For the Love of Halloween Mixtapes!

Posted by Kells, October 29, 2012 11:37am | Post a Comment

One of the many reasons I look forward to Halloween each year is that it truly is the holiday what inspires the best mix tapes. Also they're usually the most fun sort of mix to compile as the novelty encourages limitless experimentation. For the last thirteen years I have made and exchanged Halloween mix tapes with a dear friend and kindred spirit thus becoming a Halloween tradition that means as much to me as pumpkin carving, inventing the best costume for the day, and impaling candy corn on my canines.

Naturally, we here at Amoeba Music make the most of live-mixing music for our Halloween festivities (see DJ Teen Wolf, pictured right) and this year shall surely be no different so, by all means, do come out and join us! Remember to dress to distress, bring your little dogs too and, since we close early at 7pm so that we may all celebrate Halloween right frightfully, feel free to consider ours a warm up to your Halloween party plans -- I know i do! In fact, I'll be manning the decks this year!

Now, if you're into making a Halloween mix but as yet haven't attempted your own here follows some seasonably solid Halloween mixtape advice from some reasonably seasoned compilation enthusiasts, highlighting some of the content that made the cut for my own mixer this year. What the heck, let's call it seven hot tips for Halloween mixtape success -- it's been a while since I've listed anything.

Halloween mixtape hot tip #1
: When culling content for a Halloween mix never discount an entire genre as seasonally inappropriate as fear knows no formal bounds. I'm talking about Country, y'all. Famed Country and Western convoy outlaw C.W. McCall's "Night Rider" from the recently reissued Wolf Creek Pass (on Omni) is some great C&W for Halloween what with its odd moog-a-delic reverberations and badass Rap-esque delivery droning on and on about driving at night and stuff. While not as frightening and perfectly Halloweeny as, say, Porter Wagoner's "The Rubber Room" it is an entirely appropriate track for a diverse, genre-spanning Halloween compilation in that it provides a departure from the more standard, obvious fare. That, and the fact that most songs about driving at night are cool.

C.W. McCall - "Night Rider"

Halloween mixtape hot tip #2: Know of an artist that already claims more than enough material suitable for a Halloween mixtape? Then don't be afraid to dig deep into the fallow reaches and nasty darkened corridors their catalog, especially at the eleventh hour of your compiling for the devil sends the best of the beast when he knows the time is short. I recently exhumed this little Bruce Dickinson (vocalist of Iron Maiden) novelty number called "Dracula" from it's resting place (i.e. it's buried on disc two of the Best of Bruce Dickinson retrospective collection of his solo works) for use in this year's Halloween mix. This song, purportedly Bruce's earliest recorded effort circa 1977, really has it all: chilling wind effects, a stalker-ish bassline, cheesy lyrics, patent Dickinson delivery. Seriously folks, this is right up there with Tim Curry's "Anything Can Happen on Halloween". A++

Bruce Dickinson - "Dracula"

Halloween mixtape hot tip #3: While Michael Jackson's  Thriller will be forever after the cornerstone R&B camp champ and go-to track for Halloween Soul-takers, do yourself a favor and refrain from slipping it into your mix (if you can). Instead, much in the vein of hot tip #2 above, dip into the crypt for some similar soul from the same era. I keep an ear out all year for fresh fuel for my annual mix and found more than a few potential tracks lurking in the shadows of a new release compilation titled Personal Space: Electronic Soul 1974-1984 -- a mix of synth-drenched and drum-machined homespun electro-soul, just barely predating Thriller's overwhelming success, swelling like a wave of unheard soundscapes from beyond the void only to retreat before breaking against the rocks of popular culture. Excellent mixes eschew the obvious; go underground.

Personal Space Jerry Green - "I Finally Found the Love I Need"

Halloween mixtape hot tip #4: When in doubt, go goth. Goth is basically Halloween disco music made for and by people who tirelessly celebrate the holiday pretty much every day of the year, amirite? Even on Christmas. Lately there's been a delicious resurgence of gloomy gothic pop dance jams inspired by 80's goth/darkwave/ethereal/coldwave and 90's electroclash and stuff. I dunno, I heard some hippers referring to some of it as witch house. Call it what you will, just get some of that crispy darkness and cut it into your mix. Check out Zola Jesus, Salem, Tamaryn...even a little Grimes will do really. A co-worker put on Trust's TRST at the other day, wondering if gothy synthpop was a bit much for a daytime Amoeba sales floor soundtrack. I immediately snagged it for my mix, "Chrissy E" did it for me.

