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 Wednesday, January 23, 2008
Radio, radio
Posted by peter
 "So, you had better do as you are told/You better listen to the radio" — Elvis Costello  Today, Goldmine enters a whole new era as the magazine you grew up with begins airing its own Internet radio station. So, do as Elvis says and tune in, or he'll come over to your house with The Brodsky Quartet and give you the beating of a lifetime. We're still in the planning stages regarding programming but look for a radio show run by yours truly coming soon. It'll feature interviews with artists from today and yesterday, perhaps a review or two of some new releases, and some hopefully enlightening conversations with vinyl record dealers and other hobby experts. We'll get 'em to provide some hot tips on what various records are worth and what to look for when doing some serious crate digging. As far as the music goes, we're going to be presenting an eclectic roster of songs, with the focus set squarely on the classic rock we all grew up with. Unlike commercial radio, we're going to be going deep into albums to get the best cuts, not just the ones spoon fed to you on your radio dial. Expect a mix of blues, prog-rock, a smattering of punk, and, of course, the great classic-rocks cuts you love. Just go to www.goldminemag.com, and find the logo above. So, give us a listen, and feel free to send me your comments or thoughts on what we can do to make the experience more enjoyable for you.
1/23/2008 12:03:14 PM (Eastern Standard Time, UTC-05:00)
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 Wednesday, January 16, 2008
Supersuckers be trippin'
Posted by peter
 So many bands have laid claim to the title "greatest rock and roll band in the world" that the words have lost all meaning. And, really, does anyone think for a second that there's been another band in the last, oh say, 30 years that can, without laughing, make such a boast? Enter the Muhammad Ali of grunge-flavored, politically incorrect punk: The Supersuckers (pictured at right). Viciously funny, with growling, down-and-dirty grooves, alley-cat guitars and a lead singer named Eddie Spaghetti who's pretty damn special, The Supersuckers are the antidote for the sickness that pervades today's tepid rock scene. And the proof is in a live DVD/CD package from 2b1 Multimedia, issued back in June, that simply scorches the earth. It comes with a ringing endorsement from none other than Motorhead's Lemmy Kilmeister, who's been quoted as saying, "If you don't like The Supersuckers, you don't like rock 'n' roll." Now comes word the band, which celebrates its 20th anniversary this year, is preparing to unleash a new, as yet untitled, album this spring on Mid-Fi Recordings. This will be the band's first full-length outing since 2003's Motherf**kers Be Trippin' and to support the cause, The Supersuckers will be touring throughout January and February. Starting Jan. 24 in Hillside, Ill., Spaghetti will perform solo sets with Jordan Shapiro prior to the full-band Supersuckers shows that will take the band from Seattle to New York City and back. EPs have been The Supersuckers stock in trade since that 2003 effort. Eddie explains why. "Yeah, I pretty much thought we were done making full-length records. But the somewhat anemic response to our Paid EP sort of got me to re-think the whole EP concept. So, when we got in the studio this last time, we just threw everything we had at the tape machine, and we saw that we had enough for a full-length." As for the new record, expect a more, dare I say, "adult" outing from the Supersuckers. "It's a little different than our previous records," says Eddie. "I almost hate to say this, but it's a little bit more mature. An ugly word to use to describe what we do, but I think it fits this time around. But it's an awesome record and I'm really proud of the way it's turned out." 2007 was a huge touring year for the band, and they filmed "Supersuckers Fan Club DVD #2" in Belgrade, Siberia in March. The DVD will be made available to members of the band's fan club, 1,000 rock 'n' rollers strong. A clip can be viewed at: http://www.youtube.com/watch?v=KZeYQv3Ur2kFor more on The Supersuckers, a band that's backed Willie Nelson, Eddie Vedder, Steve Earle and Kelly Deal of The Breeders, visit www.supersuckers.com. Tour dates are listed there. Go out and see 'em! You got any other news of some super new releases coming down the pike that you're just itching to hear? Let me know about 'em and we'll talk.
