Vinyl Visions' Hexin' Collection 2008

So for Halloween this year we decided to throw together a nice little playlist. The collection spans a variety of genres and eras to create a splendidly spooky mix.

If you wish to download the entire collection, or most tracks, please download the whole thing. otherwise the individual tracks are listed below.

Vinyl Visions' Hexin' Collection 2008 65:45 [90.3M]

1 Death Cab For Cutie - I Will Possess Your Heart 8:26
2 Violent Femmes: Add It Up 4:44
3 The Decemberists: Culling The Fold 4:24
4 Neutral Milk Hotel: My Dream Girl Don't Exist 4:24
5 Pixies: Broken Face 1:30
6 Broken Social Scene Presents Kevin Drew: Gang Bang Suicide 6:22
7 David Bowie: Aladin Sane 5:08
8 Pink Floyd: Mother 5:37
9 Deerhoof: Tricky Bird 3:05
10 Radiohead: Creep 3:56
11 Creedence Clearwater Revival: I Put A Spell On You 4:03
12 Brian Eno: By This River 3:04
13 Sonic Youth: Schizophrenia 4:38
14 Ugly Cassanova: Parasites 3:36
15 Daniel Johnston: Wicked World 2:34

Happy Halloween!

The Future of Festivals

Spin Magazine covered festivals this summer (along with everyone else), but I thought they brought up an interesting point. They interviewed Perry Farrel (lead singer of Jane's Addiction, founder of Lollapalooza, and foot-in-mouth extraordinaire) who said that the festival business is doomed. He said that today there are no huge bands, and that in 10-15 years there will be no such thing as a headliner band. This would lead to diminished ticket sales, lower funds for festival organizers, and in turn crappier festivals. Now what makes this argument so unsettling is not only that it hits home with music lovers who plan their summers around such extravaganzas as Lollapalooza, Bonnaroo, and Coachella, but that it's particularly valid.

Festivals in the 90's (Lollapalooza, Woodstock 94, etc.) relied heavily on popular acts of the time to draw their crowds. A big part of that was MTV exposure and alternative rock radio play. Today's modern rock festival takes an alternate route. Festivals like Bonnaroo highlight upcoming indie bands (i.e. Vampire Weekend, Animal Collective, MGMT, Of Montreal), popular dance music artists (M.I.A., Justice, MSTRKRFT), international acts (Gogol Bordello, Ozomatli, Orchestra Baobab), Soul Performers (Solomon Burke, Sharon Jones and the Dap Kings), and the list goes on and on. What the point is is that today's festival is a whole new animal. Going to a festival like Lollapalooza is no longer like listening to the live version of an alternative rock radio station. It's a complete musical experience where one can immerse themselves into every arcane corner of the musical spectrum or tailor their daily schedule to their existing musical preferences.

However, the headliner has always been the major draw for festivals. There the bands who gather all the tribes so to speak. There also the true money makers for festivals. A festival can often be made or broken depending on who they get to headline. Over the last 5 years, there have been 51 headliners at the three major festivals in the US (Bonnaroo, Coachella, Lollapalooza). Of those 51, 42 came to popularity before this decade. Obviously this is disheartening for the future, but will festivals cease to exist? This savvy music critic thinks not.

Festivals today depend on bands who were popular during an era of less musical exposure. The only bands people listened to were major label talents that they heard on the radio and saw on TV. Today that's not the case. More and more people base their taste off of music that they hear first online. MTV is no longer credible with presenting the best music of the time, and radio stations are frantically updating and diversifying their playlists to keep up with this new trend. There are no popular bands. Well, sort of.

In the last two years or so, festivals have started to highlight more and more bands that have bcome popular in ths decade. Performers include The White Stripes, The Raconteurs, Jack Johnson, and The Killers.

Of course this should last us the next few years (along with still active artists like Beck, Radiohead, and The Red Hot Chili Peppers), but what of the next generation? It's really impossible to tell. Radio stations could change their programming to suit the new tastes (some already have), MTV could start covering real music (it was really hard to write that), or smaller bands now could get huge after a few more successful albums. All there really is is speculation.

My speculation you ask? Personally I think we're going to see a change in what people consider the "headliner". The headliner will play a less important role (it arguably already has) and festivals will have to depend on the strength of their entire and diverse lineup (many already have). It's really hard to say, it's arguable that a society has to have some sort of popular music. Maybe bands like Vampire Weekend or MGMT will be catapaulted into the mainstream? Either way, we're in the middle of the transition right now. It should be entertaining.

