My love of blur

I can remember first hearing blur when I was 16 or 17. The track was Theres No Other Way, a great tune, heavily aligned with the baggy sound of Madchester and the pre-Britpop indie dance cross over. I recall my friend Matt saying he had discovered this new band. We lived in Grantham, there was no discovering going on, we had been listening to the Radio 1 Evening Session while doing homework.

The parent album passed my by a bit. It seemed OK, but I was tuned into the big hits, and didnt really appreciate the Syd Barret-isms that the band were into. Shes So High, Bang and the aforementioned Theres No Other Way were enough for me.

I was aware of Popscene, the punky reaction to the band struggling to break America, and becoming disheartened with the music business. They had been on the Rollercoaster tour around the UK headlined by The Jesus and Mary Chain, with My Bloody Valentine and Dinosaur Jr. Blur were seen as the pop band to keep the teenage girls happy, and lead singer Damon Albarn took to that badly, frustrated with their perception. Later years and music would show they had more in common at that time than we realised.

Modern Life Is Rubbish came out at the end of my secondary school days. For Tomorrow was the tune for me, I loved it, and the cd had a great extended version, along with some very British B sides – I recall alot of brass on songs like When the Cows Come Home. I like this new phase of blur, they had embraced British song writing, and moved on from the baggy dance beat. The guitar cut just right, and really pre-empeted the cliche Britpop sound.

By the time I started Uni, Parklife was about to be ready. Second in the Life series, this was preceded by Girls and Boys, a squelchty sounding number, perfect for those early days on the student dance floor. It wasnt dancey like their big hit before, was well played in my room. The album I loved. Every track was great. We had what felt like a long hot summer, and I played Jubilee and End Of The Century over and over.

That summer, 1994, I went to the Glastonbury festival, and blur played the second stage. It was an eventful weekend in more ways than one. The Pyramid stage had burned down a few days before the start, there were some drug related shootings, and the Manics proclaimed their feelings that a flyover should be built over the site. It was also a weekend dominated by acts that would soon become massive in my eyes, and be on Top of the Pops most weeks. blur of all of them were amazing, having Phil Daniels join them on stage, and I loved it. It felt right at the cusp of something, which in hindsight it was. I was the right age, and they were the right band (along with Oasis, Gene, Echobelly, amongst others!)

Parklife was played nonstop in my room, alternating with The Wonderstuff and Oasis recent albums. I could automatically program the tracks I wanted by memory on the CD player, avoiding the instrumentals. The band also got noticed much more by people who maybe didnt listen to as much music as me, leading to the infamous battle of Britpop in 1995.

In hindsight, it is strange to think of the trajectory of blur and Oasis in that short space of time. They went from Indie darlings in 1994, to front page news in 1995. The reasons and cultural impact are for another time, however for me this was music I loved being played by people close to my age, that was catchy, accessible and looked and sounded cool.

Country House maybe wasnt their greatest song however. And the accompanying album, The Great Escape, whilst I played it alot in my car, hasnt lasted well. I saw them on the tour, in Sheffield, and it was a great show, but not as memorable as the year before. And some of the tracks, Mr Robinsons Quango for instance, have a tweeness in the lyrics, an over attempt at being cheeky, that came to embody all that I disliked about Britpop. I can see how Graham Coxon became disgruntled with being in the band. There is a certain Oompah sound to it, a music hall edge that feels like the Kinks in overdrive.

The punkier tracks still hold up, but revisiting the album is a tough ask now. I understand why Graham wanted to move the band towards the new alternative sounds coming out from the US.

And that is where we end up. Woo Hoo! Beetlebum was out first, number in that post Britpop, druggy, hazy time. Was it about heroin, was it a way of skewering Oasis and their indebtedness to the Beatles? Whatever it was a long trip from the country house. Less obvious crowd pleasing bangers at first, until Song 2 took hold. Then we were with the jet plane. This album soundtracked my final year at Uni, a time of melancholy, and longing for what had gone and what might be. The shuffling lo-fi sound was perfect.

Post Uni though, I was living in London, and soon bought our first house. I can recall playing the next release from blur on a loop. Tender was backed by a gospel choir, and was even more downbeat than Beetlebum had been. No Distance Left to Run also cast a shadow across the music scene. Damon was battling demons, and we sure knew about it.

