Apollo Smile

I apologise to anyone traumatized by this post in advance, but I thought it only right to finish talking about Matt Dike's productions with one I'd mentioned earlier but otherwise ignored. That would be Apollo Smile, and boy, get ready for a smack-like overdose of bubblegum!

Ms. Smile has been around since the early nineties and is best known as the voice of Ulala in the English versions of the Space Channel 5 games. Her contributions to those games are pretty notable as most think she got the voice-acting perfect and the games are looked at as early precursors to the Dance Dance Revolution and Guitar Hero games, their spin-offs and various clones. None of that has anything to do with her career in pop music though, which based on this album alone is pretty dismal. I suppose I'm being a bit hard on her as this was the early nineties and her music comes off like a full-band version of Deee-Lite with the sex-flair right up front, and maybe if I had heard this record around the time I was listening to World Clique I would have a different opinion (as in I still enjoy World Clique), but as it stands it sounds mighty dated, almost like they were trying to sell an early twenties Britney Spears to teenie-boppers but without as much sex yet more than what was acceptable for the time. Sorry if that's a little long-winded, but listen to Thunderbox and you'll understand.

Apollo's career continued despite the album flopping and she has recorded at least two more solo albums since independently, played with an "Atari" band named Rockbot and hosted the Sci-Fi Channel's Anime Week in 1998, which I'm sure is due to her then calling herself The Live Action Anime Girl, something I'm sure existed in Japan long before Ms. Smile's arrival. That said, she probably would have went over wonderfully in Japan but I haven't read anything to prove she did.

Most of what makes this album fail is the over-enthusiastic vibe coming from Apollo's vocals, which isn't to say she's a bad singer, but it doesn't sound like she either knew what she was doing here or the engineers and producers sucked. Freddie Richmond, Jr. gets the main production credit here and he's also credited with mixing the album with David Bianco who was given a co-production credit on six tracks. As for the rest of the line-up, several names known for quality stand out including engineer work from Steve Ett, Sylvia Massy, Brendan O'Brien and David Bianco again, co-production on four tracks from Matt Dike (both versions of Dune Buggy, Temple Of Love and Peace Sign), remix credits to Bill Laswell for the Praxis version of Thunderbox and Shep Pettibone for his version of Dune Buggy, and vocals and "box" (?) by Johnny "Guitar" Watson. So Johnny "Guitar" Watson didn't play guitar on the album? WHAT?!? It's also worth noting that Matt Dike, Mike Ross, Rick Ross (not THAT Rick Ross, Mike's brother and manager for Delicious Vinyl), Chris and Cynthia Goss (think QOTSA) all get thank yous.

A few tidbits worth explaining, the version of Thunderbox listed as the Praxis Remix is not listed as such on the album, but in the credits Mr. Laswell is given his remix credit. It doesn't make a lot of sense to me why a remix was made of that track as it isn't terribly different from the original version which was featured on the Days Of Thunder soundtrack. I've included that version as a bonus track for anyone interested enough to examine it. Mr. Pettibone doesn't get his name on the track list either, where his version of Dune Buggy is listed as a Bonus Remix, but again the credits do list him as the responsible party so I only thought it was right to do the same here. There were several additional remixes of Dune Buggy created which are also attributed to Mr. Pettibone, but I have no interest in hunting those down so please forgive their non-presence here. Last but not least, I have seen Matt Dike credited several times as the original producer of Thunderbox, although the album's credits and those from the Days Of Thunder soundtrack don't agree with that statement. Whether he is or is not though, it sure sounds like something he would have at least started, what with a guitar riff heard both on Paul's Boutique and Tone Loc's Loc'ed After Dark and drum loops from Bonzo's Montreux off Led Zep's Coda, but until such a time as I or someone else gets to ask him directly we may never know.

So again, I apologise for any undue trauma you may suffer from listening to this craptastic voyage I am featuring for you today, but it's not right to mention something and then not explain it, so I thought it only right. Sorry if I hurt your feelings Ms. Smile, if it's any consolation YOU WERE GREAT as Ulala! All this said, enjoy if possible and may the devil have mercy on my soul, although the way he works he might reward me for this one!


