I don't think this band falls into any conversation of "super group" but all of the fellas recording these tunes have a nice back catalog of their own. The main reason this project even came to pass was John Petkovic's sad loss of his mother to bladder cancer. He did not handle it well and he says that the formation of Sweet Apple literally saved his life. Music can be magical, and this is just one more example of it.
I gotta admit that I hadn't been familiar with Petkovic's other main group Cobra Verde at all. Cobra Verde from Cleveland play some rippin' straight up R&R. They do an interesting take on the Stones "Play With Fire", and I am sure if I ever saw True Blood the cover would probably be a bit cooler. Petkovic also pulled in guitarist Tim Parnin from his Cleveland glam rocking group to help assist with riffs in Sweet Apple.
The other half of this group play together in Witch, with Dave Sweetapple on Bass and some guy named J on drums. They are pretty straight up stoner metal, which can be fun, but J Mascis other band is in my top 3 of all time, Dinosaur Jr. So I wasn't sure what to expect from Sweet Apple, but in the end it is a pretty good combo of the 3 groups, with a bit of a heavier lean on the straight rock over the noise and metal.
I didn't mention their single in the review so I will post it here (along with tunes from all their other bands). It is called "Do You Remember" and it is pretty ass kicking, just behind my favorites on the album ("Hold Me, I'm Dying" “Crawling Over Bodies” and “Never Came”) It is a good representation of the band and the video is pretty witty to boot. I also got a live clip for ya so you can judge for yourselves so..... lets go to the video tape! (RIP Thanks Warner Wolf)
Sweet Apple:
Live at Mercury Lounge (Pissed I missed this show and J playing a different sounding g-tar in such a small venue)
Well it is a national holiday, and hopefully you are all out BBq'ing up some fun and watching the sky explode in honor of our great country. I was in a bar 4 years ago around this day and the conversation came up, "What is the Greatest American Band?" We discussed/argued/arm wrestled/danced jigs over various issues and criteria, and we all had different opinions in the end, but I went with, you guessed it. The Good Ol' Grateful Dead.
To me they just represent American popular music the best over the course of the last 60+ years. Never settling into genre's, routine or predictability. Having up moments down moments, new members half members, problems and awe inspiring live musical moments on more of a regular basis then their critics like to admit. So July 4th and The Grateful Dead, ain't that America?!? Last year The Dead released one of their best July 4th shows with Trucking Up To Buffalo. If you want a great clean late 80's Dead experience give that show a whirl, it is really great in both DVD and CD form.
Today is something else entirely...
it is from a sweltering hot country birthday in Boston July 4th 1987, you can click that link or stream it right C'here:
This is a Front of Board Audience tape so the quality may not be as high as some of the past shows I have highlighted but on the 4th we are in the crowd with the people, we can hear their cheers and the crackling of mics and swirl of the tapes. At any case it is certainly listenable in fact I think this version is better then the "supped" up one also found on archive.
This show was a bit different then the rest of the tour, while technically you can call it 2 sets, in reality it was 1 long one, but during the first part some of the highlights are the Brent led "Tons of Steel" (yes I love Brent...who doesn't?!?) and the crisp sounding "Box of Rain" that fired up those in attendance even more then the oppressive heat.
After "Althea" the band went pretty much right into a perfectly summer shining "Uncle John's Band" that had some sharp lines from Jerry and a great drum section from Billy and Mickey. A brief "Playing in the Band" and a nicely segued "Truckin'>Other One>Wharf Rat" which found the band (especially on "Wharf Rat") flowing sweetly even with the echo vocals. OK I know you must be thinking sure it's an decent set but nothing remotely special... well they had to play another full set, helping out this guy...
And magically that recording is posted here (sssh don't tell Sony!) ....so it is a special holiday treat. While I am sure looking back neither group was particularly in love with the performances on this tour, I find them much more listenable then most people. Perhaps because I love Dylan so much, but I always find him a fascinating listen even when he is sucking donkey nuts, and believe me he is far from doing that lewd act here. Summer of 87 weren't his best run of shows, they did remind him how powerful a live show experience can be and for that you can directly thank the Grateful Dead.