That year I saw them play Wembley Arena, on their Singles night gig. They played all their A Sides in order, and the progression and change was startling. The band were not keen on the poppier aspects of their back catalogue, that much was obvious. This was December, and really felt like the end of the century.

Graham Coxon left during the recording of Think Tank in 2003, after they had been seen doing various side projects, including Albarns Gorillaz. I felt the album was patchy, and wasnt surprised when they disappeared for a couple of years.

Over the last few years, they have reformed, released a further album The Magic Whip in 2015, and played various live gigs. They have been away for a few years now, but have just announced live shows next year, including at Wembley Stadium.

And this is what prompted me to write. I have followed the band from quite early days, and whilst I preferred them to Oasis at the time, just dont see them as a stadium band. £100 to £140 for tickets also doesnt help. I prefer blur as the arty band done good, Graham firing riffs and wierd solos, Alex looking louche smoking at the side, Dave on the drums, and Damon in oxblood DMs, climbing a speaker. Leave the stadium gigs for the pyrotechnics and bombast of Liam Gallagher or Guns n Roses.

I cant afford to pay those prices (for blur or anyone to be honest), and feel this set of gigs is a money making excercise, that will inevitably be overtaken by the nostalgia crowd, baying for Parklife. Not for me. They backed my Uni days, and that is enough. I will keep those memories, and move on.

Primal Scream Cardiff Castle

30 years ago, what had been seen as a wannabe Byrds-esque jangly guitar indie group, worked with cutting edge dance music producers, and released Screamadelica. Somehow that band, Primal Scream, have survived the intervening years, despite loss of band members, and are now celebrating the anniversary of that ground breaking album.

Friday night saw the tour roll in to Cardiff Castle, a great outdoor venue in the centre of the Welsh capital. A crowd full of bucket hats and Adidas trainers, queued around the castle walls to the strains of Faithless being pumped out by Peter Hook of New Order / Joy Division, ahead of the Happy Mondays taking the stage. Shaun Ryder and Bez may be showing their age now, but the tunes still pack a punch, scally dance rock, with the ability to get a party started. Wrote For Luck in particular was immense, a towering groovy classic.

Bobby Gillespie, resplendent in an outfit depicting the famous album cover, and band strolled on stage a little before 8.45, a white clad gospel group joining for the opening bars of Moving On Up, sung a cappella, before the band kicked in, and from that point on, there was barely a let up. It was nice to see little tributes to Denise Johnson and Andrew Weatherall, two people who had as much to do with the genesis of the album as the full band members.

As on the record, the first few tunes (Slip Inside This House, Dont Fight It, Feel It, Come Together) are extremely powerful, but the band then leave out Loaded, playing the title track (though not included on the album) in its place. This was a welcome surprise, and still got a great reception.

I’ve always felt that Screamadelica was front loaded, and that the second half of the record drifted a little, but live this was not evident. The tunes felt beefier somehow, the guitar to the fore, and the gospel choir brought depth to Bobbys sometimes weak vocals. Damaged in particular had a cutting guitar solo, and the final acid house tracks held up well in the open air venue.

The encore started with the aforementioned Loaded, still a dance indie classic, before a short greatest hits of Jailbird, Swastica Eyes, Country Girl and finally Rocks. These had the crowd fully dancing, and showed a different side to the band, their Stones tendencies fully evident.

It was the second time I have seen Primal Scream, the first had been in the early 2000s when they had Kevin Shields and Mani in the band, and were a very powerful MC5 / Stooges heavy rock outfit, but Cardiff Castle had these elements plus a lightness of touch, and showed why they have lasted so long. They may get seen as derivative, but they are soaked in the classics, and know their stuff. Screamadelica is an album I have struggled with as I mentioned, but tonight it worked, and brought a new understanding to it. There is a reason it won so many awards, and is held in such high regard.

Definately a great live act, and an album you should get if you havent already (link below):

Musical Highlights 2021

So, rather than a list of my top albums, I have a list of my muscial highlights for the year. They arnt in any particular order.

First up is a highlight and a lowlight. The Manic Street Preachers released a new album, The Ultra Vivid Lament, and as seems to be the way over the last decade or so, it is a belter. There are tunes reminiscent to their lost gem Lifeblood, with a glacial tuneful sound. One song (The Secret He Had Missed) even has ABBA like piano. The songs knaw into your brain, and pop up unannounced. It is in short a triumph. There are the customary guest appearances (Julia Cummings and a gravel voiced Mark Lanegan on Blank Diary Entry). Dont Let The Night Divide Us, Still Snowing In Sapparo and Into The Waves Of Love are particular favourites.

