Do you remember The Soup Dragons? If you’re from the UK and / or of a certain age (the certain age that means you actually remember buying albums on cassette), you probably do. If not, this band probably passed you by completely. Which would be a shame because, while Hotwired isn’t necessarily one of the very best albums ever, it’s a classic of my 1990s and can definitely still stand up tall today.

Although I only really listened to Hotwired, a little research shows that The Soup Dragons were more than I realized – or, at least, here in the UK they were. Nevermind that they were already six years old by the time I heard of them, or that Hotwired was actually their third LP – they’d also had a pretty decent hit in the UK with “I’m Free” in 1990. The Wikipedia says that single charted higher on the U.S. Modern Rock chart, whatever that is, but I definitely don’t remember it being a presence. I do, however, know every note of it, though I couldn’t have even told you it existed before yesterday. Isn’t it weird how that happens sometimes, as if you just absorb songs somehow without ever consciously hearing them?

Anyway, it turns out that the band had had some indie-world success even earlier than that, and – enough to secure their place in indie music history alone – were included on the NME’s legendary C86 cassette compilation. If you don’t know about that cassette, check out this great post from Indie-MP3. (Also, you can still download the whole compilation from Stupid and Contagious, though I can’t promise for how long.) The track included on C86 is wildly different from how we came to know them on Hotwired in 1992 – very much a Buzzcocks-inspired messy-punky-poppy sound which is very pleasant but, honestly, not terribly unique. Don’t get me wrong, it’s a great track, but I doubt I’d have remembered it if I didn’t already love them from their later work.

I don’t know exactly what caused the change in sound, other than just the change of times and trends, but when they hit upon the sound featured on Hotwired, they made a classic album. Personally, I had no idea The Soup Dragons existed before “Divine Thing” came along and rocked my MTV. I didn’t know from baggy, or rave culture, or C86. I had no concept of British music being cool or anything in particular; I’d never heard of The Stone Roses or the NME. But I do remember this album soundtracking the summer of 1992 (along with Stereo MCs’ Connected). And you know what? It’s actually still pretty great. The sound might be a little bit dated, but not nearly as much as I’d expect after nearly 20 years – and even if it is a little dated, it’s in a wonderfully nostalgic way (rather than a cringey embarrassing way). These guys deserve to remembered fondly.

For many, many years, I’ve claimed that Pearl Jam’s Ten was my first album purchase but it recently occurred to me – holy crap! – have I been lying about that all this time?!

Not that my real #1, now that I see my mistake, isn’t just as cool. My deception was accidental, I assure you – I promise I was not trying to look cooler than I am. Please. I freely admit I adored New Kids On The Block. The cool ship has sailed.

So anyway, I recently went on a miniature album shopping spree and, at the last minute, threw The B-52′s Cosmic Thing into my cart. It was by the register and stuff. Listening to it the next day, I couldn’t get over how fresh, fun, and surprisingly not dated it sounded. Honestly, I bought it thinking it would be a nostalgic giggle and not much more. “Love Shack”, anyone? But that never was the best track on Cosmic Thing and I should’ve remembered that.

Taken aback by how much I still loved it, and not in a kitschy sort of way at all, I looked it up and – wha?! – found out that it was released in 1989. That’s a whole TWO years before Pearl Jam released the amazingness that is Ten. Even if my 9-year-old self took a while to catch on and buy Cosmic Thing, it still came first. Whoopsie. Sorry I lied to y’all for so long.

When I thought about it a bit more, I actually remembered the exact day I bought it – on cassette! From Phar-Mor!! I had a little pocket money I’d gotten as a gift or something, I’d guess around $10, and I couldn’t decide whether I wanted some specific Barbie or the B-52′s album. I guess I wasn’t really your typical 9-year-old girl. I must’ve been dimly aware that I’d already prolonged the decision-making process out to a near-painful point, because I remember choosing the Barbie, in part, just to be done with it so my father and I could go home already. I was known for this type of separation anxiety when it came to my pocket money. But, perhaps predictably, I regretted it almost immediately and was in quiet, trying-to-hold-them-back tears by the time we got home a few minutes later. I wonder if I’d have done the same if I’d gone the other way in the store? I guess not, because Dad was crazy nice about it and took me back to exchange the Barbie (though he really must’ve wanted to shake me silly by that point) and I never looked back. I mean, I totally still played with Barbies, but I didn’t want one more than I wanted that album. I guess I was a budding music dork long before I knew what that meant.

