REVIEW: SHONEN KNIFE “Sweet Christmas” single / FEAR “Have Yourself A Merry Little Christmas” single
“Sweet Christmas” single
(Good Charamel)
Available on 7″ single, iTunes, AmazonMP3 and eMusic
Rating:
“Have Yourself a Merry Little Christmas” single
(The End Records)
Available on 7″ single, iTunes, AmazonMP3 and eMusic
Rating:
OK, Christmas season is here, and as much as you might like the holidays, there’s a good chance you might not want to put up with the same fucking Christmas songs all over again. And what’s out there for new Christmas music, anyway? Justin Bieber? Too easy of a target, and besides, he’s had a rough enough time being falsely accused of paternity – leave the little Canucklehead alone. A fourth volume of Now Christmas repeating some of the same songs as Volumes 1, 2, and 3? Blech! Where’s my Christmas mix CD with select cuts from the Punk Rock Xmas comp, Mojo Nixon’s Horny Holidays album, various Hello! Project-related Christmas songs, and of course, Spinal Tap’s “Christmas With The Devil”?
But wait! Could it be? New Christmas releases from ARTISTS I ACTUALLY WANT TO LISTEN TO ANYWAY? Yes, please.
It shouldn’t be any surprise that Shonen Knife would drop a Christmas record – the great majority of their back catalog, save for their wonderful Ramones tribute album (which had some of the darkest moments ever recorded by them), is peppy, poppy, rockin’, and puts a smile on your face instantly. The title track of their “Sweet Christmas” single is a typical punk-pop concoction in the Shonen Knife vein, with frontwoman/songwriter/J-Pop & Punk Rock MILF Naoko Yamano’s vocals and guitar leading the way. Not wanting to blast your grandmother across the room, however, the girls throw in an acoustic mix of the song for good measure, then close things out with a power trio arrangement of “We Wish You A Merry Christmas” whose only flaw is the stiff 3/4-time beat from drummer Emi Moriomoto. Otherwise, all three of the SK ladies (bass cutie Ritsuko Taneda, down with the Knife since their brilliant Super Group album, rounds out the trio) share lead vocals and redeem the track.
The bigger surprise comes from the notorious punk band Fear. Yep, the same bastards that caused a few thousand dollars (so called) of damage during their national TV debut on Saturday Night Live, then went straight into the studio to record their landmark debut long-player The Record. The A-side is a major surprise – a very straight cover of “Have Yourself A Merry Little Christmas” sung very sweetly by frontman Lee Ving over clean jazz guitar and some lonesome-sounding Western harmonica. “Wait a fucking minute,” you say – “Lee Ving singing SWEETLY? The same dude who sang ‘I don’t care about you, FUCK YOU!’ on national television?” Yep. Look up his performance of “The Impossible Dream” from Fame on YouTube sometime – this isn’t new territory for him. This being a Fear record, you might expect the jazz guitar to be interrupted by a rapid shout of “1-2-3-4-1-2-3-4!” followed by a typical punk rock poleaxing of the song. But with Fear, you get what you deserve, not what you expect. And since anyone buying this single deserves at least some typical Fear thrashing, they deliver it on the B-side with the original “Another Christmas Beer”. Yeah, it’s not “Fuck Christmas”, but then again, Lee Ving has written a LOT of songs about beer. This single is a lead-in for a re-recorded version of their first album to be entitled The ReRecord, which should be at least interesting to hear.
4.5 for the Shonen girls and 5 for Lee and his crew.
REVIEW: GIRLS’ GENERATION “The Boys” single
GIRLS GENERATION (SNSD)
“The Boys” single
(SM Entertainment/Interscope)
Available on iTunes
Rating: 
Let’s be honest and brief: I am a big Girls Generation/SNSD fan. I’m glad they signed a major label deal with Interscope/Universal. But this first single under their new deal is a disappointment.
The English-language vocals are fine, save for the unnecessary rap-style vocal breaks – the girls handled themselves admirably here. But musically, this single is just not on the level of “Gee”, “Genie”, or “Hoot”. It is a shade better than much of what is overpopulating Top 40 radio currently and lately, but knowing what I know of what they’re capable of, this was a poor choice for a first American single. I would have much preferred that they cut an English language version of “Genie” or “Hoot”, which would have smoked the likes of Katy Perry and Miley Cyrus into either retirement or suicide.
