Monday, March 31, 2014

Burning River Brass. Classical Impressions.

Burning River Brass.  Classical Impressions.
Burning River Brass, 2013.  Website:

A new release by Burning River Brass is always a pleasure.  I’ve enjoyed their previous albums (this is their sixth) and seen them in concert.  They’ve been around since 1996, consisting of folks who work and play in Northeast Ohio (Dave Duro teaches trumpet at Hiram College).  This time out they used a Kickstarter campaign to fund the project, raising $15,000, and the recording was made at the First Baptist Church in Shaker Heights during March of 2013.  This album was recently featured as a Choice CD of the Day on WCLV.  With that stamp of approval, we proceed.

The title of the CD does not really concern Impressionist works, although there are some, but works that have made an impression upon the musicians themselves, and presumably, their audiences.  They start off with three short pieces by Debussy, totalling less than six minutes.  The first is more of a fanfare, an announcement for the others.  The next slowly rouses the attention with a Spanish flavor, in somewhat seductive fashion, while the third is a lively dance tune.  The group follows this volly with a quick change of pace, Biebl’s “Ave Maria,” a choral work arranged for the group.  Solemn, yet majestic, it is quite lovely, matching the Vespers pieces by Rachmaninoff and Laurisden’s work, but lighter in tone.

At first, I was not terribly impressed with the Bach concerto, written for two violins.  It seemed lackluster, and I wasn’t sure if it was from the recording or the arrangement.  But then I realized I was listening to it on a boom box, and switched to my headphones.  There’s the sparkle I was expecting (always use the right equipment, folks), and it was a joy to hear in this arrangement.  The slower, middle movement is especially delightful, with a very sweet flow, and they really let loose on the third movement, the Allegro.  The Bach piece is the longest work on the album, with three movements, but still only clocks at about fifteen minutes.  BRB knows how to keep things moving.  That energy continues into the Brahms “Hungarian Dance No. 6,” combining with some humor from the contrasting stately and raucous rhythms, before switching back to sacred music with two pieces from Rachmaninoff’s Vespers.  This is the most intense work on the album, but it’s never ponderous.  

The transition to Shostakovich is jarring.  The two pieces from Jazz Suite No. 1 sandwich a bit of Gershwin, and it all fits together nicely.  I must say that I have to be in the mood to hear Shostakovich’s jazz suites (being a jazz fan, I have issues--it’s more Kurt Weill than Louis Armstrong), but BRB plays it all quite well.  Comparing it to a full orchestral version on YouTube, with folks from Ukraine conducted by Kuchar, it works about as well.  The atmosphere set by Shostakovich continues with the “Scherzo” by Prokofiev, but is then slowed down by his next piece.  I think I prefer the “Andante Segnando” as a brass arrangement, after listening to two piano versions on YouTube by Ashkenazy and Kissin.  It has a more open feel to me.  We are back into higher gear with the Paganini Variations, a work I find rather irritating in piano version, but is quite a pleasure in brass arrangement.  

The last two works contrast radically.  The Lauridsen piece is another sacred choral work, a modern masterpiece treated with reverence and care.  I’m not sure it reaches the majestic heights of the best choirs, but it has a quiet beauty of a different sort.  The Novarro piece is a fun Latin tune that works perfectly as an encore.  As you may have surmised, I enjoyed this album immensely, and recommend it to anyone who enjoys brass ensemble music.  I also urge you to go see them in concert.

Personnel:  Trumpets:  David Duro, Justin Emerich, Michael Tiscione, Heather Zweifel.  Horns:  Neil DeLand, Christopher Komer.  Trombones: Hans Bohn, Rebecca Ciabattari, David Mitchell.  Bass Trombone: Andrew Chappell.  Euphonium: Rebecca Ciabattari.  Tuba: Matthew Gaunt.  Percussion: Fred Zweifel.  Guest Horn Player: Richard King (Tracks 10 & 18).  Arranger:  Feza Zweifel (except Track 17, arranged by Roger Harvey).
Tracks:  Morceau de Concours (Claude Debussy); La Puerta del Vino (from Preludes, Book II) (Claude Debussy); Danse Bohémienne (Claude Debussy); Ave Maria (Franz Biebl); Concerto in d minor, BWV 1043 (J. S. Bach); Hungarian Dance No. 6 (Johannes Brahms); Blessed Art Thou, O Lord (from Vespers) (Sergei Rachmaninoff); Lord, Now Lettest Thou (from Vespers) (Sergei Rachmaninoff); Foxtrot (from Jazz Suite No. 1) (Dmitri Shostakovich); Prelude No. 2, Blue Lullaby (George Gershwin); Waltz (from Jazz Suite No. 1) (Dmitri Shostakovich); Scherzo (from Piano Sonata No. 2) (Sergei Prokofiev); Andante Segnando (from Piano Sonata No. 8) (Sergei Prokofiev); Paganini Variations (Witold Lutoslawski); O Magnum Mysterium (Morten Lauridsen); La Pareja (Chico Novarro).

