Month: May 2026

Various

THE RESPLENDENT RETURN OF LITTLE LOSER’S LOTTERY : #8

aka The Vinyl Villain incorporating Sexy Loser

‘GIGS FROM YESTERYEAR, WHEN I WAS YOUNG + PRETTY AS A PICTURE’

# 08 Bizarre Festival, Waldstadion Gießen (June 1991)

Prior to sharing Dirk‘s latest offering (which he sent over early last week before his trip to Scotland), I wanted to thank everyone for their best wishes via the comments section in respect of the post which announced said visit.  I won’t go into any detail about what the day we spent together, along with Mrs Loser and two other friends from his home village in Germany, but it did involve twelve hours all told, taking in a number of sites in Edinburgh (23,000 steps!, stopping off in ten pubs along the way, and all the while chatting about life, love, the universe and music. It was wonderful……and here now is the man himself to regale you with a tale of a festival he went to in 1991.

Dear friends,

I won’t brag too much today, promised:

a) you know all the bands anyway, at least you should. So finding some good tunes by them is more worthwhile, I’d reckon.

b) I still got some work to do before I head for Scotland tomorrow morning – the boss called me in, the mighty Vinyl Villain himself, so let’s hope it’s the promotion I’ve been looking for!

So, without further ado, the Bizarre Festival: contrary to ‘Rock am Ring’ and other smaller festivals, the Bizarre Festival has always been Germany’s No. 1 festival when it comes to independent and/or gothic. It started in 1987 and for fours years it was held at a most fantastic venue, an open air amphitheatre at the top of the Loreley, a 130-meter-hill right at the banks of the river Rhine:

But the event got bigger and bigger and in 1991 the organisers had to go elsewhere, and they chose Gießen’s football stadium, the Waldbühne. Obviously the location was not comparable, but on the plus side they added an additional day. I can’t remember which band I was there with, it was either Cassandra Complex or The Dubrovniks, but no matter – fun was had, believe me, as well in the backstage area as with this awesome line up:

Alarm, A Witness, Bad Religion, Cassandra Complex, Danzig, Dubrovniks, Freaky Fukin Weirdos, Goodies, House Of Love, Iggy Pop, Immaculate Fools, Jesus Jones, Lush, New Model Army, 999, Pixies, Plan B, Rausch, Ride, Stereo MC’s, Stiff Little Fingers, Throw That Beat In The Garbagecan!

I wish I could tell you that The Pixies and/or Iggy were the highlight, but to my great dismay: no. It was – and i get goosebumps even some 35 years later by the sheer thought of it – seeing Lush’s Miki Berenyi in all of her stunning beauty:

Ah, well: one of the finer moments in my life, this, to be sure!

But I digress, I tried to find some tunes that you probably don’t hear all that often: I mean, it would not make much sense to provide you with ‘Lust For Life’ or ‘Where Is My Mind’ again, right? Instead:

A Witness – ‘Lucky In London’ (’85)
Bad Religion – ‘Sorrow’ (’01)
House Of Love – ‘Love In A Car’ (’88)
Iggy Pop & Underworld – ‘Bells & Circles’ (’18)
Jesus Jones – ‘International Bright Young Thing’ (’91)
Lush – ‘Outdoor Miner’ (’91)
Pixies – ‘Monkey Gone To Heaven’ (Mark Goodier Session ’90)
Ride – ‘Taste’ (’90)
Stiff Little Fingers – ‘Doesn’t Make It Alright’ (’79)

Enjoy,

 

Dirk

 

 

#edwyncollins45s

THE TESTIMONIAL TOUR OF 45s (aka The Singular Adventures of Edwyn Collins)

#33: Do It Again : Edwyn Collins (Heavenly Records, HVN 211, 2010)

I made mention last week of just how many folk came forward with offers to help Edwyn write and record songs for his seventh studio album, Losing Sleep.

Two of those were Alex Kapranos and Nick McCarthy of Franz Ferdinand. Back in 2010, their band was possibly at the height of their popularity, with three albums (all of which went to either #1 or #2) and nine Top 20 singles to their name.  The song they co-wrote with Edwyn for the album was catchy enough. It starts off as if it’s a typically upbeat Edwyn song and then the chorus, in which the FF boys come in on lead vocals, sounds like one of theirs.

mp3: Edwyn Collins – Do It Again

If there’s a criticism to be offered, it’s that the joins are very obvious and visible, and in some ways this detracts from the end result, but there’s no doubt that the EC/FF collaboration did draw some welcome attention to the new album.  It also spawned a fabulous video  – check out the 70s porn star moustache above Alex’s top lip, and also Paul Cook, at the age of 54 (as he was at the time) looking neat and sharp in his suit as he pounded the drums.