Apollo Smile

01 Thunderbox (Praxis Remix)
02 Dune Buggy
03 I Want You To Love Me
04 Love Comes Your Way
05 Theme For All Nations
06 Friends
07 Hymn To The Sun
08 Temple Of Love
09 Peace Sign
10 Theme (Reprise)
11 Dune Buggy (Shep Pettibone Remix) (listed as a bonus track on the album)
12 Thunderbox (Original Version) (bonus track, courtesy of ME!)

PS - The image in this post has nothing to do with the album cover, although I think it's a heluva improvement if you ask me! Girl is HOT!!!!! and with five exclamation points! For those who want the real cover, it's embedded with the MP3s in the rar. Also, found this little article asking where she has went to. In a strange way I hope they find her, not just because she's hot but because she seems like she really believed in what she did. So, Apollo, if you're out there, sorry for the bashing but drop a line to the people and let 'em know what you're up to.

Jesse Jaymes - Thirty Footer In Your Face

Is a thirty footer some kind of basketball reference? Would someone please explain this to me? No, seriously, I really mean it, explain it to me please, as I have the odd characteristic of being the anti-sport in a family of sports-aficionados. While my father, mother and brother freaked out over the Browns or whomever was more interesting to watch instead, I was watching experimental, indie and foreign films alongside the occasional action flick. Hell, I got caught watching chick flicks from time to time (My Best Friends Wedding for the win! Who up in here loves I Say A Little Prayer?), but never sports. Now don't get me wrong, I'm a man's man! The best reason to watch foreign films is for the copious amounts of T&A, although the symbolism is just as important. :) I'm a fucking nerd and it shows, don't it?

Anyway, the real point of this post is Mr. Jesse Jaymes, known to his parents as Jesse Itzler, a man of many labels. Husband to Sara Blakely (founder of the Spanx undergarments company), father to Lazer Blake Itzler (Lazer?), co-founder of Marquis Jet and songwriter for the NBA, the NY Knicks and other sports teams. But what he might want to be forgotten for his role in the early nineties rap scene. Not to say that his work was bad, but it simply doesn't compare to his labelmates and contemporaries of the time.

Jesse signed with Delicious Vinyl and recorded his Matt Dike and Michael Ross produced debut album, Thirty Footer In Your Face. Jesse co-wrote raps for Tone Loc and others prior to his solo rap career, so his signing up with DV isn't that shocking, although the clubbiness (I'm patenting that word if it hasn't been done yet) of some of the tracks is a little peculiar. If the N'Dea Davenport backing vocals hadn't been present on some of the tracks they may have held up better to the ravages of time, but it was the early nineties after all and not everything can be eternally memorable. But Thirty Footer is far from awful, with the worst track being Poison Ivory, a pro-white-boy rap for the haters comparing Jesse to Vanilla Ice-like jokers, and the best being party-time throwbacks like College Girls and Shake It (Like A White Girl). Everything else is worth hearing, especially Dave The Bookie, and a lot of it is quite good, but Jesse's flows sound sub-Young MC or Tone Loc at times, although for a party record you're not necessarily expecting deep flows.

On a side-note, I remember hearing Shake It on the radio and wondering why a white boy would write a rap disrespecting white girls. Now years later I get it and it's not a diss, just the truth. That said, I'm a white boy so it doesn't apply to me, but knowing that most white folks don't have rhythm I must assert I am blessed with plenty of rhythmic ability, but I dance like I'm having a seizure. My girl says I dance like Humpty Hump, "in a flitter of convulsions".

For the sake of simplicity I've edited two of the tracks on the album so you can examine the smaller details a bit easier, not that they're life-changing though. In particular, it's noted below the final track that Spit Can Make You Dance, a track featuring a friend of Jesse's who provides backing vocals, is located "somewhere" on the album. Well, it appears at the end of the ninth track and there is also an unlisted outro after the final track, both of which have been given their own tracks for this post.

Keep on doing whatever you're doing Jesse, it's gotten you this far just fine, and Shake It still sounds damn good today!


