ordered. Clear Quebec influences aside (shit, half the songs have a weird "Chocolate Town" groove to 'em), Wreaths exudes a wonderfully trippy vibe that gives the record an almost ethereal quality (and makes you want to instantly drink/smoke yourself into a stupor just to immerse yourself in it). The opener, "Coke Straw" would make the Boognish proud, a cosmic pounder that is probably my favorite track, although nearly every song stands out on its own. Heavy use of the reverb pedal here folks, nearly every rhythm chord is stretched for maximum sustain - a space rock sludgey-ness which really sounds cool. The latter half of the record is more akin to an alien instrumental space dirge spanning one track to the other - "Love Me, Dark Wizard" reminds me of something the Black Keys have done and is a fitting close to the LP, a looping feedback overdub spanning the stereo channels to wrap up the 50-minute acid rock trip. The band has a few other releases floating around out there, your best start is with Discogs, Soundcloud and their Facebook (oh, and buy the record here). Good stuff for sure. Enjoy.

In case you’re interested (or an incredibly esoteric vinyl collector), info on Dave G’s circa-90’s Rocket Science Records can be found here. Killing Horse Records is still actively releasing records and you can check out their bandcamp page here. Lastly (for those who are not tired of links), while Dave G’s blog isn’t really updated anymore you can still noodle around the pretty cool archives here.

Leaves On The Leaves

Bad Trip

Richmond, VA’s Black Cash could not have picked a better time to drop into the city’s local music scene. It was 2005 and the recently-deceased Johnny Cash was basking in massive posthumous career success; not only with his American album series but the huge (and eventual Oscar-winning) crossover box office from the Walk The Line biopic. A completely new generation, tired of the godawful pop country so prevalent on present day radio, was beginning to revisit and appreciate the outlaw country legend’s vast musical catalogue; and Black Cash and the Bad Trips were there to, well, cash in on the hype. Less of a bandwagon grab and simply the result of good timing, Black Cash played a respectable setlist of career-spanning Johnny Cash covers, along with a few Nick Cage and Ween songs if stage time allowed. The brainchild of members from local nü-ish metal acts Eyeshine and Atomizer, the group quickly achieved quite a modicum of national success far outside the River City borders, satisfying the growing demand of the public to hear the classic songs live. The group avoided studio recordings as the Cash estate’s copyright prerequisites were simply too involved to justify anyone’s extended effort towards the thing; as a result one of the few demos that does exist is a promotional 6-song setlist recorded by the original lineup at Richmond’s now-defunct Alley Katz. My clear favorite of the set is “Rusty Cage,” starting off straight-Cash then devolving into the Soundgarden-esque grunge version most of us MTV-generationers are familiar with. The metal roots of the band clearly shine though. Black Cash’s lineup began to change after a few years and eventually show dates began to wane, with the group dissolving in late 2009. Enjoy.

Walk The Line

Bald Headed Beats

I've had this one sitting on my hard drive for a while and simply haven't had time to upload it... unfortunately it's not quite as complete as some of the other "sample compilations" I've done in the past and I was hoping time would help fill some of the gaps in the break beat list. Oh well. Willie Dee's epic debut, 1989's Controversy is a work of absolute DIY raunchy genius and oozes a strange aura of cut-and-paste charm to help overcome the sheer amateurishness of it all (and the fact I'm writing about it over 25 years after its release proves it). Peering once more into DJ Ready Red's late-90's record collection there are a few new nuggets for those who downloaded the Geto Boys and Mr. Scarface Is Back comps - including a rather rare track from forgotten British funk obscurity Olympic Runners. I couldn't find or figure samples from a few of Controversy's tracks (primarily "Kinky") but did the best I could. Notable omissions include the strange-but-cool organ overdub on "Put The F'in Gun Away" and the back beat ("wooo!" included) from "Trip Across From Mexico". I know these are somewhere hidden in some 8-minute Meters or James Brown jam but simply cannot find them!

Still, here is the CD track-by-track breakdown:

1. Do It Like It G.O.

        • "Apache" by Incredible Bongo Band

        • "Superfly" by Curtis Mayfield

2. Fuck The KKK

        • "Smiling Faces Sometimes" by The Undisputed Truth

        • "Impeach The President" by The Honey Drippers

        • "Bring The Noise" by Public Enemy

        • "Funky Drummer" by James Brown

3. Kick That Shit

        • "The Boss" by James Brown

        • "If You've Got It, You'll Get It" by The Headhunters

4. Willie Dee

        • "Willie Dee" by Martha Reeves & The Sweet Things

        • "The Champ" by The Mohawks

        • "'The Twilight Zone' Opening Theme" by Marius Constant

5. Put The F'in Gun Away

        • "Synthetic Substitution" by Melvin Bliss

6. Trip Across From Mexico

        • "Movin'" by Brass Construction

7. 5th Ward

        • "Think (About It)" by Lyn Collins
        • "Kool Is Back" by Funk, Inc.

