July 07, 2022

Van Halen - OU812 (1988)

*U.S. first pressing. 
Contains 10 tracks total.
Country: U.S.A.
Genre: Hard Rock
Label Number: 9 25732-2

© 1988 Warner Bros. Records
The somber black and white cover could have been a knowing allusion to Meet the Beatles!, but it's really a signal that Van Halen is playing it for keeps on OU812, their second record with Sammy Hagar. Indeed, the striking thing about OU812 is that all its humor is distilled into a silly punny title, because even the party tunes here -- and there are many -- are performed with a dogged, determined vibe. When David Lee Roth fronted the band, almost everything that Van Halen did seemed easy -- as big, boisterous, and raucous as an actual party -- but Van Hagar makes good times seem like tough work here. Apart from a few cuts -- the countryish hook on "Finish What Ya Started," the slow, bluesy strut "Black and Blue" -- the riffs are complicated, not catchy, the rhythms plod, they don't rock, and Sammy strains to inject some good times by singing too hard. It gives OU812 a bit of a dour feel, not entirely dissimilar to Fair Warning, but unlike that early unheralded gem, this isn't a descent into darkness; it's merely a very inward rock record, as Eddie Van Halen pushes the band toward interesting musical territory. Often, this takes the form of jazzy chord changes or harmonies -- most evidently on the sleek opener, "Mine All Mine," but also on the otherwise metallic boogie "Source of Infection" -- but there's also "Cabo Wabo," the longest jam they've laid down on record to date, and a cover of Little Feat's "A Apolitical Blues" (which could have been a salute to producer Ted Templeman's early glories as much as a chance to do some down-n-dirty blues rock). Of course, there's also a pair of power ballads here, both poppier than the ones on 5150 -- "When It's Love" is pure balladry, "Feels So Good" rides along on a gurgling synth -- but really, they're red herrings on a record that's the hardest, darkest rock Van Halen has made since Fair Warning. And if it isn't as good as that record (even if it's nearly not as much fun), it's nevertheless the best showcase of the instrumental abilities of Van Hagar.

tags: van halen, ou812, 1988, flac,

Angie Stone - Stone Love (2004)

Country: U.S.A.
Genre: R&B
Label Number: 82876-56215-2

© 2004 J Records
With the success of her previous hit single, "Wish I Didn't Miss You," Angie Stone went from being trapped in a pack of neo-soul divas going straight to the bargain bin to being one of the first singers off the tip of the tongue when the word "neo-soul" was uttered. After nearly a two-year absence, Stone Love pleasantly picks up where Mahogany Soul left off, presenting a wiser, more even-keel Stone putting her best foot forward right from the album's onset. The useless guest appearance of the tired Snoop Dogg and his "izzle" façade does very little to improve the quality of the lead single, "I Wanna Thank Ya" -- if anything, it detracts from the song's overall atmosphere with constant interruptions that do nothing but serve as reminders that the Dogg is not having one of his better days (check out the version at the end without Snoop's rap for a contrast). That said, guest appearances by Floetry and Betty Wright help Stone Love pick up steam, and an exceptional performance by Anthony Hamilton on "Stay for a While" invokes muses present during the recording of D'Angelo's Voodoo and Stevie Wonder's Innervisions. The production crew is the most solid it's ever been on any of her records and the choice of sampling is premium (check the knockout sample of Dynasty's "Adventures in the Land of Music" used in "Lovers' Ghetto") but kept at a minimum, a tribute to the inventiveness of Stone and company behind the mixing console. And while there's no barnburning anthem of the type that fueled Mahogany Soul's longevity and despite some totally unnecessary interludes, this is her most focused and accomplished full-length to date. A delightful album for a summer day, and (save for the Snoop cameo) an enjoyable listen from start to finish.

tags: angie stone, stone love, 2004, flac,

July 06, 2022

New Model Army - No Rest For The Wicked (1985)

*First pressing. 
Contains 11 tracks total.
Country: United Kingdom
Genre: Post Punk
Label Number: CD-FA 3198 CDM 7 92686 2