Even sadder was the choice of producer Teddy Riley to handle this. What was wrong with SM’s own stable of producers and songwriters? Teddy Riley has some classics under his arm but he hasn’t had a hit single as either a producer or songwriter since Bill Clinton was president. At least it wasn’t some low-talent, overpriced, overrated chump like Timbaland that can only write one riff at a time, talk annoyingly in the background behind the featured vocalist, and call it a complete song.
The only silver lining to this is that those that hear this, if they choose to dig further, will get to hear what the band is capable of. But even that’s not a given. I hope the new album is a lot better than this!
3 out of 5 stars. Sorry, ladies.
REVIEW: ROBERT JOHNSON “The Centennial Collection”
The Centennial Collection
(Legacy/Columbia)
Available on 2CD set and on iTunes, AmazonMP3 and eMusic
Rating:
By all accounts, I shouldn’t have to try to sell anyone on Robert Johnson. The man’s legend has loomed large since Columbia, under John Hammond Sr.’s auspices, assembled 16 of the long-dead Johnson’s recordings under the title King of the Delta Blues Singers. If you’re interested at all in early blues music, the roots of rock and roll, or early American music in general, you probably already have a copy of King of the Delta Blues Singers or the Complete Collection box set from 1990 (a surprise platinum-selling release – especially in the eyes of Columbia, who only expected to move ten or twenty thousand copies) in your collection. If not, any interest you may have had in the man’s music may have been slowed down by just one thing: “Ugh! Recordings from when they only made 78’s? There’ll be a fuckton of scratches. Important or not, five-star essential listening or not, I’m not listening to music under that bad of a sound source.”
Thankfully, technology has progressed to the point where a good sound engineer could take a scratchy 78, program the clicks and pops out of it, and make the recording sound as crystal clear as possible, as a late 90’s overdue CD edition of the first King of the Delta Blues Singers album proved in comparison to the Complete Collection box.
Of course, even Johnson devotees might whine, “Another reissue of the same bunch of tracks? Jesus Christ, Columbia, why don’t you just dig Robert’s body up and poison him to death again?” upon hearing of the release of The Centennial Collection. But that’s where technology comes into play again. Digital audio archiving has evolved so much that Centennial makes the previous edition of Johnson’s recordings sound less than optimum. I’ve heard Johnson’s recordings on everything from a cassette to the original box set to the 1998 CD edition of KOTDBS to a 180-gram LP. The fact is, these classic tracks are sounding as CLEAN as they have always deserved to be. There is a little high-end hiss that the sound engineers could not remove without compromising the original sonic fields that were recorded eighty years ago, but Johnson’s singing and guitar playing, his signature sound – are ringing clearer than ever. You couldn’t make these recordings sound any better unless you built a time machine, went back to the late 20’s and patched a MacBook Pro with ProTools into producer Don Law’s disc cutting machine.
And that, dear Virginia, is what this release of all of Johnson’s recordings is all about. If you can’t appreciate Robert Johnson’s music under these newly optimum conditions, then there’s something wrong.
Recommended Surfing: TheCompleteRobertJohnson.com
REVIEW: MEAT PUPPETS “Lollipop”
MEAT PUPPETS
Lollipop
(Megaforce/Red Ink)
Available on CD, LP, iTunes and AmazonMP3
Rating:
I welcomed the return of the Meat Puppets ever since Curt Kirkwood polled fans as to whether they wanted to see a reunion of the original lineup through his MySpace page. The first result of that question’s aftermath, 2007’s Rise To Your Knees, was the indie-rock equivalent of Star Trek: The Motion Picture: It was great to see/hear from some old friends again, even if the end results didn’t fully live up to the anticipation built up from years worth of passing time even before a return to action became reality.
With that seemingly odd comparison having been made, it’s not a stretch to suggest that the follow-up, 2009’s Sewn Together (which made TGML’s Top 10 Album list that year) is the Meat Puppets’s Wrath of Khan. Fully recharged after the test run that was Rise To Your Knees, Curt and Cris Kirkwood and then-drummer Ted Marcus had delivered in Sewn Together a long-playing effort that was (and is) fully worthy of standing up with the best albums (II, Up On The Sun, Mirage, Huevos, Too High To Die) of their classic back catalog.