What do you think will happen to festivals?

Album Review: Margot & The Nuclear So and So's - "Animal!" and "Not Animal"

A couple weeks ago on October 7th Margot & The Nuclear So and So's put out two new albums entitled Animal! and Not Animal. At a glance, it seems like the albums are a set; essentially they are. Animal is the "original" album, and Not Animal is a glorified b-sides disc, in fact, five of the twelve tracks on Animal are also on Not Animal. These two albums are beautiful complements to each other.

These have both been well worth the wait, which has been a little over a year now if you don't follow the band. However the most important thing to keep in mind when first listening to this new material is that over time a band's sound will tend to grow and change. Margot is no exception to this general tendency.

These albums are certainly not The Dust of Retreat. Both releases are slightly noisier than the band's previous album and demos, and they're a bit more experimental as well. These are definitely not the kind of albums expected to be released by Margot, however the new sound is refreshing and an interesting departure from The Dust of Retreat.

Together these albums make an excellent set, but each album brings something unique to the table. Animal! is a bit calmer than Not Animal can get at times. Songs like "I Am A Lightning Rod" and "At The Carnival" bring a much more experimental and slightly ambient sound to the table than previously heard by the band while songs like "As Tall As Cliffs" and "Hello Vagina" bring back that same melodic sound we're used to hearing from Margot.

Each song on this album is something great; I couldn't pick a favorite even if I was asked to. However one track that deserves considerable attention is "A Children's Crusade on Acid." This is one of the more experimental tracks on the albums. The song starts with piano, guitar and percussion, that on their own give the song somewhat of a gypsy folk music feel, paired with a sample that sounds almost like cars passing on a freeway. Then the lead guitar comes in with an echoic riff that completely changes the feel of the song and it takes a turn for the creepiest. This song is on both albums and is definitely one to look for.

"A Children's Crusade On Acid" is accompanied on both albums by "As Tall As Cliffs," "German Motor Car," "Hello Vagina," and "Cold, Kind, and Lemon Eyes." So what does Not Animal have to offer? The answer to that would be seven more brilliant songs creating the better of the two releases. This album has many final versions of demos that have been floating around the internet including: "Broad Ripple" (Now called "Broad Ripple is Burning"), "Hip Hip Hooray," "Holy Cow," and "Ocean" (Now called "The Ocean (Is Bleeding Salt)"). The demos of these songs are absolutely fantastic if you haven't heard them yet, but the flushed out versions bring a whole new and invigorating feel to each song.

All-in-all each disc is worth picking up. They both bring a whole new sound to the Margot's repertoire. If you can only get one, then Not Animal is the way to go, this is the one that I can't stop listening to. If you've never heard Margot before, go out and grab one of these, or even their first album, the band is creating a solid catalog of music that is definitely a worth-while investment.

For more info on the band check out: http://www.margotandthenuclearsoandsos.com/

A few songs to wet your whistle:
A Children's Crusade On Acid (both)
As Tall As Cliffs (both)
Hello Vagina (both)
I Am A Lightning Rod (Animal!)
The Shivers (I Got 'Em) (Not Animal)

Unsigned Band: Lake Effect

Ever wonder what it would sound like if you threw some Weezer, Jimi Hendrix, and maybe some Zeppelin into a blender and threw it on liquify? Well Lake effect is just that, hailing from western Maryland and playing shows all over the state including The Recker Theater where they were featured with Fools and Horses.

Lake Effect is currently unsigned but they are looking to produce their first full length album by next summer. As of now they have a short five demo that can be checked out on their myspace:

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=291622077

The first song “Circles” is the band's strongest and favorite song. When the song opens, the Weezer influence can definitely be felt in the guitar riffs. The song's lyrical strength and strong imagery are stand out elements.

The second song “So It Goes” has a similar feel to the first song. Following this is “Rescue Me” a much slower and more emotional song that has some smooth sexy guitar riffs and bass lines, and very emotional singing that is all tied together by a very solid drum beat.

Another great track is “Toe Jam” that features some most excellent guitar riffs and progressions with some intense bass lines that is all tied together by a nice mellow drum beat.