© 1985-1989 Fame/EMI Records
Sacrificing the experimental post-punk doodling that worked so well within defined songs on the first LP Vengeance strangely enough works here for this incredible band that won't hear any malarkey about how bad second LPs are supposed to be. A more direct approach works wonders, rendering every song a possible single, every one a flaming, emotion-wracked foray into human thoughts, customs, and politics. And Slade the Leveler's got some unparalleled British lyrics for this kind of statement-oriented music and tremendous songwriting on side one. "There is no rest for the wicked ones," he sings, like a saddened preacher, a sentiment you see again on the terrific "Drag It Down," like a guy standing at the edge of a pointless fray wondering why human beings are always so stupid. But he's also capable of great empathy for the times in England as they are in the 2010s, when so many young people are struggling economically, as "Young, Gifted and Skint" makes clear. Don't miss "Grandmother's Footsteps" and "Ambition," too; you won't hear busier bass playing on a hotfoot U.K. post-punk rock record this year. The evidence here is that New Model Army are getting even better when you might have expected the usual decline, suggesting that Slade is an artist with great ideas you can't exhaust, and all three members have the talent to make it something other than regurgitation.

tags: new model army, no rest for the wicked, 1985, flac,

The Good Girls - Just Call Me (1992)

Country: U.S.A.
Genre: R&B
Label Number: 530 115-2

© 1992 Motown
*No professional reviews are available for this release.

tags: the good girls, just call me, 1992, flac,

Main Flow - Hip Hopulation (2004)

Country: U.S.A.
Genre: Hip-Hop
Label Number: TEG-BRK 043 CD

© 2004 Chisel Sound
*No professional reviews are available for this release.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: main flow, hip hopulation, 2004, flac,

Scary Kids Scaring Kids - The City Sleeps In Flames (2005)

Country: U.S.A.
Genre: Post Hardcore
Label Number: 60007-2

© 2005 Immortal Records
The Phoenix-based sextet Scary Kids Scaring Kids manage better than most of their aggro-melodic peers to balance gracefully the aggro and the melodic. Don't look for much melody from vocalist Tyson Stevens -- he sings in tune and he's got a strong, clear voice, but he spends as much time yelling as he does actually singing. Sometimes the transition back and forth between the two is highly effective in and of itself, as on the impressive title track and "My Darkest Hour." And sometimes the yelling comes across as kind of rote and half-hearted, as if he's realizing that he hasn't screamed for a few choruses and it's time to do it again before the mosh kids get restless. Most of the melodic interest comes with the formidable twin guitar attack of Steve Kirby and Chad Crawford and the tasteful contributions of keyboardist (!) Pouyan Afkary. Lyrically, these guys are far from embarrassing -- and in this genre, that's relatively high praise. The songs often have a fairly clear referent (such as the World Trade Center, which is referred to unambiguously in "City Sleeps in Flames") and are generally pretty low on tired cliché. Overall, this is an impressive full-length debut from a band that is likely to make even more and better noise in the near future.

tags: scary kids sacring kids, the city sleeps in flames, 2005, flac,

Scary Kids Scaring Kids - Scary Kids Scaring Kids (2007)

Country: U.S.A.
Genre: Post Hardcore
Label Number: 60040-2

© 2007 Immortal Records
*No professional reviews are available for this release.

tags: scary kids scaring kids, scary kids scaring kids flac, 2007, flac,

Psalm One - The Death of The Frequent Flyer (2006)