Trust - "Chrissy E"

Halloween mixtape hot tip #5
: You probably already know this but the "Monster Mash" is the best song in the history of songs. Bobby "Boris" Pickett's perennial holiday jam just never gets old which is perhaps why it's been covered by the likes of the Beach Boys to The Smashing Pumpkins. Even the Misfits who are in no way short on patent Halloween mixtape material once took a stab at the "Monster Mash". Horror host John Zacherle also honed is own cover on his Halloween novelty album Dinner with Drac in 1958 (recently reissued on CD as a two-fer with his Scary Tales record and other sundry bonus content, just in time for Halloween 2012), but the title track, "Dinner with Drac, Pt. 1", is the perfect alternative to rehashing "Monster Mash" many times over, cover after cover.

John Zacherle - Dinner with Drac, Pt. 1"

Halloween mixtape hot tip #6
: A fog of extra dense bass and heaps of Halloween samples and sound effects creep forth from this chunky fat plate o' dub known as Tino's Breaks 6 - Hallowe'en Dub. I've gotten a lot of Halloween mixtape mileage out of this spooky slice of seasonal delight. Chock full of snippets from old Disney records, some choice Vincent Price sound bites and the usual suspects of dollar bin SFX wax, this record offers much in the way of transitioning between oddments when live mixing a Halloween party or putting the party down on tape (or CD or even MD or what have you). My favorites are the opening track "Bats in my Belfry", "It's Halloween Dub" and "Doomsday Dub" (below). If you come across this record on vinyl and you love Halloween, snatch it up! It's a rare find nowadays.

"Doomsday Dub"

Halloween mixtape hot tip #7
: TV themes are go! I'm a glutton for nostalgia and novelty and nothing improves a Halloween mix more than a heady dose of spooky movie/TV soundtrack fare. Even most Sci Fi themes, like that of the Invaders or Dr. Who, can find a place in any thoughtful Halloween mix. But you don't necessarily need to keep it in the Addam's Family realm of obvious cuts, stretch out with one of the many collections of international horror proffered by the Finders Keepers/B-Music label or strike out on a sinister soundtrack safari of your own! This year I'm including the retro intro theme song for Ge Ge Ge no Kintarou -- a 1960's Japanese cartoon about a boy creature and all his kooky monster friends in the graveyard. Sometimes it's not about what you find or how you find it, it just finds you. Happy Halloween!

The Nature Boy and The Island-aire: Digging Exotica's Wild Roving Mystics

Posted by Kells, October 10, 2012 03:32pm | Post a Comment

If there's one thing an appreciation of music micro-genres has taught me it's this: work in a record store long enough and you'll eventually get into everything. Being predisposed to an appreciation of all things nautical by nature and developing a fondness for "theme" restaurants during my formative years it was only a matter of time before I would incur an full-on addiction to Exotica. At first I admit I mostly overlooked the jazz elements inherent to the genre, however pleasantly tropical, but obsession has a funny way of broadening ones taste for the far flung and curiously obscure. While I cannot trace my collection back to one single acquisition I can proclaim without a doubt that this squaw has stalked the warpath for Exotica, in all it's varied and as-yet-unconfirmed aspects, for quite some time. I'm so hot for it I'm on fire and, with that admonition out of the way, I'm pleased to report that a vinyl reissue of Eden Ahbez's seminal contribution to the genre, Eden's Island: The Music of an Enchanted Isle (out on Moi J'Connais/Black Sweat via Mississippi Records), is once again gracing the selections in Amoeba Music's Lounge section at long last!

A beach-bummin' beatnik guru by nature, Eden Ahbez was famous for three things: penning the pop/jazz standard "Nature Boy" (made famous by one Nat King Cole), looking a lot like Jesus (both on the original Eden's Island cover art, circa 1960 above on the left, as well as the updated screen-printed jacket housing the current reissue pictured above right), and thriving on a diet consisting of  raw fruit and vegetables, living outdoors with his family beneath the first L of the Hollywood sign in the grassy Los Angeles wilderness. His music is a strange arrangement of piano, flute, and exotic percussion instruments fused with nature sounds (rolling surf, the creak of a wood-masted sailboat, squawking birds, breezy gusts of wind), and features a mixed chorus or Ahbez's own cheesy vocal musings, waxing poetic about a snake-chasing mongoose, living in an old shack by the sea, fires on the beach, and knowing "the thrill of loneliness" -- charming, to the last.