So why a lowlight? I had to miss seeing the tour when it rolled into Wembley Arena due to fears of Covid. Gutted is too small a word to describe how I felt. I have seen the Manics live for every tour for the past couple of decades. They are a great band live, James is my guitar hero, and Nicky a cool tower of a bass player, with Sean as the most amazing powerhouse drummer.

I did however make two gigs during the year, a pretty poor amount in comparison to other years. First up was the long delayed final ever gig by Martin Rossiter, formerly lead singer with the band Gene. Unfortunately none of that band were on stage with him, and by all accounts had not been informed before it had been announced. The gig started with one of his solo songs (Three Points On A Compass), before hitting a run of Gene classics. The band with him took a while to grow into the gig (they did look very young), but it did take flight. I had forgotten how well the Gene back catalogue soared when performed live, and it took us back to the high spots of their live gigs of the late 90s and early 00s.

Second gig was another delayed one, this time The Levellers. Originally this was going to be in support of their most recent album, but was now a 30th anniversary of Levelling The Land (where did the time go?). This meant the album in full, followed by some greatest hits. At a time of great political stories (the PM amongst others not behaving shall we say) it was amazing how relevant the intro film from the early 90s was. Their gig was great, and a big surprise was the support act, The Leylines, who were probably the best support I have ever seen. They really got the crowd going, and were a perfect warm up for the main event. It is always great to find a new favourtie band when you watch the support, and is also a good way to help new music.

Back to my favourite albums. Next is the War on Drugs with I Dont Live Here Anymore. I had their earlier album Lost In The Dream, but had lost touch until reading about and hearing initial songs this year. They produce wide range, broad music, the kind of music you play on a long road trip across California. Similar heft to the Manics in terms of the need to be in the open air, on the road – must be a reaction to our being cooped up in lockdown on and off for the last two years.

Bobby Gillespie of Primal Scream always talks a good talk, and his band have done exceptional work in the past. This year he released an album with Jehnny Beth, a kind of modern Lee Hazelwood and Nancy Sinatra, called Utopian Ashes. This is brilliant, smoky late night music, with a swagger and softness to it. Remember We Were Lovers in particular is a highlight.

One of my favourite tracks of the last couple of years was James All The Colours of You, and the accompanying album didnt disappoint. They have grown as a band in the last few years (I saw their farewell tour nearly two decades ago, so was shocked when they reformed!), and the political element along with a mature songwriting fits the vibe for 2021!

Finally albums that caught my ear, but havent been played anywhere near enough include the Coral and The Anchoress. The Coral have had a resurgence in the last couple of years, and are back to their peak. Lover Undiscovered a highlight. The Anchoress is a special artist and her second album maintains the levels of her debut. She first came to my attention when dueting with the Manics, and her voice has an amazing quality to it. Her efforts for musicians rights need to be mentioned as well.

Other individual tracks have caught my attention. I mentioned Gene, and their drummer Matt James has released solo music, Snowy Peaks and A Simple Message, both sounding very good, and boding well for an album in 2022.

Dancing around the kitchen with the children has brought about some modern pop to my ears – Olivia Rodrigo with Good 4 U, and Dua Lipa with Levitating particular favourites. They werent sure about the Foo Fighters covers of the Bee Gees (released as the Dee Gees), but I will keep trying. I also struggled to get them interested in Wet Leg and Chaise Longue, but I liked the track – witty clever indie pop. Sleaford Mods were not played in those kitchen sessions for obvious reasons, but Mork and Mindy was great at the start of the year, and we loved the Weezer song Hero – unironic throwback hair metal.

So all in all, a good year. I have tried to listen to more new music, but have also found a great many throwbacks being pulled out. The need to reconnect with the past has been evident, but we have to keep forging forward.

There is plenty to look forward to in 2022 – I have some gigs booked, and hopefully I will get around to watching the Beatles documentary! Plus all being well, some new music will catch my ear, and I will find a new favourite.

Aerosmith – Pump

I have decided to start listening and reviewing music in A-Z order by artist. One album for each letter, and when I get to Z I will start again. I guess there may be alot of ZZ Top and Frank Zappa later on!