Now, two years later, comes Lollipop; While they’ve had a major personnel change – Shandom Sahm, son of the late Sir Douglas Quintet/Texas Tornados leader Doug Sahm and also a former Meat Puppet back in the short-lived Golden Lies period, replaces Marcus behind the trap set – they not only haven’t lost a step, they’ve progressed nicely without losing an ounce of what makes the Meat Puppets who they quintessentially are, be it Curt Kirkwood’s lead lines or his and Cris’s brotherly harmonies. Much of the material could have fit nicely on Up On The Sun or Mirage, but there are also a few welcome twists and turns, like the reggae/ska rhythms that propel the verses “Shave It”, or the almost Coldplay-esque piano chords that open “Orange” only to get near-obliterated by “My Sharona” drums and some nasty fuzz bass from Cris Kirkwood. All of it works.
So, if we’re going to fool around with Meat Puppets/Star Trek comparisons, does that make Lollipop their Search for Spock? Well, put it this way: Search was a must-see flick back in the day. Lollipop is a must-hear album. Enough said.
(Hot tip: Advance order customers who ordered Lollipop from the band’s website – your humble reviewer included – initially received a high-quality digital download of the album with the songs in their original, pre-manufacture sequence [but accidentally labeled with the final sequence’s song titles] – an error long since corrected and rectified by the band’s management. To emulate the original sequence, program your CD player or iPod playlist in the following order: 2, 3, 11, 10, 9, 5, 6, 7, 8, 4, 1, 12.)
Stream: Meat Puppets “Damn Thing”
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REVIEW: MORNING MUSUME “Maji Desu Ka Ska!”
MORNING MUSUME
Maji Desu Ka Ska!
(Zetima)
Available on CD, CD/DVD and on iTunes
Rating:
Thanks to Mother Nature’s most recent (and worst) menstrual period in recent memory, it took a little longer for this long-awaited single to hit people’s stereos and iPods. With all of the previews going around, I already had a good idea of what I thought of the single before the release date; As is my standard operating procedure, I prefer to wait until I have a high-quality sound file or the CD itself – whichever I can get my hands on first – before I commit my thoughts to word-processor file.
The ska in “Maji Desu Ka Ska!” is indeed ska, lying somewhere between the 2-Tone [Specials, Selecter, Madness, (English) Beat] and Third Wave [Mighty Mighty Bosstones, Less Than Jake, Toasters] eras. (I mention this because it would have been disappointing if Tsunku had put the word in the title and didn’t tip his hat musically to that style.) Having the four newest members of the group, whose names I still haven’t matched to their faces yet (the lack of personnel turnover between 2007 and last winter, plus the less populated additions to the group in the two years beforehand, appear to have spoiled me), start off the song was a calculated risk, but so far it works – for the next singles, they’ll have to keep topping themselves. Then again, Reina Tanaka was prominent on her first single with the band, and now she’s considered one of the best vocalists in the band, so that may be a good sign for our newcomers. If there’s a flaw in the song, it’s because the prominence of the Ninth Gen makes the song threaten to come off like an early Berryz Koubou or C-ute track at times – and the last thing Morning Musume should be sounding like is any of their Hello! Project stablemates. Fortunately, once the more experienced members of the group take over the song, that fear is subsided.
On the B-side, “Motto Aishite Hoshii no”, the veteran members dominate more, and the musical style returns to an uptempo version of what was employed on the last three MoMusu albums and their related singles – upbeat pop combined with more serious vocals. It’s definitely one of the better Morning Musume B-sides in recent memory, which is saying something.
Combined, both tracks look back at Morning Musume’s recent past while looking ahead to the future. And that’s what the first Morning Musume single of the new year should do.
Four and a half out of five stars.
ALBUM REVIEW: NEW YORK DOLLS “Dancing Backwards In High Heels”
NEW YORK DOLLS
Dancing Backwards in High Heels
(429/Savoy Label Group)
Available on CD, iTunes, and AmazonMP3
Rating:
After listening to the advance single from this album, “Fool For Your Baby”, I had a severe amount of trepidation as the release date for the New York Dolls’ third studio album approached. “Fool For You Baby” and its Phil Spector-gone-lo-fi production really underwhelmed me, and in my track review I openly stated that I hoped that this song was the exception rather than the rule as far as the full album was concerned.
