Category Archives: Great albums

Great albums, Johnny Cash, Music Calendar

Today: Johnny Cash released American Recordings in 1994 – 19 years ago

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johnny cash-american-recordings

…Always, the choice of material is a revelation. The Beast In Me (written by former son-in-law, Nick Lowe) could be autobiographical. And while writers like horrorpunk figurehead Glenn Danzig or Tom Waits probably would never have figured on his radar were it not for Rubin; time and again the duo found songs that were, in Cash’s hands, to take on new life. This willingness to experiment was to set a precedent: Subsequent albums were to see him work magic on material from Nine Inch Nails to U2 and Depeche Mode. But Johnny Cash’s final road to redemption and artistic fulfillment starts here…
~Chris Jones (bbc.co.uk)

American Recordings did something very important — it gave Cash a chance to show how much he could do with a set of great songs and no creative interference, and it afforded him the respect he’d been denied for so long, and the result is a powerful and intimate album that brought the Man in Black back to the spotlight, where he belonged.
~Mark Deming (allmusic.com)

#1 – Delia’s Gone

Wikipedia:

Released April 26, 1994
Recorded May 17, 1993 – December 7, 1993
Genre Country, country folk, americana, folk rock
Length 42:45
Label American/ Sony
Producer Rick Rubin

American Recordings is the 81st album by the country singer Johnny Cash. It was released in April 1994, the first album issued by American Recordings after its name change from Def American, the album being named after the new label. In 2003, the album was ranked number 364 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

Cash was approached by producer Rick Rubin and offered a contract with Rubin’s American Recordings label, better known for rap and heavy metal than for country music. Under Rubin’s supervision, he recorded the album in his living room, accompanied only by his guitar. For years Cash was often at odds with his producers after he had discovered with his first producer, Sam Phillips, that his voice was better suited to a stripped-down musical style. Most famously he disagreed with Jack Clement over his sound, Clement having tried to give Cash’s songs a “twangy” feel and to add strings and barbershop-quartet-style singers. His successful collaboration with Rick Rubin was in part due to Rubin seeking a minimalist sound for his songs.

johnny cash american recordings

#3 – The Beast In Me:

The songs “Tennessee Stud” and “The Man Who Couldn’t Cry” were recorded live at the Viper Room, a Sunset Strip, Los Angeles nightclub owned at the time by Johnny Depp. “The Beast in Me” was written and originally recorded by Cash’s former stepson-in-law Nick Lowe.

The video for the first single, the traditional song “Delia’s Gone” (directed by Anton Corbijn, featuring Kate Moss), was put into rotation on MTV, and even appeared on Beavis and Butt-head, Beavis asking if Cash was Captain Kangaroo. The album was hailed by critics and many declared it to be Cash’s finest album since the late 1960s, while his versions of songs by more modern artists such as Tom Waits and Glenn Danzig (who penned a song called “Thirteen” specifically for Cash, in just twenty minutes) helped to bring him a new audience. American Recordings received a Grammy for Best Contemporary Folk Album of the Year at the 1994 Grammy Awards. The album cover was photographed whilst Cash was visiting Australia, at Werribee near Melbourne.

johnny cash rick rubinJohhny Cash & Rick Rubin in studio

#5 – Why Me Lord:

Track listing:

  1. “Delia’s Gone” (Karl Silbersdorf, Dick Toops) – 2:18
    Originally recorded by Cash for The Sound of Johnny Cash (1962)
  2. “Let the Train Blow the Whistle” (Cash) – 2:15
  3. “The Beast in Me” (Nick Lowe) – 2:45
    Originally recorded by Lowe for The Impossible Bird (1994)
  4. “Drive On” (Cash) – 2:23
  5. “Why Me Lord” (Kris Kristofferson) – 2:20
    Originally recorded by Kristofferson for Jesus Was a Capricorn (1972)
  6. “Thirteen” (edit) (Glenn Danzig) – 2:29
    Full-length version appears on Disc 5 of the Unearthed Box Set. Written by Glenn Danzig for Cash. Later recorded by Danzig for Danzig 6:66 Satan’s Child (1999)
  7. “Oh, Bury Me Not (Introduction: A Cowboy’s Prayer)” (John Lomax, Alan Lomax, Roy Rogers, Tim Spencer) – 3:52
    Originally recorded by Cash for Sings the Ballads of the True West (1965)
  8. “Bird on a Wire” (Leonard Cohen) – 4:01
    Originally recorded by Cohen for Songs from a Room (1969)
  9. “Tennessee Stud” (live) (Jimmy Driftwood) – 2:54
    Originally a hit single for Eddy Arnold (1959)
  10. “Down There by the Train” (Tom Waits) – 5:34
    Written by Waits for Cash. Later released by Waits on his Orphans: Brawlers, Bawlers & Bastards rarities collection.
  11. “Redemption” (Cash) – 3:03
  12. “Like a Soldier” (Cash) – 2:50
  13. “The Man Who Couldn’t Cry” (live) (Loudon Wainwright) – 5:03
    Originally recorded by Wainwright for Attempted Mustache (1973)