Jesse Jaymes - Thirty Footer In Your Face

01 Shake It (Like A White Girl)
02 $55 Motel
03 Keepin' It Funky
04 Sho Nuff Bumpin'
05 Poison Ivory
06 Body Heat
07 Dave The Bookie
08 College Girls
09 Ain't No Thang
10 Spit Can Make You Dance
11 Rhymes At Will
12 Outro

dusted: The Dust Brothers and Matt Dike

Everyone already knows how much I love Paul's Boutique, but if you don't, explore the site and I'm sure you'll have a good idea. I love the Beasties but I'm also a big fan of the Dust Brothers and Matt Dike, which is kind of a curse when trying to follow their careers. The Dust Brothers, as in John King and Mike Simpson, aren't nearly as difficult to follow, what with their productions for Beck (Odelay, Guero, etc.) and the soundtrack for Fight Club among other contributions, although I don't get the impression that most of those other works would rank high on their resumes. I read that a lot of artists who hired them for production work treated them like magicians who should be able to work their spell on anyone, which is just not the truth. Take Odelay for instance, there aren't a lot of samples from pre-existing sources on the album, rather they built grooves from hours of recordings they made with Beck and used those as the album's foundation. Then listen to the Rolling Stones Bridges To Babylon and the songs they contributed to, it sounds like their work was included in the final mixes strictly so the Stones couldn't be accused of not being hip, but they haven't been in years so they missed the point of hiring the Brothers Dust in the first place.

Matt Dike's body of work is rather limited. Apart from his works with Michael Ross for Delicious Vinyl (Tone-Loc, Young MC, Jesse Jaymes) and Paul's Boutique (upon which he was credited as a Dust Brother which, accurate or not, was short lived) he provided a handful of remixes, several for Delicious Vinyl artists, and contributed his studio skills to works for Geffen artists (Apollo Smile for example. Remember her? Yeah, practically no one else does either.), Rick Rubin and Henry Rollins' Infinite Zero Records (he apparently mixed their reissue of Trouble Funk's Live double album) and others. For the most part though, Matt disappeared into his own little world of music and privacy. He almost made a comeback in the mid to late nineties as part of a production duo with Peter Reardon named GonsterMacher (which I believe is Yiddish for big shot) that was to release an album and provide several remixes, but the only thing that appeared was a remix for Josh Wink. I so wish he would do some more works or that I could find some of his early mixtapes or unreleased productions because he is so talented and it's such a shame to see so little from someone so sharp. An easy comparison that I'm not the first to make is that Matt Dike is the California hip-hop equivelant of early eighties New York Rick Rubin.

Anyway, after hunting Matt and the Brothers' works, I've collected a number of remixes by the Dusties and a few by Mr. Dike. I'm posting five tracks from each for your listening pleasure, although one of them may haunt you if you listen to it more than once. Also, if you've got any Dust Brothers or Matt Dike productions you'd like to share, let me know because I'd love to get them and, in turn, I'll share them here on the site for all interested.


dusted

01 Filter - Hey Man Nice Shot (Nickel Bag)
Sweet ass remix by the Dust Brothers with horns and unbridaled funkiness! Never thought you could take a song as down as the original version of Hey Man Nice Shot and make it a serious jam!

02 Young MC - I Let 'Em Know (Matt Dike Remix)
Good remix now available with the deluxe reissue of Young MC's Stone Cold Rhymin'. Proof Dike got skills!

03 10¢ - Bubble Bath
Not a remix, but a track from 10¢'s Dust Brothers produced album, Buggin' Out. The album is a bit of a mixed bag with ten tracks clocking in at around thirty minutes, but at least four are classics, and this is one of them. Worth checking out the album which is available on iTunes and Amazon for download, just don't expect brilliance.

04 Fine Young Cannibals - I'm Not Satisfied (Matt Dike Remix)
Not my favorite Matt Dike remix, but not at all bad. Maybe if it had been for She Drives Me Crazy instead.

05 Machines Of Loving Grace - Richest Junkie Still Alive (Cherry Valley Mix)
Machines Of Loving Grace are probably best remembered for their contribution to The Crow soundtrack, which is fair because otherwise they were a decent pseudo-industrial band on Mammoth when that label was being distributed by WEA at the same time as Nine Inch Nails. I'm sure you know who got the promotional push, which is kinda funny since Trent Reznor actually did a remix for them. That's all beside the point though, because this is another rather funky remix in the vein of the Dust Brothers' Hey Man Nice Shot remix. Good shit indeed!

06 Wink - Simple Man (Gonstermacher Longer Remix)
To my knowledge, this is the sole release by Matt and his partner Peter Reardon under the Gonstermacher name, which is not to be confused with the blues-rock band of a similar name. Apparently there is a Gonstermacher remix of the Barenaked Ladies' Alcohol that was supposedly sent to radio, but I can't seem to find any evidence of it's existence apart from this article.