Country: U.S.A.
Genre: Hip-Hop
Label Number: RS0076-2

© 2006 Rhymesayers Entertainment
Mainstream female rappers are few and far between, and underground female rappers are even less common. Add this to the fact that Christalle Bowen, or Psalm One, doesn't only rhyme about her sexual prowess and her love of expensive things and you've got yourself something pretty unique, even rare. Over perfect underground beats -- melodic without being too poppy -- Psalm One spits about growing up in Chicago ("The Nine"), wack MCs (including female ones, emphasized in "Prelude to a Diss" and "Rapper Girls"), her previous day job as a scientist ("chemistry's feeding me, cuz I charge much less for my two EPs" goes the hook in "The Living," also echoed in "Beat the Drum"), and or course, her love of hip-hop ("Peanuts") with a smooth but punctuated flow, a bit like fellow Midwesterners and Rhymesayers labelmates Blueprint or P.O.S. Psalm, like any self-respecting rapper, makes sure to rep her hometown, but she makes sure she still maintains her own identity as well. "I ain't Com, I ain't Kanye," she says in the excellent title song, which features a verse from producer, MC, and Del sound-alike Thaione Davis, who uses cartoonish strings and crackling, quirky percussion to set the pace of the track. On "Macaroni and Cheese," the Chi's musical heritage is paid tribute to in Overflo's blues guitar-laden beat (which, it must be said, is practically identical to the one on Jay-Z's "My 1st Song') that meshes with gospel cries and a smoky bassline. Here, the rapper uses a cadence (again similar to Jay-Z's)that almost seems borrowed from the playground, which contrasts nicely with its more adult themes, and makes the track swing and swell. Psalm One is a witty, talented lyricist who's not afraid to reveal personal information ("lost 60 pounds") as well as brag about her own skills ("my flow hits your po' brain like government cocaine/I'm propane, you no name"), which are certainly numerable. Trying to break into the hip-hop world is never easy, especially when you're one of the few women in an extremely male-centric genre, but with The Death of Frequent Flyer, Psalm more than proves that she deserves to be there, and that all other MCs should watch out.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: psalm one, the death of the frequent flyer, 2006, flac,

Vakill - Worst Fears Confirmed (2006)

Country: U.S.A.
Genre: Hip-Hop
Label Number: MR022

© 2006 Molemen
Vakill's breakthrough sophomore LP hones the dazzling lyrical intelligence and sprawling musical palette of his debut, The Darkest Cloud, to create a lean, mean Chicago hip-hop masterpiece that gives as much as it takes from the city's rich history of black music. Forged from old-school funk and blaxploitation soundtrack samples, Worst Fears Confirmed is both lush and gritty. The Molemen's vivid but nuanced production creates a Technicolor urban fantasia that perfectly complements Vakill's witty, insightful rhymes. Fully emphasizing both halves of the "street-smart" equation, he even calls out rival MCs for celebrating money and violence at the expense of creative vision, exploring the harsh realities of the gangsta lifestyle with uncommon insight and depth.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: vakill, worst fears confirmed, 2006, flac,

July 05, 2022

Third Sight - The Golden Shower Hour (1998)

Country: U.S.A.
Genre: Hip-Hop
Label Number: DBR2000

© 1998 Darc Brothas Records
*No professional reviews are available for this release.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: third sight, the golden shower hour, 1998, flac,

The X‐Ecutioners - Scratchology (2003)

Country: U.S.A.
Genre: Hip-Hop
Label Number: SEQ 8007-2

© 2003 Sequence Records
The X-Ecutioners' 2003 follow-up to their first taste of the mainstream (2002's Built from Scratch) is devoid of marketing ploys (i.e., no collaborations with Linkin Park, et al.) as DJs Roc RaidaRob Swift, and Total Eclipse stay knee-deep in the mixing and deck wizardry that led them to the forefront of the early 21st century turntablist movement. Most of the cuts here are simply DJ mixes of the some of the trio's all-time favorites with occasional touchup work. The one true original track is "Premier's X-ecution" (featuring a tag-team effort with the one and only Premo). But while turntablist heads can appreciate the subtleties and inner workings of the X-Men's craftwork, the mass populace will find little to hold onto here musically. Tracks are chopped, diced, and pureed to the DJs' liking, leaving little room for even the most open-minded of musical aesthetes. While the effort is noble and the aim toward the preservation of hip-hop's time-honored turntable tradition is worthy, the X-Ecutioners (as with most DJs/turntablists) are likely at their best when they're in their natural element: rocking and shocking a live crowd.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: the xecutioners, scratchology, 2003, flac,

LAB - Where Heaven Ends (2005)

Country: Finland
Language: English
Genre: Alternative Rock
Label Number: 82876677262

© 2005 Sony BMG Music Entertainment (Finland) Oy
*No professional reviews are available for this release.

tags: lab, where heaven ends, 2005, flac,

Martin Grech - Unholy (2005)

Country: United Kingdom
Genre: Alternative Rock
Label Number: CIDS8157; 987182-8

© 2005 Island Records
*No professional reviews are available for this release.

tags: martin grech, unholy, 2005, flac,

The Concretes - In Colour (2006)