Personnel:

  • Rick Rubin – producer
  • Johnny Cash – acoustic guitar, vocals, main performer, liner notes
  • Jim Scott – mixing
  • David Ferguson – sound recordist
  • Stephen Marcussen – mastering
  • Christine Cano – design
  • Martyn Atkins – art director, photographer

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David Bowie, Great albums, Music Calendar

Today: David Bowie released Diamond Dogs in 1974 – 39 years ago

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david bowie diamond dogs

Throughout the album, there are hints that he’s tired with the Ziggy formula, particularly in the disco underpinning of “Candidate” and his cut-and-paste lyrics. However, it’s not enough to make Diamond Dogs a step forward, and without Mick Ronson to lead the band, the rockers are too stiff to make an impact. Ironically, the one exception is one of Bowie’s very best songs — the tight, sexy “Rebel Rebel.”
~Stephen Thomas Erlewine (allmusic.com)

When this came out in 1974, it was roundly dismissed as Ziggy Stardust’s last strangled gasp. In hindsight, Diamond Dogs is marginally more worthwhile; its resigned nihilism inspired interesting gloom and doom from later goth and industrial acts such as Bauhaus and Nine Inch Nails.
~Mark Kemp (rollingstone.com in 2004)

#2 – Diamond Dogs:

Well.. most the critics dismissed (and still – in hindsight – dismisses) this album. I’ve always liked it. Best to play it all through in one sitting…

Wikipedia:

Released 24 April 1974
Recorded October 1973 – February 1974 at Olympic Studios and Island Studios, London, and Ludolf Studios, Hilversum, Netherlands
Genre Rock, glam rock
Length 38:25
Label RCA
Producer David Bowie

Diamond Dogs is a concept album by David Bowie, originally released in 1974 on RCA Records, his eighth album. Thematically, it was a marriage of the novel Nineteen Eighty-Four by George Orwell and Bowie’s own glam-tinged vision of a post-apocalyptic world. Bowie had wanted to make a theatrical production of Orwell’s book and began writing material after completing sessions for his 1973 album Pin Ups, but the late author’s estate denied the rights. The songs wound up on the second half of Diamond Dogs instead where, as the titles indicated, the Nineteen Eighty-Four theme was prominent.

david bowie diamond dogs 2

#6 – Rebel Rebel:

Although Diamond Dogs was the first Bowie album since 1969 to not feature any of the ‘Spiders from Mars’, the backing band made famous by Ziggy Stardust, many of the arrangements were already worked out and played on tour with Mick Ronson prior to the studio recordings, including “1984” and “Rebel Rebel”.

In the studio, however, Herbie Flowers played bass with drums being shared between Aynsley Dunbar and Tony Newman. In a move that surprised some commentators, Bowie himself took on the lead guitar role previously held by Mick Ronson, producing what NME critics Roy Carr and Charles Shaar Murraydescribed as a “scratchy, raucous, semi-amateurish sound that gave the album much of its characteristic flavour”. Diamond Dogs was also a milestone in Bowie’s career as it reunited him with Tony Visconti, who provided string arrangements and helped mix the album at his own Good Earth Studios in London, on a Trident B-range console, brand new from Trident at the time. Visconti would go on to co-produce much of Bowie’s work for the rest of the decade.

david bowie diamond dogs tour

#7 – Rock’n Roll With Me:

The record was Bowie’s glam swansong; according to author David Buckley, “In the sort of move which would come to define his career, Bowie jumped the glam-rock ship just in time, before it drifted into a blank parody of itself”. At the time of its release Bowie described Diamond Dogsas “a very political album. My protest … more me than anything I’ve done previously”.