Two of the major tenants of the Dolls’ operating manual – the strong songwriting and the mining of 50’s and 60’s rock and pop influences – are still abound on Dancing Backwards in High Heels. That’s the good news. David Johansen is in the best voice he’s ever been in his entire career. That’s more good news. For the first time on a studio album since Too Much Too Soon the group throws in a Dollsified cover of an oldie, this time taking on “I Sold My Heart to the Junk Man” (an early Patti LaBelle hit), while DavidJo and Syl Sylvain reclaim “Funky But Chic” from David’s first solo album and insert it into the Dolls canon that it belonged into in the first place.
Knocking down the star rating on this album is the production. The electric guitars on the album take a pretty much permanent back seat to the rest of the instruments, including the same cheesy organ sound that dominates “Fool For Your Baby”, and the drum sound is quite wimpy, almost cardboard-box like. These are two developments that simply run counter to the usual Dolls esthetic. Blame for this should be placed squarely on new producer and bassist Jason Hill, rather on the absence of Steve Conte and Sami Yaffa who had been filling the voids left behind by Johnny Thunders and Arthur Killer Kane quite nicely.
While Dancing Backwards is a decent effort from the band, it’s not definitive Dolls and is basically a fans-only album, if that. It definitely wouldn’t be the album I would recommend to be a first New York Dolls purchase. Unfortunately, this album is what David, Syl, and company will be touring behind this summer when they open (what?) for Motley Crue and Poison (what the fuck?), which means this well-intentioned misstep will probably be the first – and last – purchase for Dolls newcomers unless someone in their immediate vicinity steers them to their earlier albums first.
TRACK REVIEW: NEW YORK DOLLS “Fool For You Baby (Dom Dom Dippy)”
The advance single has been released from Dancing Backward In High Heels, the fifth studio album by the New York Dolls and the third since they reformed back in 2004. To be honest, I am rather underwhelmed by this track. The track is dominated by David Johansen’s lead vocal, heavily reverberated backing vocals, and some very artificial-sounding organ, with some plinking high-register piano coming in before the song fades out – there is hardly any nasty trademark Dolls guitar riffing, and the whole affair sounds more like Phil Spector trying to do a lo-fi version of his fabled Wall of Sound. It’s definitely not what I would have expected from a New York Dolls single. I’m hoping that when the full Dancing Backward album drops on March 15th that this song will prove the exception rather than the standard operating procedure. We shall see what happens in about nine days. In the meantime, listen for yourself down below:
Stream: The New York Dolls “Fool For You Baby (Dom Dom Dippy)”
REVIEW: MIKE WATT “hyphenated-man”
MIKE WATT
“hyphenated-man”
(Clenchedwrench)
Available on CD, LP with download code, iTunes, and AmazonMP3.com
Rating:
From his second solo album Contemplating the Engine Room onward, Watt’s solo album output to date has been centered around concept albums that he affectionately calls “punk operas”. …Engine Room’s 1997 release saw Watt mix parallel storylines about the Minutemen, his father (a career Navy man), and the novel/movie The Sand Pebbles with musical influences as varied as Creedence and Coltrane. The long-in-the-planning followup, 2004’s The Secondmen’s Middle Stand, had Watt going in a different direction musically without straying from his punk roots, performing in an aggressive organ trio to deliver a story that combined the chronology of a near-fatal illness with that of Dante’s Divine Comedy. It took me a little while to get fully into Engine Room upon its release, admittedly, but with Middle Stand this listener was able to plunge in from day one.
Hyphenated-man – which has already been out in Japan since October of last year – is also a concept album/”punk opera”, only without a fixed storyline. Instead, the album is a suite of thirty short songs, each inspired by a character in a Hieronymus Bosch painting. None of the songs are longer than two minutes – most average a minute and a half, actually – and the lyrics are somewhat abstract, slipping in bits of Japanese language here and there. What may be surprising to some listeners is that the whole thing comes off rather accessible. The idea of short songs harks back to the Minutemen, of course – Watt’s self-re-immersion into his first major band’s back catalog was spurred by his participation in the documentary We Jam Econo – but, even though Watt composed all thirty songs on one of his late Minutemen bandmate and best friend D. Boon’s Fender Telecasters, none of the songs are retro recreations of almost thirty years ago. This particular effort was helped during the basic track recording of the album by Watt not recording his vocals and bass parts until much later on – guitarist Tom Watson and drummer Raul Morales recorded their parts, mostly in tandem with few guitar overdubs, without knowing what Watt’s parts even sounded like, by design. (Coincidentally, a few of the guitar parts on the songs – “Belly-Stabbed-Man” is one example in particular – actually come off in the same style as those on the first two fIREHOSE albums.)