"John Brown" bristles, I love the ease with which the Dead play "I Want You" even if Dylan is a touch aggressive. The "Joey" and the fire and brimstone laced "Slow Train Coming" both made the official release following this tour from this show. I've never really been sure why when it comes to the "Joey" but today's show may actually be my favorite version of "Slow Train Coming" Dylan ever did, the oppressive heat comes thru reminding that there's Hell Below...
agratefulmule | MySpace Video
I am hoping to do a whole series on Dylan (with some help) so I will leave this show here for you to enjoy, and have a happy, safe, fun July 4th...The boys wish you all the best:
This is a really solid Keyboard/Guitar focused album, I know the band has been popular and that Boeckner and Krug have had productive history's in the music realm, but all that I had known from them prior to this album were a few of their singles.
"You Are a Runner and I Am My Father's Son" which I liked back in '05 but had forgotten about until a friend reminded me (Thanks Lopez) and "Shine A Light" which I was never too crazy about, maybe because I always wanted to hear the Stones when I heard the title.
Every Blog should have a Big Tongue on it...especially one that sounds this facking good!
Anyway, back to Wolf Parade, Expo 86 is an electric album that hits a lot of the right notes with it's pulse and drive...while I do think songs could have been shrunk a bit (that feels odd to type as I love my long jams) there is a lot of goodness to sift through and vocally the group is engaging. A def early 80's new wave flair to the singing which usually turns me off, but this time they are not overwhelming in a Max Headroom sort of way.
I seemed to have missed the last album entirely and now i want to go back and check out At Mount Zoomer, maybe I will do so over this long weekend...they are also playing Terminal 5 on the 13th...hmmm.
Here are a few vid's,
"Cloud Shadow on a Mountain" Live:
A Fan Video of "What Did My Lover Say? (It Always Had To Go This Way)"...no idea what the vid means by the way:
I think my favorite song has been this one, "Little Golden Age",
but as I mentioned all are solid, so buy the vinyl and pick your own.
This crew from Brooklyn has been gaining lots of hype and press and playing some pretty kick ass shows. Unfortuantly my schedule hasn't allowed me to catch them live yet which is a real shame because (confession time) I am actual friends with the mastero on keys.
Oliver and I are both NYBlues and huge Chelsea supporters (both there the first time Roman Abramovich came to Nevada's and both there for the clinching of the league this year.)
but besides the footie, we both love all kinds of music, from 20th century classical to hardcore metal. ArpLine is niether of those.
What you get with Travel Book is a thick soup of sound that swirls its electronica fingers around and around tightening the concoction with pulsing rhythm and dancey beats. Well I talked about that in the review... so lets give you some of their sound so you can decide, and def go see them live if you can:
On a technical Note, I will be playing with the look and feel of Rock the Body Electric over the next couple of days, and hope to spruce up the joint a bit over the holiday weekend. I should also have a few more Glide Reviews coming out soon so you can check out some new tunes at your 4th of July BBq. All the Best.
Well it was a tough soccer weekend for the US and England for that matter, as both were eliminated, and while there should be instant replay on questionable goals, neither team can complain too much about the outcome's as neither looked all that sharp. Well what is needed on this Monday is some soothing music, and a look to happy USA sporting events wouldn't hurt, so lets combine the two. We venture north today to the location of perhaps the USA's most iconic national sporting moment, Lake Placid:
This is the first time I am dipping into 1983, maybe the only, so I am doing so with a bang. While it wasn't a career year for the band I do think this is the best show the boys played during '83 and is certainly worth your time. Lean back as we present 10-17-1983, click that link or stream the full show right c'here:
Playing in a epic venue the boys took to the stage 3 years after the USA Men's Hockey team stunned the world with it's Miracle on Ice and beat the mighty Russians.
This recording is almost perfect with up front vocals clear playing and pumping low-end. Really a great job done by all who contributed to the sprucing up of the recording, there are no faults to be found. The Dead waste absolutely ZERO time in getting into some epic territory. The highlight of this whole show is the opening enchantment of "Sugaree". At almost 17 minutes it comes and sticks around awhile, and while other great versions of the song seem to lazily swirl along, this one finds Garcia inventive on the axe, squirreling in multiple notes and taking the song into uncharted waters. This is a version all fans and non fans alike should get down with.