Country: Sweden
Language: English
Genre: Alternative Rock
Label Number: ASW 54059

© 2006 Astralwerks/EMI Records
With the Concretes always finding new ways to explore and expand their irresistible pop, In Colour finds the Swedish collective making another sonic jump, just as they did between their first album and their early EPs. Granted, this album isn't nearly as big a step forward as The Concretes was from the Boy, You Better Run Now era; actually, with its simpler production and unhurried songs, it could be seen as a step to the side for a bit of fresh air. The mix of chugging guitars and brass on "Fiction" and "Chosen One" is the closest In Colour comes to the Velvet Undergound/Motown mash-up of The Concretes, but the rest of the album finds a happy medium between the lushness of the first album and the sweet sketches of the band's earlier work, and throws in touches of folk, country, and pop of all kinds for good measure. "On the Radio" is more Petula Clark than Diana Ross, while "Sunbeams" boasts coyly charming lyrics like "I didn't know you were you." Meanwhile, the beautiful harmonies, mandolins, and strings on "Change in the Weather" and "Grey Days" sound like the influence of the Concretes' equally charming side project, Heikki, has been filtered back into the main band's music. And, though In Colour is overall a less showy collection of songs than the debut album was, "Song for the Song"'s quicksilver changes and the spacy nighttime ballad "Tomorrow" show that the Concretes haven't lost their sense of mischief or flair for the theatrical. Though there are a few draggy songs on the album and "Your Call," a ballad with the Magic NumbersRomeo Stodart, doesn't go much of anywhere, In Colour is still full of quietly vibrant moments.

tags: the concretes, in colour, 2006, flac,

July 04, 2022

Ocean Colour Scene - Ocean Colour Scene (1992)

Country: United Kingdom
Genre: Neo-Psychedelia
Label Number: 512 269-2

© 1992 Fontana
A classic case of a band searching for an identity on its debut album, Ocean Colour Scene couldn't decide whether it wanted to be Madchester rave-up, shoegaze drift, or the kind of proto-soul/R&B revivalist outfit that would eventually determine the group's future (and fairly dull) career. In ways, though, the debut could easily be the best overall thing the band recorded, showing more of a sense of genre experimentation than it did in later life, able to cover the bases from the sweet zone-out of the opening "Talk On" to the Stevie Wonder cover "Do Yourself a Favor," given a sturdy if not particularly noteworthy remake. The secret highlight of the album is possibly "Justine," a stripped-down, hushed acoustic guitar/cello ballad; if it's not Nick Drake or John Martyn, say, there's something about the low-key atmosphere, Fowler's calm vocals detailing a strange, domineering figure with her "pretty girls chained inside the dungeon." Other songs like "Third Shade of Green" and the shimmering chime and groove of "Blue Deep Ocean" suggest that if Ocean Colour Scene had aimed at developing more of its brand of psychedelic English soul, the band might have really had something. On much of the album, Fowler's fairly thin semi-whine is his undoing -- if less strident than the years of his Brit-pop dominance, when it's not working it's fairly painful, but that's not a constant situation since he seems to be assaying a varying number of approaches throughout the album. Sometimes he's trying to be the young Joe Cocker or Rod Stewart -- or more appropriately, the new Paul Weller -- a little too hard, raising unenviable comparisons, but the easier delivery on the semi-tropical funk of "Penny Pinching Rainy Heaven Days" shows that he could relax when needed.

tags: ocean colour scene, ocean colour scene album, 1992, flac,

Canibus - C True Hollywood Stories (2001)

Country: U.S.A.
Genre: Hip-Hop
Label Number: ARC 7086

© 2001 Archives Music
Canibus is always doing something different. It seems like most of the better rappers and groups nowadays don't do many albums the same as one another, but adapt their style to keep people intrigued. Canibus does this here, with an almost mellow, laid-back offering. This album is really relaxed; the MC from "100 Bars" or "Poet Laureate" isn't found here. The beginning of the LP starts with a few intros and some tracks where Canibus takes on the form of Stan from the Eminem song. It's interesting, but not necessarily effective. The video game samples used throughout are a really weird thing about this album. Some of them are just plain annoying, but still Canibus proves that he can rock over anything. This is a long album, something that Canibus obviously worked pretty hard on. If you're a die-hard fan, don't expect the MC murderer listeners have grown used to, but don't completely write it off either. An introspective effort.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: canibus, c true hollywood stories, 2001, flac,

