Low / Drums and Guns - SP736
Formed in 1993, Low is from Duluth, Minnesota, and features Alan Sparhawk on vocals and guitar, Mimi Parker on vocals and drums, and Matt Livingston on bass and vocals. Sparhawk and Parker are married with two children; they first met in fourth grade in rural Minnesota. Drums and Guns is the band’s eighth full-length album and second for Sub Pop. It’s also, after 2005’s The Great Destroyer, the second album they’ve recorded with producer Dave Fridmann. Drums and Guns features a number of songs that ardent Low fans will recognize from the band’s recent live shows. These songs appear here in substantially altered forms, as though they’ve been taken apart and reassembled in striking new ways, or seen with new eyes. Or, given the lyrical emphasis on murder and death, a more insightful interpretation might see the band killing these songs and bringing them back to life anew. There’s no contrivance here, however. While these songs feature new elements (looped vocals, drum machines, etc.) and are thoroughly, radiantly contemporary, they remain undeniably Low’s. Drums and Guns possesses the unique, subtle beauty and power we’ve come to expect from Low, but the record is also profoundly exciting in ways that it’s easy to forget music can be.
Release date: March 20, 2007
Released: March 20, 2007
Pleasure Forever / Pleasure Forever - SP561
Pleasure Forever – the San Francisco trio formerly known as SLAVES – is the musical embodiment of that orgone enigma of human will and desire. Compromised of the deceptively simple instrumentation of piano, guitar and drums, Pleasure Forever fuses the utopian ecstasy of ’60s psychedelic pop with the sinister undercurrents of ’70s hedonist claustrophobia/ The resulting album is a surreal vision of humanity, both ancient and contemporary, that embraces collapse as much as it yearns toward infinity.
Released: 2001-06-05 (CD), 2001-07-17 (2xLP), 2001-06-05 (MP3s)
Red House Painters / Old Ramon - SP565
Originally recorded in ‘97 and ’98, Old Ramon is the first new Red House Painters release since 1996’s Songs for a Blue Guitar. This is a very big deal. In the interim between Old Ramon and the last RHP record, singer Mark Kozelek has somehow found the time to release two critically acclaimed solo records (on the Badman label), produce a John Denver tribute album, tour solo in the United States, UK, Spain, Sweden and South Korea, score the independent film Last Ball, and appear in Cameron Crowe’s film Almost Famous.
Released: 2001-04-10 (CD), 2001-05-01 (2xLP), 2001-04-10 (MP3s)
Rosie Thomas / When We Were Small - SP566
This is Rosie’s first long player. Ten songs, focused on vivid childhood memories and images from the perspective of a young girl in the process of growing up, dealing with complex emotions. Peppered with audio samples from her childhood, the record spotlights Rosie’s striking voice, which rings out wonderfully in the spirit of Joni Mitchell. When We Were Small is Rosie Thomas’ debut full-length and on it she sings, plays guitar and piano. She is ably (and gratefully) assisted throughout by friends too numerous to mention here (plus, then what would we put in the liner notes?). Oh, and also: Rosie performs regularly in Seattle comedy clubs as her alter-ego, Sheila, an unwitting, well-intentioned yet pitiable pizza delivery driver in complicated neck brace and outlandishly magnified spectacles.
Released: January 22, 2001
Arde (which translates to ‘It Burns’) is the third full-length from Spain’s Migala. Having, in their brief history (their debut, Deciembre 3am, was released in ‘97), played shows in Spain with the likes of Smog, The Magnetic Fields, Damon & Naomi, Mark Kozelek, and Will Oldham (they were Oldham’s backing band on a recent Spanish tour), Migala are increasingly gaining the notice the deserve. Similar in emotional intent to Leonard Cohen’s classic Death of a Ladies’ Man, the songs found on Arde are wistful, poignant, and smolderingly beautiful. Originally released on the Spanish label Acuarela in December, 2000, Sub Pop is exceedingly proud to put out the first official U.S. release of Arde.
Released: 2001-07-17 (CD), 2011-01-28 (MP3s)
Seattle rock band The Catheters have already, despite their tender age, released one full-length and a handful of singles, and spent time on the road with the likes of The Murder City Devils, Mudhoney and Motorhead (and that’s just the M’s…). An auspicious beginning, but nothing that even hints at the rock captured on this record. It’s an album that elevates and obliterates in one motion – shaking either fist or ass in the face of our collective mortality.