But back to the album. Maybe not as ass-kicking as Pearl Jam, but Cosmic Thing is still – after 22 years, that’s a scary thought – a really great album. It feels just like the time, but also like it totally could’ve come out this year – both nostalgic and timeless somehow. Fred Schneider’s freaky speak-singing really should be annoying or gimmicky, but it fits here, alongside Kate Pierson and Cindy Wilson’s angelic harmonies, to make something unusual and pretty, poppy and alternative. “Roam” is still my favorite track, it’s just too dreamy, though I have always loved the quirkiness of “Junebug”. Whatever, the whole album’s classic – get it yourself right here.

Hey, Hospital Bombers – where are you? I’ve never written about the Hospital Bombers before which is stupid, because they’re one of my very favorite bands. I should’ve mentioned them way back in 2008-ish when they released their debut album, Footnotes – it was in the top 3 albums of the year on that list I kind of made but never published. I loved Footnotes immediately, but I think I love it even more now than I did then.

But then they kind of disappeared. I kept checking, for a long time, for more releases, but … nothin’. Apparently, they released a single, “Butterflies”, last fall, which I only just found out about now. I was lucky to find these songs because they don’t seem so easy to come by and they are seriously fantastic. Everything I loved so much about Footnotes but even better. Hospital Bombers could, I suppose, be filed under a general ‘indie pop’ label, of the highest calibre – but then there’s those strings. They give the band a odd kind of folksy edge that really makes them extra-special. And much to my delight, they’ve turned up the strings a touch more on the newer songs; I’ve included b-side “When The Cows Come Home” below just because the string sounds on it make me ridiculously happy.

And now … ? I have no idea. I’ve been trying to get to their official site for months, but I can never get it to load (linked there in case it does work in the future and some passer-by wants to check it out) and there is a very outdated myspace page. “Butterflies” appears to have been put out by Subbacultcha! but that’s the most information I could find. They do seem to be playing in Amsterdam in August (just days after I leave the country for good, wouldn’t it bleedin’ figure?! I was really hoping to see them play again before I left, bummer.) so they must still exist. I really really really hope this silence means they’re working a new album.

In the meantime, check out the b-side I already mentioned, as well as my favorite track from Footnotes below. Or, download Footnotes for yourself from emusic and wait patiently with me for some news. And, hey, Hospital Bombers? If you’re out there, drop us a line and let us know what you’ve been up to!

I’m both shocked and dismayed to realize that I’ve yet to post about one of my very favorite – top 5, without a doubt – releases from last year. Cast Spells’ “Bright Works And Batons” EP came out last August and, although I immediately liked it – mostly because of David Davison’s captivating voice – it took me a little while to really love it. It snuck up on me over time, one track here and there on shuffle, until I noticed that it was what I most wanted to listen to first when I turned on my iPod. And since “Bright Works And Batons” is so very very wonderful, I’ve already checked (um, maybe more than once) the internets for other Cast Spells releases.

Nothing to find yet, other than a split EP with Good Old War (recommended) and some news that David Davison does plan further Cast Spells releases eventually. Because, something I didn’t know earlier, Cast Spells is actually a side project. I’d never heard of Maps & Atlases before, but being such a fan of Davison’s gorgeous vocals, I immediately downloaded their 2008 “You And Me And The Mountain” EP. Maps & Atlases is apparently described as ‘math rock’ – if that’s true, maybe math is rock is something I can get down with after all. But wait, there’s more – Davison is also part of the experimental Hey!Tonal. This one is most definitely a little more unconventional and may take a bit more listening to get into, but given how much I like Davison’s other bands, I’ll definitely give it a chance.

But anyway, back to Cast Spells. I love the whole EP, obviously, but my very favorite track – a song I just can’t stop listening to, and which never ever loses its gentle power – is “A Badge”. Stunning.

A few weeks ago, Bean wrote a very cool post that linked The Raveonettes to Twin Peaks. I never really made a connection between a piece of music and a seemingly unrelated TV show that way until I heard “Revival”. I’m still sad that Carnivale, the HBO show set during the Great Depression which was canceled after only two seasons, never got the chance to tell the rest of its complicated story. I used to love the menacing, religious feel of the show.