1/16/2008 4:13:23 PM (Eastern Standard Time, UTC-05:00)
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 Wednesday, January 09, 2008
Snowed in
Posted by peter
 Cabin fever was epidemic among The Rosewood Thieves. A winter storm left the roots-oriented young band, often compared to — ahem — The Band, snowed in for three days in a cabin in the Pocono Mountains. That gave them more than enough time to record their new EP, Lonesome, a quiet, hushed blend of country-rock and '70s AM radio pop that moves at a nice, slow pace. Lithe vocal harmonies, a hint of pedal steel howl in the distance and the delicate interplay of softly spun acoustic gold make tracks like "California Moon," "A Bullet Painted Red" and "Honey, Stay Awhile" are made for adult snow days. Did being shut-in for all that time influence the sound of the EP? "It had everything to do with it," says Erick Jordan. "We weren't in a normal recording studio, just in a basement. So, we were all relaxed and had time on our side. We are constantly doing home recordings but more in the demo sense. We were all so happy with how these all turned out that we really wanted to take it a little further. We went to L.A. to have Thom Monahan mix it, and it's always nice to work with him."  The Rosewood Thieves are Jordan on vocals and guitar, Mackenzie Vernacchio on organ and Wurlitzer, Paul Jenkins on guitar and bass and Mark Bordenet on drums. Along with Lonesome, the Thieves are also reissuing a previous EP, From The Decker House, with three unreleased tracks. A more freewheeling, rollicking record, in the tradition of The Band and Bob Dylan, From The Decker House is another winner from The Rosewood Thieves you should check out. To learn more about The Rosewood Thieves, visit www.myspace.com/therosewoodthieves. To read the entire interview with Jordan, stay tuned to www.goldminemag.com.
1/9/2008 3:52:40 PM (Eastern Standard Time, UTC-05:00)
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 Thursday, January 03, 2008
The Fixx is in
Posted by peter
 Cy Curnin, lead singer and songwriter for '80s New Wave hitmakers The Fixx, has a very different life these days. Having just turned 50, Curnin celebrated his birth by climbing Mt. Everest with a group of musicians dedicated to raising money and awareness to fight cancer (see www.lovehopestrength.com, an organization formed by The Alarm's Mike Peters). Away from the limelight, Curnin lives on a farm in France, where he raises, among other things, sheep. "Yeah, it's a very different life, but it has as much rhythm as any drum box," says Curnin. "It's the rhythm of life — feet on the ground, the cycles of seasons. The sense of calmness being around animals. I mean, I know that sounds a bit corny, having written an album called Calm Animals, but it's the way they communicate with each other puts you in another state and being around them is very calming. The physical activity keeps you strong, keeps you fit, and stops you pulling at threads you shouldn't really be pulling at, sometimes in your own brain, and destroying the tapestry there and nitpicking away at doubt and should have beens and would have beens and could have beens. You don't have time for that on the farm. It's like you reap what you sow." Curnin is doing just that on his new solo album, The Returning Sun. Intimate and personal, with a bright pop sound light years from the cavernous, paranoic synth worlds created by The Fixx, The Returning Sun, out on Curnin's own label Squirrel Eats Nuts, is a welcome change of pace for Curnin. For more information on the release, which came out Nov. 6, visit www.cycurnin.com and www.cdbaby.com. To hear a podcast with Curnin, check out www.goldminemag.com. Stay tuned for an interview with The Fixx's main man in the next issue of Goldmine.
1/3/2008 6:16:08 PM (Eastern Standard Time, UTC-05:00)
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 Thursday, December 20, 2007
Presidents Of The United States Of America are back
Posted by peter
 With an election year approaching, what better time for a Presidents Of The United States Of America revival? Yes, the same good-natured, kung fu-loving, funny men of '90s alternative-rock — the same ones who brought you "Peaches" and "Lump" — are back, and man, could America use a laugh. The inauguration is March 11, when PUSA drops These Are Good Times People on Fugitive Records, an offshoot of EMI. The first single is "Mixed Up SOB," and it promises to be a bouncy bit of infectious party pop. And just to show they've been paying attention to the indie scene of the new millennium, there's a Shins-like quality to "Loose Balloon." This is not insignificant news here people. Their debut has sold 4.5 million copies. Remember the days when record companies could push those kind of numbers? These days, the lineup includes original members Chris Ballew, vocalist and basitar (half guitar, half bass), and drummer Jason Finn, as well as new guitbass player Andrew McKeag. A world tour begins in March. For more information, visit www.presidentsrock.com and/or http://www.myspace.com/thepresidentsoftheunitedstatesofamerica.