Bobby is playing some piercing slide on "Little Red Rooster" screaming out from your speakers, before the second highlight of the night strolls out with fantastic live rendition of "Friend of the Devil". Easily one of the Grateful Dead's most iconic tunes, but also one of the rare examples of their studio work outshining their live performance, as rarely has a version come close to the American Beauty original recording. "FotD" usually is a bit underwhelming when the boys tackled it on stage, but during Brent's era with the band their are some standout versions, and this is one of them. With it's easy opening that sounds like a different tune, followed by the excellent vocals and Brent's twinkling, almost harpsichord solo before Jerry's ranging runs, it is a version worth absorbing.
The rare "My Brother Esau" which debuted earlier in the year shows up and Bobby makes it through while "Shadowboxing with the Apocalypse". "Birdsong" then flutters in on Brent's twinkling ivories, Garcia's wandering lines and some well timed popping from Phil. This version is a bit sped up but not too quick and does stick around a bit, really some excellent playing. A tight and quick "Hell in a Bucket" is paired with an aggressive "Deal" to close out an exceptionally great first set that has some real high spots, and 3 contenders for "best ever" conversations with the "Sugaree" "Friend of the Devil" and "Birdsong" all thanks to this guy:
The second set starts off with "Touch of Grey" which is a year and a month old, and would surprisingly rocket up the charts in just 5 short years...such a strange history with this tune which I will get into more during another post, but this is a fun version that strums along at a brisk pace and while Jerry's voice maybe a bit out of sorts, it is a fun ride. Next is an explosive "Samson and Delilah" which would have melted the ice that the American Boys played on 3 years earlier. Really cooking with fire from the Bay Area band here and then they go and do a mini bust out of "To Lay Me Down" which hadn't been played in over 2 years. While I do love this song and this version is pristine, I think it's placement is a bit off and would have worked better if the band waited until post "Drums>Space" slot for this ballad.
"Man Smart Woman Smarter" gets the energy ramped back up and Jerry again is blazing hot before the monster known as "Terrapin Station" rumbles out. "Terrapin" has always been a favorite of mine, while I know other fans are upset because versions are the same show to show, I think it is a grand and beautiful song that was played sparingly enough that it remained a special treat when busted out. Jerry here and there messes up some lyrics, but it is still a fine version, I particularly like Brent's tone and playing on this one.
This winner of a show contains my favorite way that the band commonly came out of "Space" with "The Wheel". The early strains can be picked up from any of the spacey voyages the band was on, and it acts in uniting the crowd and band as one exhilarating force.
Heads who were in attendance all commented on the human wheel that was circling around the venue when this was played, and it is a wonderful version, I love the riffs Garcia plays with starting around the 6 minute mark which bleed into "I Need A Miracle". Bobby leads the boys through a mega "Miracle" here firing hard and blues heavy, in fact it feels like they want to stay in the blues vein before abruptly switching towards their old Folky ways via "Going Down the Road Feeling Bad". Brent again shines this time on an organ, and the mood is livened before the set closing "Good Lovin'" which finds Bobby speaking his mind and the encore of "Revolution" as an ode to The Beatles:
Enjoy the best show of 1983, a truly Gold Medal worthy performance.
After one of the great finishes in world cup history...
We find ourselves on the eve of the biggest soccer match ever for this country, you really need to watch this video, and get pumped for the match tomorrow.
Actually will be spending the morning listening to the amazing danah boyd speak on youth and social media, so it will be a fun and productive Monday AM.
But I won't leave without a show, and today we dip back into 1969 for some magic with 2-18-1969 which found the Dead Playing Modesto College in CA. Listen to it by clicking on the date, or listen to the full show right c'here:
This show's a fun one and since youth was the topic of the speech I heard today, how about we hit up a ripping "Good Morning Little School Girl" to start things off. The band was all ready playing when the tapes were rolling, but that doesn't kill the vibe at all. There are a couple of recordings on the Archive, but I think this version is the best.
Pigpen starts off super loud during "School Girl", but by the "Dark Star" the levels work out nicely, and holymoley it's just in time as this is a fun sonic adventure. The cosmic crusaders where all over the map of deepest darkest space here with Captain Trips leading the way.
Some of the early "Dark Stars" are quick jaunts, but '69 showed the band slowing down and exploring the outer reaches with the tune and this is an excellent psychedelic version.