I think Soulsavers‘ beautiful “Revival”, from their 2007 album It’s Not How Far You Fall, It’s the Way You Land, has the exact same effect the show had. A gospel choir sings over a slow and spooky rhythm and seems to announce either the apocalypse or the Second Coming; either way something epic is about to happen. Meanwhile, Mark Lanegan’s deep, raspy voice beautifully highlights the darkness that undermines the hopeful lyrics. Come to think of it, this song would work particularly well as the theme song of one of the most memorable characters from the show: the fantastically, frightening, evil preacherman, Brother Justin Crowe. I think it gives an accurate taste of the holy creepiness of the character, and his contradictory role as a conduit for God and his secret calling as the vessel of the upcoming darkness. If you miss the show as much as I do, then sit back, listen to the song and let the dust wash over you.

1998-1999 was dominated by the The Miseducation Of Lauryn Hill, a truly superb album. I first heard the Lauryn Hill album during a trip to New York City in 1998, the first time I’d traveled back to the States since moving to the Netherlands in 1994. Naturally, I was blown away. The album was about what I expected from one-third of the fabulous Fugees. However, it was another album I bought while in the Big Apple that really blew me away that year.

Whitey Ford Sings The Blues was the second solo album from Everlast. I had his first album, Forever Everlasting, an album I bought around the time it was released in 1990. Most of you out there have probably never heard of Forever Everlasting and for good reason. To say it sucked donkey balls would be a kindness. As a result, I ended up regreting the eight bucks I spent and it ended up gathering dust at the bottom of my tape collection. When “Jump Around” exploded on the scene in 1992, launching House of Pain and making all the white kids go crazy, I didn’t even make the connection to the Everlast in Forever Everlasting. That’s how little I listened to Erik Schrody’s solo debut.

When I heard the new-and-improved solo Everlast it was driving into upstate New York with the chick I was visiting and her best friend. Ends was playing on the radio and I was blown away in the back seat. The combination of guitar and flow was so different I couldn’t believe it was the House of Pain frontman, let alone the same guy who sucked so badly on Forever Everlasting. The entire album strikes a delicious balance between hip-hop and acoustic and electronic blues-pop-rock.

For the uninitiated, give the lead single from Whitey Ford Sings The Blues – “What It’s Like” – a spin to hear the less hip-hop-leaning side of the album. Learn how cool Everlast can be. Then give some thought to buying the album and checking into his later albums.

I’m calling this a backtrack post, and it will be for a lot of people, but I’m new to Kimya Dawson. I’ve heard a lot of Adam Green and, though I like quite a few of his songs, his potty humor tunes always put me off him a bit. Tha Dawgg and ‘Boosh will tell you that I’m not a potty humor kinda gal. Which is why I never bothered to check out The Moldy Peaches or Adam Green’s Peaches partner, Kimya Dawson.

Until – yeah, you guessed it – I saw Juno and loved the music. It wasn’t fair, but I’d made up my mind before I’d even heard her solo music. I should know better. And although I’m still on the fence about The Moldy Peaches, I recently picked up Remember That I Love You and Ms. Dawson has me totally charmed.

Plus, you gotta love Super Mario Bros. references.

Yeah, yeah, I should’ve mentioned this about, erm, 7 months ago. Nevermind, the best album of a whole year is still going to be pretty damn awesome even a half year later, right?

I did actually make a Top 15 of 2008 list, but never got around to posting it. Things get crazy around the holiday time, and then it’s too late to bother. Everyone’s already forgotten those ancient 2008 albums and moved on to predicting the big bands or albums of 2009.

Anyway, what with all the news today about the Dodos‘ forthcoming (more so than expected) album Time To Die, I was reminded that Visiter was my 2008 #1 but I never told anyone. (For anyone curious, the others in my top 3 were Conor Oberst’s Conor Oberst and The Kills’ Midnight Boom.)

Dodos caught me little by little. I’m a big fan of the iPod’s shuffle function, especially when I’m not sure what I feel like listening to. I hadn’t heard Visiter yet, but every time a song from it came around, I’d sit up and take notice, making sure to check who it was. Every song that really grabbed me was them. I’m pretty sure it’s the drums what did it – those drums seriously blow my mind. It didn’t take long for it to become The Album That Couldn’t Leave My Pod, and still can’t, and I’m really looking forward to the new one. Some people already hate it, it seems, and some love it – I had a quick half-listen to the stream (at timetodie.net), but I just can’t judge something that quickly. I’ll wait out the two weeks and listen to it properly when it’s out (digitally) on the 27th of July.