Ocean Colour Scene - Mechanical Wonder (2001)

Country: United Kingdom
Genre: Alternative Rock
Label Number: CID 8104/548 686-2

© 2001 Island Records
It's sort of fitting that the first album Ocean Colour Scene released in the U.S. since their breakthrough and masterpiece Moseley Shoals was 2001's Mechanical Wonder, their weakest since Moseley Shoals. It's not that the record is a failure, since it hardly is. It's just -- kind of predictable, really, offering no new spin or variation on OCS's patented blend of mod, early Humble Pie and latter-day Paul Weller. That's not entirely a bad thing, since Ocean Colour Scene does this sound not just better than their peers (admittedly, in 2001, there weren't that many bands attempting this sound anymore; it's a long way from 1996), but holds its own with the bands they pattern themselves after. The problem is that the songwriting has gotten a little mannered, a little undistinguished, and the performances, while sturdy, tend to be slightly flat. This wouldn't be notable if everything on the record was at the same level, since it would then seem to be just a solid, mildly satisfying album by a sturdy group. It's that the band can still hit it out of the ballpark, no more notably than on the opener "Up on the Downside," a swirling, sexy song that is easily one of their greatest songs. There are other moments that click -- the rampaging "Can't Get Back to the Baseline" or the mildly insistent shuffle of "Give Me a Letter" -- but the first song is so good, it overshadows the rest of the record, which is simply good, average OSC. But, One From the Modern explored more territory with better songwriting, and that disappointment is compounded by that lone great single "Up on the Downside," which illustrates that they can still deliver songs as enthralling as "One Hundred Mile City."

tags: ocean colour scene, mechanical wonder, 2001, flac,

Ocean Colour Scene - A Hyperactive Workout For The Flying Squad (2005)

Country: United Kingdom
Genre: Alternative Rock
Label Number: SANCD332

© 2005 Santuary Records
Ocean Colour Scene's seventh album, Hyperactive Workout for the Flying Squad, bears a title that's far busier and more unpredictable than the music contained within the 13 songs. Like every record they've recorded since their trad rock makeover on their second album, 1996's Moseley Shoals, Hyperactive is a tasteful, well-crafted, earnest collection of classicist rock. A fuzzy bass synthesizer might rear its ugly head on "God's World" and "Move Things Over" may have a vaguely jazzy vibe, but even those tentative makeovers don't change OCS's insistent straight-ahead spin on '70s classic rockers like Traffic and Humble Pie. While they offer few surprises on Hyperactive, they also offer no embarassments, and it's likely that any fan still faithfully buying records nearly a decade after Moseley Shoals will enjoy this record, but those who drifted away sometime after 1997's Marchin' Already won't find much reason to come back to the fold.

tags: ocean colour scene, a hyperactive workout for the flying squad, 2005, flac,

Remy Ma - There's Something About Remy: Based On a True Story (2005)