One of the most pleasant surprises on Hyphenated-man is Watt’s vocal work, which seems to be at its most comfortable and is definitely at its most varied here: singing sweetly on some tracks, hollering like someone less than half his age on others, reciting in a whisper here, doing multi-tracked harmonies there – whatever each song and each lyric calls for. As it should be.
Is Hyphenated-man the best thing Watt has done in his solo career yet? That’s hard to say, but only because Watt has not really done the same thing twice in the past decade and a half since fIREHOSE split, and he’s not about to start repeating himself, ever. And now that he’s got his own label deal going down, the wait between Watt projects will not be as ridiculous as it was since 1997. Hyphenated-man, is, however, a highly-recommended listen – and the tip of the iceberg as far as Watt’s future musical output is concerned.
Preview: “Hollowed-Out Man”
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REVIEW: Maki Goto “Gloria”
MAKI GOTO
Gloria
(Avex)
Available on CD and CD/DVD editions
Rating:
Patient Progress Report, TGML Institute
Subject: Maki Goto
The Avex Institute in Japan submitted their third and latest status report on the patient, Ms. Goto, for our independent perusal here at TGML, last week. This report, code-named Gloria, was the third delivered to us by Axex since the patient’s departure from Hello! Project and Up-Front Works back in late 2007.
Avex’s first status report, which was code named Sweet Black, utilized various urban-contemporary arrangements, a situation which pleased this analyst given the preceding development’s in the patient’s history: a full-length album in similar style, How to Use Sexy, delivered during the tail-end of her H!P association; her post-H!P training in Los Angeles, leaning towards urban contemporary forms; live covers of Whitney Houston’s “Saving All My Love For You” and Diana King’s “Shy Guy”.
Her second status, code named One, was a bit troubling. The previous code-named project projected a cute, bubbly, and confident Gocchin, but this one had her on the front cover of the CD looking like a hooker that had been around the block since the Bronze Age. Instead of more urban-style R&B we got somewhat typical technopop.
Now, with her third report, there is cause of confusion and cause for concern. With Gloria, the subject heavily leans toward rock/pop oriented material. As with the previous two reports, Ms. Goto appears to be in excellent voice as always, and the material the Avex Institute has given her to work with has been of a typically high standard.
However, it is the opinion of the TGML Institute that Avex’s efforts with Ms. Goto could already be leaning towards an acute case of musical multiple-personality disorder. This is not a bad thing by any stretch of the imagination; Elvis Costello, for one major example, has based the majority of his career on skipping effortlessly between different genres depending on the musical point he wished to make from project to project, while Ms. Goto’s former associates in Morning Musume make similar regular genre jumps on a song-by-song basis. In Ms. Goto’s case however, the constant shifting around of Ms. Goto’s personality from album to album – or rather mini-albums, since the three status reports Avex has filed about her have contained no more than eight songs, and these last two reports have contained only five songs apiece – gives us the impression that Ms. Goto’s rehabilitation is in a holding pattern.
A candid discussion earlier this week with a retired colleague, Prof. Kd Potter, formerly of the Iro Iro Aru Sa Institute for Japanese Pop Studies in England, wherein I made the initial suggestion about Ms. Goto’s musical schizophrenia, led Prof. Potter to suggest that the fault may lie with Avex for experimenting with Ms. Goto’s treatments rather than stay with a consistent pattern of rehabilitation as normally expected in cases of this type. This is not an analysis the TGML Institute is prepared to dismiss, and Avex should endeavor not to dismiss same.
In short, we here at the TGML Institute still cannot completely make heads or tails of any major benefits Ms. Goto’s time at the Avex Institute after three somewhat scrimpy filings. We would highly recommend that, given her high level of output at her previous facility, that Ms. Goto be given a more thorough rehabilitation program, so that a proper full-length report can be filed and we can give a more precise analysis of any further progress the patient makes. Without such investment in Ms. Goto’s future by Avex, the patient will not fully be able to make herself a useful part of Japanese pop society otherwise.