This band definitely has some great potential that is worth checking out. Their next scheduled show is at Towson University’s PAWS on November 21 at 8 pm.

Little Joy Preview: Pre-release

With its roots in Brazil, Little Joy carries a mellow sound from its three members: Strokes drummer Fabrizio Moretti, Binki Shapiro, and guitarist/singer Rodrigo Amarante from Los Hermanos.

Moretti and Amarante first met through chance after playing a festival in Lisbon, humoring the idea of working together on a project separate from their current bands. When Amarante travelled to the states to record Devendra Banhart on his Smokey Rolls Down Thunder Canyon album, he met up with Moretti to hang out.

It was only through Binky Shapiro that the Moretti and Amarante finally acted on their previous idea of collaboration. Months later they moved into a house in Echo Park to demo songs, and soon after, they finished their self titled album, Little Joy, named after the local dive by their home.



From left: Producer Noah Georgeson, Rodrigo Amarante, Fabrizio Moretti, and Binky Shapiro.


If the three are any indication of the overall album, we're in for a treat. The first song, "No One's Better Sake" opens up with a twangy bass line and synth organ in a quick 6/8, lending itself to a mellow bassa-nova beat. Combined with a simple, no frills time-signiture, the vocals' grainy distortion gives the song an antiquated feel that calms.

The tracks change to "Brand New Start." Swing time and a brass section gives energy to the songs slower pace. I usually cant tolerate love songs, but this one's so unforgivingly open and straightforward that I can't help but love it. Catchy as hell, you'll probably have it stuck in your head for the rest of the day.

The set follows with "With Strangers" a sad, slow tune that makes me want to start drinking Kentucky Gentlemen in a dark room. "With Strangers" paints a darker image than the previous songs with lines like "Compells my hand to do what my heart wouldn't dare," and "you're perfecting love with strangers." With its almost slow deliberate vocals and powerful imagery, "With Strangers" is my favorite of the four tracks.

The tone of the music quickly switches tracks to a playful little diddy called "The Next Time Around." It opens with a light ukelele and guitar duet followed by a beautiful harmony of Amarante and Shapiro. The song dances around with a light percussion part and the gravelly tones of Amarante on lead vocals. The show is truly stolen two minutes in when the language switches to Portugese, and Binki breathes out a solo very reminiscent of "Girl From Ipanema." The song closes on the light tones of the guitar and ukelele.

Playing heavily on a light string sound, brass instruments, and synth organ, Little Joy delivers an antiquated sound dipped in the Brazillian heritage of Amarante and Moretti. With the rest of the album due out November 4th, all I can do is wait in anticipation.

Little Joy: No One's Better Sake

Little Joy: Brand New Start

Little Joy: With Strangers

Little Joy: The Next Time Around

Live Review: Deerhoof (Middle East, Boston 10/23/08)

This thursday, Deerhoof played another sold out show on their tour promoting their newest album, (see below for review) Offend Maggie.

The Middle East is a great place to see a very loud, very intimate show. The venue is literally underground, it's built underneath of the bar and much smaller venue above. There's also no barricade, so if you get a good spot its just like being on stage with the band.

The show itself fell nothing short of what you would expect from a relatively underground band playing quite the underground show (sorry, couldn't resist). The show was very loud, very fast, and very...odd. Although the bands guitars and Satomi Matsuzaki's vocals usually take precedence on their records, drummer Greg Saunier without a doubt stole the show. His style alone is an exhausting combination of Mitch Mitchell and Keith Moon, with flailing elbows and nearly frightening grimaces. He often played more like he was attacking the drum set rather than keeping the rhythm.

Satomi on the other hand stood off to the left, isolated from the higher-octane members of the band. Rather than Saunier, it was really up to her to keep rhythm and remain the calm in the storm. Notably, she came on stage for the encore donning a massive tiger's head. She also skateboarded on and off of the stage.

The band played a lot from the new album, but also indulged in crowd-favorites, "Milk Man" and "Twin Killers". Save some drunks being thrown out of the club (and even that was entertaining) it was definitely a pleasant and exhausting experience. I would highly recommend seeing the band's live show, but only if you're a fan of their material. Otherwise you're in for an evening of very loud and very strange music.