Diamond Dogs’ raw guitar style and visions of urban chaos, scavenging children and nihilistic lovers (“We’ll buy some drugs and watch a band / And jump in the river holding hands”) have been credited with anticipating the punk revolution that would take place in the following years.

Track Listing:

All songs written by David Bowie, except where noted.[14]

  1. “Future Legend” – 1:05
  2. “Diamond Dogs” – 5:56
  3. “Sweet Thing” – 3:39
  4. “Candidate” – 2:40
  5. “Sweet Thing (Reprise)” – 2:31
  6. “Rebel Rebel” – 4:30
  7. “Rock ‘n’ Roll with Me” (lyrics: Bowie; music: Bowie, Warren Peace) – 4:00
  8. “We Are the Dead” – 4:58
  9. “1984” – 3:27
  10. “Big Brother” – 3:21
  11. “Chant of the Ever Circling Skeletal Family” – 2:00

david bowie diamond dogs 3

 

Personnel:

  • David Bowie – vocals, guitars, saxes, Moog synthesizer, Mellotron, producer, mixing engineer
  • Earl Slick – guitar on “Rock ‘n’ Roll with Me”
  • Mike Garson – keyboards
  • Herbie Flowers – bass guitar
  • Tony Newman – drums
  • Aynsley Dunbar – drums
  • Alan Parker – guitar on “1984”
  • Tony Visconti – strings, mixing engineer
  • Keith Harwood – engineer, mixing engineer

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Great albums, Music Travel, Rolling Stones

Today: The Rolling Stones released Sticky Fingers in 1971 – 42 years ago

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The Rolling Stones - sticky-fingers

Sticky Fingers was never meant to be the title. It’s just what we called it while we were working on it. Usually though, the working titles stick.
~Keith Richards 1971

While many hold their next album, Exile On Main St., as their zenith, Sticky Fingers, balancing on the knife edge between the 60s and 70s, remains their most coherent statement.
~Chris Jones (bbc.co.uk)

#1 – Brown Sugar:

Wikipedia:

Released 23 April 1971
Recorded 2–4 December 1969, Muscle Shoals Sound Studio, Sheffield, Alabama; 17 February, March – May, 16 June – 27 July, 17–31 October 1970, and January 1971,Olympic Studios, London, UK; except “Sister Morphine”, begun 22–31 March 1969
Genre Rock
Length 46:25
Language English
Label Rolling Stones
Producer Jimmy Miller

Sticky Fingers is the ninth British and 11th American studio album by English rock band The Rolling Stones, released in April 1971. It is the band’s first album of the 1970s and its first release on the band’s newly formed label, Rolling Stones Records, after having been contracted since 1963 with Decca Records in the UK and London Records in the US. It is also Mick Taylor’s first full-length appearance on a Rolling Stones album, the first Rolling Stones album not to feature any contributions from guitarist and founder Brian Jones and the first one on which Mick Jagger is credited with playing guitar.

The album is often regarded as one of the Stones’ best, containing songs such as the chart-topping “Brown Sugar” and the folk-influenced “Wild Horses”, and achieving triple platinum certification in the US.

Rolling stones sticky fingers_spainSpanish Cover

#3 – Wild Horses:

During the tour of the States we went to Alabama and played at the Muscle Shoals Studio. That was a fantastic week. We cut some great tracks, which appeared on Sticky Fingers – You Gotta Move, Brown Sugar and Wild Horses – and we did them without Jimmy Miller, which was equally amazing. It worked very well: it’s one of Keith’s things to go in and record while you’re in the middle of a tour and your playing is in good shape. The Muscle Shoals Studio was very special, though – a great studio to work in, a very hip studio, where the drums were on a riser high up in the air, plus you wanted to be there because of all the guys who had worked in the same studio.
~Charlie Watts in 2003

Recording:

Although sessions for Sticky Fingers began in earnest in March 1970, The Rolling Stones had recorded at Muscle Shoals Studios in Alabama in December 1969 and “Sister Morphine”, cut during Let It Bleed’s sessions earlier in March of that year, was held over for this release. Much of the recording for Sticky Fingers was made with The Rolling Stones’ mobile studio unit in Stargroves during the summer and autumn of 1970. Early versions of songs that would appear on Exile on Main St. were also rehearsed during these sessions.