The b-side was an exclusive track. Written solely by Edwyn, it is one of his real hidden treasures. It’s a fairly lengthy number, coming in at well over five minutes, and the music has that sound and mood of a piece of music that would fit perfectly on some sort of film or TV programme soundtrack. I’m not entirely sure, but it may well be a song that was written and recorded some years previously, before Edwyn was struck down, as his voice sounds much stronger than on the Losing Sleep tracks, and the impressive, 60’s-style guitar work and production values are very familiar to those of us who had been keeping up with his career at all times.

mp3: Edwyn Collins – You’re Gonna Love This One

Released only on 7″ vinyl and housed in a plain brown cardboard sleeve, this time with a green label and the jukebox-style middle.

 

 

JC

Life Model

SATURDAY’S SCOTTISH SONG : #504: LIFE MODEL

As was said on the previous occasion they were mentioned on the blog, Life Model have been making music for quite a while, having been named as ‘one to watch’ in 2018 by BBC Radio Scotland. But it took till 2021 for the debut album to come out, on Last Night From Glasgow, whose website provides as good a summary as you could ask for:-

Life Model are a 5-piece dream pop band from Glasgow, made up of Sophie Evans (vocals and guitar), Chris Smith (guitar), Helen Farrow-Thoms (keys and backing vocals), Cameron McDougall (bass) and Michael McDonald (drums). The band mixes classic indie and pop of the likes of The Sundays and Belle and Sebastian with the noisier leanings of bands like Sonic Youth.

I’ve been hoping for something new to emerge over the past five years, but with nothing having been posted on Facebook since 31 December 2021, it does, rather sadly, feel as if their time has come and gone.

mp3: Life Model – Lucky

One not from their debut (and only) album, Lost On Weekdays, Lonely By Sunday, but instead was released as part of the Indietracks Compilation back in 2018.

 

JC

 

Grandaddy

NINE YEARS ON…..

Thursday 4 – Sunday 7 May 2017

The First Big Bloggers Weekend in Glasgow.  Attended at various times by quite a few locals, along with Walter, Dirk, Brian and Adam, who came over from Germany, Germany, USA and England respectively.  So many wonderful memories.

Today will see me catch up again with Dirk for the first time since then.  Plans to do so a couple of years back were thwarted when a trip to Germany by myself and Rachel, where we could see both Dirk and Walter, had to be postponed when the flights were cancelled at 48 hours notice. There’s been a couple of other attempts that have, for one reason or another, fallen by the wayside, but finally it all comes together today.

Dirk, along with his wife and a couple of their friends are visiting Edinburgh this weekend.  They will have arrived yesterday and, with the help of Aldo, have been given a few suggestions as to where to go in and around the vicinity of their temporary abode on their first evening.  Today, I’ll be heading through to meet up with them and give them a slightly wider tour of the city, taking in Leith, Stockbridge and the New Town….they have also been given some suggestions as to how best occupy themselves on Saturday and Sunday.

The catch-up will certainly take my mind off the outcome of the election results (the count in Scotland gets underway later today), and I’m incredibly excited to be meeting up with my great friend after such a long time.

mp3: Grandaddy – Everything Beautiful Is Faraway

Today’s song is from Grandaddy‘s debut album, Under The Western Freeway.   It was one of 21 songs picked out by Dirk for inclusion on his Contrast Podcast Compilation CD back in 2009.  The Contrast Podcast was a brilliant exercise in worldwide friendship, organised by Tim Young (living in Switzerland) and often assisted by Fil Hemming (living in Canada) which began in 2006 (waaaaay before these things became popular and trendy) involving numerous contributors, giving a spoken introduction to a song of their choice on a particular theme.

There were a couple of occasions when we all had to burn a CD of songs and post it overseas to one of the other contributors. On one such occasion, I was lucky enough to be the recipient of Dirk’s CD which, as instructed by Tim, had to consist entirely of singers/bands with a particular letter of the alphabet, in this instance ‘G’.