Eden Ahbez - "Full Moon"

It's difficult to think of any other artist alive that qualifies as sounding similar to Eden Ahbez (vibe-wise, free-spiritied surfer/singer/songwriter Little Wings might be his closest contemporary), but there is another wayfaring purveyor of Exotica's far-out Polynesian pop-tones who also made his way in L.A. and whose vinyl legacy that is even harder to hunt down than that of a Hollywood hill-dwelling proto-hippie. I speaking of course (of course?) of Mr. Paul Page.

The Hapa-Haole strains of Paul Page and his Island-aires earned the inclusion of two tracks on urban archeologist and Tiki godfather Sven A. Kirsten's momentous, seventeen-song Sound of Tiki compilation (Bear Family Records) -- an action that not only speaks of the high regard Exotica enthusiasts, Lounge lizards, and Tiki-philes alike ought to impart to Page and co. but also presents evidence to the relative shortness of their songs which are really more like little odes to a succession of fantasized South Seas daydreams. Kirsten himself lauds Page's unsung hero status as an early proponent of the castaway aesthetic, bolstering America's mid-century fascination with the Pacific Islands and inspiring aspiring restauranteurs to bring a driftwood and fishnet flotilla festooned paradise to the mainland.

Paul Page, like Eden Ahbez, narrates more than he sings, rhapsodizing simple island pleasures with a deep, lazy resonance that sounds like Johnny Cash doing his best William Shatner impression after downing a couple of Mai Tais. Simple percussion and lilting pedal steel cut with the sounds of, yes, rolling surf and seagulls, Page lays down some of the most naïve "aloha" lyrics ever uttered, some of them don't even make a lick of sense (i.e. "when Sam goes back to Samoa/ he'll have to change all his wicky-wacky-woo/ for to swing and sway the island way/means rock-a-hula, baby I love you"). What's more, the record was released under four differing titles meant to promote the four individual Polynesian restaurants that proffered his tunes once upon a time. You'd think that four issues of the same record, differing titles or no, would mean it'd be four times as easy to locate the damn thing, right? Riiight?

Wrong! Castaway, Ports O' Call, Pieces of Eight, Reef is Calling -- I've searched for them all for so long it seems as though the quest itself attained a sort of Holy Grail level of devotion. As luck would have it, my years-long quest ended quite recently while on vacation in Hawaii. Thanks to the tireless efforts of Sven A. Kirsten and other informants (such as this site) I was fully aware of Page's split career living as a model and entertainer in both L.A. and Honolulu (and his owning up to bedding "over 400 women"), but having never visited the Hawaiian islands before, and therefore being fully blinded by her charms and distracted by my own search for all things Tiki, I never imagined I'd find a lonely copy of Ports O' Call lurking behind a rack of musty muumuus in the depths of a darkened Kapahulu vintage boutique. Total score! The only thing that could've one upped this fateful exhumation (despite the holiday in Oahu, mind you) would have to be finding this record at Amoeba Music where, without a doubt, it would be concealed within the confines of the clearance vinyl hoard yet glowing knowingly like the treasure of Tutenkhamun's tomb, to be had for the princely sum of one dollar.

Paul Page - "Castaway"

Vinyl dreams can and do come true, people -- here's my Ports O' Call victory shot to prove it; keep digging, diggers!

And if you ever find yourself daunted by the quest to procure that which you most desire please keep in mind that record collecting is, at the very least, a waltz with fate what occasionally trips and falls on dumb luck. It's an unpredictable, exciting pursuit whether you fancy yourself a serious record, poker-faced record collector or, as Paul Page puts it, "just a derelict on the foam" -- I like to think of myself as a hybrid of the two. 

Below are a few images I captured during my recent adventures in Hawaii. Needless to say, I can't wait to go back -- it really is an Exotica addicts' fix. Aloha!

Of Sound and Vision: An Interview with Hannah Lew of Grass Widow

Posted by Kells, September 26, 2012 12:25pm | Post a Comment
A few years back I fell for San Francisco trio Grass Widow pretty hard. Charmed by the inviting warmth of the "cosy practice space" image on the cover of their debut album I was primed to plunge headfirst into the rabbithole of Grass Widow's homespun, post-punk wonderland. Digging deeper I found bassist/vocalist Hannah Lew's contribution to the band to be greater than merely a sewing of sonic lines and hemmed-in harmonies. A true visionary, Hannah is dishes a triple threat of aesthetic ingenuity evident in her work as a a filmmaker, visual artist, and musician, whether playing solo or with an ensemble. She's just the coolest!