For more information on Deerhoof's tour, album, etc., visit http://deerhoof.killrockstars.com/

The Profound Underground: Pretty Lights

Have you ever been rocking out to the latest Thievery Corporation hit wishing they would blast that beat a little more? Wishing that maybe they would have just a little more hip-hop? Well, Pretty Lights hailing from Fort Collins, Colorado have achieved just that in there 2006 album Taking Up Your Precious Time. A joint project of Derek Smith and Michal Menert, Pretty Lights incorporate hip-hop, rap, elctronica, and glitch all with a down-tempo organic feel described as an umbrella of sound.


Taking Up Your Precious Time opens with the song "Short Line", which features an orchestral opening which reminds me of a Jurassic 5 song. Quickly though, the orchestra falls giving rise to the calming moan of the synth. As the two fuse, a mellow but uplifting sound emerges which remains for the duration of the song.

Following "Short Line" comes "Until Tomorrow" which again features a mellow mix of electronica with soulful background vocals and the fastpace rain-like sound of the harpsichord. The song remains fairly mellow leading into "Wrong Platform," one of the groups most intriguing pieces on the album. The song begins with a sound which is similar to previous tracks, but about 3 minutes the true genius of the song is relieved when a sound similar to Holy Fuck dominates. The mellow mix returns only to be transformed into a compelling rap in the last 30 seconds of the song.

"Switch Up" is the next notable piece, creating a definite Thievery Corporation sound with horns mixed with record-scratching goodness with of emphasis on the steady beat. Another two mellow songs follow when we hear another gem, Down The Line. By far one of the most chill, "Down The Line" features a lo-fi piano mixed with drums, synth, acoustic guitar, and the chilling, deep vocals of a soulful singer. "Almost Familiar", "The Last Passenger", and "Try To Remember" wrap up the album with the downtempo sound which has been presented previously, that is until the bonus track of "Try To Remember" appears. The bonus track is definitely the most upbeat and electronic of the album, sounding similar to bands like Holy Fuck and The Octopus Project.

So I'm sure some of you are thinking this sounds pretty good, BUT IT GETS BETTER! The album is 100% free! Just head on over to www.prettylightsmusic.com to download the entire album, all 73 minutes of it. If you'd like to preview, I've posted a few tracks below.

For any additional information on Pretty Lights, check out their myspace.

Pretty Lights: Wrong Platform
Pretty Lights: Switch Up
Pretty Lights: Down The Line

Of Montreal + Andrew VanWyngarden of MGMT cover Nirvana's "Smells Like Teen Spirit"

As mentioned in the review of the Of Montreal concert at Roseland Ballroom on October 10th, there was a live cover of Nirvana's "Smells Like Teen Spirit." This truly was the icing on top of the mushroom filled cake that was that concert. As I saw Andrew VanWyngarden take the stage my heart began to race as two words popped into my head: Blikk Fang. Unfortunately.....or fortunately, depending on how you see it the only thing to be heard was the hit song "Smells Like Teen Spirit." The performance of the song was spot on, which is to be expected from such talented musicians.

It was so good live that we thought you should all hear it too: Of Montreal feat. Andrew VanWyngarden of MGMT - Smells Like Teen Spirit Cover.

5 songs you should have heard by now.

Like the title? I thought the blog was lacking snarky hipsterdom...

Department of Eagles: Teenagers
Grizzly Bear's Daniel Rossen's side project is making quite a name for itself these days. The new album, In Ear Park, has already garnered Pitchfork's seal of approval and with songs like "Teenagers" it's not hard to see why. From the waxy, Disney-like intro on, the song is a stroll down memory lane incorporating elements of 50's rockabilly in a way only a guy from Grizzly Bear could think of. The intermitent harp gives it a feel of sincerity and ambience. The whole thing is like a sleepy oldie you can't help but not fall asleep to.

Sigur Ros: Gobbledigook
If you're a fan of the band and haven't checked out the new album, do it...now. Gobbledigook is a riveting intro track for the album and everything about it (the name as well obviously) reeks of playfulness, not a characteristic often associated with the pride of Iceland. From the "lalalala's" to the hand claps to the frantic drumming, the song captures all the innocence and immaturity of a very danceable tune, while still maintaining the sonic beauty one has come to expect from a band like Sigur Ros.