REVIEW: YOUNG JEEZY “The Last Laugh”
YOUNG JEEZY
The Last Laugh
(CTE)
Available as a free download (see links below)
I haven’t written much about hip-hop on this blog or it’s predecessor. In fact, probably the only times I ever mentioned it were when I put the Game’s second album in the first year-end Top 10 at MotokoAoyama.com in 2006, and earlier this year when I gave a nice review to Lil Wayne’s rock effort Rebirth. So how is it that one of these times, I end up writing about what is basically a mixtape?
Well, what happened there is simple. One of my personal favorites in the genre in recent years happens to be Young Jeezy, for the sound of his voice, his punchlines, and his presentation, especially when he’s got solid backing tracks and production behind him. Like a lot of fans, I am anticipating the release of his fourth album, TM103 – short for “Thug Motivation 103” (The first two Thug Motivation albums were, of course, his first two major label releases, Let’s Get It: Thug Motivation 101 and my personal favorite, The Inspiration, which carried “Thug Motivation 102” as a semi-official subtitle. His third album, The Recession, didn’t carry a similar subtitle but did have his pro-Obama salute “My President”.)
There’s just one problem – it hasn’t come out yet. We’ve gotten three advance singles (“Lose My Mind”, “All White Everything” and “Jizzle”) and two promotional mixtapes (Trap Or Die II: By Any Means Necessary and 1000 Grams Vol. 1) over the past summer, but the recently proposed release date for TM103, which was last Tuesday, came and went. Instead of the album and in addition to the singles and mixtapes, we’ve gotten a lot of chatter – talk of Jeezy having business disputes with Def Jam and wanting to jump ship and record for Jay-Z’s new Atlantic-distributed, LiveNation-supported label RocNation, plus some concerns that Jeezy may be treading water musically – not really true on the basis of the singles, but there’s been some concern about the quality of the material on Trap or Die II, while 1000 Grams basically found Jeezy doing dope-boy parodies of recent singles by Rick Ross, Kanye West, and Diddy amongst others.
A week after TM103’s missed release date, word immediately gets around that Jeezy is dropping yet another mixtape to commemorate his birthday. However, Jeezy’s own website is not referring to it as a mixtape but as a “street album”. Feel free to wonder, especially about those Jeezy-leaving-Def-Jam rumors (even though Def Jam’s own Twitter account circulated a download link). I should point out right now: they’re not kidding about the “album” part of the term.
The Last Laugh plays entirely like an album – and a solid one at that – rather than a mixtape. Jeezy is in top form vocally and lyrically, and the production – mostly by longtime collaborator Shawty Redd providing his trademark layered keyboard orchestrations – is solid and catchy. There isn’t a misstep to be found, although on first listen the album’s last two tracks, “Don’t Stop” and “Strip Club”, may come off to some as gunning for more mainstream airplay. But the presence of two of Jeezy’s summer singles, “All White Everything” and “Jizzle” – the former with the substitution of Yo Gotti for one of Jeezy’s own verses, the latter with the vocal interjections of Lil’ Jon removed – and his next planned single “Rap Game” as well as references to the title of TM103 within some of the songs, combined with the solidity of the overall musical package makes one wonder if The Last Laugh is really a version of TM103 that was mistakenly rejected by Island Def Jam.
Whatever the case, anyone disappointed in Trap Or Die II and 1000 Grams and anxious for TM103 would be best served by The Last Laugh. 5 out of 5 stars.
CAVEAT EMPTOR: Since the album was released on a free basis by the artist himself, we have provided a few different download links. Please note that despite the fact that Young Jeezy and his production company, CTE, are providing this album as a free download, and that his contracted label Def Jam is supporting this promotional release, the album itself is still under copyright. International Copyright Laws still apply to these recordings. The Groove Music Life respects the copyrights of the artist and his label, and does not bear responsibility for the user’s failure to respect copyright law. The artist and his production company and record label reserve the right to withdraw the mp3s after a certain time period or substitute a streaming-only audio option, and The Groove Music Life wholly supports and respects those rights. Out of respect for both the copyright holders of the sonic works contained herein, and for the operator of this blog who is providing download links for this recording, please do not disseminate the files widely or pass off the download links as your own.
Direct from the artist’s website, USDA2day.com
From LiveMixtapes.com
Courtesy of TGML