I am a bit short on time, so I will just point out some of the other highlights. "Death Don't Have No Mercy" is a beast, as is "The Eleven" some great singing in the first and playing in the second. Garcia is really the MVP here. I am not a fan of the super long "Lovelight" but otherwise this is a great slice of Grateful Dead entering their 60's prime during the last year of the decade, enjoy, and feel free to share your thoughts.
This review is part of the "Over Flow" Review Series. For various reasons these past reviews were not published anywhere else. I am tagging them as "Overflow Reviews" and may add some extra information before or after if needed but will keep the ratings and reviews just as I originally wrote them. Enjoy:
Band of Horse’s Infinite Arms
**** out of *****
Have you ever had a gimlet to start a night of festivities during a summer gathering with friends, loved ones and a few strangers mixed in? That gimlet is what Infinite Arms feels like; refreshing and enjoyable to start, that influx of lime and booze dropkicks the senses. Soothing and easy as it progresses, brightening the surroundings even as the sun recedes. In the end it has hit the spot, quenched the nerves yet lit that social fire; you are ready for the night to commence.
All three of Band of Horses albums have been unique; Infinite Arms is their mellowest offering so far and probably contains the least amount of standout songs, yet in the end may be their most cohesive full album offering. The highest points come at the start and then the album coasts along. “Factory” and “Compliments” are the two of the best tracks setting the bar high with their pristine production, horns on the first and driving guitars on the second. “Laredo” possesses transitional lyrics matched by both clean and fuzzy six-strings over a strong back beat and comes before the album settles into some slower tracks that rely on Ben Bridwell’s fantastic vocals.
The voices are the true highlight on any Band of Horses albums, with perfect harmony’s expansive range and somber inflection. For my money they are the best vocal band in rock and roll, so good that they add gravitas to simple lyrics; reminiscent of David Byrne. They have the ability to take the plain and inject beauty and meaning; elevating the everyday.
Take the closing lines to “Bluebeard”: “Find another way, try to break the ice/Every day and night, the banana peels were true, true”. Written they are nonsense, but when sung by Bridwell and company something happens. That’s not to say all the lyrics are meaningless, in fact, it wouldn’t be shocking to find that this is a loose concept album. Homes, or at least passing residencies, are centerpieces of multiple tracks, the title song “Infinite Arms” sounds like it was sung and recorded on a back porch in the woods. The specter of departing lover hovers on the outskirts of most songs as well creeping in and tugging at heartstrings.
Music, vocals and lyrics link up so effortlessly that it almost tips the album towards too polished, but before the sun sets, Infinite Arms tosses out the pounding drums and hints at a new beginning with “Northwest Apartment” and the glorious piano closing of “Bartles + James”. All at once ending and yet transcending one of the albums of the year.
A couple of more thoughts and a bunch of videos after the jump....
This blog seems to be a bit hippy heavy lately with all the Monday Dead posts, so lets get Hardcore. Hardcore Metal and Hip Hop are the fires where my fragile musical mind was formed, and I do love dipping back into the heat especially for some good friends, and Billy Club Sandwich are just that.
I have been friends with the group since 1995 and while I haven't attended a ton of shows lately I always love to see Glen, Martin, Havana and Muttley. Hopefully I will be doing some more stuff with the NYHC stalwarts on future shows and releases, but until then go buy an album over at Dead City and enjoy some videos and pictures I took from from Saturday's Show @ Santos.
"Chin Music"
"Suckerpunch"
Metal and stink Eye Indeed Phil and Don...
oh and if you were wondering I didn't stick around for Underdog, it had been a long soccer day.
Well the USA pulled out a draw with our old mother country England this weekend in the opening match of the World Cup. Green couldn't handle Clint Dempsey's shot so we got what basically amounts to a win for us, and both squads looked poised to advance now.
So today for the Monday Dead series I am grabbing a show from London Town. It is from 3-21-1981, you can listen to it via that link or stream it right c'here:
This is a soundboard recording that gives you crystal clear audio. It is impressive, so much so that you may think it was a studio recording. This show is from the Rainbow Theater in North London, the venue has quite a history, and while now it is a church, I am pretty sure some Dead Heads saw God on this night.
The recording puts the vocals directly in the forefront of this show, with Bobby and Jerry singing right in your ear and after some levels are played with during "Alabama Getaway" the music comes in fresh, with a heavy dose of Brent and a bit low level of Phil and the low end, but overall a clean listen.
