Eggs Over Easy - Good 'N' Cheap

Eggs Over Easy - Good 'N' Cheap
A&M Records, 1972
Recorded at Frank Wray's Studio, Tuscon, Arizona
Produced by Link Wray & Eggs Over Easy

Eggs Over Easy were unique in the fact that they were an American band who were essential in the development of the London pub rock scene in 1970s. The band were hugely influential when they were based in London, inspiring bands such as Brinsley Schwarz and Bees Make Honey with their unique take on American music.

Originally a trio consisting of members, Jack O'Hara, Austin De Lone and Brian Hopkins, Eggs Over Easy were formed in New York in 1969. After playing clubs all around the city, their manager Peter Kauff arranged with the company Cannon Films for the band to visit London and record an album with record producer and ex-Animals bassist Chas Chandler in 1970. Despite the sessions at Olympic Studios going well, problems between the financial backers Cannon Films and Peter Kauff meant the project was aborted. The band were told to remain in London until the issues were was sorted. To get by financially, the Eggs began to gig around London playing their rustic country-rock originals alongside well known rock n' roll and R&B tunes. The punters in London were wowed by the Americans and their reputation grew rapidly. Many British musicians were heavily inspired by Eggs, including Nick Lowe of Brinsley Schwarz. Unwittingly, the bands appearancse at the Telly Ho in Kentish Town among others helped to kick start the underground pub rock movement. Unfortunately, the band weren't able to continue to be a part of they scene they had help create. The band were forced to return home as they couldn't find a new record label and their visas had expired. Back in America, the band signed to A&M and recorded an album, which was to be Good 'N' Cheap.

Good 'N' Cheap is a wonderful blend of laid-back country rock, soul, pop, and good old rock n' roll. They were roots-y like Little Feat, yet catchy as any of their pop contemporaries such as America or Bread. The album opens with the brilliant 'Party Party', an uptempo song led by Piano player Andre de Lone. 'Party Party' is a fun song with some soaring guitar and piano interplay, one of the characteristics of their sound. The next track is the outlaw country song 'Arkansas', with its spoken word introduction and pedal steel licks make it a great wee country pastiche. One of the highlights of the album is the catchy soul-pop number 'Henry Morgan'. With its quirky piano riff and tasty intro guitar solo, 'Henry Morgan' is probably their most infectious, and commercial song on the album. To me, the song is reminiscent of the LA band Little Feat with its groovy piano, tight harmonies and terrific guitar work. Side A closes with the anthemic 'Face Down in the Meadow'. The song opens with a jangly power-pop-influenced guitar riff which is followed by some powerful held piano chords. 'Face Down in the Meadow' is a wonderful example of their fine musicianship with endless melodic interplay between piano, electric and acoustic guitars, alongside very professional vocal harmonies.

Side B opens with the beautiful 'Home To You' which reeks over west coast soft rockers America. Sung by Jack O'Hara (whom shares similarities vocally with America's Dan Peak), 'Home To You' reaches a dramatic climax following a tasteful piano solo. Out of the blue, the rest of the band provide soaring Crosby Stills and Nash-like backing vocals which really enhance O'Hara's lead vocal. The bands styles changes yet again, with the 'English pop' of 'Born of Riff and Tongue'. This little ditty makes the band sound more like The Hollies than Little Feat, however, it is still a fine song and demonstrates the influence of their English period had on them as songwriters. The album closes with the powerful rock of 'Night Flight' which puts the Eggs in Small Faces/Humble Pie territory, with crunchy chords and rock n' roll piano. 'Night Flight' would have been great live at places like the Telly Ho Pub and is a terrific end to the LP.

Despite the Good 'N' Cheap being released to rave reviews, the band faded into obscurity. After relocating to San Francisco and releasing the 1976 'Back of My Car' the band supported various band like Eagles and Yes to survive. The Eggs did record a second and final LP in 1980 named Fear of Frying, but it disappeared quickly after release. The band broke up in 1981, O'Hara become a sound engineer and de Lone worked as a session musician for the likes of Nick Lowe and Bonnie Raitt.