Jeff Wanser

Wednesday, March 26, 2014

Adam Rich. Virgin Freak.

Adam Rich.  Virgin Freak.
Love Muffin Records, 1994.  Released on CD, 2014.  

Sad to say, I’m not the first one to review this CD.  The Scene got there first by a week, because I was busy grading papers and writing academic-type stuff.  However, I will write a more positive review, because I liked it a lot better than Jeff Niesel.  I grew up on instrumental rock from a different era, with the Ventures and Duane Eddy, so my points of reference are likely a bit different from Mr. Niesel, or Mr. Rich, who plays all the instruments on the album.  This was his first full-length release, on cassette (at least it wasn’t 8-track tape), while he was a college student, so it should be looked at as a debut album.  

These days, Rich is a sophisticated musician, entrepreneur, and record label owner. Back then, not so much. No question, the cover is ugly, and features Rich’s distorted face in black-and-white.  However, a listen tells you that here is a budding young musician with interesting ideas and a lot of potential.  He experiments with every studio trick he can think of and the recorded sound is a bit questionable in some places, with the guitar pitched a bit too high. Even remastering can’t redo everything.  That being said, what attracts me to this album is his guitar playing.  He’s good.  He absorbed various styles, and you can hear the influences of heroes like Joe Satriani and Eric Johnson. but Rich doesn’t play quite as cleanly here as they did.  He likes fuzz tones, and goes a little more metal here and there, especially with the bass.  The drumming is a bit rudimentary, but that wasn’t really his instrument.  

“Hangover” sounds to me part metal, part surf music, something you might have heard on the Munsters TV Show, or at a monster truck rally.  He breaks out the funky wah wah for “Rhet Ro,” and it sounds pretty good.  “The Friendlies” gets more atmospheric, slower paced and melodic, with Rich showing off his guitar runs.  It changes pace about halfway through, running faster and rougher, before returning to the original theme.  It’s the longest track, and the one I like best, as it shows clear development and structure.  “Groceries & Antifreeze” gets a bit psychedelic, while “Judas” is a metal workout with lots of guitar flash, also very enjoyable.  “Ylime” goes acoustic, and Rich gets to show off his softer side, very sweet in a Leo Kottke sort of way.  With “Visually Impaired,” the bass takes over with heavy crunching chords, and “Weaving,” recorded a year earlier finishes off the set with another strong track that rather sums up Rich’s musical influences.

I skipped over “Psycho John,” and I wish he had.  it would have been better left off the album and replaced with other tracks from his first EP.  Psycho John’s bizarre vocals ruin the song, otherwise instrumentally okay.  Overall, as a college student’s debut album, this is really quite good.  Yes, of course he’s gotten much better over the years, both in terms of musicianship and breadth of musical expression, but this album is a lot of fun, with enjoyable tunes.  Fans of Adam Rich should definitely pick it up.  

Personnel:  Adam Rich (all instruments), Psycho John (vocals on “Psycho John”).
Tracks:  Hangover, Rhet Ro, The Friendlies, Psycho John, Judas, Groceries & Antifreeze, Ylime, Nasally Impaired, Weaving (from his 1993 EP cassette, Leave My Fish Alone).


Thursday, March 20, 2014

Hoseff. Modern Gypsies.