Hannah was gracious enough to answer some of my questions recently, for the interview read on below.

How did you come to be a musician, filmmaker, and visual artist? Did you naturally lean one way before the other? 

Hannah Lew: I have many useless talents and envy people that have the tunnel vision to be excellent at one or two things. I lean many ways and consider myself mediocre at many things. I came to these specific three mediums in very different ways. I always drew and painted as a child and actually went to college for fine art. I always felt frustrated with visual art because its very culturally exclusive whereas music and film are assessable to everyone and I've always felt like I can express myself better through these mediums. I actually lived in New York during 9/11 and totally freaked out about what I was doing with creative energy. It sounds cheesy, but those events had a profound effect on how I decided to spend my energy. Two days before 9/11 I had dresses on a runway at NY Fashion Week and was on my way to pursuing a career as a visual artist. 9/11 just kind of made me reassess what really mattered to me and I decided to find a more satisfying way to reach people with my ideas. The fashion and art world just suddenly felt very superficial and meaningless.

Later that year I moved to Philadelphia and started a band, but I just jumped around and sang and played Moog. Then, in 2003, I moved back to SF and my friend Frankie and I decided to start a band even though we didn't know how to play any instruments. We basically got in a room with our friends Wu and Raven and everyone casually picked an instrument. Our band was called Shitstorm mostly because we all thought is was a joke band. But then we ended up playing for five years and touring a lot and though we tried to change our name we just couldn't shake it. We really sucked at first, but it was in that band that we all learned how to play the instruments that we would go on to play for the next decade. I feel like I came into my style as a musician through the bass. 

Given that your vision seems to permeate your personal work as well as that of your band would you say that one comes before the other? How do you make it all work?

HL: Grass Widow is very much about the three of us. Our identities as artists have very much been shaped by our roles in the band, but we take care to have outside outlets where we can have more singular voices. I think being strong as an individual is very important when wanting to truly surrender your ego within a group. It involves a lot of communication and hard work-but the payoff is that all three of us are equally invested in every song. We naturally take on different responsibilities. 

Your work seems to reflect a very consistent visual style, was this always so? Can you trace it back to a single influence?

I really love Dada and Surrealism and I've always been inspired by those movements, but not really in any sort of overt way. There is an Italo Calvino short story from Cosmicomics that has become sort of a personal myth for me that has somehow been present in most songs I have written on my own. I also love Sci-Fi.

How long have you been using that font? I love it!

I wrote out the titles on our first record back cover and then we just decided to have all our album art be consistent so I kept it going. We've always been very intentional about the visual aspects of our band.

Can you remember the first time you wanted to make a film or a video? Can you pinpoint the genesis of your visual style?

I got a Super 8 camera when I was 18 that I would take random footage on, but it wasn't until I was 23 that I completed my first film The Ghostyards (which would have been 15 minutes shorter if I made it now). It was kind of an exercise in really expressing my own personal vision and seeing something through. I think I learned a lot about myself while making that film and, once I had that epic project under my belt, I felt empowered to make more films.

Of all your short films I personally find Sea Change to be particularly gripping. Could you share about the making of that film? How did it come about? How long did it take? What is your connection to New Orleans? By all means share anything you please.

Between the ages of 15 and 23 I lived in many places and traveled a lot. I spent a couple of months in New Orleans at a very formative time in my young life and returned there several times. Two weeks after hurricane Katrina I returned to film Sea Change with my friend and collaborator Lisa Van Wambeck. I think it was our way of mourning the city and somehow synthesizing the event. We did many ritualistic things like built an entire dollhouse from scratch and drown it. I didn't really know what I was setting out to make when I went to New Orleans, I just knew I wanted to help my friends there cope with what had just happened and maybe capture the intense feelings somehow.

Watching your latest video for your band Grass Widow, "Goldilocks Zone", is reminiscent of sketchy Sci-Fi flicks and MST3K -- which I adore! What are some of the things that influence your filmmaking? Are you a cinema nerd?