Over the years, Eggs Over Easy have been forgotten by the record buying public, despite countless musicians like Elvis Costello and Loudon Wainwright all declaring the influence of the Eggs. Good 'N' Cheap captures the bands unique sound is an essential listen for anyone interested in pub rock and American country rock. The Eggs were back in 2016, with the release of Good 'N' Cheap: The Eggs Over Easy Story. Released on Yep Hoc Records, this 3x LP/2x CD set includes their entire recording back catologue - including the tapes for the lost Olympic Studio sessions in London! I hope this compilation helps their fantastic music reach the wider audience that it undoubtedly deserves.

Key Tracks:

Henry Morgan
Face Down in the Meadow
Home To You
Arkansas

If you enjoyed this album, also check out:

Little Feat - Sailin' Shoes 1972
Brinsley Schwarz - Silver Pistol 1972
The Band - The Band 1969

Free - Highway

Free - Highway
Island Records, 1970
Record at Island Studios September 1970
Produced by Free

Free were one of the more soulful rock bands to come out of England in the late 1960s. Formed in 1968, Free consisted of future Bad Company members, vocalist Paul Rodgers and drummer Simon Kirke, alongside 16 year-old bassist Any Fraser and guitarist Paul Kossoff.

Their first two records, Tons of Sobs and Free were released to little fanfare on both sides of the Atlantic. Although great albums in their own right, the band were yet to define their sound and were in the shadow of more prominent British groups such as Led Zeppelin, Fleetwood Mac, and Humble Pie. By 1970, the bands dwindling career was given a much-needed lifeline. After a disappointing show in Durham, the band decided they needed to write songs that people could sing along to. The band wrote 'All Right Now' to hopefully remedy the lack of audience interest. 'All Right Now' was a instant hit, reaching #4 in the US and #2 in the UK, and topped the charts in twenty different countries around the world. The album Fire and Water followed a month later and was a good seller and contained other standout tracks, such as 'Heavy Load', 'Remember' and the epic 'Fire and Water'.

In order to continue the momentum of their sudden hit single and album, the band were rushed back into Island studios to work on the followup. Things weren't steady for the group and cracks were beginning to appear. Guitarist Paul Kossoff was grieving the loss of his hero Jimi Hendrix and was becoming more drug dependent - plus friction between songwriters Rodgers and Fraser were growing. The tensions combined with the pressure of following up 'All Right Now' resulted in a more personal and introspective album than its predecessor.

The album Highway was viewed by many fans and critics as a big disappointment. Released in December 1970, many fans were frustrated at the LP's low key and country-rock looseness - a far cry from the powerful blues rock of Fire and Water. Furthermore, the plain cover artwork (which I actually really like!), strangely did not feature the bands name. This, alongside the uncommercial music contributed to the albums poor sales. The album stalled at #41 in the UK, and only reached #190 in the US charts. Despite Highway's commercial and critical disappointment, the LP remains one of my all time favorites and one of the more curious and undervalued releases in British rock music.

The album opens with the groovy piano-led number, 'The Highway Song', which tells a tale of a young man seducing a farmer's daughter. The song showcases Kossoff's smooth rhythm playing - which, in my opinion, is one of his finest attributes. Next is the 'All Right Now' followup, the blues rocking 'The Stealer'. With its strutting riff and raunchy lyrics, the song should have been the hit the band needed. Unfortunately, the song only reached #49 in the US and failed to chart in the UK at all. Island Records boss Chris Blackwell had initially wanted to release the groovy 'Ride On A Pony' as the single, however, the band persuaded him to release the unsuccessful 'The Stealer' instead.

My favourite song on Highway (and probably favourite Free song  - and maybe of all-time?!) is the meandering 'On My Way'. This summery, reflective song was a far cry from the power blues of Fire and Water. With its plodding rhythm, 'On May Way' was one of the more groovy, more laid back, and more infectious pieces of music they ever wrote! Lead by Andy Fraser's wandering bass line, and Kossoff's smooth rhythm playing, the song epitomizes the often used term 'feel'. The feel that Free are often credited for because of the excellent drummer Simon Kirke. Kirke has a natural swing in his beats and forms a tight, yet-loose (If that makes any sense?) rhythm section with Fraser. Moreover, the song captures the imagery of a lazy summers day with great lyrics such as:

"I'm on my way, 

and I might be late, 

I don't worry, 

Everything can wait"

'On May Way' has never been considered a top Free song, a fact that frustrates me! The band sound happy and content (something Free are not often known for) which may have something to do with its lack of critical respect.
                               