You may have asked yourself where the folks from 100b went? I mean, heck, the apartment has been empty for more than a month. You tried ringing the doorbell. You checked with the super. Their mail has been spilling out of their mailbox. Well, I can say we’re back and any squatters in the apartment are just gonna to have to get out.

The folks in 100b were busy throughout June. Then, we, again, took stock, and discussed how we run things here in our favorite little corner of Music Land. In the end, the Bean, Tamboosh, and I all think we have come up with a schedule and way of posting that’ll be both more enjoyable and easier to manage for three adults with stuff to do when we aren’t hanging out in 100b.

As for myself, I stopped buying new music a while ago. I was just accumulating so many CDs and individual tracks that I could listen to something new or rarely listened to for months without stopping. So, my new plan is to begin digging through music I already have and music sent to 100b HQ and let people know all the good stuff out there they may have missed. That should get aDawgg out of his 100b funk.

To kick it off, though, I’ve got a favorite underground hip hop track, “Off The Books” from The Beatnuts’ 1997 album Stone Crazy. “Off The Books” marked the first time Big Pun alias Big Punisher alias Christopher Rios appeared on a recording in his short music career and life.

We’re baaack …

I wouldn’t say I’m a massive Björk fan; I’ve never felt the urge to go see her play live, nor have I ever seen Dancer In The Dark, but Post is one of my favorite albums of the nineties. I was fourteen when it came out and all I knew of electronic music was that it sounded like a bunch of impersonal bleeps to me, untouched by human feeling and experiences. Acts like Massive Attack and this album especially smashed all my preconceived notions to bits.

I have favorite tracks, like “Hyper-ballad” and “The Modern Things”, but I love it as a whole. I adore the way one song flows into another almost seemlessly and yet it covers a mulitude of styles. The album seems to tell one story, but goes from one mood to the next like a bi-polar yo-yo. She follows a jazzy, latin beat with a harpsichord without missing a beat, but we’re cleverly manipulated into thinking that makes total sense. Every song creates another element of a weird but wonderful landscape. To me this album made alternative, arty, electronic music accessible and it still resonates in many new bands from Hot Chip to Final Fantasy to Bright Eyes.

It’s been almost a year and a half since I posted about Plushgun for New Band Day. Since then, Dan Ingala and friends have been signed to Tommy Boy Records, released two EPs and their debut album (Pins & Panzers released last month), and had their music featured on both TV and film soundtracks. Good for them – nothing makes me happier than to see a truly deserving musician or band meet with success.

It’s a rare thing to find music that is stunningly beautiful and makes you dance at the same time. Being in a rather sleepy/blah mood today, I’m surprised to find myself semi-dancing in my seat (or sitting on the floor, as it happens) along to Pins & Panzers. And though it’s been almost a year and a half since I first heard “Just Impolite”, I’m still not even close to getting over how lovely it is. The whole album is simply a pleasure to listen to – it feels like the (retrospective) freedom of high school, staring out the window at the rain, and a summertime party with friends all wrapped up in a loving blanket of electronic pop.

Enjoy one of my favorites from Plushgun’s debut album below, get Pins & Panzers right now from emusic, or visit PlushSpace to hear more.

While music television and radio were dominated by the sounds of Technotronic, Lenny Kravitz, Madonna, Soul II Soul, Milli Vanilli, The B-52s and The The among others – and I was exiting The U2 Phase and settling into my now life-long Hip Hop Phase – a band from Washington, D.C. packaged up the output from their 1988 and 1989 EPs and released them as 13 Songs.

That band, as most of you would probably already know even if I hadn’t given it away above, was the now legendary Fugazi, a band that started a musical revolution still providing enjoyment decades later for fans of both the original sound and those bands carrying the sound forward. 13 Songs brings together the Fugazi and Margin Walker EPs and numerous now classic tracks, especially among the first seven originally from Fugazi.

Last year I bought a few Fugazi albums to see what I missed the first time around. It’s easy to say – though not necessarily accurate much of the time – that tracks this well-worn sound as crisp and fresh today as they must have back in the day. For Fugazi, this is certainly so very true. Considering the musical landscape two decades ago, for those inclined to fall into the style for one reason or another, Fugazi must have absolutely blown them away.