Hoseff.  Modern Gypsies.
Primal Lemon Records, 2012.  Hoseff:
To be perfectly frank, I had a difficult time with Modern Gypsies. I couldn’t jive with the fusion of blues vocals over the gypsy music. It’s a musical marriage where plates fly and the neighbors avoid looking at the house as much as possible. The mash up of mournful folk music, blues, alternative, and gypsy guitar just never settle in at all. Maybe it’s my lack of exposure to the proper Romany culture and music, but it felt like a hodgepodge of music that could have used some polish. The songs flow from boring to awkward back to boring. The electric bass was dominating, and instead of adding grit the vocals, it was just distracting. The George Lucas sound effects on “In My Arms Tonight” left me as confused as all of the prequel films. The song’s tendency towards drama does work in its favor, but the vocals and weird effects seem self-indulgent to me.
As a music listener, I am looking for music that makes me sit up. Music that distracts me and makes me hyper-aware of the chord progressions and lyrical turns of phrase and doesn’t allow me to ignore it in favor of the voices in my head. I had no such experiences with Modern Gypsies. I was left feeling the way I do when I hear a Zappa album. Confused, unsure, and like even alcohol could not navigate me through the haunted forest. This album came out mostly grunge without the delicate lyrical progression I hoped for. Hoseff tries to incorporate the alternative niche similar to bands like Rasputina and Soundgarden, but just fails to thaw my ice water-submerged heart. However if I ever need a soundtrack to a hallucinogenic sequence, about 50% of this album is up for grabs.
Maybe I missed it. Maybe there is a great signifier that I forgot, skipped, or failed to absorb. Ultimately, though, I was not impressed by Hoseff’s offerings. Their Modern Gypsies failed to deliver anything to me that I was missing, and or to energize me as a music lover.  Hoseff is an Akron-based performer, appearing in various venues around the region.
Personnel:  Joe Garcia (vocals, guitar, bass guitar, piano, upright bass, lap steel, mandolin, percussion, synths), Angie Haze (vocals, accordion, piano, synths).
Tracks: Modern Gypsies, Waitin' on You, In My Arms Tonight, First Desire, This is Why We Live, Just My Dream, The Devil I Know, Sad Song, Yesterday's News, When I'm Gone, Make It Through the Night, Shades of Grey.

Lauren Parker

Tuesday, March 18, 2014

Suede Brothers. 13 Songs.

Suede Brothers.  13 Songs.
Bad Breaker Records, 2013.  Suede Brothers:

It starts out heavy, sort of Van Halen heavy, tuneful but without the wiseass snear.  The guitar solo is more like something from the 70s, kind of arena-rockish, but not in the negative way people use the term these days.  The vocals remind me of Billy Squire, a strong tenor, out there, crisp/fuzzy, slightly modified by technology.  The hook is memorable, and the instrumentation moves from foreground to background with some finesse.  This song could have been a hit back in 1980.

“Desert Song” (not the oldie by Sig Romberg) is the opener and a damned fine tune,  quite representative of the quality of music found on the latest release by the Suede Brothers, 13 Songs.  Formed out of the Black Diamonds, in Perry, Ohio, their first album with their new name came out in 2007.  This is their fourth. They mix old and new styles from the 60s to today without blinking an eye.  Big drums, big riffs.  Hard rock, stoner rock, Rust Belt rock--all have been used to describe their music.  They list their influences ranging from Black Sabbath to Blue Cheer to punk and grunge, but you’re likely to find almost anything in here.  You can hear whispers of just about any band, but the music isn’t derivative.  That is part of their appeal, along with really fine musicianship and riveting vocals.  (There’s another great guitar solo, towards the end of “The Doing.”--I’m listening as I’m writing.)

I listened to their other three albums, which all seem to have names, although I’m hard-pressed to find them on the CDs themselves (they show up on the laptop).  Their first, Suede Brothers, tends toward blues-rock, while their second album a year later, I’ll New You, goes more in a straightforward rock direction with some metal influences (and a little “Radar Love” mixed in, along with what sounds like Britpop).  The Night, their 2010 release, shows more sophistication in song structure, but still has both a blues and metal feel, while going for the bombast of the arena.  (They just did a really nice psychedelic bridge on “Falling Apart”).  All three are quite good, but 13 Songs kicks it up another notch in terms of song quality, greater range, and driving intensity.  They don’t get to anything like a mid-tempo song until track 7, “Way Back Home,” which has a smooth Blue Öyster Cult feel to it.  “Mean Muggin’” is an instrumental workout for everybody, with suitable feedback to end the song. (Oh, Lord, cowbell in “Time of Desperation”--I love it!).  “Red Rondo” shows that they can rock out with a Brubeck-inspired tune, and from here, all the songs are a bit shorter, all under three minutes.  Most earlier tunes ran from three and some to nearly five minutes.  “Into My Life” is their only ballad, which for me, is the only song that doesn’t work so well.  I know they need to mix it up, but it felt out of place on an otherwise heavy album.  “Down 44” (the route?) winds things up with another instrumental.  