I do miss those days and often wonder what the various contributors are up to, albeit I know some do occasionally pop into TVV.

We’ll certainly be offering a toast to absent friends at some point today.

 

JC

Chumbawamba, Heaven 17

IT’S ELECTION DAY IN THE UK

 

It’s not a General Election to bring in a Westminster government, but will see voters in Scotland and Wales electing politicians to the Scottish Parliament and Senedd Cymru respectively, while many voters in England will be electing local councillors and/or mayors.

The polls are predicting massive gains for the right-wing in the shape of Reform UK.  We are living in distressing and dangerous times.

mp3: Chumbawamba – Bella Ciao
mp3: Heaven 17 – (We Don’t Need This) Fascist Groove Thang

I suspect I’m not the only one posting these tunes today.  If you do have a vote today, please go out there and use it sensibly and effectively.

JC

Stereolab

FOUR TRACK MIND : A RANDOM SERIES OF EXTENDED PLAY SINGLES

A guest series by Fraser Pettigrew (aka our New Zealand correspondent)

#17: Stereolab – The Free Design (1999)

A beneficial by-product of writing this series on EPs has been the pleasant rediscovery of records that I hadn’t listened to in quite a while. And in the case of The Free Design by Stereolab, seemingly not ever listened to properly and realising how much better it was than I remembered.

The Free Design was the lead single from Stereolab’s sixth full-length studio album Cobra And Phases Group Play Voltage In The Milky Night. Not only did the band’s penchant for absurd album titles reach new heights, the music also further extended the rhythmic sophistication and multi-instrumental arrangements from preceding album Dots And Loops.

Like Dots And Loops and Emperor Tomato Ketchup before that, Cobra And Phases was produced by Tortoise drummer John McEntire, this time with the additional assistance of alternative-guitarist-at-large Jim O’Rourke. Emperor Tomato Ketchup was apparently also the first time Stereolab used loops rather than drones as compositional starters, although the overall effect on the music isn’t as marked as the shift that occurred on Dots And Loops, where more complex rhythms including some synthetic percussion (even flirting with drum’n’bass styles), brass arrangements, and a slicker studio sound stood out.

Cobra And Phases continued that movement with repeated use of somewhat staccato Latin-jazz rhythms and modal vocal melodies that led some critics to bemoan a lack of variety across the album. Without having read any such criticism I nevertheless leapt to a similar conclusion myself, feeling that the hitherto felicitous blend of 60s French pop and German avant-garde had skewed towards too much easy listening and not enough Krautrock for my liking.

Given that barely two or three weeks would have passed between my purchase of The Free Design and the arrival of the album, I suspect that the EP never got many spins before my disappointment with the LP tainted it by association. Imagine my surprise and delight, therefore, when I slapped it on again for the first time in many years, at rather higher than intended volume, and thought cor blimey, what a ripper, or whatever it is that young people say these days.

Granted, the title track is practically the archetype of the pseudo-samba style that was overused on the album and through subsequent years, but it is one of the catchiest iterations of the template, definite single material, embellished with almost Dexys-like brass parts. Straight after that, however, we plunge into a delightfully squelchy synth-heavy romp on Escape Pod (From The World of Medical Observations) which really popped at volume, reminding me that I tend to listen to music too much in the background instead of up at 11 on the amp so it flays the skin off your face. Plays havoc with my hearing aids but fuck it, yer a lang time deef, to coin a Scots phrase.

The B-side tracks are both well along the pop tune spectrum but in a more relaxed tempo than the lead track. With Friends Like These is a quaint little diatribe, showing extreme intolerance for the intolerant, hating on the haters, all beneath the jauntiest little tune and sweet arrangement. Les Aimies Des Mêmes is a bit more downbeat, built around a bass line that could have been lifted from a Blaxploitation soundtrack, and concluding with a distinctly jazzy muted trumpet solo.

The Free Design, in case you aren’t already aware of the title reference, was a family vocal group in the late 1960s and early 70s that had little commercial success but enjoyed a renaissance in recent years thanks to artists such as Stereolab, Beck and Sean O’Hagan namechecking them. They were probably too musically complex to have made the mainstream breakthrough at the time but their sophisticated arrangements and time signatures – think The Beach Boys and Swingle filtered through Benjamin Britten and modern jazz – made them ripe for retro rediscovery. Needless to say, the lyrics of the song have absolutely nothing to do with them.