Rolling stones sticky fingers back

#9 – Dead Flowers:

To my mind the things that Ry (Cooder) plays on have a kind of polish that the Stones generally began to develop around that time. The rough edges came off a bit. Mick Taylor started putting on the polish that became the next period of the Stones out of the raw rock and blues band.
~Jimmy Miller in 1979

In 2003, Sticky Fingers was listed as #63 on Rolling Stone magazine’s 500 Greatest Albums of All Time.

Track Listing:

  1. “Brown Sugar” 3:48
  2. “Sway” 3:50
  3. “Wild Horses” 5:42
  4. “Can’t You Hear Me Knocking” 7:14
  5. “You Gotta Move” (Fred McDowell/Gary Davis) 2:32
  6. “Bitch” 3:38
  7. “I Got the Blues” 3:54
  8. “Sister Morphine” (Jagger/Richards/Marianne Faithfull) 5:31
  9. “Dead Flowers” 4:03
  10. “Moonlight Mile” 5:56

Personnel:

The Rolling Stones
  • Mick Jagger – lead vocals, acoustic guitar on “Dead Flowers” and “Moonlight Mile”, electric guitar on “Sway”, percussion on “Brown Sugar”
  • Keith Richards – electric guitar, six and twelve string acoustic guitar, backing vocals
  • Mick Taylor – electric, acoustic and slide guitar (not present during “Sister Morphine” sessions)
  • Charlie Watts – drums
  • Bill Wyman – bass guitar, electric piano on “You Gotta Move”
Additional personnel
  • Bobby Keys – saxophone
  • Jim Price – trumpet, piano on “Moonlight Mile”
  • Ian Stewart – piano on “Brown Sugar” and “Dead Flowers”
  • Nicky Hopkins – piano on “Sway”, “Can’t You Hear Me Knocking”
  • Jim Dickinson – piano on “Wild Horses”
  • Jack Nitzsche – piano on “Sister Morphine”
  • Ry Cooder – slide guitar on “Sister Morphine”
  • Billy Preston – organ on “Can’t You Hear Me Knocking” and “I Got the Blues”
  • Jimmy Miller – percussion on “Can’t You Hear Me Knocking”
  • Rocky Dijon – congas on “Can’t You Hear Me Knocking”
  • Paul Buckmaster – string arrangement on “Sway” and “Moonlight Mile”
  • Engineers – Glyn Johns, Andy Johns, Chris Kimsey, Jimmy Johnson
  • Cover concept/photography – Andy Warhol

rolling stones leeds 1970

We made (tracks) with just Mick Taylor, which are very good and everyone loves, where Keith wasn’t there for whatever reasons… People don’t know that Keith wasn’t there making it. All the stuff like Moonlight Mile, Sway. These tracks are a bit obscure, but they are liked by people that like the Rolling Stones. It’s me and (Mick Taylor) playing off each other – another feeling completely, because he’s following my vocal lines and then extemporizing on them during the solos.
~Mick Jagger in 1995

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Great albums, Music Calendar

Today: The Pixies released Doolittle in 1989 – 24 years ago

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the pixies doolittle-cover

..the songs on Doolittle have the power to make you literally jump out of your skin with excitement.
~NME

Doolittle is a mix of the band’s earlier hardcore storms, Black Francis’ self­described “stream of unconsciousness” rants, and the strange melodicism and surf-metal guitar that defined its creepy magic.
~rollingstone.com

Debaser:

Wikipedia:

Released April 18, 1989
Recorded October 31 – November 23, 1988 atDowntown Recorders in Boston, Massachusetts and Carriage House Studios in Stamford, Connecticut
Genre Alternative rock
Length 38:38
Label 4AD, Elektra (initial U.S. distribution)
Producer Gil Norton

Doolittle is the second studio album from the American alternative rock band Pixies, released in April 1989 on 4AD. The album’s offbeat and dark subject material, featuring references to surrealism, Biblical violence, torture and death, contrasts with the clean production sound achieved by the newly hired producer Gil Norton. Doolittle was the Pixies’ first international release, with Elektra Records acting as the album’s distributor in the United States and PolyGram in Canada.