For the uninitiated you now have the opportunity to hear the monumental opening track of the original EP, Fugazi and 13 Songs.

Since we’re having a bit of a Grunge revival here at 100b, we might as well talk about one of my favorite Grunge albums – Temple Of The Dog.

Temple Of The Dog was, I guess, a Grunge supergroup – but not at the time they recorded their one and only album. Made of members of Soundgarden and the project that would soon become Pearl Jam, Temple Of The Dog formed for this one album as a tribute to Andrew Wood, singer of the Seattle band Mother Love Bond. Wood was Chris Cornell’s roommate and a bandmate of Stone Gossard and Jeff Ament’s and had tragically died in 1990 of a heroin overdose, just before Mother Love Bone’s debut album Apple was released.

Joined by Soundgarden’s drummer Matt Cameron as well as Mike McCready and Eddie Vedder (who had recently joined with Ament and Gossard on new project Mookie Blaylock, later Pearl Jam), Temple Of The Dog got together in late 1990 to record songs that Chris Cornell had written, some in reaction to Wood’s death (“Say Hello 2 Heaven”, “Reach Down”). The album was released in April 1991, but wasn’t exactly a huge success. Until over a year later, that is, after Grunge had broken into the charts and the album was re-released with “Hunger Strike” as its lead single.

“Hunger Strike” did pretty well for the band (who, by then, no longer existed), reaching #4 on Billboard’s Mainstream Rock Tracks chart. This is the song you might remember from way back then, but it really should’ve been a much bigger hit. Temple Of The Dog is a great album, a hidden treasure that deserves more attention than it’s gotten, but “Hunger Strike” is really something special. A stunning song to begin with, the combination of Chris Cornell’s unreachable wail and Eddie Vedder’s so-deep steadiness is almost magical. It’s like they found a way to make pain and calm work together to create something of true beauty.

   Temple Of The Dog – Hunger Strike
   Temple Of The Dog – All Night Thing

From the simpler hand drawn stickers to the more complicated arty pieces, I love Sticker-Art. I never actively went looking for them, until a few weeks ago when Bean and I were out for some errands. We came across a cool sticker, stuck to a wall in an alley, of the top half of a cute little monster face peaking out. I don’t actually know the little guy is a monster but I like to think he’s peaking out from the dark nether regions of the city. It made my day, and I started paying more attention to these forms of urban adornment. I mentioned to Bean that if I had the time and I wasn’t so lazy, I’d start a sticker-art site called ‘Decal On My Sticker’ after the perplexing Whirlwind Heat song.

A few years ago the Sympathetic Sounds Of Detroit compilation album introduced us to the cacophony of experimental rock band Whirlwind Heat. We’ve seen them play once when they supported The White Stripes back in 2003 and decided our tastes weren’t developed enough (yet?) to truly appreciate their sound. I do, however, enjoy “Decal On My Sticker” a whole lot. I may not always get the band, but, much like the stickers, I do appreciate their quirkiness and creativity. Their third album came out this summer, but what I really want is a copy of the EP they made with Lightspeed Champion last year as Lightspeed Heat – I find this collaboration utterly fascinating.

   Whirlwind Heat – Decal On My Sticker

“Damn” was the “Can’t Let You Go” single’s B-side and was the single that prompted me to get Street Dreams, the critically slagged but commerically successful second album put out by Brooklyn-born Fabolous.

“Damn” isn’t much more than your standard hip-hop boastfest and we don’t have to backtrack but five years. That said, I still nod by head every time I hear it. There’s just something about the bass and bells that does it for me.

   Fabolous – Damn

I never could really get into The Secret Machines, not being a big prog fan, but I loved “Nowhere Again” so much that I seriously wished I would like the rest of their music more. “Nowhere Again” was my favorite going out song (I have it the single on 7″) – I’d pop it on, turn the volume up, and let that beat get right into my bones.

In fact, I still love it so much, I’m starting to wonder again if I should give them another try. Maybe I’ve just been missing out all this time.

Here’s a live version of my beloved “Nowhere Again” for your listening pleasure.

