Thursday, July 28, 2016

Waiting For Henry: “Town Called Patience” (2016) CD Review

Waiting For Henry is a rock band with strong country and folk influences and a bar band edge and rawness, reminding me at times of bands like The Life Of Riley and Wilco. The band’s new release, Town Called Patience, is the second full-length CD, following 2013’s Ghosts & Compromise. It was produced by Mitch Easter, the man responsible for producing early records by R.E.M., who also adds some work on guitar and keys. This CD features original material, written by the band’s two singer/guitarists, Dave Slomin and David Ashdown. Mike Chun is on bass, and Rob Draghi, who joined the band last year, is on drums and percussion.

“Musconetcong,” the lead-off track, was written by Dave Slomin and begins with just guitar before the rest of the band comes in. And that’s something of an indication of the prominence of the guitars on this album. I really like a lot of the guitar work on this track, but it’s the feel of the vocals that draws me in. I love the way he plays with the words “time” and “wrong” in the song’s opening line, “There was a time before it went all went wrong,” with just a bit of twang, a bit of weariness, holding onto the words, giving them emphasis. There is also something of a sweet, sad, nostalgic feel to this one, which I love. This track is one of the disc’s highlights. It’s followed by “Gutterball,” which was also written by Dave Slomin, and has more of a rock feel.

The lines from “Matter Of Time” that always stand out for me are: “You and me took it all on chance, and lost those fifteen years/Nothing left but mix cassettes, tear-stained hearts and auctioneers.” I think it’s mainly the mix cassettes, such a clear image full of meaning and emotion, especially for those of us for whom making those tapes was so important. Then the following track, “Palms,” is one of my favorites. It was written by David Ashdown, and is one that grabbed me the first time I listened to this CD. Here are the opening lines: “I go for palms/You go for majesty/We go for songs/You go for tragedy/What would you do/’Cause it could happen to you/On the last day of your life.” Those first two lines are so unusual that I was immediately pulled into the song, curious as to where it would go, what it would say.

In the lyrics to “Parsippany” the band mentions Circle K: “Amber Waves and Circle Ks are over now.” Ages ago I applied for a job at a Circle K (which is a convenience store) in Eugene, but that company insisted all employees submit to a drug test. Of course I refused (as no one’s life would be in my hands in my capacity as cashier), so I was relieved of having to work there. I hadn’t thought about that for a while. Interesting how music can pull memories out like that.

“Town Called Patience,” the album’s title track, is another highlight. I love the folk vibe of this song. Also, the song’s first lines caught me: “I want everything/And you want everything too/And in the end everything turns to dust between us.”  This one was written by Dave Slomin, and the more I listen to this disc, the more I love this particular track. “There is a town called Patience/We missed the exit there/We missed the exit there.” I also really dig “Angel On The Run,” which has more of a rock vibe and was written by David Ashdown. The CD concludes with “In The End,” a song written by Dave Slomin. It has a sweet, pretty feel at times, and that helps make it another standout track. “This time round I’m back again/The worse for wear/A better man.”

CD Track List
  1. Musconetcong
  2. Gutterball
  3. Hangnail
  4. Flipclock
  5. Matter Of Time
  6. Palms
  7. Parsippany
  8. Could It Be
  9. Town Called Patience
  10. Angel On The Run
  11. Wrong
  12. In The End
Town Called Patience is scheduled to be released on August 26, 2016.

Wednesday, July 27, 2016

Dead & Company at Irvine Meadows Amphitheatre, 7-26-16 Concert Review

"Cold Rain And Snow"
On the way into the Irvine Meadows Amphitheatre parking lot there are creepy advertisements for some new residential development. I guess that’s what’s going to take the place of the concert venue after it’s demolished. Ah, progress. Well, that didn’t matter all that much last night when Dead & Company put on a show there. But we did wonder whether the venue’s imminent demise was somehow responsible for the lack of direction when fans arrived at the parking lot. There was no one directing us where to park, and, even more surprisingly, no one was there to take our money. Parking was free. Amazing. So people just parked anywhere they wanted to, and actually that worked out just fine. But it was certainly a topic of conversation before the show. I also wonder if the money people saved on parking ended up being spent inside the venue, because it seemed that more people than usual were buying T-shirts and posters and so on. The merchandise booths actually ran out of several shirts.

But I’m getting ahead of myself a bit. My friend and I left North Hollywood at 2:30 p.m., aiming to get to the venue around 4 p.m., when the parking lot was scheduled to open. Apparently, the parking lot opened earlier, as I later learned. But that didn’t matter to us, as it took us approximately three hours and fifteen minutes to get there. It’s usually an hour and fifteen minute drive. But traffic sucked basically the entire way. No idea why. So no time to explore Shakedown Street (or even find out where it was) before the show, just enough time for a few beers before heading in.