As with Miss Modular, the lead single from Dots And Loops, The Free Design EP came in 12” format rather than the 10” EPs that preceded Emperor Tomato Ketchup (Cybele’s Reverie), Mars Audiac Quintet (Ping Pong) and Transient Random-Noise Bursts (Jenny Ondioline). Like those previous two lead singles you could get the 12” of The Free Design in any colour of vinyl so long as it was black. Cobra and Phases was also only issued in black vinyl, limited to 7000, unlike the spangly yellow Emperor Tomato Ketchup and the minty green and white Dots and Loops. In 1999, Vinyl was approaching its near-extinction and the modern fetish for colour was a long way off.

Having found the EP more to my liking than I had remembered, I went back and replayed the album, motivated also by the discovery in an interview that Tim Gane regarded it as the Stereolab work he was most proud of. With all this encouragement, I wasn’t surprised to find that the album held more pleasures than my memory had allowed, including the long avant-garde track Blue Milk, a succession of monorythmic variations throbbing on for over 11 minutes. Mrs P pleaded with me to make it stop after about 5, but she was out of luck. Our marriage endures in spite of it all.

The Free Design

Escape Pod (From The World of Medical Observations)

With Friends Like These

Les Aimies Des Mêmes

 

 

Fraser

Age Of Chance, Clouds, Happy Mondays, McCarthy, St Christopher

C86 : THE ULTIMATE SERIES (Parts 29, 30, 31, 32 and 33 of 114)

The backstory of McCarthy was told a short time ago in the post that covered Parts 15-17 of the series, thanks to Celestial City being part of the C86 cassette.

I mentioned how their earliest recordings were on The Pink Label.

mp3: Frans Hals – McCarthy

Track 21, Disc 2 of CD 86

This, in March 1987, was the band’s second and final single for The Pink Label, and it reached #4 on the Indie Singles Chart. It had the catalogue number of PINKY 17.  There would only be two further releases on the label before owner Simon Down closed it down, with spend having far outweighed income.

Yup….Cherry Red Records managed to get a Happy Mondays track licensed for inclusion on the 2014 boxset.

mp3: Freaky Dancin’ – Happy Mondays

Track 11, Disc Three of C86 The Deluxe 3CD Edition.

The band, of course, shot to fame via what was known to all and sundry as Madchester, but just a few years previously, they had been regarded as a good fit for the C86 scene, particularly the shambolic element.

Signed to Factory Records in 1985, Freaky Dancin’/The Egg was their second single for the label, hitting the shops in June 1986.  The catalogue number was FAC 142. It sold in such dismal numbers that it didn’t even make the Top 30 of the Indie Singles Chart.   Even today, second-hand copies of both the 7″ and 12″ releases can be had for reasonable amounts.

The backstory of Age of Chance was told a short time ago in the post that covered Parts 7-10 of the series, thanks to Bible of The Beats being included on the CD86 release compiled and curated by Bob Stanley in 2006. I did, in that previous post, mention that the band were one of those who had contributed to the C86 cassette:-

mp3: From Now On, This Will Be Your God – Age of Chance

Track 11 on side 1 of the C86 cassette; Track 11, Disc One of C86 The Deluxe 3CD Edition.

As far as I’m aware, not released on any of the band’s subsequent singles or studio albums.

The Clouds, from Glasgow, were a short-lived band whose recording legacy was just one half of a flexidisc and three songs on a single issued by the Bristol-based The Subway Organisation in January 1988.

mp3: Get Out Of My Dream – The Clouds

Track 9, Disc 1 of CD 86

It’s actually one of the two songs on the b-side, with the a-side being Tranquil. Released in February 1984, it was also just the second single to be released by Subway, a label that would continue through to 1990.  Four of the compilation albums/boxsets I have covering this period/or the indie genre contain Get Out Of My Dream.

St. Christopher are from York, an historical Cathedral City in the north of England. They formed in 1984, with their first three singles coming out on their own Bluegrass label:-

mp3 : Go Ahead Cry – St. Christopher

Track 16, Disc Three of C86 The Deluxe 3CD Edition.

This was their third single, and came out in 1986.  The band would later sign with Sarah Records, releasing the 7″ singles You Deserve More Than A Maybe (SARAH 15) and All Of A Tremble (SARAH 20) in 1989, followed by the 7″ single Antoinette (SARAH 34) and the 10″ mini-EP, Bacharach (SARAH 403) in 1990, and finally the 7″ single Say Yes To Everything (SARAH 46) in 1991.