I am extremely bad with names and titles which prohibits me from being a true cinema nerd. I have worked at Lost Weekend Video for the past five or so years and am constantly going on movie kicks. I am very inspired by science and science fiction. I just like imagining things that may or may not exist. It gives me hope. 

Were you influenced much by growing up during MTV's golden years? If so, what are some of your best loved music videos/programs?

I grew up with a 13" TV but would sometimes go to my Bubbie's house on weekends and watch MTV. I was really into Madonna. My mom would always be playing Madonna cassettes in the car. I did like her videos a lot and also Aerosmith and Guns N' Roses videos. 

Your music videos are amazing! Do you have a dream band/artist you would love to make a video for? Have you ever seen a music video/film and thought, "shit! I should've made that!"?

Thanks! Well, I really like Michel Gondry. I like how he uses real special effects and not computer BS. I also really love Norman Maclaren. He is my favorite animator. It's hard to say who I would love to make a video for. I approach music videos like portraits so I guess it'd have to be an artist with a nice budget who knows who they are and I can have a good dialogue with. I make my best work when I feel trusted.

Speaking of music and television, I couldn't help but notice you in Portlandia's "Small Hatchback" sketch with Joanna Newsom, whatever was that like? 

I'm much more comfortable behind the camera but It was fun. Those guys are so funny!

Grass Widow has to be one of the most singular band's around right now -- no one else really sounds like you. How did you all come together?

Raven and I have been playing together for over ten years. She was in Shitstorm with Frankie and Wu and I. Then after that we played quieter music where I played crappy upright bass and she played acoustic guitar. At that time I was in four bands including one called Ghost Family that had toured up to the Northwest where I played a show with Lily's band. Lily came down to play as Frankie's replacement in Shitstorm and then when Wu moved away the three of us had this one day when we just jammed on a harmony thing I wrote and we realized we could do some cool stuff together. Lily returned to the Northwest, but I started feeling urgent about us really starting a band so I climbed on top of a mountain and called her (on a phone) and somehow convinced her to move down to SF. I guess the rest is history.

Did you all have a similar vision of the music you wanted to make? How did you discover your sound?

We knew we could harmonize together, but we didn't want to make mellow music. Raven and I had been making mellow music together, and Lily on her own as well. But we wanted to play loud and fast and mix that with our harmonies. We never had a real design about our sound besides that we didn't want to sound twee. 

Was there anything in particular that inspired you all to sing/play in the style that you do?

Our band really is an honest product of the three of us bouncing of of each other. We're very inspired by each other and have just been trying to utilize each of our individual skills as much as possible in this band.

When did you write your first song? Do the same things that inspire your visual works also inspire you as a musician?

We wrote our first song, "To Where",  in the fall of 2007. I would say that there is a landscape that is sort of like a shared hallucination that we three share and are constantly describing in our songs and album imagery.

What influence would you say San Francisco has on your music? 

My family is here and I have a very specific relationship to the city. Sometimes I feel like there are ghosts on every corner and it can feel very heavy with memories and associations. Its hard to make ends meet here and maybe that struggle ties into our vibe. I wish it didn't though. We've been fantasizing about moving to Portland as a band. Is that a cop out?

What are some of your favorite local bands?

Scrapers, Rank/Xerox, The Mallard, Bad Backs to name a few...

What have you been working on lately? Is there anything in particular you've been into?

I've been working on some solo songs (check them out here), but in a very non-serious way. I have tons of unfinished songs that aren't really GW material that I'm letting rot in Garageband. I'm also working on some photography ideas. I have some music video projects on the horizon too. I recently went to see the Man Ray exhibit and the Cindy Sherman exhibit and felt very inspired. I'm synthesizing a lot of stuff like that. I also watched a Martha Graham movie that I love. Grass Widow will be doing a live DJ set to some silent films at Public Works October 9th so we've been working on that.

Grass Widow toured a bit this summer in support of your latest album Internal Logic, how was being out there on the road?

I just can't tell what kind of band we are sometimes. We do really well in some towns and then kinda crappy in others. I know we have some real fans, but its hard to tell.

What are your plans for the immediate future? New album? More touring?

We are touring the East Coast in November with some Northwest dates coming up in the winter. We're also going to start working on new songs soon. We've been on a sort of creative hiatus lately, but we have a couple writing retreats coming up.

And lastly, three questions I really like to ask everyone I interview: what song best describes your life right now?