This is the kind of album that is likely to be enjoyed by lots of different kinds of listeners, but all for different reasons.  No, they won’t attract the singer-songwriter aficionados, but most hard rock fans will find something to please.  The Suede Brothers is a group that seems to cross generations, and folks from the 60s to today will all relate.  That’s not an easy thing to accomplish, but they have managed it.  Strong songs, great guitar, and a driving rhythm section will take you a long way.

Personnel:  Dylan Francis (guitar, vocals), Mick Varga (drums), Kevin Naughton (bass).
Tracks:  Desert Song, Call It Done, The Doing, Falling Apart, Take Awhile, Blue Green Village, Way Back Home, Mean Muggin, Time of Desperation, Red Rondo, Setting Sun, Into My Life, Down 44.


Saturday, March 15, 2014

Sigmund Romberg. Blossom Time. The Ohio Light Opera.

Sigmund Romberg.  Blossom Time.  Performed by the Ohio Light Opera.
Albany Records, 2013.  Ohio Light Opera:

The Ohio Light Opera is a cultural treasure.  Based each summer at The College of Wooster, it’s one of only a few theater companies worldwide that present operettas in repertory with full orchestra.  Gilbert and Sullivan were emphasized in the early years under founder James Stuart, but now the company has a long list of composers and works under its belt.  
Among the most popular are titles by Sigmund Romberg who wrote Maytime (1917), The Student Prince (1924), and The New Moon (1928).  Romberg, born in the Austro-Hungarian Empire in 1887 and educated in Vienna, came to the United States in 1909.  He soon found his niche composing for the influential Shubert Brothers who produced Broadway musicals and revues.
The work reviewed here is Blossom Time, which Romberg created largely from direct quotes of melodies by early Romantic Viennese composer Franz Schubert.  This pastiche includes music from Die Schöne Müllerin, Rosamunde, The Unfinished Symphony, and even, audaciously,  Heidenrösslein and Die Forelle (“The Trout”).  Romberg binds his work together with a recurring serenade he called “Song of Love”, taken from Schubert’s posthumous cycle Schwanengesang.   As audiences recognized and loved the music, Blossom Time was very successful and had a long run after its premiere in fall of 1921.  Notes accompanying the recording make clear that “Romberg recast the rhythms and meters of several songs to provide a more rollicking, waltz-filled operetta atmosphere.”   His lyricist was former New York actor and director Dorothy Donnelly (1880-1928), who also collaborated on The Student Prince.
The story of Blossom Time is set in Vienna and centers on the frail genius Franz Schubert himself.  It’s a frothy tale of love both young and old, a nobleman who passes off a Schubert tune as his own, a narrowly-avoided duel, and a bittersweet ending.  Above all it is about beautiful music.  The cast includes OLO veterans Ted Christopher as pompous Count Scharntoff and Boyd Mackus  as Herr Kranz, father of the charming trio Mitzi, Fritzi, and Kitzi (what can I say, it’s operetta).
The work is uneven.  The overture seems too long, the last act a bit stagnant, and the Schubert vs. Romberg styles clash at times.  However there is pleasure in recognizing the recycled tunes, and (as it was the 1920s) an occasional touch of jazz creeps in, specifically the sextet at beginning of Act II.  The singing is generally good.  The final Act I duet between Schubert (Justin Berkowitz) and Mitzi  (Amy Maples) is very pleasant to hear.  Caroline Miller uses over-generous vibrato but perhaps intentionally as she portrays the larger-than-life opera singer La Bellabruna.  This reviewer was sorry there was no aria for Mackus as Herr Kranz.  His “Golden Days” sung by another Romberg character, Doctor Engel, lingers in the memory.
Performers:  Justin Berkowitz, Amy Maples, Luke Bahr, Ted Christopher, Boyd Mackus, Caroline Miller, Steven Byess (conductor), Ohio Light Opera Orchestra.
Tina Spencer Dreisbach

Editor's Note: Tickets for the 2014 season are still available. Go to the OLO website for more information. Blossom Time was wonderful in performance!