Anyway up first is Pump by Aerosmith, released in 1989, when I was 14. This was the first of their albums I had (I cant say bought, as a friend copied it on to tape for me, backed with Chers album Heart of Stone from the same year. Taping is killing music kids, dont forget.). I was aware of Walk This Way with Run DMC (who in the 80s wasnt?), but their other music had passed me by. My school friendship group was mainly into UK Indie, so that was the Housemartins, the Wonderstuff, The House of Love and so on. Hard rock crept in a little in the form of Iron Maiden, but not really the blues rock that Aerosmith brought to the table. I had also missed the previous album at the time (Permanent Vacation) which is a surprise now, as I know the big singles and could have sworn they were after Love in an Elevator. Strange how your memory plays tricks.

So it was Love In An Elevator that I first knew, which I recall with its cheeky video, and tongue in cheek lyrics, that a young lad of 14 was instantly drawn to! The song itself is a classic, and a great example of the more glam metal angle the band had taken. The backing vocals are also reminisent of Def Leppard on their Hysteria album, and before the grunge boom of the early 90s, was the way alot of hard rock was headed. The track also keeps a solid beat, with hard riffs, and attempts a little pschyadelic breakdown, changing the pace before coming back into focus. For the MTV generation, this was an ideal fit.

That may have been my entry to the album, but it starts 2 tracks earlier with Young Lust, a title also used for a best of in later years. No one could really accuse Steven Tyler and the band of being young, having formed in 1970, and by the late 80s they were in their 40s, which at the time seemed very old for a rock band. Similar to the Stones the UK music press derided them for being oldies, and were obsessed (and still are) with the next big thing, but in hindsight the Stones and Aerosmith were just continuing the blues tradition, playing on when teeny boppers were growing up. Incidentally around the same time Neil Young didnt get the same agism afforded those acts. Young Lust is a bombastic opening to the album, hitting at pace, and bringing Tylers mouth organ out for a run. Similar to Elevator though, the lyrics werent going to win any prizes.

F.I.N.E follows, the first of the tracks to use Desmond Child as co-songwriter. He had also co-written Dude, and other tracks with Bon Jovi and Cher. F.I.N.E again bursts through the speakers, a heavy baseline backing some wisecracking and sleazy lyrics, some dirty chuckles coming in quite frequently. When you add Elevator after this, the first three tracks are as good a start of any album that year, and show why it sold so well.

Monkey On My Back initially slows things down, starting with a dreamlike few bars, before bringing in the pounding drums that would be used alot by Guns n Roses on their Use Your Illusion albums. In fact, this track could be a companion to You Could Be Mine, with very similar guitar. Of course GnR have never denied their debt to the toxic twins. I’m a big fan of this type of groove, and have alot of time for the choppy guitar effects.

Janies Got A Gun follows, starting with a short interlude (these smaller pieces are used at various points through the album, setting the mood for what was to come). This is the first proper slow track, but with words about child abuse and incest, not a pleasant subject, but not one that stopped the song being released as a single. I love the drums again here, and Steven Tylers vocals have that little raspiness that he uses so well in the bigger ballads. It also continues the psychedelic feel, showing their roots in the early 70s.

That finishes the old side one, and if you did flip the disk, side two opens with another short intro before The Other Side, which features a heavy lift from Standing On The Shadows Of Love, so much so the band had to give credit for it. The track is classic Aerosmith though, riffing throughout, and a heavy swing to the song. This could have been made at any time of their career.

My Girl, despite the name, doesnt lift from any other tracks. Again it is classic hard rock. To be honest, though I do like the song, I feel the album does start to sound a bit cliche at this point.

And no more so than with the next song, Dont Get Mad, Get Even. It has all the right elements, but the lyrics sound laughable coming from Steven Tyler. Now if Axle Rose or Bon Scott had been the one sneering these, then you would believe them, and feel threatened, but in Aerosmiths hands it sounds try hard, and not a little laughable. The mid side sag hits hard with these two mildly forgettable tracks.

Next up Hoodoo / Voodoo Medicine Man keeps the rock going, despite the awful title. But this is just a prelude to what I feel is the song of the album, What It Takes. Now Aerosmith to my mind invented the big power ballads – Dream On has to be first of its kind, and they have since kept them going, but this song is my go to. Loud, in the car on the way home after a late night at the office, nothing beats it. ‘Tell me what it takes to let you go’ has helped me through some tough times (and to be fair still does). ‘Tell me how the pains supposed to go’. It has a pleading element, without being weak, it has a yearning for lost love, and addressing that love to ask why. It is great, nothing less.