They would later record for a number of other famous indie-labels including Slumberland, Cloudberry, Vinyl Japan and Elefant.

The most recent album, Of Angels and Kings, was self-released in 2021. Like almost all bands who have been active for such a long time, the membership has changed a few times, but the one constant has been singer and main songwriter, Glenn Melia.

 

JC

Various

WHAT I LISTENED TO WHEN I WAS 17….

A guest posting by Mopyfop

mp3: Various – What Mobyfof listened to when he was 17

Prince – 1999
The Psychedelic Furs – Love my way
The Human League – the things that dreams are made of
Simple Minds – I travel
Thomas Dolby – Flying North
Blancmange – Living on the ceiling
Adam Ant – Stand and deliver
The Undertones – You’ve got my number, why don’t you use it?
The Damned – Love song
Motorhead – Ace of spades
Echo & the Bunnymen – The Back of Love
Associates – Party fears two
Public Image Ltd. – Public image
The Clash – London calling
Elvis Costello & the Attractions – Pump it up
The Cure – A forest
David Bowie – Rock n’ roll Suicide

 

Mobyfop

 

#edwyncollins45s

THE TESTIMONIAL TOUR OF 45s (aka The Singular Adventures of Edwyn Collins)

#32: Losing Sleep : Edwyn Collins (Heavenly Records, HVN 205, 2010)

13 September 2010 would see the release of Losing Sleep, the seventh studio album by Edwyn Collins. It was the first completely new album after his illnesses, and such was the love, affection and esteem that he was held in that many musicians went out of their way to contribute to the record, either by helping to write the songs and/or turning up to West Heath Studio, the facility owned and run by Edwyn, to participate in the recording.

A few names…..ex-Sex Pistol Paul Cook on drums, and when he wasn’t banging away, you’d find Dave Ruffy (The Ruts and Aztec Camera among others.Alex Kapranos and Nick McCarthy (Franz Ferdinand), Johnny Marr, Ryan Jarman (The Cribs), Romeo Stoddart (The Magic Numbers), Barrie Cadogan (at the time part of Primal Scream) and Jacob Graham, Connor Hanwick and Jonathan Pierce, all members of The Drums.  Then there was Carwyn Ellis, Sean Read and Andy Hackett, who to this day remain involved with Edwyn in the studio and on the road.

The title track from the album was released as the advance single in mid-August.  An upbeat foot-stomper with a nod to Northern Soul complete with a great backbeat and brass courtesy of a trumpet and saxophone, with the lyric referring to the troubles of recent years, but without an iota of self-pity.

mp3: Edwyn Collins – Losing Sleep

Released only on 7″ vinyl and housed in a plain brown cardboard sleeve with a yellow label and a jukebox-style middle.  The design would prove to be common to the next two singles, both of which were lifted from the album.

The b-side contained an instrumental version of the song

mp3: Edwyn Collins – Losing Sleep (instrumental)

CDs were still the way that most folk bought singles in 2010, and so his decision to go with a vinyl only release may well have cost Edwyn the chance to have a hit single as there really was a lot of interest in what he was doing and who he was working with at this point in time.

 

JC

Lichen Slow

SATURDAY’S SCOTTISH SONG : #503: LICHEN SLOW

Here’s a short bio lifted from All Music, that was written by Marcy Donelsen:-

Lichen Slow’s sombre atmospheres and ruminations are the creation of members of Arab Strap and Team Leader. The U.K. duo presented their self-produced full-length debut, Rest Lurks, in 2023.

With backgrounds in styles spanning sadcore, instrumental noise, and folktronica, Scotland’s Malcolm Middleton (Arab Strap) and England’s Joel Harries (Team Leader, 72%) formed Lichen Slow in the early 2020s and quickly went to work on their debut album. Shaping acoustic and electronic instrumentation into a reflective indie rock that complemented their calmly disconsolate lyrics, Rest Lurks arrived on the Rock Action label in March 2023. It was produced and mixed by Harries.