Fucked Up Magic World
Yes! Finally the marriage of bongo drums and Hardcore...yeah I said it. Sometimes heralded as the "saviors of Hardcore", Fucked Up incorporates swirling guitar melody, screaming vocals and feedback awareness, and afro-beat percussion to create a truly unique listening experience. Imagine Santana, The Circle Jerks, and Sonic Youth all got together and made a funky rock n' roll baby of goodness.

The Roots: 75 Bars (Black's Reconstruction)
The Roots latest release, Rising Down, is more of the bands new more modern, more aggressive musical direction. The great thing about "75 Bars" however, is the bareness of it. Black Thought's lyrics are shouted with an immediacy from a megaphone, yet feel far away. There's keyboard involved, but it's minimal and at times altogether absent. Holding the song together is ?uestlove's no nonsense drumming that brings the band back to their past and back to their roots (no pun intended).

Pearl Jam: Better Man (live at Bonnaroo)
Ok, so this song wasn't written this year...or this decade, but this mp3 is from their absolutely awe-inspiring three hour set from this past Bonnaroo Festival. You owe it to yourself to hear a crowd of nearly 80,000 drown out Eddie Vedder's voice on one of the band's most intimate songs. Oh, and for those of you who didn't get to experience this first-hand, imagine a quarter mile of lighters from the stage to the road.

New Animal Collective Album Will Rock, Cover Will Not

Animal Collective's upcoming album, entitled Merriweather Post Pavilion (fuck yeah, Maryland!) has already caused some hype. The record will be released January 20th (the same day the next president will be inaugurated; what a day that will be) and hearing from a few people who have listened to it already, I reckon the album will be extraordinary. AC member Noah Lennox (aka Panda Bear) has even stated in a recent interview that MPP is their 'best recorded album'. The album will differ in sound from their last kaleidoscopic-electronic frenzy of 2007's Strawberry Jam. Judging from bootlegs that have been going around for the past year and a half, the guys have got into the ambient dub/ electronica vibe, which is not a bad move on their part.

But on the contrary, a recent post on their homepage revealed the possible album cover for Merriweather Post Pavilion. If you are wondering, no, the image you see above is not the avatar of a LSD enthusiast blogger on some Phish fan forum, it is indeed the image that the fellows in AC posted on their site, possibly (but not hopefully) being the album cover. But a wise man once said to not judge an album by it's cover... unless its terribly phony like this one.

(click on the cover to enlarge the image, and gaze upon the waaaavvvyyy illusions.... still pretty silly)

Deerhoof's Offend Maggie: Album Review

October 10, the San Francisco based group released their newest album, Offend Maggie. Interestingly enough, although the release is somewhat a departure from traditional Deerhoof weirdness, if you will, it does follow the trend of recent experimental bands recording significantly more listenable material (see Radiohead, TV on the Radio, No Age, etc).

Offend Maggie has managed to incorporate a new element of composition that has often restricted Deerhoof to a smaller audience: Melody. Although the record is still somewhat a sonic playground for theory nerds, this is ultimately the most melodic the band has has ever sounded on record. For the first time you can actually bob your head and tap your foot to a Deerhoof record without getting dizzy or feeling like an idiot.

"The Tears and Music of Love", the very first track, sets the tone of this new direction. Complete with heavy, swooping chords; the song progresses more like a classic rock anthem than the guitar tinkering of one of the most high profile art-rock groups in modern music. Satomi Matsuzaki's falsetto voice pirouettes above and balances out the new and heavy sounds of the rest of the band. The awkward end in a minor scale is almost an afterthought on this kind of album, not commonplace as it was in the past.

"My Purple Past" and "Snoopy Waves" might be the most commercial sounding songs on the record (aside from their names that is). In addition to building drums and four and five chord based melodies, the songs also incorporate the loud vs. quiet effect pioneered by bands like The Pixies and Nirvana and used by just about every major rock band today.

Two favorites of mine off the album are tracks 9 and 10 "Family of Others" and "Fresh Born" respectively. The former feels like a 60's acoustic piece with passive male vocals as opposed to Satomi's sometimes attacking vocals. "Fresh Born" opens with an acoustic intro and jumps into a hip-hop/funk/jazz inspired riff that lasts practically until the end of the three and a half minute piece. One can't help but think that if this song hadn't been recorded about 15 years too late, it would have been an easy pick for A Tribe Called Quest to sample.