By the way, they let you take in bottles of water and food, which is good. I had my pockets stuffed with crackers and peanuts and whatnot. Irvine Meadows Amphitheatre, for those who haven’t been there, is set up the same way that Shoreline is, and the same way Great Woods is, with a lawn section in the back, but with no cover over the seated area. Our seats were toward the back before the lawn section (terrace 11). The sound was good, as there were speakers fairly close to us.

The band was scheduled to go on at 7 p.m., and actually started at 7:22 p.m. They kicked off the show with “Cold Rain And Snow,” with John Mayer on lead vocals. John, by the way, was wearing a white Europe ’72 T-shirt. He must be having the time of his life. There wasn’t a whole lot of jamming on this tune, but still, it got the show off to a pretty good start. The band then eased into “Jack Straw,” and the jam later in the song was both sweet and powerful. They followed that with “Bertha,” with John Mayer on lead vocals, and that’s when things really started popping. “Black-Throated Wind” was one I wanted to hear, and they did a wonderful rendition last night, with Bob Weir tearing it up on vocals. And there was some great stuff by Oteil Burbridge on bass toward the end. “Loose Lucy” was fun, and it was great to hear “Big Boss Man,” with John Mayer on lead vocals. I especially liked what Jeff Chimenti did on organ.

The band wrapped up the first set with “Mississippi Half-Step Uptown Toodeloo,” a highlight of the show for me. This was a version that just got better and better as it went along, and it featured an interesting echo of the title line, with John starting the line and Bob echoing him. There was more vocal play with the title line later in the song. Plus, there was some great stuff on keys, and a glorious end. I could feel it in my teeth, you know? It seemed like the band had intended on doing one more song, something like “Deal” or “Don’t Ease Me In,” and then decided to end the set right there. It ended at 8:30 p.m., with Bob Weir urging folks to register to vote.

At 9:10 p.m., the band came back out to start the second set, which they kicked off with “Deal.” It was a good version, with John going wild on guitar. That went right into “Scarlet Begonias,” which had great energy. The “Tea for Two” line was delivered a cappella. That of course slid into “Fire On The Mountain,” with Jason Hann (from String Cheese Incident) joining the band on percussion. He played several different instruments, including talking drum. The band ended the song with, “There’s a fire!

When they started “Dark Star,” neither my friend nor I was as excited as we used to be, as it’s become a sort of common tune. But it ended up being a really good version. I liked the little touches on keys, those high notes reminding me a bit of those late 1960s versions with Tom Constanten. And Bob stretched out the word “Lady” in the line “Lady in velvet,” holding onto the first syllable. Then Bob repeated the “nightfall of diamonds” phrase several times, and the tune got even more interesting, with a very cool groove. The visuals on the screen behind the band also got pretty interesting during this song.

Jason Hann returned to help out on the “Drums” segment. There was a second guest on percussion too, but I’m not certain who it was. Oteil also got behind a drum kit for a bit of this segment. This “Drums” built up into a crazy and powerful beast, and then Mickey Hart was left to explore stranger territory on his own. “The Other One” emerged from “Space,” with Oteil doing a slightly different monster bass part to get it going. “The Other One” is a song that has sounded different at different times over the years, and Dead & Company took it in a new direction. There wasn’t that wild, thunderous drive between lines, but rather a steady groove under them. I ended up totally digging it.

“Stella Blue” is one of my favorite songs, and Bob’s voice sounded really good, but it’s still very strange for me to hear this one without Jerry. Oddly, I could hear a lot of chatter to my right during this song. They concluded the second set with a really rocking version of “U.S. Blues.” John Mayer sang, “Been hiding out in this rock and roll band.” The second set ended at 10:37 p.m. A minute later the band came back for a two-song encore: “Brokedown Palace” and “Johnny B. Goode,” the latter featuring some great stuff on keys during the jam. The show ended at 10:50 p.m.

Set List

Set I
  1. Cold Rain And Snow
  2. Jack Straw
  3. Bertha
  4. Black-Throated Wind
  5. Loose Lucy
  6. Big Boss Man
  7. Mississippi Half-Step Uptown Toodeloo 
Set II
  1. Deal >
  2. Scarlet Begonias >
  3. Fire On The Mountain
  4. Dark Star >
  5. Drums >
  6. Space >
  7. The Other One >
  8. Stella Blue >
  9. U.S. Blues 
  1. Brokedown Palace
  2. Johnny B. Goode
On the way out, we stopped at two merchandise tables because for once I was actually in the mood to buy a T-shirt. There was a cool purple one that I really liked, and a blue one that my friend wanted. But they were out of our sizes in both of those shirts. Oh well. Saved us each forty dollars. We did manage to find Shakedown Street after the show, and I bought a T-shirt from a guy for twenty, and a couple of stickers from a girl my friend used to know. The drive home took less than a third of the time it took to get to the venue.