One of the standout songs is the somber 'Be My Friend'. Considered by fans and critics these days as a Free classic, 'Be My Friend' is the band at their most reflective and moody. This soulful ballad, with its heartbreaking lyric concerning loneliness and isolation, is reminiscent of the terrific 'Heavy Load' from the previous album. Throughout their career, Free were able to 'pull of' ballads with such conviction. They were not afraid be mellow and tuneful, or rely on flashy virtuosity to enhance their music. The band were undoubtedly the most soulful group around, with a sense of melody and feel, both things contemporaneous bands like Deep Purple (don't worry - i'm a fan!) often struggled with.

On side B is the rocking 'Ride On A Pony', which has a terrific guitar solo - up there with Kossoff's best and the melancholy ballads, 'Love You So' and 'Sunny Day' along with the country-influenced 'Bodie'. The album closes with the brilliant 'Soon I Will Be Gone' - another classic Free song. The dark acoustic ballad showcases Paul Rodgers tremendous vocals and lyrical ability. With rising strings, distorted guitars, and pulsating hand claps which rise, 'Soon I Will Be Gone' is a perfect, climactic end to the LP.

After having a surprise UK hit with 'My Brother Jake', the band broke up in early 1971. Kossoff's drug problems, tensions between Fraser and Rodgers, and inconsistent record sales were probably the causes of the break. Although the band were to reform in 1972 for the albums Free at Last and Heartbreaker, the music they created in 1970-71 is undoubtedly their finest. I believe that it is imperative that Highway is revisited by fans and critics and recognized as one of the best Free albums. I understand the public's disappointment at the time as it is not as immediately powerful as Fire and Water. However, with the wonder of hindsight, the album should be now viewed as a natural transition for a band still finding their musical calling. Free are one of the finest groups to ever come out of the late 1960s, and their album Highway is an intriguing outlier in their back catologue.

Key Tracks:

Be My Friend
On My Way
The Stealer
Soon I Will Be Gone

If you enjoyed this album, also check out:

Faces - First Step 1970
Humble Pie - Town and Country 1969
Thin Lizzy - Shades of A Blue Orphanage 1971

The Fourmyula - Creation

The Fourmyula - Creation
His Master's Voice/EMI
Recorded at EMI Studios, Wellington, New Zealand
Produced by Peter Dawkins

One of my major hobbies is re-discovering New Zealand music. There is so much great music that has come out of this small country which has been forgotten and neglected by the record buying public today. I don't know what it is about New Zealand but we never had any local groups that dominated the charts and radio like the Rolling Stones or The Beatles. This is probably a result of our small population, but I also feel we have always unjustifiably regarded local music as inferior. This has always bugged me and I would love to change the perception of our music!

One cruelly-forgotten Kiwi group is the pop outfit The Fourmyula. Formed in Upper Hutt in 1967, the group consisted of Martin Hope, Wayne Mason, Ali Richardson, and Chris Parry. Carl Evenson joined the four-piece in 1968 completing the classic line up. The Fourmyula were the only group that ever came close to matching the local success of the British Invasion groups. With their melodic, beatlesque songwriting with a unique Kiwi twist, The Fourmyula had ten top twenty hits between 1967 and 1970. The groups greatest accolade was their 1970 #1 hit 'Nature', recently voted by APRA as New Zealand’s greatest pop song of all time. Catastrophically, the group are not widely remembered in New Zealand these days, something that I feel needs to be remedied!

The album that excites me the most by The Fourmyula is 1969's Creation. For the first time in their career, The Fourmyula created a start-to-finish strong album (a rare thing in New Zealand at the time!) In the early-to-mid sixties, many Kiwi bands focused on singles, resulting in patchy, thrown-together records. By the latter half of the decade the times had changed, the notion of the 'album' developed. Records were becoming more creative and experimental and focused on original compositions rather than r&b or blues covers. This shift in approach signaled the beginning one of the more creative and interesting periods of pop music.

Creation blended the then-current sounds of The Beatles, Small Faces, and The Rolling Stones with their own pop rock identity. The band moved away from Psychedelic pop which made them famous, adopting a rootsy, soulful sound, possibly influenced by The Band's seminal Music From Big Pink and The Stones' back-to-basic Beggars Banquet. The band recorded the LP whilst saving to head back to the UK to have another attempt at stardom. One could argue that this album is completely derivative of more prominent sixties band - devoid of any originality. Yes this could well be a true, however, I believe that Creation is unique enough and has the songs and personality to stand up, shoulder to shoulder with any LP of the sixties.