Possibly the best song on the record is the title track, "Offend Maggie". Complete with Celtic-like arpeggios (almost bagpipe-like) and powerful windmilling chords, the piece is the best example of Deerhoof's new musical direction: strange, sometimes bizarre (especially the lyrics), but always melodically conscious.

Of course no Deerhoof album would be complete without the headscratchers (see "Basket Ball Get Your Groove Back", that's all I'm going to say) but Offend Maggie is a delightful change of pace from what was/is an increasingly awkward and experimental band. If you have never listened to Deerhoof or perhaps the method behind their madness has always escaped you, now is an opportune time to start listening.

For more information on the Band/Album/Tour, visit http://deerhoof.killrockstars.com/

Live Review: Of Montreal @ The Roseland Ballroom, Friday October 10th

Last Friday Of Montreal played at the Roseland Ballroom in the wonderful New York City. The show was at the Roseland Ballroom in Manhattan, which I must say is a wonderful venue. The show was in support of the new album "Skeletal Lamping" which I honestly haven't heard that much of.

The first thing you need to know about this show is that it was most likely pulled straight out of an acid trip, but we'll get there later.

First let's talk about the venue. Roseland Ballroom is an interesting place to say the least. It wasn't designed for the purpose of holding concerts so at first it seems quite large for a club, especially when you take the massive balcony into account. Regardless I'm not sure if I could think of a better place for a show like this. The show was almost as big as the room.....if that makes sense.

The first band was....interesting. They're called Love Is All and basically they're an indie dance pop band from Sweden. Basically they sound like a much less psychedelic version of Of Montreal and quite frankly I found them to be somewhat boring. However now that I've checked out their Myspace I have to say, they're ok. They had good stage presence and great interaction with the crowd but I think the fact that I was waiting for Of Montreal cast a shadow over their performance.

As far as Of Montreal's live show, as I said, it was pulled straight out of an acid trip. The first thing you noticed as the band came on stage was the interesting stage set-up with it's multiple risers for most of the band members and the band's choice of costume (which changed for lead singer Kevin Barnes on a regular basis). As far as the set list went, a lot of the songs were from their newer albums and it even featured Nirvana's "Smells Like Teen Spirit." This was definitely not the song I thought I'd see Of Montreal Cover, especially not with Andrew VanWyngarden of MGMT, which was the icing on top of the mushroom-filled cake that was this show.

All-in-all the show was great. Of Montreal's performance rivaled that of band's like Gogol Bordello, it was one of the best I've seen. I would suggest looking into some Of Montreal tickets in the future.




Andrew VanWyngarden of MGMT(left) Kevin Barnes of Of Montreal (right)





to hear Love Is All: http://www.myspace.com/loveisall8
to hear Of Montreal: http://www.myspace.com/ofmontreal
all pictures were taken from Pitchfork, please email vinylvisionsblog@gmail.com if you are from Pitchfork and would like them taken down

Live Review: TV On The Radio (Wilbur Theater, Boston Oct 13 2008)

Monday, TVOTR performed at the Wilbur Theater in Boston, a recent stop on their tour promoting their newest and undeniably most accesible album to date. I almost literally stumbled into a ticket and watched the show from the floor.

The best thing about floor tickets at the Wilbur has to be the building's 1914 foundation and existing architexture. Unlike modern rock clubs, you can feel the bass up to your knees through the floor. Quite the experience when Tunde Adebimpe cranks up the bass for "Halfway Home" (see my very amateur photogrphy above).

The band opened wit the intro track off Dear Science, a recurring theme of the night (they played everything off the new album save three songs). They also managed to play their established hits from 2006's Return To Cookie Mountain including "Wolf Like Me", "Hours", and a crowd-pleasing rendition of "A Method".

Interaction with the crowd prooved to be interesting, guitarist Kyp Malone remarking that, "It must be hard to dance sitting down..." The venue was full of die-hard listeners as well as a healthy helping of fair-weather fans. I stood just in front of a fifty-something-year-old couple who before the show started politely tapped me on te shoulder to ask if, "These guys are new right?"

All things considered, the show was very good, not great. A B+ performance if you catch my drift. The band is terrific and definitely worthy of spending a little money, or at least checking out their new album.

For more info on the band/album/tour, go to http://www.tvontheradio.com/

























































Gerard Smith (bass, left) and Jaleel Bunton (drums, middle) being interviewed before the show...One of the perks to living in downtown Boston.