Sunday, July 24, 2016

Rebecca Angel: “Jet Samba” (2016) CD Single Review

Last autumn, vocalist Rebecca Angel released a holiday single, “My Favorite Time Of The Year,” a song written by her father, Dennis Angel, who also played flugelhorn on the track. She’s now releasing a new single, “Jet Samba,” with her father again joining her on flugelhorn. This tune, however, was written by Brazilian composer Marcos Valle, and was used as the title track to his 2005 release, where it was an instrumental track.

Rebecca Angel’s rendition marks the first time the tune has been recorded with vocals. The lyrics were written by Ronaldo Bastos, and have a bright, happy feel, to match the fun rhythm. “I love when you dress to kill/And you move like a movie star/As soon as you touch my lips/I feel all the things you are.” Rebecca has a natural innocence and youthfulness to her voice (well, she’s, what, twenty years old), which work perfectly with these lines. And before the actual lyrics, Rebecca adds a “la la la” vocal part in place of the horn in the original. This is a sweet, relaxed section before the band kicks in, and she returns to it later, though with more energy then, delivering those vocals more like scat.

There is also a wonderful instrumental section. Rebecca is backed by essentially the same group of musicians who joined her on “My Favorite Time Of The Year”: Jason Miles on keyboard, Dennis Angel on flugelhorn, Gottfried Stoger on flute, Christian Ver Halen on guitar, Adam Dorn on bass, Cyro Baptista on percussion and Brian Dunne on drums. The single was produced and arranged by Jason Miles.

CD Track List
  1. Jet Samba
Jet Samba is scheduled to be released on July 25, 2016 on Timeless Grooves Records. Kick off your week with a bright samba.

Saturday, July 23, 2016

The Grahams Rattle The Hocks DVD Review

Earlier this year The Grahams released a deluxe edition of their excellent album Glory Bound, the original version of which came out in 2015. Also released in 2015 was Rattle The Hocks, which was basically the soundtrack to a short film titled The Grahams Rattle The Hocks. That film is now available digitally.

A title card at the beginning of the film tells us that The Grahams (Alyssa Graham and Doug Graham) traveled the country by train in the summer of 2014, and arrived in Memphis with songs inspired by their adventures and experiences. Musician Cody Dickinson (of North Mississippi Allstars), who played with the duo, documented part of that journey, as well as the recording of the band’s new material. Obviously, Alyssa and Doug were inspired by Woody Guthrie, and in fact “Hard Travelin’” plays over the opening titles.

The film is a loose, but intimate look at The Grahams, and is narrated by both Alyssa and Doug (the narration having been written by Bryan McCann). Alyssa says, “There’s a special connection between American folk music and the railroad that has no parallel elsewhere in the world.” She talks about the band’s own goals in traveling by train: “We’re looking for the modern echo of older sounds.” The film is about the band, about the rails, and about the land and towns they visited, but mostly it is about the music. We see them playing “Glory Bound,” and there is footage of them recording “Promised Land,” “Biscuits” and “Tender Annabelle.” There is also footage shot at Sun Studios where they perform “Mama,” which is gorgeous and sweet. I also really like the footage of them playing “Lay Me Down” while leaning against a great old tree. And we see them perform “City Of New Orleans” on the actual City Of New Orleans (as well as with a full band in New Orleans).

The Grahams Rattle The Hocks is approximately thirty minutes, and is a treat for all fans of American folk music. It was released on digital formats on July 8, 2016. There are no special features.

Friday, July 22, 2016

Paul Kelly: “Seven Sonnets & A Song” (2016) CD Review

The new Paul Kelly CD, Seven Sonnets & A Song, combines two passions of mine: Shakespeare and great music. This isn’t the first time Paul Kelly has turned to Shakespeare on one of his albums. On his 2012 release Spring And Fall, an album of love songs, there is a hidden track titled “Where Are You Roaming.” This is a song sung by Feste in Twelfth Night, and it’s also known as “O Mistress Mine.” Interestingly, Paul Kelly includes this song on his new CD as well, this time under that other title. That is the Song of the CD’s title, Seven Sonnets & A Song. One poem on this CD, however, was not written by Shakespeare, but rather by his contemporary Philip Sidney.