The bands sound had become more grown up and serious, most noticeably on the tracks ‘I Need Your Love’ and 'Patterns of My Life'. A soul searching folk rock ballad, 'Patterns' has some killer guitar worked played by Martin Hope. The lead guitar weaves itself around the vocal melody, whilst an acoustic chimes beautifully in the background. The lyrics show the groups newfound depth and maturity, a stark contrast to the throwaway 'Mr Whippy' from the previous year. Furthermore, Evenson's voice had matured and weathered slightly since 1968 as heard on the rocky 'Blessbury Road' and 'Home To My Lady'. Another fine moment is the beautiful, hymn-like instrumental 'Orphan'. Clearly influenced by Procol Harum's 'A Whiter Shade of Pale', 'Orphan' showcases Wayne Mason's growing skill as an organist and arranger.

The closing song ‘Nature’ is clearly the strongest moment on the album, with its infectious sing-along chorus and lush acoustic sounds. Written by Mason, the song is meticulously pieced together with various guitar overdubs and an even an auto harp. What makes the song for me is the descending bass line played by Richardson. It is so simple, as he is just playing the root notes, yet it an essential component to the song. Strangely, 'Nature'  had been forgotten by the band, who were in the UK when it reached number one in New Zealand. Peter Dawkins must have seen the hit potential and spent hours producing this pop masterpiece. 'Nature' is undoubtedly one of the countries finest pop songs and It is completely beyond me how this song was not a worldwide hit!

https://www.youtube.com/watch?v=ujYxffv60vU

Creation was a turning point in The Fourmyula's career. Despite it producing their sole #1 hit, the band disregarded the single and album and remained in the UK. The band adopted a heavier blues sound (as can be heard on the terrific 1970 single 'Otaki') and recorded a LP  - which remained unreleased until 2010. Unfortunately, after renaming themselves Pipp (to avoid confusion with another UK band called Fourmyula) the band dissolved. They were worn out and frustrated with their lack of success in Europe. Mason and Evenson returned to New Zealand, forming the Wellington group Rockinghorse. Chris Parry remained in the UK and went onto found Fiction Records producing the bands The Jam and The Cure.

This album is a must have for pop fans, both from New Zealand, and the rest of the world. I hope people will take it for what it is - a great pop recording in New Zealand's history which should be remembered and celebrated. As of very recently, Creation has been reissued and is now available to purchase on iTunes!

Hope you enjoy it!

Key tracks:

Nature
Patterns of My Life
Orphan

Also check out:

The La De Da's - The Happy Prince (1967)
Crosby Stills and Nash - Crosby Stills and Nash (1969)
The Band - Music From Big Pink (1969)
The Rolling Stones - Beggars Banquet (1968)

Brinsley Schwarz - New Favourites of Brinsley Schwarz

                                     

Brinsley Schwarz - The New Favourites of Brinsley Schwarz
United Artists, 1974
Recorded at Rockfield Studios, Wales
Produced by Dave Edmunds 

My recent Dave Edmunds post leads me onto an LP by the British group Brinsley Schwarz.  The New Favourites of Brinsley Schwarz (the bands final album) was released in 1974 and was recorded and produced by Dave Edmunds at Rockfield Studios. New Favourites isn't my favourite Brinsley Schwarz record, that title goes to the brilliant Nervous on the Road from 1972. However, New Favourites is a an excellent farewell record by a band that deserves more recognition these days.

Often credited as one of the founders of London's pub rock scene, Brinsley Schwarz and their country influenced 'mellow-rock' was the perfect contrast to the bombastic prog rock of the era. Their music was humble and rootsy, with a back-to-basic do-it-yourself charm. In my opinion, Brinsley Schwarz were one of the greatest units in the UK at the time and released six essential records between 1969 and 1974. Brinsley Schwarz were so well regarded, they often doubled as a session band. You can hear them backing Frankie Miller's Once in a Blue Moon and former Eire Apparent vocalist Ernie Graham's debut LP.

The New Favourites of Brinsley Schwarz is the bands most commercial and polished record. This is no doubt a result of Edmunds' pop production prowess, but also of Nick Lowe's growth as a songwriter. Lowe's pop sensibilities shine on this album more so than any previous Brinsley Schwarz LP. The homages to The Band and Little Feat are minimal, replaced by a new Philadelphia soul and power pop influenced sound, complete with big horns and big hooks. Some may view this LP as a disappointment, as it is indeed a departure from their earlier country rock style. However, I often enjoy it when bands update their sound and try new things. People change all the time - so why can't bands?