First LP with Sub Pop. Artwork is purposefully wonky.
Released: 2002-03-05 (CD), 2002-04-01 (LP), 2002-03-05 (MP3s)
Constantines / Shine A Light - SP569
The first pressing of the The Constantines’ self-titled (and Juno Award-nominated) debut (released on Three Gut Records in 2001) was fittingly packaged so that, upon opening the red cardstock booklet, you’d find a single strike anywhere match. In an effort to not ruin the beauty and poignancy of a thing through over-explanation, suffice it to say that if your relationship with rock and roll is not fundamentally a quest for fire (elemental, transformative, consuming), you’ve missed the point. This from Magnet magazine: "They’re young offenders with sharpened teeth who make grinding, literate punk with the elasti-to-explosive guitars heard on Fugazi’s “Smallpox Champion,” the stark lyrical economy of a Vonnegut-penned newspaper obituary…" And: “The Constantines are old souls in young bodies-guys in their early 20s who sound like Joe Strummer backed by Fugazi – making music that wakes the sleeping and the dead.” Shine a Light is The Constantines’ second full-length and first for Sub Pop (Three Gut continues as the band’s home north of the border).
Released: 2003-08-19 (CD), 2003-08-19 (LP), 2009-08-12 (MP3s)
Damien Jurado / I Break Chairs - SP571
Heading off in yet another new direction with his 4th full-length, Damien Jurado has assembled a full band for I Break Chairs. And, the results here are twelve new songs, full and alive, with jangling guitars and rolling drums carrying Damien’s inimitable sense of narrative and powerful vocal delivery. Thematically, Damien visits ground fans will be familiar with: friends disappointed, abandoned whores and mermaids, boys ditching their girls, a modern-day love story rife with juvenile delinquency. Produced by David Bazan (Pedro the Lion), the new record shows Damien still capable of breaking more than chairs, so watch out for your heart.
Released: 2002-02-19 (CD), 2002-04-01 (LP), 2002-02-19 (MP3s)
Jason Loewenstein / At Sixes and Sevens - SP580
Jason Loewenstein is a member of Sebadoh (who are, ‘Not dead, just asleep…’). On the last three or four Sebadoh records, Jason wrote nearly half the songs. And, while Sebadoh was always a very democratic affair, each of the members writing and singing their own songs, with the other guys picking up the rest of the necessary instruments, At Sixes and Sevens is a democracy of exactly one. All of the guitar and bass playing, all of the drumming, the singing the schlepping of equipment from place to place, the pressing “record”: all Jason, all the time. Urgent, angular, at times even manic: “Sometimes it’s you, but it’s me this time.” Further information may be obtained at www.jakerock.com. (And, yes, we’re aware of the missed opportunities in not titling the record J-Loe…)
All songs written, produced and performed by Jason Loewenstein.
Released: July 9, 2002
Arlo / Stab The Unstoppable Hero - SP584
Second full-length from Los Angeles power pop alchemists Arlo (the most oft-cited comparisons include The Pixies, Guided by Voices and The Ramones – not bad company to keep). Between now and their January 2001 debut (Up High in the Night), new drummer Tom Sanford has joined the fold, strengthening an already formidable force. Stab the Unstoppable Hero builds upon the groundwork laid with Up High in the Night, adding new dimensions to the pop-rock landscape inhabited by singer-guitarists Nate and Sean (ref. the twang provided by erstwhile Beachwood Sparks/Futher guitarist Josh Schwartz on “Up”) and including songs written by bassist and resident dangerous Beatles freak, Shmed.
Released: June 4, 2002
After the Damon & Naomi with Ghost record came out in the Fall of 2000, Damon & Naomi toured extensively with Ghost guitarist Kurihara. This live CD captures a memorable performance in San Sebastian, Spain. And, packaged with the CD is a 54-minute DVD tour diary made by Damon & Naomi, chronicling their European tour. The DVD will include such fancy DVD-type features as: optional Japanese subtitles, an optional commentary by the band, a complete discography for both Damon & Naomi and Kurihara, and the always popular “more!” Promotional copies will be limited to advances of the live CD with a trailer for the film.
Disc One—Live In San Sebastian
Song to the Siren (A video tour diary by Naomi Yang)
Running time: 54:24
In English with optional Japanese subtitles.