The segue of "Me and My Uncle" and Johnny Cash's "Big River" twinkle along with energy and set up an excellent and fairly unique pairing of "Tennessee Jed">"Little Red Rooster". This starts the highlight of the show for me as the end of the first set contains some unique pairing and playing. A growling Garcia leads a great stroll through TJ, lazily plucking and strumming before the blues of LRR come bounding out via Bobby's slide guitar. Maybe not quite up to the Howlin' Wolf original but a hell of an effort...
There is a bit of sound quality drop in "Little Red Rooster" we get an audience patch briefly, but I don't mind it is good to hear the audience chime in after an awesome solo.
"Althea" comes next and I think this was the perfect early 80's song for the band. It has a great groove, fantastic lyrics and lends itself for some solo styling, and this version is great. It is always a pleasure to hear when it is done well and this version certainly is as Phil comes alive dropping some unique bass lines while the drumming duo step up too. Then we get a big time "Let It Grow" Phil has been fully turned up here blasting away, and the end gets a bit spacey, ala "Playing In The Band". Then they end the set with a usual opening pairing of "China Cat Sunflower">"I Know You Rider", Great Stuff here as the band is hitting on all cylinders (Check out the Motoring going on right around the 4:20 Mark of CCS) before the set break, almost makes you wish they kept it going.
When they came out for of the break, they pulled out another favorite of mine, "Jack Straw" and this a rollicking version. Things get a bit slower with one of my least favorite Jerry ballads (another pops up at the end of this set), "Ship of Fools" grinding out some of the energy, but the second set really focuses on "Estimated Prophet">"Eyes of The World". Both contain some fine, if a touch sped up, experimenting before the "Drums>Space" singals the beginning of the end of the show. "Not Fade Away" has some nice jamming , but then I have never been a fan of "Black Peter" which pops up before "One More Saturday Night".
Overall though this is a an excellent recording of a really great show, with the highlights coming mostly at the end of the first set, give it a listen. Enjoy.
I will be watching as much as possible out and about with fans and friends, enjoying the spectacle...I will also be rooting on the good ole USofA in the 2nd revolutionary war tomorrow vs England: Sam's Army better be in full swing. Going to be a great game, and NYC is one of the best cities to take it all in. Enjoy, and go Yanks:
Mine eyes have seen the glory of the coming of the Lord
He is trampling out the vintage where the grapes of wrath are stored
He hath loosed the fateful lightning of His terrible swift sword
His truth is marching on
Glory! Glory! Hallelujah!
Glory! Glory! Hallelujah!
Glory! Glory! Hallelujah!
the Yanks are marching on! on! on!
So for this Monday in Dead-story we are hitting back to the winter of 1979. We have had such beautiful weather today in the city, a cool morning going to 70 degrees this evening, I figured why not look to some of the coldest shows, Buffalo in January? Safe to say it was freezing outside...but the playing in Shea's Theater was HOT, as this excellent recording.
Today's show is 1-20-1979 which can be found at that link or listen to it right c'here:
This is perhaps the best audience recording I heard of the fellas, this show is amazing, and you can see Charlie Miller commented that this has been remastered twice, but nothing has been lost from the sound, in fact a ton has been gained. You get the full range of the band, a touch of the crowd, and the energy from the night leaks through everywhere.
A quick "Promised Land" opener gets the show going, but the magic really starts with the 12 minute "Sugaree". This one has it all Jerry's high fret board wizardry backed tastefully by Bobby on slide and the easy drumming of Billy; a real highlight of this first set. Feeling good in the laid back workouts finds "Peggy-O" in majestic form as well...Garcia was simply on this night.
His playing and singing are really top notch and that is needed as this was a very stressful time in the bands history. Supposedly this is the first night of Donna and Keith's break-up and while this must have been devastating for them as people the rest of the band seemed to grow a bit tighter. Donna is not at this show, and honestly you can barely hear Keith, and with the quality of this recording it seems like he was absent. While I know they both played shows with the Dead for the next two weeks (last show was 2/17) it seems like they checked out here mentally, the only time in the first set I hear him really contributing is during the late "Minglewood Blues" and he really only shows up for "Dark Star" in the second set.