The opening number and single '(What's So Funny 'Bout) Peace Love and Understanding' (latterly a hit for Elvis Costello) is one of the top songs on this record, and maybe the best thing they ever did? The jangly guitar, crunchy riff, and irresistible melody make for a powerful beginning. 'Peace Love and Understanding' was a turning point for Lowe. He outgrew Brinsley Schwarz and was elevated into the power pop big time, setting the benchmark for his glorious late seventies solo albums. For me Lowe sits side-by-side with some other great pop musicians of the day like Alex Chilton or Pete Ham because of his melodic understanding and lyrical prowess.

     The influence of Philly soul is most prominent on the three tracks 'Down in the Dive', 'Small Town, Big City', and 'Ever Since You're Gone'. The latter being a groovy, soft-rock shuffle with a brilliantly smooth saxophone solo. New Favourites is relentless with its hooks, songs like 'The Real Thing' and 'Trying to Live My Life Without You' are so addictive you will find yourself singing along before the second chorus has even begun! Despite enjoying the 'new' Brinsley Schwarz sound, my favourite track though is the more familiar, maybe slightly tongue-in-check country song 'The Look That's In Your Eye Tonight'. Lowe croons like a late sixties Glen Campbell in this perfectly constructed little country gem. Furthermore, Dave Edmunds influence is evident throughout the record, with glossy guitar and vocal overdubs, not as evident on previous Brinsley Schwarz records.

Clearly Brinsley Schwarz were disenchanted with the pub rock scene and sound, and this LP may have been their attempt at having some pop success, which had cruelly adverted them. If they band had internal issues at the time (mostly likely with their impending break-up), the tensions only improved the albums feel and soul. As a result of Lowe's improved songwriting and Edmund's crack production, New Favourites of Brinsley Schwarz is a solid album. Lowe's and Edmund's dominance added life and colour to the music, and sowed the seeds of their future collaboration.

I do, however, listen to this album with a slight degree of sadness. I often wonder 'what might have been? They could have become more popular if they stuck together! They may also have achieved the pop success they undoubtedly craved! But, alas it was not to be. After a couple of unsuccessful singles, the band finally called it a day in 1975. Although various members went on to achieved more critical and commercial success in other groups, the music made by Brinsley Schwarz remains an essential part of the British pub rock story.

Enjoy!

Key Tracks:

(What's So Funny 'Bout) Peace Love and Understanding
Ever Since You're Gone
I Got The Real Thing
The Look That's In Your Eye Tonight

If you liked this album, you may also like:

Elvis Costello - My Aim is True (1977)
Big Star - Radio City (1974)
Elton John - Don't Shoot Me I'm Only the Piano Player (1971)

Dave Edmunds - Subtle as a Flying Mallet

                                           

Dave Edmunds - Subtle as a Flying Mallet
RCA Records, 1975
Recorded at Rockfield Studios, Wales (Live tracks recorded in Cardiff)
Produced by Dave Edmunds 

The reclusive Welsh musician Dave Edmunds is one of the most intriguing musicians of the 1970s. Originally the singer of the the group Love Sculpture, (known for their 1968 hit 'Sabre Dance') Edmunds is best remembered for his late seventies solo work and countless collaborations with Nick Lowe. Edmunds solo career began when he left Love Sculpture in 1970 and was quickly propelled to the top of the charts with the Smiley Lewis song 'I Hear you Knocking'. Regrettably, Edmunds' initial pop success was short lived. As a result of various label issues and subsequent single failures, his debut album Rockpile wasn't released until 1972. The delay killed all the momentum from his smash hit and Edmunds withdrew himself from the public eye.

Despite this disappointment, Edmunds began working at Rockfield Studios as a producer, recording groups like Foghat and Help Yourself. As well as his production commitments, Edmunds continued to work on his own solo music. He returned to limelight briefly in 1973 with the UK Top 10 Hits 'Baby I Love You' and 'Born To Be With You'. Both 1960s covers in which Edmunds went to great lengths to painstakingly recreate the Phil Spector produced originals, complete with lush arrangements and countless overdubs. Both tunes are a fine example of Edmunds' skill in the studio, attention to detail, and his revivalist tendencies. Interestingly, the withdrawn Edmunds did not immediately seek to follow up the success, and once again retreated to rural Wales, recording and producing music.