"I Have Known Love" by the Silver Apples.

What are your thoughts on karaoke?

I know the world is divided on this, but I really dislike karaoke.

And lastly, what are some of your best record store finds ever?

My boyfriend found Neo Boys' Crumbling Myths for me. I thought I would never see the actual vinyl.

Thank you so much for your time Hannah!

Late Night Tales' Latest: Smooth Sailing with Groove Armada's Tom Findlay

Posted by Kells, September 19, 2012 02:52pm | Post a Comment

If Amoeba Music were a theme park I'm pretty sure the Electronica section would be our version of Tomorrowland. I mean, for a section so chock full of retro-futuristic realness and fad-tastic appeal it shouldn't really come as a surprise that this year's best mix of backyard barbecue/SoCal beach-walk roller-skating/AM Gold yacht-rockin' jammers is currently filed under the Groove Armada bin card, humbly packaged not unlike any other CD/LP bearing the Late Night Tales standard. That's right, UK-based compilation master-curators have issued this flawless assortment of deep cuts and legit hits from the 70's and 80's Soft Rock heyday, assembled by one Tom Findlay of the aforementioned Groove Armada, under the title Music for Pleasure. The fact that the word "guilty" didn't find it's way between 'for' and 'pleasure' in the title is perhaps saying something about how these songs have come to be appreciated and accepted as a now relatively shameless sonic indulgence (unlike, say, endless deep house mixes for Burning Man survivalists which, for me, summon full-body dry heaves).

Featuring artists like Todd Rundgren, Electric Light Orchestra, Gerry Rafferty, Sugardaddy, The Doobie Brothers, Ambrosia, Robert Palmer, Boz Scaggs and so, so many more this is surely the cheapest ticket to the Indian Summer sunset vibe-ride in your mind. Put it on, turn it up, and feel your cares fade clean away, for, what a fool believes...he sees and no wise man has the power to reason away what seems to be, etc.

Back to School with Agent Ribbons' new "Family Haircut" video & Let Them Talk EP

Posted by Kells, September 4, 2012 10:30am | Post a Comment
It's been a minute since we've heard from Agent Ribbons and I am pleased as planter's punch to begin this back-to-school Tuesday with a repeat viewing of their genial music video for "Family Haircut"!

Directed by Melissa Cha and shot in the kind of creepy abandoned schoolhouse that keeps local ghost hunters over-employed, the video meanders in tandem with Natalie and Lauren depicting the duo in variety of dressy attitudes as they camp and vamp casually through broken classrooms ---  like ya do. Accompanied by lushly layered girl-group harmonies sewn over their patent rough-hewn garage rock melodic base, the song's structure seems to hearken back to the band's raucous early days, much in the same way the dark allure of their lyrics always do. Add all that up, pair it with a definitive alabaster brow or two, and you've got a recipe for ardent heartache of the loveliest degree. But you don't need to take my word for it, see for yourself:

"Family Haircut" is the title track from Agent Ribbons' current limited run cassette-only release on the Portland-based Cassingle And Loving It label, not to mention the upcoming September 11th release of their seven-inch teaser Let Them Talk on Antenna Farm records, a harbinger for the Missus Ribbons' upcoming full length LP set to drop in 2013. Now, if you haven't already seen Amoeba Music's exclusive video interview with Agent Ribbons do yourself a pretty favor and check it out by clicking here, you'll also find videos comprising their excellent live show performed at Amoeba's Berkeley store. Can't get enough? Do, then, check out my interview with the Ribbons babes here and my review of their Chateau Crone LP here. Cheers!

p.s. Living in the middle bits? Agent Ribbons could be bringing their live business to a venue near you - get into it! Check out these tour dates middle westerners:

Sep 07 at Bernadette's - Austin, TX
Sep 08 at 502 bar - San Antonio, TX
Sep 15 at Studio B - Corpus Christi, TX
Sep 20 at Mango's - Houston, TX
Sep 22 at Circle Bar - New Orleans, LA
Sep 24 at Smith's Olde Bar - Atlanta, GA
Oct 03 at Melody Inn - Indianapolis, IN
Oct 04 at South Park Tavern - Dayton, OH
Oct 21 at The Lone Wolf - Brooklyn, NY
Oct 23 at Empty Bottle - Chicago, IL
Oct 24 at Vaudeville Mews - Des Moines, IA
Oct 26 at Lemmons - St. Louis, MO

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