Commentary by Damon & Naomi
Released: April 23, 2002
Beachwood Sparks / Make The Cowboy Robots Cry - SP593
Six new songs from Beachwood Sparks, featuring new/original (he played drums for the band’s first couple of shows) drummer Jimi Hey, and recorded by electronic whiz-kid Jimmy Tamborello (DNTEL/Figurine/The Postal Service). Dragging in elements of Spiritualized and The Velvet Underground (increasing the cosmic in their blend of “Cosmic American Music”), these may be their most wistful, beautiful songs yet.
Released: June 4, 2002
Hot Hot Heat / Make Up the Breakdown - SP599
Following closely on the heels of their critically-acclaimed Knock Knock Knock EP, Make Up the Breakdown is Hot Hot Heat's debut full-length, recorded with Jack Endino at Vancouver, BC’s Mushroom Studios. SPIN Magazine had this to say about Knock Knock Knock: “Some retro new wavers hang themselves on their own skinny ties. While their peers lip-sych to Cure 45s, these Canucks take subtler cues from early-‘80s synth disco. Its not new wave worship, it’s the sound of punk teaching itself to dance.” And the new record delivers on the promise hinted at on the EP. Hot Hot Heat (along with peers like Radi0 4 and The Rapture) blend angular post-punk twitch with danceable pop, effectively (and finally) persuading white dopes on punk to get on the good foot.
Released: October 8, 2002
Fruit Bats / Mouthfuls - SP610
Fruit Bats are from Chicago, Illinois. The line-up is a bit nebulous, but revolves around Eric Johnson (guitars, keys, songwriting). Eric sings most of the leads, everybody else sings with him. The more observant amongst you might recognize Eric from his stint playing guitar and banjo with near-legendary folk weirdoes Califone, or as live multi-instrumentalist with Ugly Casanova and Sally Timms. Fruit Bats have toured with Modest Mouse, The Shins and Gorky’s Zygotic Mynci, and they’ve done a handful of headlining tours as well. Produced by Brian Deck, Mouthfuls is a collection of beautiful, heart-felt music in an age that resists beautiful, heart-felt music. Call them love songs dedicated to Ma Nature, primal lullabies, folk-pop gems (with an increasing emphasis on pop). It’s music for all sorts, or at least, the curious soul in everyone.
Released: April 8, 2003
Rosie Thomas / Only With Laughter Can You Win - SP612
Only With Laughter Can You Win, Rosie’s second full-length, elaborates on the quietly affecting intensity of her critically lauded debut. On it, she ads considerable emotional and instrumental depth with performances by family members and friends (including Iron & Wine’s Sam Beam!). Uncut (On Rosie’s debut, When We Were Small) – “A record of duct-filling heartbreak, it’s beautiful intensity is set aglow by Thomas’ elastic, mountain-clear voice, as compelling and emotive as Joni Mitchell or Sandy Denny.” Rosie will tour extensively with the release of Only With Laughter Can You Win. Also, keep your eyes peeled for her comedic alter ego Sheila.
Released: September 23, 2003
The Baptist Generals / No Silver/No Gold - SP615
The Baptist Generals of Denton Texas are purveyors of some of the scariest acoustic guitar mangling you’re likely to hear. Main General Chris Flemmons plays the acoustic guitar the way it was meant to be played: like a motherfuckin’ drum. Perhaps the best way to describe this band is to remind you that they come from Texas, a state that gave us everyone from Willie Nelson and Waylon Jennings to Roky Erickson and the Butthole Surfers. And, No Silver/No Gold has that coveted quality of sounding as though it might fall apart at any moment.
Released: 2003-02-04 (CD), 2009-11-11 (MP3s)
The Murder City Devils / R.I.P. - SP616
Following Keyboardist Leslie Hardy's mid-tour departure and bassist Derek Fudesco's announcement that he too would be seeking other interests (in Pretty Girls Make Graves), guitarist Nate Manny and Dann Gallucci, drummer Coady Willis and singer Spencer Moody realized the time had come to call it quits, and that the final show of their tour, played on October 31, 2001 in their home town of Seattle, would be their last. This spirited recording captures the Murder City Devils celebrating an emotional end as they pay tribute to the dedicated fan base that supported them from their raw, yet explosibe 1997 debut on the Die Young Stay Pretty label to their three subsequent Sub Pop releases – Empty Bottles, Broken Hearts, In Name and Blood, and Thelema. The Devils went out in a blaze of musical commotion and drunken glory; no true fan would have expected them to do otherwise.