And that wraps it up – all in all a good rocking album for the first review. Some tracks may be of their time, some may be formulaic, but overall it rocks, and what more do you expect or want from the band. This kind of sound was replaced by grunge in the US, and lost to Britpop and so on in the UK, but the band still toured and released music recently. I actually saw them play Wembley in 1999, the Toxic Twin Towers ball, supported by Black Crowes and Stereophonics amongst others, and that was a great night. These days, they are probably remembered more for the ballads, and being a bit cheesy, but what is wrong with that. It was an era of spandex, big hair, and big visuals, which got lost when authenticity of the next things came along.

The album can be found quite cheaply on Amazon these days, and I would recommend getting it (link above)

The people who grinned themselves to death

When I was younger I went to boarding school. This was the 80s, 1986 to be precise for my first year. The house had approx 60 boys, which meant a lot of older brothers! My music taste was generated during these formative years. I was exposed to lots of 80s indie, rock, metal, and the odd blast of the Macc Lads. Sweaty Betty will live with me for ever.

A few bands stuck early. (I did move on to the Smiths and REM later), but first the wonderstuff and the Housemartins. I loved both of these groups, and having older ‘brothers’ I could get copies of their albums. Sprock (no idea of his real name or where he is) had a double tape deck, and a big collection. With a few packs of TDK 90 minuted tapes, I was set up. One album each side. This did mean I would often not hear the end of some albums – it took years for me to hear the final tracks.

One tape had the Housemartins two albums, London 0 Hull 4 with Happy Hour and The People Who Grinned Themselves To Death with Me and the Farmer, and Five Get over excited.

I still think it is a great album. It has really stood the test of time. Paul Heaton has grown as a songwriter through the Beautiful South, solo and now with Jackie Abbott. The political element still holds, maybe not as overly militant as the 80s.

But it is the title track of People I love. It holds up well still. A discourse on class and the British Royal family, the song could have been written this year.

Also strange to think the members of the band moved on to do many different things. On bass was Norman Cook, laterly Fatboy Slim, with the previously mentioned PD Heaton singing and songwriting. Dave Hemingway joined the Beautiful South and Stan Cullimore became a writer.

They didn’t last very long, but the impact of the Housemartins was great. For me, I listened to them for years, and go back every so often. And during the lockdown, I have been listening to a lot of music from my youth. It gives a sense of comfort, of looking back. Even when looking at the dreary 80s, living in the midlands in the UK!


This week Menswe@r have released the single “Wait for the sun” from their un-released in the UK second album (it was released in Japan). This was a surprise, but is part of a 25 year celebration, with a box set to be released covering the debut Nuisance, the second album Hay Tiempo! and various singles and demos.

I was the right age for Britpop, and so remember Menswear starting out. I read NME every week, and pored over each article and advert.

I recall hearing about this band, and then heard their debut single “I’ll manage somehow”. It had a squall of guitar at the start, and a great shout along chorus. It was brilliant. I managed to track down a copy, I have a feeling I had to mail order (no internet kiddies!) as only a shop in London had it.

The debut album arrived in late 1995. I was on a year out from Uni, living in Scunthorpe in north Lincs, not exactly a hot bed of music, but this helped keep me going. Tracks like Daydreamer, Being Brave and The One. Yes it was derivative, with elements of Blur, Wire, and most Britpop staples, but it was fun, shouty, and just great pop.

They were a little derided in the press. They had formed following an article in Select magazine about Mods, where two members interviewed mentioned their nonexistent band. They hung about in Camden, drank at the Good Mixer, and were typical of the mid 90s Britpop era. And they exploded pretty quickly, the band falling apart around 1997, when the second album didn’t get a release.

By that stage I didn’t miss them, I was onto other music – my tastes were less poppy and more long form, matching the Britpop hangover in the music scene. However, revisiting their music is great, and they stand up much better than some of the bandwagon jumpers who were signed in that time.

Go ahead and buy the box set. They played great poppy guitar music, had amazing confidence, and dressed superbly. All things I lacked!

Latest lockdown listening

After catching up on Peaky Blinders, I have listened to a lot of Nick Cave and PJ Harvey. The series is highly recommended by the way, another career high for Cilian Murphy. My wife and I loved it.