07 Styles Of Beyond - Winnetka Exit (Dust Brothers Remix)

08 The Pharcyde - Ya Mama (Matt Dike Remix)
Already posted this before, but it's such a great remix it deserved a reprisal.

09 EMF - Lies (Dust Brothers 12" Club Mix)

10 Aerosmith - The Other Side (Matt Dike 'Honky Tonk' Version)
This is the mistake. No offense to Mr. Dike, but this remix screams contractual obligation. It's included because I can't find much in the way of Matt Dike remixes so I figured some people would like to check it out, but this is a VERY dull remix that I simply don't enjoy. Again no offense Matt, I'm just not feeling this one like I feel your other stuff.

The Pharcyde - Remixes and Rarities

My indoctrination into the world of rap and hip-hop began at an odd point of entry. I remember a fascination with the Fat Boys which made me a target for taunting quite regularly at my school. Guess I didn't see enough of Krush Groove, otherwise I would have been worshiping Run-DMC. Later on, much to the surprise of my potential taunters, when asked who my favorite rapper/rap-group was, this lily-white boy from the suburbs proudly announced it to be Public Enemy, and I was completely serious. The smile drained from my questioner's face and I was never asked such a question again.

My taste for hip-hop expanded with the aid of Yo! MTV Raps and the suggestions of people I knew in Junior High, and I found myself listening to Nice N' Smooth, A Tribe Called Quest and 3rd Bass among others and tuning into the "urban" radio stations for new tracks. Oddly enough, I missed out or ignored some really groundbreaking stuff until the mid to late nineties like the Beastie Boys (my suburban mother wouldn't let me listen to their records and, if I'd bought their tapes or records, she would have thrown them out. Guns N' Roses though, that was acceptable.), Black Sheep and The Pharcyde.

The Pharcyde were pretty special for me and I found out about them, as I often have, completely backwards. I'd heard Passing Me By on MTV and thought it was great, but when you don't have a job or cash it's kinda hard to grab your favorite tracks, especially when they weren't available as singles or played on the radio very often. Well, after hearing Runnin' from their follow-up album, Labcabincalifornia, and finally having a full-time job, I decided it was time to pick up one of their records. Thankfully, upon visiting the Oberlin Co-Op Bookstore, I was convinced by their helpful staff (Why can't I remember their names? The only one I can remember was a guy named Dave and he was the least friendly employee there!) to ignore Labcabin... and pick up their debut, Bizarre Ride II The Pharcyde. I was told it was a classic, and lord knows that was the truth.

Easily comparable to Paul's Boutique or 3 Feet High and Rising, Bizarre Ride is a universe in and of itself. Filled with in-jokes, silly sex raps, a great attitude and awesome beats courtesy of J-Swift, The Pharcyde, consisting of Imani, Slimkid3, Bootie Brown and Fatlip, were an infinitely entertaining alternative to the gangster rap that seemed ubiquitous at that time. Even four or five years after it's release, it sounded so fresh and alive compared to the canned production of most of the hip-hop of the mid to late nineties and continues to shine today. The follow-up, Labcabincalifornia, was great in it's own right, featuring more production from J-Swift as well as then up-and-coming producer Jay Dee, better known as J Dilla, but the mood was darker and it certainly wasn't as much fun. Historically, at least from my viewpoint, Bizarre Ride is The Pharcyde's high-water-mark with Labcabin..., apart from a few tracks, being a memorable footnote but nowhere near as awesome.

In the years after Labcabincalifornia's release, Fatlip left the group due to internal struggles, they continued on as a three-piece for a few years, then a duo, and now are pretty much no more. Rumors constantly swirl about a full-on reunion and in 2008 all four founding members went on tour for the first time in years, but who knows if anything else will come of The Pharcyde. Stories of failed reunion attempts have been around for years, but even if another album never surfaces, at least we've got Bizarre Ride and Labcabincalifornia.

Bizarre Ride II The Pharcyde and Labcabincalifornia are both readily available for purchase physically and digitally so I won't be posting either here, but I wanted to share a few remixes which are not widely available, if available at all any longer. All of these tracks are taken from a compilation of uncertain legitimacy named Sold My Soul and features most of the B-Sides and Remixes from their first two albums. If you're a hip-hop head or you know where to look I'm sure you'll find a copy, but I'm featuring a few choice cuts for your enjoyment.