Friday, March 14, 2014

Thanks, Ukraine, I think

This week, there has been a massive increase in traffic on the Buzzard Tracks blog, most of it coming from Ukraine.  We are very pleased with the 367 page views over the past few days, but are also puzzled.  Who are the fans of Northeast Ohio artists in Ukraine?  If you happen to read this, send us a note, because we'd love to know what's going on.

Sad to say, most of the page views are going directly to the main site rather than any particular review, so we can't tell whether these are real, actual fans or just some sort of robo-contraption hitting us over and over.  If the latter, please stop.  We like the numbers, but we'd like honest numbers.  And please don't hack us.  We wouldn't want to close the site.  Give us a break.

Thanks to the fine folks at Google Translate, I repost the above message:

На цьому тижні, що мало місце значне збільшення трафіку на Стервятник Треки блог, більшість з них приходить з України. Ми дуже раді, з видом 367 сторінок протягом останніх декількох днів, але також спантеличений. Хто такі фанати північно-східному Огайо художників в Україні? Якщо вам пощастило прочитати це, відправте нам повідомлення, тому що ми хотіли б знати, що відбувається.

І, на жаль, більшість показів збираються безпосередньо на основний сайт, а не якої-небудь конкретної огляду, тому ми не можемо сказати, чи є це реальні, фактичні вентилятори або просто якась робо-хитре удару нам знову і знову. Якщо останнє, будь ласка, припиніть. Нам подобаються номери, але ми хотіли б чесних номера. І будь ласка, не рубати з нами. Ми не хотіли б, щоб закрити сайт. Дайте нам перерву.


Tuesday, March 11, 2014

These Knees. The Young and the Bright.

These Knees. The Young And The Bright.
2013. These Knees:

These Knees released their first full-length album “The Young And The Bright” in September of 2013. These Knees is a band based out of Cleveland, Ohio that started out as an indie pop/rock band but has, over time, formed their own unique sound.

For the most part, I found this album’s music sounding very upbeat and energetic. Starting off with a strong song like “Erie (Promise)” sets the mood for an interesting and fun listening experience. As I was listening along I started singing with Stephanie’s catchy chorusing and enjoying hearing something that was a little different than I’d heard in quite a while. The vocals are pleasant and pop-centric and are very complimentary to the music being performed. “Pacifica”, “The New Year”, “We are Infinite” , and “Ohio” keep this quicker-paced feel and carry the album along smoothly.

Slower songs like “Addicted”, “Eventually”, “Break Science, Make Art”, and “Wait” punctuate the album, ending with “Oh No!” which I felt was an interesting yet fun note to end on. These songs are just as fun and enjoyable as the others, just taken at a somewhat slower pace.

I must add, though, as a final note, that I rather enjoyed the Ukelele Version of Pacifica. It was sweet and melodious and I liked the water movement sounds.

Honestly, I listened to this album several times and really enjoyed it. Overall I’d recommend this album to anyone looking for a dose of something new, fun, and enjoyable.  This band has a show Saturday the 15th and I have a feeling they’d be really awesome to see live. Check them out!

Personnel: Stephanie Trivison (Lead Vocals, Guitar, Piano), Eric Piontkowski (Bass, Backing Vocals), Rob Hassing (Drums, Percussion), Fill In - Guita

Tracks: Erie (Promise); Pacifica; Addicted; Break Science, Make Art; Eventually; The New Year; Wait; Ohio; We Are Infinite; Oh No!; Pacifica (Ukelele Version) [Bonus Track]

Bryn Wolanski

Friday, March 7, 2014

Trap House Rave. Contagious

Trap House Rave. Contagious.
Tri-Force Entertainment, 2013. Trap House Rave:

Trap House Rave is a band that gets stuck in your head for a couple reasons. This group from the outlands of that ancient city that is Cleveland serves up a decidedly odd and often in-your-face experience with their album Contagious, the second full-length release from a hyper-charged and spliced alliance of singing, screaming, and rapping artists.

What hits you immediately from the very first track of Contagious is Trap House Rave's fearless attitude to cross breed their songs with elements of different genres, from the synthesized beats of hip-hop to the raw bellows of hardcore rock. Refreshingly, it all worked for me as a listener and is a testament to the rejection of genre-labeling this band stands by. Do this kind of blending wrong and the result is akin to eating anchovies on an ice cream sundae. But do it right and you get to hear something that is as different as it is enjoyable, hybridity considered. The varied nature of Contagious is definitely what sets it apart from the band's previous releases.