        • "N.T." by Kool And The Gang

        • "Funky Drummer" by James Brown

8. Bald Headed Hoes

        • "Kool Is Back" by Funk, Inc.

        • "'Dragnet' Opening Theme" by Walter Schumann

9. Welfare Bitches

        • "Don't Let Up" by Olympic Runners

10. Kinky

11. I Need Some Pussy

        • "Yes We Can Can" by The Pointer Sisters

12. Fuck Me Now

        • "Different Strokes" by Syl Johnson

        • "Think (About It)" by Lyn Collins

        • "The Big Beat" by Billy Squier

Additionally, I was really hoping to find the full sample of whatever comedian (?) does the kinda gross "greasy split" monologue at the bookends of "I Need Some Pussy". Some old grumpy Redd Foxx-esque motherfucker sitting at some dank nightclub to scattered drunk applause. Amazing that there is still some shit out there today that the Internet can't figure out for you!!! Any advice or submissions will be promptly added to the catalog - until then thanks and enjoy.

5th Ward Funk

Gutrot Hogfrenzy

Wow, has it really been a decade since Regurgitate released their last full-length? Sad times indeed. Once assiduous kingpins of Relapse Records' goregrind catalog, the Swedish three-piece ostensibly dropped off the map after 2006’s Sickening Bliss, releasing only a handful of 7" splits over the next few years. A satisfying blend between the more ridiculous groovy gurgle-core of their early days and the more technical, straightforward grindcore of 2004's Deviant, Sickening Bliss rarely gets tiring. Pitch-shifting through the two subgenres in both vocals and guitars, it is full of enough manic blastbeats, stop-start riffage and bile-gargling vocal modifiers to keep most fans interested. Personal highlights include the absolutely sick breakdown bridge in "Cavernous Sores" and definite throwback to their old school days with "Excremental Ingestment". And finally a RGTE song you can sing along to... "(We Are) Sadistic Hateful Scum" – the title of which they just repeat over and over. For what it's worth, most websites still regard the band as "Active" so hopefully there will be some new material in the future… until then the 25 minute-or-so goregrind blasts of Sickening Bliss have stayed as fucking sick and refreshing as they did so long ago. Enjoy.

Defile

Tenacious Z

I don't know what I was searching for when I stumbled upon this lo-fi gem but it raised enough of a dry smile to earn a spot in my somewhat selective music library. Recorded at some point in 2011, Best Songs Ever compiles several (each entitled Best Songs Ever 2, 3, etc. etc.) short YouTube recording sessions into a full-length LP (and many thanks to the person who had the patience/tolerance to rip said videos). Obvious comparisons to Tenacious D aside, some of the songs are pretty funny, some of the more offensive ones ("Ever Since I Fucked My Sister (She's Been Acting Kind Of Strange)" and "Remember That Time That Your Dad Molested You?") actually elicited a guffaw from my jaded soul. Based out of New Orleans, the Straight-Eff's consisted of TJ Kinkaid on vocals and Cody Weber on acoustic guitar and while basically a duo there appears a guest bassist as well whose name escapes me. There are also some pretty solid (i.e. professional) remixes tacked on as well but you'll just have to listen to the record to understand it all. Unfortunately it seems the guys had somewhat of a real/fake falling out after a few months and their tethered musical future dissolved just as quickly but both have continued to do online shit here and here. In short, the album works a little bit better in its original 10-minute bursts, after half an hour of TJ screaming it can get somewhat nerve-frying so be forewarned and enjoy. For those who dig, they have a bandcamp page with some extra material for sale - check it out.

Get A Snack

Stimpak Soundtrack

Like the 15 million+ other people out there I am painfully addicted to Fallout 4, just like I was to 3 and New Vegas. Currently on my 28th in-game day or whatever in the post-apocalyptic Commonwealth, there are times I feel like I'm more concerned what's happening in that world then the real one. The commercial is an absolute work of genius and using "The Wanderer" was an ideal choice; fitting in perfectly with the frozen-in-time 50's art deco vibe of the whole game. I was surprised to see that Dion didn't burn out as the teen idol I pegged him to be, he's still churning out records to this day - switching genres through the decades from blues to eventually more religious-themed stuff; impressive for a guy pushing 80. "The Wanderer" was on the second single from his 1961 Runaround Sue album, his first solo LP after splitting with the doo wop trio The Belmonts. Paired with "The Majestic", "Wanderer" ended up with a ton more airplay than its A-side and ended up actually hitting #2 on the Billboard charts. Will all that being said, here's something a little different than my usual posts, an oldies revisit thanks to a game taking place 200 years in the future. Of course you'll know some of the songs on the album, notably the title track but and "Dream Lover" but there are a couple humorous forgotten rock & roll treasures worth a listen. Ironically, "Kansas City" sounds almost exactly like the "Wanderer" and has become my second favorite track on the record. So grab some RadAway and enjoy a trip down memory lane.

Runaround