12/20/2007 5:15:08 PM (Eastern Standard Time, UTC-05:00)
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 Monday, December 17, 2007
Tale of two lives
Posted by peter
 The music world lost two giants in a matter of days recently. The first to shuffle off this mortal coil was Ike Turner, a man whose temper was reportedly as wild and volcanic as the gritty, hard-driving R&B he put out with famed ex Tina Turner in the '60s and '70s as the Ike and Tina Turner Revue. Then, over the weekend, came news that sensitive '70s singer-songwriter Dan Fogelberg died. It's amazing how these things always seem to come in pairs, or even threes, doesn't it? Strange that these two, of all people, should share a stage of sorts — at least as far as news wires are concerned. For all his faults, and they were legion, especially if everything in Tina's book "I, Tina" and the movie it spawned, "What's Love Got To Do With It," are true, Turner was as close to a genius as you could get. Not only did he discover the titanic talent of Tina, whose powerhouse vocals have no equal, but Ike could summon the devil with boiling pots of red-hot, horn-blaring R&B — the kind that would burn down a juke joint in the deep South in about a half hour — with a whole lot of soul and gospel thrown in for good measure. If you need a refresher course on the music of Ike and Tina Turner, give a listen to Time-Life's The Ike & Tina Story: 1960-1975, a three-disc survey that proves that while their marriage may have been rocky, their musical partnership was a match made in heaven. Searing tracks like the blistering "Finger Poppin'" and scorching live versions of "Something's Got a Hold on Me" and "River Deep Mountain High" highlight the first disc, while the bluesy workout "The Hunter" and the deisel-powered "Proud Mary," not to mention the soulful pleading of "I've Been Loving You Too Long," shine brightly on Disc 2. But, this is a set without holes. From beginning to end, it's just one great dynamo after another, and it serves as evidence of Ike's, and Tina's, greatness. He died playing his favorite gospel songs with his band Kings of Rhythm by his side. To read the news release of his passing, go to www.iketurner.com. Fogelberg's story, on the other hand, couldn't have been more different. A sensitive folkie who wrote mostly acoustic songs with heart and grace, Fogelberg was probably better than Ike at living life and controlling his rage. His music, though, was a little vanilla for critics, even though he had a slew of hits like "The Power of Gold," "Leader of the Band" and "Same Old Lang Syne." Still, Fogelberg's light spun musical gold connected with people in a way Ike's didn't, and for that, he'll be missed greatly.
12/17/2007 2:49:09 PM (Eastern Standard Time, UTC-05:00)
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 Friday, December 14, 2007
The Mountain-Jay Z connection
Posted by peter
 "I've got 99 problems, but a bitch ain't one" — Jay-Z Sounds like a line from a blues song, doesn't it? Seeing as how Goldmine is a classic-rock publication, with readers who view rap as the thing that killed music, a lot of you might not be familiar with the work of hip-hop godfather Jay-Z. One guy who is? None other than Leslie West of Mountain, and he's a fan. Today, I talked with West about a series of blues albums he's done for Schrapnel Records with pals like drummer Aynsley Dunbar and producer Mike Varney for a future podcast and article for our print edition. Unexpectedly, the conversation veered off into Jay-Z's sampling of West's guitar riffs from "Mississippi Queen" for his single "99 Problems," off The Black Album, the LP that was supposed to be Jay-Z's retirement send-off. "When I listen to '99 Problems' and he says, 'I've got 99 problems, but a bitch ain't one,' that just hits me," says West.  And it's not just the royalties from that bruising, hard-hitting song that make West smile. As the story goes, Jay-Z was going to retire, but before he did, producer Rick Rubin wanted the rapper to sample — pardon the pun — some metal music. He did and the rest is history, as Jay-Z weaved samples of West's riffs in and out of the track in a style reminiscent of Run DMC's collaboration with Aerosmith on "Walk This Way."  "I was thrilled with how he used that stuff," says West. And Jay-Z isn't the only hip-hop artists getting hip to Mountain. For his hit album, Graduation, Kanye West sampled some riffs from one of Leslie West's solo albums. So, what do you think? Is it sacrilege for hip-hop artists to sample such classic-rock scraps for their own use? Let me know what your stance is.