In terms of how the lead vocals sound Trap House Rave can definitely draw comparisons to the band Mindless Self Indulgence, a force to be reckoned with from a more electronic and instrument-driven sector of rock. The quirky, eccentric verbal jabs of Trap House Rave's Koly Kolgate sometimes reminded me of fictional rapper MC Pee Pants crossed with Fred Durst when hearing the singer do his thing, while the style of the other vocalist, Shane Spohn, seemed more in line with that of mainstream rappers. So they're not voices gentle and soothing, to say the least, since the milieu of Trap House Rave lay elsewhere (perhaps in a toilet full of Surge and vodka), but ones certainly practiced in their trades and the uncouth subject matter they revel in.

Now then, the warning must be made that anyone offended by the words "bitch" and "slut" when they are used to colloquially refer to women would do well to avoid this album as it will probably make you snap the disk in half. Moments of demented male machismo, brazen and grabbing its own balls, are on full display here through lyrics such as the following quote pulled from the song "Self Portrait Exchange" where, I kid you not, the following is stated:

"I ain’t bring a rubber. Fuck that though, I’ma make this bitch a mother. 16 and pregnant, I guess that’s the trend, and YOLO is the motto, Brewer fill me up again."

If any fans of the band are reading this I proffer some counsel to you: never quote the more salacious works of Trap House Rave if you want to have any kind of a relationship with someone that doesn't have a head wound. And if the aforementioned Mr. Brewer is perusing this review please slap the requester of the drink and direct them to a Planned Parenthood- for condoms. "Self Portrait Exchange" and "The Strange" are undoubtedly the most addictive songs of the entire album because of the beats and production in them, however devolved the imagery and some of the lyrics are.

Controversy and ribald humor are obviously being pursued to impishly ignite listeners, and if you realize that then Contagious becomes more tolerable since Trap House Rave is in the entertainment business, after all, and not in the arena of nuanced dissertations on American culture. Bands like the Misfits and D12 courted obscenity in much the same way when they were first getting started, along with countless other acts throughout history looking to shock their audiences. Some songs on Contagious avoid the sexual trashiness and I'd say that suggests there's more to the band's aspirations than singing about going to parties and unzipping their pants, such as in "The Kids Next Door" where the lyrics lament:

"In the land of the free it’s too often that we're not brave. It'll only be a few more years before we're all enslaved. By a society of technology, a prescription for our psychology, and it don't take a lot of me to show the world what they ought to see."

See? Not exactly pushing the bounds of originality but there are brains in the creative impulses of these fierce scarecrows after all, in my opinion. Still don't believe me? Then here's a sampling from "Cancer.jpg" that contains, quite possibly, the greatest boast ever:

"I always get my awesomesauce, I get my waffle fries for free because I’m a mother fuckin bawse [sic],"

You cannot have a bad day after reciting that to yourself. For the record that is how the band's website spells "boss" and I thought it best to represent the term the same way in the above quote since I don't want to get awesomesauce on my face. I've heard it burns.

Trap House Rave clearly enjoys itself and you know this after a single listen to its album Contagious. With a funny music video for "The Strange" up on Youtube and guest appearances from screamer John Sustar on one track and rapper ZuP on another Trap House Rave has mania to spare and evokes the essence of Cleveland through Contagious in ways I'm sure that Governor John Kasich secretly identifies with on multiple levels.

Rest assured you'll be infected by these twelve tracks if you're looking for something alternative, abrasive, and offbeat. Otherwise, look elsewhere because Contagious will give nightmares and shudders to those not able to see the humor and hard work that went into this album.

Personnel: Branden Monday (Drummer), Shane "Shane D." Spohn (Vocals), Ken "Koly Kolgate" Kuglin (Vocals), Jim "Jimothy" Krumhansl (Guitar), Ryan Brewer (Bass/Turntables).
Tracks: OUTBREAK!, The Kids Next Door, Cancer.JPG, The Strange, Self Portrait Exchange, Plan B feat. Sustar, Second Best feat. ZuP, Solo Shot First, Rage and Riot, The Deadliest Catch, 22:13, and Containment.

Robert Gojo