That said though the group pulled together that much tighter with Captain Garcia driving the bus like no other... Really some fine axe work here, just peep the first sets "All Over Now" double solos that he pulls out, and I should also mention Bobby's slide playing on this night which is inventive and adds a lot to the songs, something he wasn't always known for. Two of my favorite tunes end the first set with "Stagger Lee" and "Jack Straw" these versions aren't all time classics, Jerry forgets some lyrics, but they set the tone for a great second set.
A huge bombing of "I Need a Miracle" starts a blazing run of tunes, with the band propelling into the stratosphere with a huge second set, see that Mammoth skull on the poster? It was a harbinger of the mammoth second set to come..."Too much of everything is just enough".
Bertha is a bit all over the place as you can tell the band is excited, when they immediately cowbell it up with some "Good Lovin'". "Loser" makes a rare 2nd set appearance and is punctuated by Garcia's weeping notes before a big "Estimated Prophet" cruises into town. This tune would really gain steam when Brent would soon join the band, but it is a fun ride here with it's warbling guitar flights...then begins the jelly with a sweet segue into..."The Other One" rumbling out into the Buffalo night with "Drums" and "Space" lurking in the wings.
The "Jam Out of Space" is interesting here, but it acts more as an intro back into "The Other One" and I would have probably just called it "The Other One" if I was labeling this on a snazzy tape cover...
After that brief dip back into "The Other One" we get the surprise of the set...."Dark Star" and what a surprise it is...the crowd goes nuts for this selection by the fellas. Having been revived by the band in late 1978, this version has Jerry spazzing out with nice touches by Keith and Phil bombing along, getting freaky around the 8 minute mark. A cool treat before segueing into a light and airy version of "Not Fade Away" and a rocking set closing "Sugar Magnolia". The encore of One More Saturday night is electric, like this pristine audience recording and must have sent the Buffalo deadheads away with a smile...a great show and a fun listen to hear just how dynamic Jerry can be on guitar during a transitional phase in the Dead's career. Enjoy.
This review is part of the "Over Flow" Review Series. For various reasons these past reviews were not published anywhere else. I am tagging them as "Overflow Reviews" and may add some extra information before or after if needed but will keep the ratings and reviews just as I originally wrote them. Enjoy:
The Hold Steady Heaven is Whenever
*** out of *****
Growing up…it can be a bitch or a joy, an adventure or a struggle, but it’s always tough to do, even (especially?) if you are a rock and roll band. In the past, The Hold Steady have elevated Solo cup partying to the holy stature it deserves, yet even Craig Finn and company need to move on eventually. They started on that journey with their last album Stay Positive and continue it here on Heaven is Whenever with various degrees of success; basically they are still finding their footing.
Instead of blasting out of the gate with their patented rocking opener, the band throws a slide guitar ballad curve-ball with “Sweet Part Of The City” which remembers fonder past days with a wistful sigh. Days gone by are the focus throughout, but the longing for them is slowly leaving Finn’s voice, and that in itself has changed. Finn expands his vocal range, singing more on Heaven is Whenever then he ever has in the past. One trend that the group continues is their love of massive disk closers with “A Slight Discomfort”. The Hold Steady pile up rising strings, cricket noises and simple piano parts for over 7 minutes ending the disk as graciously as they opened it.
With the departure of keyboardist Franz Nicolay, the group sounds more streamlined; there is less of a focus on pianos and bombast, making the E-Street analogies harder to draw. Stripped down with minimal frills (for them) and focusing on the meaty guitars have the group sounding tight as ever but some of the songs seem to be jogging in place instead of racing triumphantly to the dawn.
While Finn can weave a tale as well or better then anyone in rock today, he sounds a bit tired on “Soft In The Center” with the chorus of “You can’t get every girl/You’ll love the ones you get the best”. He lets us know he’s gone through that too, but not with any conviction, advice or real desire. The album doesn’t seem to have any standouts on the level of past winners from the group (all though “Our Whole Lives” comes pretty close), but even judging it on its own, the story teller narrating Heaven is Whenever seems to have grown weary. Check out “Rock Problems” and “The Smidge” for the new age grumpy old man telling the kids to get off their internet and onto his lawn so he can sing to them proper. Because of this the slower songs work better, such as “We Can Get Together” which seems heartfelt in its desire to well, get together, and spend some quality time listening to records with the one you love.
Is this the last call on that monster bar band that was The Hold Steady? Who knows but it will be very interesting as to what the next morning brings for this band.