1. Bear Away
2. I Drink the Wine
3. One Vision of May
4. Midnight Service in the Mutter Museum
5. I Want a lot Now
6. Rum to Whiskey
7. Dancing Shoes
9. Dear Hearts
10. Thats What You Get
11. Idle Hands
12. Boom Swagger Boom
13. Dance Hall Music
14. Cradle to the Grave
15. Murder City Riot
16. Press Gang
17. Broken Glass
18. 18 Wheels
19. Grace that Saves
Released: 2003-04-22 (CD), 2003-04-22 (LP), 1974-08-15 (MP3s)
The Catheters / Howling...It Grows and Grows!!! - SP618
Howling… is the Seattle band’s third full-length of pent-up brawlers, and they’re still radiating the same dark, perilous edge — working once again with respected producer John Goodmanson (Sleater-Kinney, Unwound, Blonde Redhead) — only now they’ve coaxed out new textures to coarsen the mix. There’s the guitar groove snaking into “Ravenous Animal,” the squalls of noise rock experimentation on “Between the Creases” and “Reaction,” and Standeford’s trademark alleycat howl, the fourth weapon in the Catheters’ arsenal. Howling… is alive, feral and twitching with energy.
Released: May 18, 2004
Kinski / Airs Above Your Station - SP620
Kinski’s Sub Pop full-length debut! (This record was also released as a limited ed. double LP, by the fine folks at Strange Attractors Audio House.) New Sub Pop roster addition Kinski is a (mostly…) instrumental rock quartet from Seattle. By turns melodic, swelling, roaring, propulsive, and sparse, Kinski walks the margins of avant-rock (ref. High Rise, Sonic Youth, Bardo Pond, Mogwai, GYBE) with nods to Krautrock and a penchant for noisy psychedelia. Airs Above Your Station is Kinski’s third full-length (after the self-released Space Launch for Frenchie and 2001’s stunning Be Gentle with the Warm Turtle on Pacifico Recordings).
Release date: January 21, 2003
Released: 2003-01-21 (CD), 2003-01-23 (LP), 2003-01-21 (MP3s)
The Helio Sequence / Love and Distance - SP633
It’s been three years since The Helio Sequence’s last album (2001’s Young Effectuals, on Portland’s Cavity Search label): far too long. Finally and triumphantly, the Portland, OR duo of Brandon Summers (guitars/vocals) and Benjamin Weikel (keyboards/drums) return with their third full-length, and first for Sub Pop, Love and Distance. The time between albums has been well-spent, logging several tours(keyboardist/drummer Benjamin Weikel also lends his percussive skills to Modest Mouse, doubling the tour time), extensive hours of experimentation and afternoons spent “listening to a lot of pop, Dylan and Can.” More inventive than ever before, the new record finds The Helio Sequence armed with a surprising new instrumentation palette and buoyed by swift pop undercurrents, with this collision of electric and organic elements. Please welcome the Helio Sequence!
Released: June 8, 2004
David Cross / Its Not Funny - SP635
Recorded in January of 2004, during a four-night, eight-show stand in Washington, DC, It’s Not Funny is the follow-up to David’s Grammy Award Losing (to Weird Al’s Poodle Hat!) album, Shut Up, You Fucking Baby! “A truth teller in the noble tradition of Bill Hicks, Richard Pryor and Lenny Bruce, Cross aims not just to entertain, but to challenge, provoke, and shake his audience out of its complacent stupor…as urgent and outraged as a Noam Chomsky lecture, but infinitely more entertaining” (The Onion). “Simply put, David Cross is the gentlest, kindest, and most sanitary man I have ever met” (Dave Eggers).