Pixies released two singles from Doolittle, “Here Comes Your Man” and “Monkey Gone to Heaven”, both of which were chart successes on the US chart for Modern Rock Tracks. The album itself reached number eight on the UK Albums Chart, an unexpected success for the band. In retrospect, album tracks such as “Debaser”, “Wave of Mutilation”, “Monkey Gone to Heaven”, “Gouge Away”, and “Hey” are highly acclaimed by critics, while the album, along with debut LP Surfer Rosa, is often seen as the band’s strongest work.

pixies doolittle inlay

Doolittle has continued to sell consistently well in the years since its release, and in 1995 was certified gold by the Recording Industry Association of America. The album has been cited as inspirational by many alternative artists, while numerous music publications have ranked it as one of the most influential albums ever. A 2003 poll of NME writers ranked Doolittle as the second-greatest album of all time, and Rolling Stone placed the album at 226 on its list of “The 500 Greatest Albums of All Time”.

Tame:

Music:

Doolittle features an eclectic mix of musical styles. While tracks such as “Tame” and “Crackity Jones” are fast and aggressive, and incorporate the band’s trademark loud–quiet dynamic, other songs such as “Silver”, “I Bleed”, and “Here Comes Your Man” reveal a quieter, slower and more melodic temperament. With Doolittle, the band began to incorporate further instruments into their sound; for instance, “Monkey Gone to Heaven” features two violins and two cellos. Several tracks on Doolittle are constructed around simple repeating chord progressions.

“Tame” is based on a three chord formula; including Joey Santiago’s playing a “Hendrix chord” over the main bass progression. “I Bleed” is melodically simple, and is formed around a single rhythmical repetition. Some songs are influenced by other genres of music; while “Crackity Jones” has a distinctly Spanish sound, and incorporates G♯ and A triads over a C♯ pedal, the song’s rhythm guitar, played by Francis, starts with an eighth-note downstroke typical of punk rock music.

the pixies

the pixies here-comes-your-man

Here Comes Your Man:

Accolades:

Publication Country Accolade Year Rank
Hot Press Ireland Top 100 Albums
 2006 #34
Juice Australia The 50 Best Albums of All Time
 1997 #2
NME UK 100 Best Albums
 2003 #2
Panorama Norway The 30 Best Albums of the Year 1970–98 1999 #1
Pitchfork Media US Top 100 Albums of the 1980s
 2002 #4
Q UK Ultimate Music Collection
 2005 *
Rolling Stone US The 500 Greatest Albums of All Time 2005 #226
Spin US 100 Greatest Albums, 1985–2005
 2005 #36
Slant Magazine US Best Albums of the 1980s
 2012 #34

Tracks:

All tracks were written by Black Francis, except where noted.

  1. “Debaser” – 2:52
  2. “Tame” – 1:55
  3. “Wave of Mutilation” – 2:04
  4. “I Bleed” – 2:34
  5. “Here Comes Your Man” – 3:21
  6. “Dead” – 2:21
  7. “Monkey Gone to Heaven” – 2:56
  8. “Mr. Grieves” – 2:05
  9. “Crackity Jones” – 1:24
  10. “La La Love You” – 2:43
  11. “No. 13 Baby” – 3:51
  12. “There Goes My Gun” – 1:49
  13. “Hey” – 3:31
  14. “Silver” (Francis/Deal) – 2:25
  15. “Gouge Away” – 2:45

Monkey Gone To Heaven:

Personnel:

Pixies
  • Black Francis – vocals, rhythm guitar
  • Kim Deal – bass guitar, vocals, slide guitar on “Silver”
  • Joey Santiago – lead guitar
  • David Lovering – drums, lead vocal on “La La Love You”, bass guitar on “Silver”
Additional musicians
  • Arthur Fiacco – cello on “Monkey Gone to Heaven”
  • Karen Karlsrud – violin on “Monkey Gone to Heaven”
  • Corine Metter – violin on “Monkey Gone to Heaven”
  • Ann Rorich – cello on “Monkey Gone to Heaven”
Production
  • Steve Haigler – mixing engineer
  • Matt Lane – assistant engineer
  • Simon Larbalestier – cover image, album booklet imagery
  • Gil Norton – production, engineering
  • Vaughan Oliver – album booklet imagery
  • Dave Snider – assistant engineer
  • Published by Rice ‘n’ Beans Music BMI

the pixies 2

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Great albums, Music Calendar, Nick Cave