It’s an album on which both musicians often address their many bouts with mental health issues, which means it isn’t the cheeriest of albums that I’ve ever bought, but many of the songs are rather lovely in the way they have been produced and recorded.

mp3: Lichen Slow – Hobbies 

 

JC

 

Fictive Fridays, Various

FICTIVE FRIDAYS : #15

a guest series, courtesy of a very friendly lawyer

Today’s set was all queued up to start off with ‘Do The Du” by A Certain Ratio. Then the New Zealand correspondent served up a solid post featuring that EP in his excellent Four Track Mind series. So just imagine you heard the ACR tune before all of the following ones.

WHAT TO DO

Do The Strand – Roxy Music.

Lead off track and only single from Roxy’s second album, For Your Pleasure. Everything about it is awesome, including the great bass line by John Porter. It’s a shame Porter didn’t become a permanent band member, but he went on to a lot of success as a producer for the Smiths, Billy Bragg, Killing Joke, and then a load of blues legends (BB King, John Lee Hooker, Taj Mahal, Buddy Guy & co.).

Do The Dog – Specials.

Second track on the eponymous debut album, produced by Elvis Costello. It’s credited to “Rufus Thomas, arrangement by Jerry Dammers.” Not sure why—the Coventry ska merchants’ song bears no resemblance to Thomas’s 1963 Stax single.

Do The European – JJ Burnel.

The Stranglers bassist was the first of the band to release a solo record, Euroman Cometh (1979). It was a concept album of sorts, about the possibilities of a united Europe. The not-the-subtlest-guy-ever wrote in the liner notes: “A Europe riddled with american values and soviet subversion is a diseased sycophantic old whore: a Europe strong, united and independent is a child of the future.” Okay, JJ.

Do The Evolution – Pearl Jam.

Some kinda half-baked screed about technology. Or something. Hard to ever really say what Eddie Vedder is going on about, but he’s all in on the vocals. A raucous number from 1998’s Yield.

Do The Panic – Phantom Planet.

This song has a tricky little history. It was written by PP frontman Alex Greenwald and drummer Jason Schwartzman (the actor) for a 2001 black and white indie film, Don’s Plum, starring Leonardo DiCaprio. Then the band included it on their fanclub-only release Negatives in 2004. Then they recorded new lyrics and put it on their 2008 album Raise The Dead, which is the version in this set.

Do The Q – Welcome Back.

Can’t tell you much about Welcome Back. They’re apparently a trio from Denver, Colorado. Tinder in the Ashtray (2024) is their only album to date. Despite their relative obscurity they’ve got a super laid back, pretty sound reminiscent of, say, Real Estate, and Los Angeles’s dearly missed Acetone.

Do The Reggay – The Maytals.

Let’s go WAY back to 1968 for this single, purportedly the first popular song to use a variation of the word “reggae.” Toots Hibbert wrote it and hinted that the word equates to “raggedy” and was Jamaican slang for a scruffy person.

Do The Trick – Dr. Dog.

This under-the-radar Philly band is hard to categorize. Or maybe easy to categorize since they’ve been called psychedelic, indie, bluegrass, lo-fi, alt-country, pop, and lots of other descriptors. Whatever—they’re a solid act that have been together for 25 years and have released a boatload of records. They must have a great agent because their songs constantly show up in movies and on TV shows. From their sixth studio LP, Be the Void (2012).

Do The Vampire – Superdrag.

Sort of what grunge sounds like if you come from Tennessee. For their second LP, Head Trips in Every Key (1998), Superdrag enlisted doomed pop-punk producer Jerry Finn, who’d go on to produce for Green Day, Blink-182 and their ilk. Not sure what the song is about, but vampires were popular in the 90’s.

Do The Whirlwind – Architecture in Helsinki.

From the band’s second album, In Case We Die (2005). At this point in their too-short career, AiH were an octet with a full horn section, in addition to other non-rock instruments like glockenspiel, flute, and clarinet. The Australian band arrived at their name by cutting up and rearranging newspaper headlines.

Bonus track: Do The Astral Plane – Flying Lotus.

Haven’t heard a lot from FlyLo for a minute. His last studio release was 2019’s Flamagra. But I have a soft spot in my heart for the guy for two reasons. First, he CRUSHED it at Coachella in 2012 and was a highlight of the festival. Then, six months later, he personally intervened to get underage and possibly high on ecstasy Sam into a show at the Congress Theater in Chicago, where Sam had just moved to go to art school. An album side from 2010’s critically acclaimed Cosmogramma.

 

Jonny