Released: May 4, 2004
The Elected / Me First - SP636
The Elected are a band who would cite incredibly disparate influences if you were to ask them (and we didn’t…) about whose music might have shaped their record’s sound. ‘Zine writers are going to have a field day coming up with reference points. Herewith, a few freebies to get started: (1) "Nilsson’s soundtrack to “Midnight Cowboy,” given an ambient remix by Aphex Twin." (2) "Like the weird sound coming from your radio when one station playing the Zombies’ “Care of Cell 44” starts to bleed into another station playing moody electronica." (3) “Lost, unreleased Sun Studios heartbreak songs from the future.” Me First is the debut release from Rilo Kiley co-singer/songwriter Blake Sennett, and features, in various roles and among others: Mike Bloom, Jason Boesel and Jenny Lewis (both also from Rilo Kiley), Daniel Brummel (from Ozma), Schmed (from Arlo), Orenda Fink (of Azure Ray), and Jimmy Tamborello (The Postal Service/DNTEL). The album was recorded in the spring of 2003 with the help of Mike Mogis (Saddle Creek partner and producer extraordinaire for Bright Eyes, The Faint, et al).
Released: 2004-02-03 (CD), 2003-02-03 (LP), 2004-02-03 (MP3s)
Wolf Eyes / Burned Mind - SP638
Ann Arbor, MI’s Wolf Eyes are at the forefront of a quickly expanding American noise scene. The trio of Nate Young, Aaron Dilloway and John Olson are the epitome of the self-sufficient musical entity. Olson and Dilloway have their own labels (American Tapes and Hanson Records respectively) that have been releasing cassettes, CDRs, 7"s, LPs and just about every other format, often in painfully limited editions, of Wolf Eyes material since Young first used the moniker in 1997. Their existence as a trio dates to 2000. And they’ve since released albums on Bulb (Dread, 2001) and Troubleman Unlimited (Dead Hills, 2002). The music that Wolf Eyes creates is truly terrifying; the soundtrack to street fight that erupts into outright incineration. Sonic touchstones include Throbbing Gristle, early Cabaret Voltaire, Black Flag, Whitehouse, Pre-Asheton Destroy All Monsters, Negative Approach, Swans and early Sonic Youth. The advocacy of the latter has led to many opening slots and a spot on the entire 2004 Lollapalooza tour.
Released: 2004-09-28 (CD), 2005-05-03 (LP), 2009-10-14 (MP3s)
Holopaw / Quit +/or Fight - SP639
Gainesville, Florida’s Holopaw (named after a Florida town none of them are from) rises to more textural, delicate artistic heights on Quit and/or Fight, the follow-up to their 2003 self-titled Sub Pop debut. Since the release of Holopaw the band has toured extensively with labelmates Iron and Wine and “Fruit Bats”http://www.subpop.com/artists/fruit_bats. You might also recall vocalist John Orth from Ugly Casanova’s Sharpen Your Teeth from a few years back; he co-wrote that with Isaac Brock (Modest Mouse).
Recorded by Mike Pecchio, resident producer at Scandalabra Studios in Brooklyn, NY, and with the aide of The Mercury Program’s Tom Reno and Dave LeBleu (strings and vibes) and Daedelus (winds), each dynamic track on Quit and/or Fight, tells its tale through sweet, understated and complexly orchestrated melody that engages as it soothes. Thick with strings, winds, drunken bossanova percussion (“3 Shy Cubs”), stomping, handclaps, wine bottles, synths, and thrift store furniture-as-instruments, the album shows a band unafraid of brash creativity and improvisational instrumentation. The album’s “Ghosties” showcases the strength of vocalist John Orth, a one-man choir swelling out of nowhere to run with the melody, and later the band’s deeply organic, thick fuzz-bass unearths the sweet lament of “Velveteen (all is bright).” Just when “Losing Light” threatens again and again to burst at the seams, Holopaw pulls back the reigns, quieting the song’s core back into a hush. The end result: an improbable group of individuals all coming together to create an album that is quietly moving, filled with small gestures that speak volumes.
Released: August 9, 2005
The Album Leaf / In a Safe Place - SP640
Jimmy LaValle, perhaps known best for his work in the contemplative dream-rock outfit Tristeza and San Diego’s The Black Heart Procession, began releasing delicate, progressive instrumental work as The Album Leaf in 1999(the name comes from a Chopin piece). After years of labor-intensive touring and tinkering with complex tracks in his cramped bedroom studio, LaValle was repeatedly offered a rare invite from Icelandic phenoms Sigur Ros and Mum to record his newest solo opus in their Mosfellsbaer studio. He finally accepted and flew overseas to compose and record “In A Safe Place.” With the addition of vocals (absent from previous Album Leaf releases) from The Black Heart Procession’s Pall Jenkins, Sigur Ros’ Jon Thor Birgisson, and LaValle himself, the songs on the new record are chillingly delicate and more pop-based than ever before. “In A Safe Place” masterfully negotiates the spaces between minimal electronica and neo-instrument rock.