Today: Nick Cave & The Bad Seeds released – The Good Son – in 1990

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nick cave the good son

“The Good Son” is a haunting collection of vintage Nick Cave songs that tell of loss, sorrow, death and despair. Those subjects may be standard Cave fare, but the amazing string arrangements featured on almost every tune add an epic sweep to the album, imbuing it with a grandeur found in the work of Jacques Brel and his protoge, Scott Walker. ..
~amazon.com reviewer

…the Seeds followed up Tender Prey with the equally brilliant but generally calmer Good Son.
~Ned Raggett (allmusic.com)

Come sail your ships around me
And burn your bridges down
We make a little history, baby
Every time you come around
~Nick Cave (The Ship Song)

The Ship Song (original)

Wikipedia:

Released April 17, 1990
Recorded by Victor Van Vugt at Sao Paulo, October 1989, mixed by Flood,Gareth Jones at Berlin, November-December, 1989
Genre Post-punk, alternative rock
Length 45:12
Label Mute Records
Producer The Bad Seeds

The Good Son is the sixth album by Nick Cave and the Bad Seeds, released in 1990. It was preceded by the release of “The Ship Song/The Train Song” single. “The Weeping Song/Cock’s ‘n’ Asses” was later also released as a single. After an album as dark and intense as Tender Prey, some fans were disappointed to hear a relaxed and loving Nick Cave on this record. The change of mood was due in great deal to Nick Cave falling in love with Brazilian journalist Viviane Carneiro, and an apparently salutary spell in rehab which purged the despair and squalor of the previous two albums. However, today, most fans consider this album as a classic that was unfairly judged at the time. Indeed, “The Weeping Song” and “The Ship Song” are now Bad Seeds standards, and the relatively obscure closing track “Lucy” was resurrected in 1993 as a B-side of “What a Wonderful World”, a collaboration of the Bad Seeds and the Pogues’ Shane MacGowan.

The album was remastered and reissued on March 29, 2010 as a collector’s edition CD/DVD set.

nick cave the good son back

 

Father, why are all the women weeping?
They are weeping for their men
Then why are all the men there weeping?
They are weeping back at them
~Nick Cave (The Weeping Song)

The Weeping Song:

Track listing:

  1. “Foi Na Cruz” – 5:39 (Singers – Clovis Trindade, Rubinho)
  2. “The Good Son” – 6:01
  3. “Sorrow’s Child” – 4:36
  4. “The Weeping Song” – 4:21 (“Father” Vocal by Blixa Bargeld)
  5. “The Ship Song” – 5:14
  6. “The Hammer Song” – 4:16 (Guitars by Mick Harvey)
  7. “Lament” – 4:51
  8. “The Witness Song” – 5:57
  9. “Lucy” – 4:17 (words: Cave. Music: Cave, Bargeld, Roland Wolf) Piano on reprise section by Roland Wolf

 Comments on the Songs:

  • “Foi Na Cruz” is based partly upon the traditional Brazilian Protestant hymn of the same title. The title translates roughly as “It Happened on the cross”.
  • “The Good Son” – the opening is based loosely upon the African-American traditional song “Another Man Done Gone”. A recording of this traditional song, by Odetta, later appeared on Original Seeds Vol. 1. The lyrics appear, at least in part, to have been influenced by the Cormac McCarthy novel Child of God, with references to a “malign star” and laying down “queer plans” appearing in both, as well as common themes of dislocation and rejection.
  • The single mix of “The Weeping Song” is a different mix than the one found on the album.
  • “The Witness Song” is based loosely upon the traditional American gospel song “Who Will be a Witness?”.
  • Four of the songs on the album were left with their working titles (“The Ship Song”, “The Weeping Song”, “The Hammer Song”, “The Witness Song”).
  • The instrumental b-side “Cocks ‘n’ Asses” was retitled “The B-side Song” for the USA release.

The Good Son:

Personnel:

  • Nick Cave – Vocals, Piano, Hammond, Harmonica
  • Mick Harvey – Bass, Acoustic Guitar, Vibraphone, Percussion, Backing Vocals
  • Blixa Bargeld – Guitar, Backing Vocals
  • Kid Congo Powers – Guitar
  • Thomas Wydler – Drums, Percussion

nick cave the good son 2

 

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