Ya Mama (Matt Dike Remix)
One of the standouts from Bizarre Ride gets a full-on Paul's Boutique style work-out courtesy of one of the parties responsible for that classic. Matt Dike, simply put, is THE MAN and here he builds an incredible backing track that doesn't get in the way of the crazy raps at all while still remaining integral to the track. On top of that, more Ya Mama jokes than you'll ever need!

Soul Flower (2 Tha 3 Mix)
This mix was created by J-Swift and Fatlip and came out as a promo only due to it's excessive number of samples. It was apparently beloved by the group and label, but everyone knew there was no chance of it getting an official release. Too bad, because it, like the Matt Dike remix, is an essential!

Soul Flower (Brand New Heavies Version)
Soul Flower was originally recorded for the Brand New Heavies debut album, Heavy Rhyme Experience: Vol. 1, and is considerably different from the version that appeared on Bizarre Ride with it’s full-band backing track.

She Said (Jay Dee Remix)
This doesn't really fit with the rest of the material featured here as the original version is taken from Labcabincalifornia and is available on a few different releases, but it's such a good remix of an equally good track that I had to throw it up here! RIP Dilla.

Beastie Boys - The Paul's Boutique Companion UPDATE!!!!!

The time is here Ladies and Gentlemen!!! The complete Paul's Boutique Companion has been uploaded to Demonoid and can now be downloaded at your leisure! Prepare for 2.23gb of music featuring:

1) Demos and Rough Versions (Lossless versions of the tracks already posted here)
2) B-Sides and Rarities (Lossless versions of the tracks already posted here)
3) Instrumentals
4) Show Vinyl
5) Sample Sources
6) A Lossless 24 Bit, 96 Khz vinyl transfer of the album from an original UK pressing
7) Imagery from the Paul's Boutique era of the Beasties

If you liked the abridged version of the Companion, you'll LOVE this version! So go to Demonoid or just click this link and start downloading!

We now return to our regularly scheduled programming!


PS - Is it just me or did this post come off like a commercial?

Beastie Boys - The Paul's Boutique Companion

The Beastie's Paul's Boutique is one of my favorite albums of all time. It's an easy desert-island disc pick and should be heard by everyone. I like to tell my girlfriend that when we have kids I intend to play Paul's Boutique as often as possible. I might have to make a clean edit of the disc as I wouldn't want them hearing all the dirty language, but I honestly believe Paul's Boutique is an album that can be enjoyed by young and old alike. I genuinely find the album enjoyable from start to finish and can't imagine my life without it. That said, I'm sure you can imagine how psyched I was when a deluxe reissue was announced last year. Initially, the official Beastie's website featured the cover of their Love, American Style EP and a vinyl-only remix of Shadrach. I, like everyone else, assumed that the album's reissue would have a second disc featuring all the b-sides and remixes featured on the Boutique-era singles, but we were all pretty disappointed when the reissue only contained the album. That said, the reissue was fantastically remastered, featured amazing packaging restoring the photos from the original gatefold vinyl release, all versions came with a free audio commentary by the band themselves and the deluxe digital release came with all the music videos for the album and a high-quality pdf with the album art. All of this was really great, but those non-album tracks are really needing a reissue. Information started circulating about the lack of bonus material and it may stem from legal issues surrounding the samples used in the album. It's been said that the album, if reissued, would not be able to contain any bonus material if a lawsuit was to be avoided. I'm not a lawyer but this sounds plausible enough, so we probably won't see an official reissue of these great non-album tracks, at least not officially.

The official part is what makes services like the internet so great, as people with the necessary technology can now make beautiful, digital replicas of great items like these Paul's Boutique leftovers. I've had a good number of these tracks for some time but decided it was time to put them together for my collection. Of course, one of the first things I thought about posting when I started this blog was this collection of Paul's Boutique rarities and so, finally, I'm posting an abridged version here for the time being. Sometime in the near future I will be posting a significantly larger, mostly lossless version of this collection on a popular torrent site. That version will feature a lot of goodies that can't be included here due to space limitations, and I will let everyone know as soon it is made available and where to find it, but until then, I'm sure you will find this a very enjoyable collection.