Released: June 22, 2004
Frausdots / Couture, Couture, Couture - SP642
After decades of musical experimentation in L.A. based shoegazer outfit Further, late-‘80s Brit-sounding twangers The Tyde and seminal neo-psych folk legends Beachwood Sparks, Frausdots founder Brent Rademaker has finally taken the reins and created dream rock that’s as deliciously rich and indulgent as he wants it to be. He and Michelle Loiselle’s sexy, melodic nightlife pop marks a return to Rademaker’s songwriting roots: “I was always the psychic bassist who wrote the music,” he explains. “If I hadn’t been playing second fiddle in any band I’d ever been in, I would have made this record right out of high school.” Featuring contributions from Mia Doi Todd and members of The Cure, Warlocks, The Tyde, Rooney, and Brian Jonestown Massacre, Couture, Couture, Couture has the same rich, brittle bitterness as dark chocolate (or classic Echo and the Bunnymen albums).
Released: September 28, 2004
Low / The Great Destroyer - SP643
Formed in 1993, Low is a trio from Duluth, Minnesota comprised of guitarist/vocalist Alan Sparhawk, percussionist/vocalist Mimi Parker and bassist Zak Sally. Throughout Low’s history, the band has accumulated acclaim from critics (“Low build big magic from so little” – Rolling Stone) and musicians (Radiohead hand-picked Low to open a string of dates in 2003). Initially garnering attention as leaders of the ‘90s slowcore movement, Low went on to develop a sonic repertoire that incorporated pop, R&B and dissonant rock n’ roll. With this kind of storied history, most people thought they had Low pegged. But then they turned in their Sub Pop debut, The Great Destroyer. The band’s seventh full-length album, The Great Destroyer is fascinating in that it blends the band’s austere melodies (“On the Edge Of,” “Silver Rider”) with an aggressive guitar onslaught (“Monkey,” “Everybody’s Song”) and even melds Low’s varied styles together into a single song (“When I Go Deaf”). Co-produced by Low and David Fridmann (Flaming Lips, Mercury Rev), The Great Destroyer is a welcome surprise and, in the end, a rock n’ roll revelation.
Released: January 25, 2005
The Thermals / Fuckin A - SP645
In the 4 days it took to record the new record, The Thermals and producer Chris Walla worked in tandem to create what is the perfect follow-up to the chaotic pop madness of their 2003 debut, More Parts Per Million. Fuckin A is another twenty-eight minute triumph for The Thermals — screaming, piercing, as painful and discordant as it is joyous and melodic. Every track is pushed deep into the red, wrapped in a thick sheet of distortion, and served on a tattered blanket of very questionable fidelity. In other words, The Thermals are still The Thermals. They’re a little bit older, a lot wiser, a whole lot higher, but still unrelenting in their mission to smash pop music in the face, and to have fun doing it, goddammit!
Released: 2013-03-05 (LP), 2004-05-18 (CD), 2004-05-18 (MP3s)
Comets on Fire / Blue Cathedral - SP647
Blue Cathedral is the third album from Comets on Fire and their first for Sub Pop. It is also the Bay area band’s most varied and richly textured album yet. With their first two albums, (2001’s self-titled debut/self-released and 2002’s Field Recordings from the Sun on Ba Da Bing!) they established themselves as flag-bearers of modern psychedelia. However, where their previous efforts are full-tilt psychedelic affairs, Blue Cathedral is harder to pin down (which elusiveness we heartily support). Their trademark sound is here enriched by more structured, keyboard-driven jams, churning Blue Oyster Cult-ish chooglers and slow burners reminiscent of Harvest-era Pink Floyd. They recently opened a string of dates for Sonic Youth and have also played shows with Rocket From The Tombs, Dead Meadow AND Dead Moon, Sunburned Hand of the Man and more. They also made a BIG fan outta Lord Head on High, Julian Cope, who said of them: “Comets on Fire deserve our gratitude…for their distillation of all the best rock riffs since High Rise’s take on Blue Cheer…” Naturally, we agree.
Released: July 24, 2004