But this evening, after a hot day, my 8 year old son saw his two best friends playing together next door from out of his window. One of them does live next door to be clear. We are still under quarantine in our house, despite the government supposedly easing the lockdown. So he found that really hard to see, and it devastated me. He is young, and half his life his mum has been ill, in intensive care twice, and now at risk of another serious virus.

So I have been resorting to art now, and tonight Polly Harvey, and particularly Down By The Water, from 1995.

I have had an on off relationship with PJ Harveys music. I liked her early stuff, then lost touch until Stories From The City in 2000, and again until Let England Shake in 2011. But working back I have found her whole catalogue, and this tune is especially good. The spoken word ending, “Big fish, little fish, swimming in the water, come back here and bring me my daughter”. She has mesmerising way with lyrics, and a ghostly way with a melody, that combined bring an almost spiritual feeling to the song, that at times seems like you have known it forever, but are still hearing it for the first time.

I can really recommend it, and in the current climate, suggest it as a great way to make the pandemic go quickly.

I’m caught in a trap…

I can’t walk out…

So we have basically been under a form of house arrest for over a week now – we have enough food, and have managed to get supplies. Our local village has had some of the business owners club together to deliver food and essentials to households. We can’t help deliver as my wife is one of the 1.5 million in the UK who is at extreme risk, but we have been able to man emails and so on.

The atmosphere is very bizarre – school is closed, so we are trying a bit of home schooling. Our eldest is at secondary school and they set work on line, whereas the youngest is primary, so we have tried all sorts. Lots of maths websites and past paper kind of thing. And we have played a lot of football!

I can work from home, like most of the rest of the world it seems, and that brings its own challenges. Looking at files is hard without a printer, but we are learning. Luckily the weather has been good so far, so we can go in the garden. My wife isn’t supposed to leave the house at all, but if this keeps her from the virus it will be worth it. So far she is staying healthy.

We did go out to clap the NHS workers, which felt a good thing to be part of. They are an amazing group of people, and we don’t appreciate them enough in this country.

The weekend was strange, not being able to go anywhere. It was much like the rest of the time, but I didn’t turn the work computer on.

Our biggest concern is getting supermarket deliveries, and also cleaning every delivery that comes in the house! We have never been so tidy!

What is getting us through? Lots of TV – some joy in the Disney + and the Mandalorian. I have listened to some new music – the latest Pearl Jam is very good, a solid addition to their career – hopefully they will still be able to tour this year. I have also re-discovered the work of Mike Nesmith (from the Monkees fame) and his solo career. You may know the track Different Drum that was covered by the Lemonhead. It sounds nothing like the Monkees, and the nearest touch point is probably Gene Clarks seminal album No Other. You can find them both of them to buy on these links:


Finally REM is always high in my thoughts. Keep safe everyone.


My wife has been going well after the first lot of the trial – none of the tests have shown anything, and apart from some weight loss, and being tired she is doing OK. This week she had the round of CT scans and MRI scans, and we will know next week what they show (if anything).

So that mean on Tuesday we sat down to watch the Brit awards. As anyone who knows me will testify, I love my music, but the Brits tests me recently. I’m getting older I know, but I like music to be challenging, to kick out the jams (mother f**kas!), and nothing really appealed to me on the show. Dave I thought was excellent, railing against the world, and Stormzy puts on a good show, but it seemed to be a night of ballads (even Lewis Capaldi and Harry Styles sounded like they were singing the same tune at times), while Johnny Marr was too quiet with Billy Eilish.

But I do like one act who was nominated for Best Album – Michael Kiwanuka. His album of last year is truly amazing – it sounds classic but fresh at the same time, with some brilliant guitar playing and warm sining. It is an album to luxuriate in and play in one go – small tracks link the major tunes, and while the singles (Hero and You Aint The Problem) shine, they sound even better in the context of the whole. To think he scrapped much of the work going into it, and had a crisis of confidence, makes the feat even better. I highly recommend listening (or even better support artists and click on the link to buy it –

I still try to buy most music I listen to – I think that a CD or record has a better sound (even when converted to MP4) over streaming, especially when driving.

Any, please listen at least to Hero – it has helped me recently through everything that is going on in our lives.

I will start putting up more recommendations of albums I like here, interspersed with updates of my wife, so please let me know what you think.