   The Secret Machines – Nowhere Again (live)

Chin Up Chin Up’s debut came out exactly four years ago and I completely forgot I had it! A friend of mine had given it to me, because I mentioned the song – that shares the same name as the album, is so lovely I used to listen to it over and over again. And it still is one of the most amazing songs I’ve ever heard. Apparently, it was quite a hit by indie standards for a while when it first came out. Sadly, this album is also known, because bass player Chris Saathoff passed away in a car accident before its completion. I’ve listened to We Should Have Never Lived Like We Were Skyscrapers a couple of times now and it’s wonderful, but the stand out song is still the title song.

No part of the song seems to be meant as background noise, it’s build like a wall of sound in which every brick, whether it be the back up vocals or the drum machine, is played at maximum volume. Normally, I’m not a fan of breathy, husky male vocals, but in this song it works, especially when the other voices, which sound strangely robotic, chime in. The repetitive melodies, the heavy use of electronics, and the strong beat are echoed in more recent bands like Foals. The lyrics are a mystery. I know it’s in English, but it makes no sense to me. Well, if the chorus really is ‘paralyzed teeth and trial sized feet transfer the call and lie and your back’, I don’t think we’re meant to know what it’s all about. Not without some sort of decoder ring.

   Chin Up Chin Up – We Should Have Never Lived Like We Were Skyscrapers

There are some bands whose records I really loved and enjoyed at the time I got it, but the moment it was drowned out by my next exciting purchase they fell off my radar. It has nothing to do with the band, I just moved on from their particular sound and felt no need to revisit it. Ima Robot is one of those bands. Four years ago, the Bean and I went to see the Von Bondies play, supported by Ima Robot. We thought they had an excellent band name, but we didn’t really expect much. The LA band, fronted by Alex Ebert, turned out to be very dynamic, oddly charismatic, and impossible not to love by the end of their gig. A month later on a very bizarre day – involving a strange record store clerk, a medical emergency on a tram, and Franz Ferdinand tickets – I came across their debut, which turned out to be the perfect soundtrack to that disturbing day.

I was surprised their nutty stage presence translated really well on CD. Their glammy, new wave synth pop is doused with a good helping of crazy. In spite of oddball lyrics and their equally strange high-energy, danceable sound, their songs are so damn catchy you’re gonna hear Ebert’s high-pitched, nervy voice for days after you’ve turned it off. Their second album came out two years ago and they have a new one on the way.

   Ima Robot – Philosophofee
   Ima Robot – Here Come The Bombs
   Ima Robot – Let’s Talk Turkey

Today’s Backtrack is a time-warp of sorts. Not wanted them to get buried underneath the next batch of music I get, I took the opportunity to listen to some CDs I got last month. Out popped this white-ass dude Eli ‘Paperboy’ Reed & The True Loves. You would be forgiven for assuming Eli Reed & The True Loves were a re-release from The Sixities (thats with a capital T and S). Really, you would.

You’d be forgiven. But, you’d still be wrong.

Eli Reed is a 24-year-old from Massachusetts, in the United States, and he and the True Loves got soul. Proper soul. This is James Brown-, funky-, feel it in your belly-, reaching deep down into your guts-type soul. If you love the old school (and I mean old old school) sound, you absolutely positively cannot pass this by without a listen.

   Eli ‘Paperboy’ Reed & The True Loves – (Doin’ The) Boom Boom

Like what you hear? Follow up with Eli …

Eli ‘Paperboy’ Reed Official Site
His PaperboySpace

I can’t believe how long it’s been since I listened to this album. Although “Four Kicks” (off Aha Shake Heartbreak ) is really my favorite Kings Of Leon song, there’s not much that can compete with Youth & Young Manhood taken as a whole album. A little like Creedence Clearwater Revival but with thick layers of sleaze on top, Youth & Young Manhood tells stories about wayward daughters, whores, transvestites, murder and violence, seedy encounters, and shady preachers.

I remember being totally blown away when I first heard it. I took it and my old-school discman to the Tamboosh the very next day and made her listen to it on my headphones while we waited for our lunch to be served. A few months later, I actually got a pang of sadness when I saw it in on display in a record store – I knew it was insane, but for a split second I was actually disappointed that I couldn’t buy it again and hear it all fresh and new. Listening to it again this week for the first time in, I don’t know, maybe over a year, gave me a little taste of that first-listen thrill all over again.

   Kings Of Leon – Red Morning Light
   Kings Of Leon – Joe’s Head