12/14/2007 4:34:13 PM (Eastern Standard Time, UTC-05:00)
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 Tuesday, December 11, 2007
Santana, Grateful Dead, Jefferson Airplane ... Oh my
Posted by peter
Jazz was music critic Ralph J. Gleason's passion, but the man who co-founded Rolling Stone magazine with Jann Wenner was keenly interested in the connection between song, society and culture, and that got him into some hot water. During the turbulent '60s, Gleason's fascination with the protest movements of the time exposed him to more a rock-oriented crowd, and his writings reflected a change in the wind.  According to his son, Toby (pictured at right), Gleason's penchant for mixing politics and music in his music column for the San Francisco Chronicle drew the ire of his editors. "They were always saying, 'You're a music critic. Write about music. Don't write about stuff that's not music,'" recalls Toby. "He felt that since music was just part of a socio-cultural development, that it was all the same thing." Gleason's stances didn't win him any friends at the White House either. Reportedly, Toby says, he made President Richard Nixon's third published enemies list. Gleason was actually quite proud of that. "He actually called it I believe in a television news interview the highest honor this country could bestow upon him and the only one an honest man would accept," says Toby. Though Gleason did help found Rolling Stone and did serve as associate editor, Toby explains that his dad was "not strongly influential in the content of the magazine. He was instrumental, if you'll pardon the pun, in getting the magazine the record business advertising in its initial stages, which was responsible for its survival. And certainly, to the reading public, he was intimately intertwined in the creation and history of early Rolling Stone, but it was always Jann's thing. If anything, what my father hoped to do was guide Jann."  Gleason was highly regarded as a music critic and also, was a noted television producer. It was he who pulled the strings that made A Night At The Family Dog possible. Not familiar with that show? It aired in 1970 and featured amazing performances from Santana, the Grateful Dead and Jefferson Airplane at the legendary San Francisco music venue The Family Dog. Eagle Rock Entertainment has released concert footage from that show in a DVD called "Ralph J. Gleason Presents A Night At The Family Dog." Toby says his dad loved the show, and so does Toby. "He thought it was fabulous, as do I," says Toby. "It's a great show. It is actually just about my favorite performances of every band — not necessarily of Santana; I'm a big fan of Santana, and he did later performances that I also liked, but for the time, it's one of the best performances of each band. It's Carlos when, gosh, he was a speck. He's like 12 years old — not really, but he looks really, really young." Another highlight of the DVD is the presence of Ron "Pigpen" McKernan playing keyboards with The Grateful Dead. He would later die, and the Dead would abandon much of its blues character while opting for a more jammy, bluegrass feel. For more information about the DVD, visit www.eaglerockent.com. And to read more about the concert, which was originally closed to the public, read the Jan. 4 issue of Goldmine. What were some amazing concerts you witnessed? Respond to this blog and we'll discuss.