I can't take credit for transferring these tracks myself, but I have done a little bit of work to some of the instrumentals and show vinyl. As for the original sources, part of the torrent version is provided courtesy of Miscreant Productions (sorry, not included here), but the instrumentals are taken from the Flavor For Your Ear compilation that is quite popular within the Beastie community. No one seems to be able to find the person who actually compiled the set, but I bought mine from him directly quite a while ago so my copy is second generation to his, which is probably third or fourth. They are said to be taken from a promo cassette that Capital Records produced to possibly be included as a bonus with a reissue of the album in 1989, but nothing came of it and I can't seem to find a better quality copy of them anywhere, apart from the versions on the show vinyl. To make them sound a little nicer I normalized both channels so they would be as close to equal as possible. Now, for purists, I'm sure I've messed up the chain of custody from the original source to now and I've done all this with a lossy copy of the recording, but beggars can't be choosers and I'm sure you'll agree, if you've heard the original mp3s, these sound much better. As for the Show Vinyl, I tweaked it slightly as well due to some skips in the recordings. I won't bother noting these changes as I don't believe you'll notice them, which is how it should be. They were taken from Professor D's site and are lossy sourced, but they sound very nice. You should check his site for other Beastie rarities. As for the rest of the recordings, the b-sides and remixes are taken from excellent quality FLAC rips of the singles that were posted on Oink back in the day. I can't be any more specific than that, sorry, but if you were responsible for posting those, thanks a million! Otherwise, there are slight tweaks on the Hey Ladies composite and the Country Club version of Shadrach, but everything else is untouched.

It's worth noting that the original demo tape presented to Capital is most likely featured as part of the first disc of this collection. The demo consisted of Shake Your Rump, then titled Full Clout, and Car Thief, then titled Dust Joint. These tracks are in the zip but I'm posting them separately in case anyone wants to check these out without downloading the whole set, although you'll want to grab them all after you check these two out!

One last thing, if you're as in love with Paul's Boutique as I am, you should get Dan Leroy's excellent contribution to the 33 1/3 series of books and is dedicated to Paul's Boutique and it's creation. You can find it at Amazon or order it at any of your favorite book stores. Don't think, just buy it! You'll thank me later!


Beastie Boys - The Paul's Boutique Companion (Abridged Edition)
Part One
Part Two
Part Three


Disc 1: Demos and Rough Versions
01 3-Minute Rule (Rough Version)
02 Hello Brooklyn (Rough Version)
03 Johnny Ryall (Demo with Mike D Scratch Vocal)
04 Johnny Ryall (Rough Version)
05 Looking Down The Barrel Of A Gun (Rough Version)
06 Egg Man (Rough Version)
07 The Sounds Of Science (Rough Version)
08 33% God (Get Off The Mic)
09 Full Clout (Shake Your Rump Demo)
10 Dust Joint (Car Thief Demo)
11 Car Thief (Rough Version)

Disc 2: B-Sides and Rarities
01 Shake Your Rump (Video Version)
02 Hey Ladies (Single/Video Composite)
03 33% God
04 Dis Yourself In '89 (Just Do It)
05 Shadrach (Live @ The Country Club)
06 Ask For Janice Pt. 2
07 Caught In The Middle Of A 3-Way Mix
08 And What You Give Is What You Get
09 Some Dumb Cop Gave Me Two Tickets Already
10 Shadrach (Live @ Soul Train)
11 Your Sister's Def
12 Ask For Janice Pt. 3
13 Some Dumb Copy Gave Me Two Tickets Already (45 RPM Version)

Disc 3: Instrumentals
01 Shake Your Rump
02 Johnny Ryall
03 Egg Man
04 High Plains Drifter
05 The Sounds Of Science
06 3-Minute Rule
07 Hey Ladies
08 Looking Down The Barrel Of A Gun
09 Car Thief
10 What Comes Around
11 Shadrach
12 59 Chrystie Street
13 Mike On The Mic

Disc 4: Show Vinyl
01 Shake Your Rump
02 Johnny Ryall
03 Egg Man
04 High Plains Drifter
05 Time To Get Ill
06 The Sounds Of Science
07 3-Minute Rule
08 Hey Ladies
09 Hold It Now, Hit It
10 Untitled



Beastie Boys - Capital Records Demo
Full Clout
Dust Joint