       Dave Edmunds' second LP, Subtle as a Flying Mallet was released in 1975, towards the end of his period in isolation. It is basically a collection of various studio and live tracks recorded between 1972 and 1974. Most of the songs are 1950s and 1960s covers which range from from country, eclectic blues, to straight ahead rock n' roll. Also included were the Spector-styled singles 'Baby I Love You' and 'Born To Be With You', alongside a magnificent remake of 'Da Doo Ron Ron'. Most impressively though is that Edmunds plays the majority of the instruments himself, justifying the three year wait between records!

        One of the standout moments is the song 'Maybe' which showcases his incredible vocal range. A lush piano ballad with various bells and chimes provide an excellent backing for his soaring, Terry Reid-like vocals. The singing gets more intense each verse and by the final refrain, Edmunds is truly belting his heart out. Another tasty moment is the delicate 'She's My Baby' penned by Nick Lowe - who latterly played with Edmunds in the group Rockpile. The tune is so melodic and pretty it would fit perfectly onto an early seventies Beach Boys' record like Sunflower or Surf's Up! 

      Some people may find this album a bit uneven, but I think that's what excites me most. It is ramshackle in places with scruffy rockers like 'Leave My Woman Alone' and the outlaw country of 'Billy the Kid'. It is glossy and poppy in parts, with lush, polished arrangements in an obvious nod to Phil Spector and George Martin. Yet in a way Subtle as a Flying Mallet sounds like nothing else released in that period. Not many British artists at the time (can't think of any - please correct me if you can think of some!) really displayed their love of 1950s American popular music so blatantly. Yes, many Glam rock artists like T. Rex, their tunes were based upon simple fifties rhythms and groves, but were not so (I hate to use this word!) 'authentic' as Edmunds. They updated the sound to appeal to kids of the age, whereas Edmunds during this period is arguably a throwback artist, interested in recreating the sounds of his youth as best as he could.

Despite the two preceding hit singles, Subtle as a Flying Mallet was a complete commercial flop failing to chart in both the UK and USA. Edmunds' fortune did improve with following albums Get It and Repeat When Necessary which stabilized his career which has continued to this day. I was lucky enough to find it on vinyl recently at a great wee record store in Norwich for only £5! I wish this album made more of an impact when it was released, but nonetheless its obscurity adds only to its curiosity!

Enjoy!

Key tracks:

Baby I Love You
Maybe
Let It Be Me
Born To Be With You
She's My Baby

If you like this record, you should also check out:

Dave Edmunds - Rockpile (1972 debut album - recorded 1970/71)
Eggs Over Easy - Good 'N' Cheap (1972)
Brinsley Schwarz - Nervous on the Road (1972)

My Vinyl Thoughts

It is a daunting task beginning a music blog, where to begin? what to say? which fantastic music to write about? the list of overwhelming questions go on!

It is something I have wanted to do for a while, but for various reasons, haven't had the confidence, and indeed, the inspiration to give it a go. Now I'm in the head-space and have found the time,  I am ready to begin and share with you all, my weird and wonderful world of music.

So here I go...

Music to me now, is about liking what I like and accepting and celebrating my individuality. I am yet to meet anyone who shares the exact music taste as I do. Oddly enough, I am comforted by this fact, and feel great pride at sharing the music I love with everyone, and anyone who can be bothered listening. In the past, I have often raved to people about The Darkness' latest LP or a re-discovered Uriah Heep record, which frequently fell upon deaf ears. This can be demoralizing and frustrating when you feel that no one can hear that you do and you wonder how on earth do they not understand this great music?! I have many friends who have a totally different music taste, stuff I could never ever dream of getting into. What I never realized is that my friends are just as passionate about their music and have the same fan-boy reaction that I do. People listen to music because it speaks to them, it may not speak to anyone else, but is important to them and that is all that matters. It is easy to get lost in your world of music, but making this realization has made me comfortable accepting the music that I like, not worrying about if it is cool or fits into a fad or a trend.

This blog is not about critiquing or imposing what i feel anyone should like or dislike, it is about sharing what music I listen to, and hope that someone out there enjoys the music too. Over the next 12 months i'll be posting guides to various albums i'm listening to, new, old, rare, and obscure.

Enjoy!