12/11/2007 5:40:31 PM (Eastern Standard Time, UTC-05:00)
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 Friday, December 07, 2007
State Radio
Posted by peter
 No longer considered commercial suicide, protest music can actually be profitable. Don't think for a second that Rage Against The Machine took a bath on its massive reunion tour last summer. Whatever Rage's motives for getting back together, there's no doubt the band's pockets have been sufficiently lined, and now, Zack de la Rocha can retreat to Central America and join some rebel uprising against a puppet dictator propped up by the U.S. government (I think we still do that sort of thing, don't we?), knowing his finances are secure. Forgive the cynicism. It's hard to resist taking pot shots at Rage when they so clearly love standing on the pulpit and preaching to the choir — and believe me, this is coming from someone who leans as left as they come. But, this post isn't about Rage Against The Machine. It's about State Radio, Rage's quieter, more reflective, ally in the agitprop war against the Bush Administration, and man, does State Radio's Chad Stokes have it in for the First Family. The fiery, punk-fueled "Guantanamo," off the band's sophomore effort, Year Of The Crow, is not only a rundown of George W.'s war crimes, it also skewers the Bush family on its shameful Indian rights record — evidently, President Bush's grandfather, Prescott, excavated Geronimo's skull in 1918 for the express purpose of having his secret society at Yale rub it at initiation ceremonies. How's that for politically incorrect? Halliburton, Darfur, the West Memphis Three — if Public Enemy was the CNN of the black community, State Radio is at least the Air America of indie rock. Touching on a number of hot-button issues, Stokes' passionate polemics are best delivered in white-hot rockers like "Gang Of Thieves." Though State Radio lacks the fury and flat-out speed of Bad Brains, on Year Of The Crow, Stokes and company move through reggae workouts "C.I.A." and "Sudan" with skillful ease, before high-stepping their way into the horn-fueled, ska frenzy of "Barnstorming." State Radio is a diverse musical melting pot, and while Year Of The Crow provides plenty of food for thought, it doesn't seem to provoke the fist-pumping activism that Rage does. But State Radio doesn't go all in for explosive, balls-out punk or metal. Its response to injustice is more measured, more thoughtful. Not all of the mixing of genres is successful on Year Of The Crow, but that doesn't mean State Radio should be shut down. Turn it on if you're heading to a rally. For more on State Radio, visit www.stateradio.com or www.myspace.com/stateradio
12/7/2007 1:17:41 PM (Eastern Standard Time, UTC-05:00)
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 Wednesday, December 05, 2007
Weirdos reloaded
Posted by peter
 Two important events happened on Aug. 16, 1977. You can probably guess one of them — namely, the death of Elvis Presley. Just as the world was learning of the King’s passing, in another toilet half a country away, The Weirdos were plotting the downfall of civilized music. That day, of all days, The Weirdos recorded three hot-wired songs for Bomp Records, including the undisputed punk classic “Destroy All Music,” the band’s first single. A rumbling call to arms, it was one of the first shots fired in L.A.’s punk revolution, and it serves as the ignition switch for Bomp Records' reissue of that firebomb of a song, a collection that packages 1979's Who, What, When, Where, Why? EP, three Bomp singles and four raw, previously unreleased demos of those initial singles, plus “Teenage.” In a world gone completely plastic, this Molotov cocktail of a CD, released on the 30th anniversary of the release of “Destroy All Music,” burns slowly and punishes the senses. Subversively catchy, and with a bruising rhythmic undercurrent and a nest of barbed-wire guitars, Who, What, When, Where, Why? offered a nihilistic, punk free-for-all that moshed with dark rockabilly (“Jungle Rock”) and saxophone-splattered New Wave (“Big Shot”). The anthemic “Happy People,” with its siren guitars, gets fists pumping, while the singles “Life Of Crime” and “Why Do You Exist?” slash your tires. Rude and ugly, with a belly full of fire, The Weirdos — comprised of brothers John (that's him in the photo by Chris Turner above) and Dix Denney, bassist Cliff Roman and drummer Nickey Beat — defied punk convention and blazed their own trail. And L.A. would never be the same. The Weirdos were, undoubtedly, one of the best punk bands to ever emerge from L.A. And they were so DIY they even did all their own promotional graphics —
posters, covers, flyers and the like — and designed their own clothes. Got any thoughts as to some of the other punk acts of L.A.? Feel free to share 'em with me. I could talk about the L.A. punk of the late '70s and '80s for days. To learn more about The Weirdos or purchase this record, visit www.bomp.com or www.alive-totalenergy.com
12/5/2007 3:52:21 PM (Eastern Standard Time, UTC-05:00)