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: B0005122-02

© 2005 Universal Records
Upfront, unrelenting, and irritated by the notion of being anyone's favorite female MC (she'll tell you what you can suck on, and it's not what you think it is), Remy Ma delivers her first album after years of temporary spotlight grabs. Terror Squad's "Lean Back" was her breakout role, and the story behind it tells you all you need to know about her assertiveness (or, as she might put it, balls): while nobody was paying attention, she chopped one of Fat Joe's verses, made sure it wouldn't be recovered, and laid her own vocal down in place of it. Too knocked out by the change, Fat Joe left it in, and Remy wound up taking part in one of the biggest hits of 2004, rap or otherwise. As the mixtape appearances began to pile up, it became increasingly apparent that Remy might be able to hold her own on a full-length. With There's Something About Remy, she fulfills that promise and then some. On the breathless "Whatever," Swizz Beatz turns symphonic disco strings into a warning drill, combines them with a sliding boom-clap, and provides an atmosphere that's as exciting as T.I.'s "Bring 'Em Out." Though Remy's not saying anything of consequence, the fact that she can match the energy level that Swizz creates is remarkable. David Banner works a similarly amped-up beat on "I'm," where Remy claims her crown and hints again that she's not merely a formidable female MC: "They say my flow is crazy and I can spit/And I rap as if I had a dick/Bitches is bad but I'm that bitch/Listen, I'm so above the average." She struts through the Scott Storch-produced "Conceited," a keen amalgamation of finger snaps, Eastern twists, and string interjections learned from other producers: "Now who's that peeking in my window?/Nobody 'cause I live in a penthouse." In the context of all these forthright celebrations of self, "Feels So Good," a slow jam featuring the dynamite up-and-comer Ne-Yo (the writer behind Mario's "Let Me Love You"), almost seems like a compromise. But on "Still," one of those trip-to-the-reflecting-pool album-closing tracks, she lets loose convincingly by apologizing to friends who have fallen by the wayside due to her career (if defensively so), and she also addresses family members and the complex situations they've been through with one another. While it's extremely touching, it's outshined by the vengeful and hedonistic tracks that were made for the car and the club.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: remy ma, theres something about remy, based on a true story, 2005, flac,

July 03, 2022

Echobelly - On (1995)

Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: BK 67368

© 1995 550 Music/Epic Records
Gaining a different bassist and having longtime studio hound B.J. Cole in on some guest slide guitar didn't appreciably alter the Echobelly approach much -- the post-glam/punk feeling of the poppy music still predominates and Madan still claims the sharp and sly frontwoman role with fire. If nothing on On reaches the total heights of "I Can't Imagine the World Without Me," it still possesses a few fine moments of note, otherwise generally killing time in its own fashion well enough. Johansson's guitar playing and Madan's singing and lyrics still inevitably call the Smiths shades to the forefront, no matter what. It's something they seem comfortable with at this point, though, and the rest of the band jointly adds a touch more fuzz and sludge in contrast, which makes a nice combination. Touches like the singsong sass on "Go Away," which suits the sentiment of the lyrics to a T, while Johansson usually comes up with one killer riff or part per song that elevates what would be okay tunes just that little bit higher. Cole's own contributions, like the great electric slide wail on "Something Hot in a Cold Country," don't hurt either. Sean Slade and Paul Kolderie's production remains up to the general level of that noted duo's other work: loud, cutting, and sounding great. "King of the Kerb," an album standout and a fine single from the band, benefits not merely from the strange, nagging lead guitar melody from Johansson but said production, with a rich sound in the instrumental lead-in and a well-mixed chorus. Madan's wittiest moment probably comes with "Pantyhose and Roses," a cutting portrayal of sexual objectification and fantasy, while her most heartfelt is the passionate "Nobody Like You," a fun and desire-filled celebration of a loved one.

tags: echobelly, on, 1995, flac,

Echobelly - Lustra (1997)

Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: 488967 2

© 1997 Epic Records
It's funny how a band can lose momentum in two years, especially in British pop. Either because of changes in the musical climate or changes in the band, a group that was at the top of charts one year can return 24 months later and find that everything has shifted 180 degrees. Such was the case with Echobelly and their third album, Lustra. There were a few upheavals in the band, and they decided to hire Gil Norton, a producer renowned for his work with the Pixies, to give them a change in sound. Norton does lend his signature clean-but-loud style to Lustra, giving it a bit more volume than Echobelly's first two records, but that ultimately doesn't amount to much of a change in sound. Similarly, no matter how they try to mature, Echobelly simply can't successfully develop their fusion of the Smiths and Blondie into something new. Unfortunately, they can't come up with many memorable hooks, either. There are a handful of solid songs on Lustra, but they lack the spark of "Insomniac" or "Car Fiction" -- they simply sound tired. What makes this really disappointing is that Echobelly sounded fresh and inspired on both Everybody's Got One and On, but with their attempt to sound mature, they've snuffed out their spark. Hopefully, Lustra is simply a misstep, not the end of the line.

tags: echobelly, lustra, 1997, flac,

Mutha's Day Out - My Soul Is Wet (1993)

Country: U.S.A.
Genre: Grunge
Label Number: F2-27341

© 1993 Chrysalis
*No professional reviews are available for this release.

tags: muthas day out, my soul is wet, 1993, flac,