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 Tuesday, November 27, 2007
Siren song
Posted by peter
 Airy vocal harmonies, dreamy melodies and starry atmospheres — that's what Dirty On Purpose is made of. Oh, and don't forget puppy-dog tails. For good reason, Dirty On Purpose's Hallelujah Sirens made scads of best-of 2006 lists, and now, the New York City combo is readying the release of a stunning, five-song EP called Like Bees, due out Jan. 15. Inhabiting the night sky you stare at longingly every night from the balcony of your city apartment, Dirty On Purpose (photo at right by Gregory Wilson) meld influences as diverse as My Bloody Valentine, Galaxie 500 and Sonic Youth on this release. From the silvery strum of the title track, featuring the angelic female lead vocals of Jaymay, to the carefully manicured guitar of "Back To Sleep" and its stormy crescendos, to the racing, gritty cover of Real Life's New Wave hit "Send Me An Angel," Dirty On Purpose is as epic and awe-inspiring as Explosions In The Sky, while also adept at crafting compelling songs and not just wandering in the generous sprawl of its compositions. "Audience in the Room" is a brand-new track from Dirty On Purpose and it's a winning mix of everything that makes Dirty On Purpose one of the most amazing new bands out there. "'Audience in the Room' is about the feeling of being onstage, under lights, and you've got a million things running through your mind, and you wish everyone would stop starting at you," says Doug Marvin. "I wrote the song as an instrumental years ago, for a former band, but only recently showed it to this band and wrote words for it. I love how it turned out!" Of the "Send Me An Angel" cover, band member Joe Jurewicz says, "George [Wilson, also of Dirty On Purpose] was hellbent on doing a cover of this song, because it was in the movie "RAD" (a BMX '80s movie), which him and his brother watched every for two weeks last summer." To learn more about Dirty On Purpose, visit www.dirtyonpurpose.com or go to the band's MySpace page at www.myspace.com/dirtyonpurpose
11/27/2007 12:05:59 PM (Eastern Standard Time, UTC-05:00)
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 Tuesday, November 20, 2007
Modest Mouse Trap
Posted by peter
 No longer the acerbic, weird stepchild of indie-rock, Modest Mouse has unexpectedly gained a secure foothold in the treacherous terrain of today's pop music landscape. Nobody saw that one coming. There was no way Isaac Brock's deep, philosophic lyrics — couched in his own, uniquely cryptic wordplay — was going to resonate with a public that has an insatiable appetite for all things celebrity related. And, certainly, though oddly catchy, Modest Mouse's quirky, off-kilter sound would never catch on with those same people, gleefully being spoon fed the lowest-common-denominator, overly processed pop the record industry could produce. Even after blowing away critics with the space-rock epic The Moon And Antarctica, there was no way Modest Mouse was ever going to become a household name. And then came "Float On." Brimming with positivity and championing an "everything's going to be all right" aesthetic, "Float On" marched onto the charts with a funky bass stomp, otherworldly guitars and Isaac Brock's insistent bellow. With the chart success of the band's latest album, We Were Dead Before The Ship Even Sank, it appears Modest Mouse isn't about to give up its newfound popularity. On Nov. 10, the Issaquah, Washington's favorite sons invaded Madison, Wis., and threw down, giving a radiant performance at the city's Orpheum Theatre. Running through a set that mostly featured songs from We Were Dead ... and Good News for People Who Love Bad News. Backed by a rampaging double drum kit attack, courtesy of Jeremiah Green and Joe Plummer, and bolstered by the six-string engravings of ex-Smiths guitarist Johnny Marr, Modest Mouse was captivating. There was little in the way of stage banter, with the band simply plowing through song after song with barely harnessed vigor. The lead single for We Were Dead ..., "Dashboard," grew in scope, becoming more expansive and propulsive in a live setting, with Modest Mouse's post-punk dance identity coming to the fore. And an epic encore left everybody's mouth gaping. What really stood out was how professional Modest Mouse, producing clear sonic portraits that, while still rowdy and wild, had a clarity of vision and impossible-to-ignore grooves. Opening bands Man Man and Love As Laughter were at complete opposites, with Love putting on a cough-medicine induced slumber and Man Man erupting with impossible energy. Describing Man Man is a futile exercise. Calling their act a "carnival" would come close, with jazzy horns, rollicking piano, percussive mayhem and kazoos creating an eastern European-influenced, klezmer/punk dynamo. Get to know Man Man. To learn more about Man Man, visit www.wearemanman.com. To get a Modest Mouse fix, go to www.modestmousemusic.com
11/20/2007 12:53:15 PM (Eastern Standard Time, UTC-05:00)
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