The more I hear from Paul Kelly, the more of a fan of his I become. He’s a damn good writer himself, but on this album he turns to the best writer the human race has ever produced. Known mainly for his dramatic works, William Shakespeare also wrote several poems and 154 sonnets. Paul Kelly has chosen six of the sonnets (including the most famous, Sonnet 18) and set them to music.

The CD begins with “Sonnet 138,” which is set to a cool, smoky, jazzy groove. Paul does make some changes to it. He removes the word “that” from the first line, singing “When my love swears she’s made of truth.” After “On both sides thus is simple truth suppressed,” he then goes to the final couplet, changing it a bit as well. “O, I lie with her, and she lies with me/In our faults by lies we flattered be.” He repeats those two lines, using them as a sort of chorus. He then returns to “But wherefore says she not she is unjust,” then continuing to the end of the sonnet, again making the changes to “Therefore I lie with her and she with me.” There is also a cool instrumental section.

That’s followed by “Sonnet 73.” This one Paul Kelly doesn’t change at all. He sings it as a beautiful folk song, aided by the sweet harmony vocals by Alice Keath. Lucky Oceans (from Asleep At The Wheel) plays pedal steel on this track, which is one of my personal favorites. This is just wonderful. “In me thou see’st the twilight of such day/As after sunset fadeth in the west.

Probably the most well-known of Shakespeare’s sonnets in “Sonnet 18,” which begins “Shall I compare thee to a summer’s day?” Paul Kelly delivers the first four lines a cappella. Then he adds his acoustic guitar. And at the line “By thy eternal summer shall not fade,” strings are also added (I am always a sucker for cello). Paul makes only one slight change to the wording, singing “As long as men can breathe” rather than “So long as men can breathe.” And after the last lines, there is a beautiful instrumental section which features Aaron Barnden on violin, Leah Zweck on viola, Charlotte Jacke on cello and Alice Keath on banjo. Alice Keath then joins Paul on vocals, and they sing the sonnet a second time through. This is an absolutely beautiful rendition of the famous sonnet.

“My True Love Hath My Heart” was not written by Shakespeare, but by Philip Sidney. As I understand it, it is part of one of his longer works, titled The Countess Of Pembroke’s Arcadia. But having not read that work, I’m not sure exactly how it fits in.  On this track, Vika Bull sings the lead vocal part, with Paul Kelly on acoustic guitar. Linda Bull provides harmony vocals. This is a gorgeous song, having something of a timeless feel. The vocals are stunning, and I am going to have to pick some albums by Vika And Linda soon.

Sonnets 44 and 45 are related, and so Paul Kelly combines the two into one song. For “Sonnet 44,” Paul’s vocals are accompanied by Cameron Bruce on piano. It is a heartbreaking performance of a piece that contains a sadness and longing for a distant lover. There is the idea that the distance can be overcome by thought of the other person, but he is upset that he can’t follow physically, for he isn’t as light as thought. The rest of the band then comes in between the two sonnets, and Paul’s vocal approach takes on more energy for “Sonnet 45.” This is such an excellent, impressive and quite moving reading of these connected sonnets.

Vika and Linda Bull join Paul again for “Sonnet 60,” which is about mortality. It’s kind of a depressing sonnet, though the final couplet is one in which Shakespeare hopes that his very verses will keep his friend or lover alive and young (an idea he revisits in several of the sonnets). There is a distance and a bit of anger to Paul’s vocal approach, until the final couplet, which he sings with a touch of hope. As with “Sonnet 18,” after an instrumental section, Paul sings the sonnet a second time. This second time has more power, and feels like destruction, like an inevitable end, a reaction to the cruelty of time. It’s a remarkable performance.

The CD then concludes with “O Mistress Mine,” the song from Act II of Twelfth Night. Of course, you can draw a connection to “Sonnet 60” because of its final line, “Youth’s a stuff will not endure.” But this is a pretty song, and Paul Kelly does a wonderful job with it.

CD Track List
  1. Sonnet 138
  2. Sonnet 73
  3. Sonnet 18
  4. My True Love Hath My Heart
  5. Sonnets 44 & 45
  6. Sonnet 60
  7. O Mistress Mine
Seven Sonnets & A Song is scheduled to be released on CD and vinyl on July 29, 2016. It was made available digitally on Shakespeare’s birthday, April 23rd. By the way, I absolutely love the CD cover, which is a nod to the covers of the old Signet Classic editions, the versions many of us read in school.

Thursday, July 21, 2016

Chet O’Keefe: “Because Of You” (2016) CD Review

Chet O’Keefe sings on one track of the new CD by Auburn, Love & Promises, which was released in June, and he and Auburn’s lead singer, Liz Lenten, have been touring together. Released on the same day as Love & Promises is Chet’s new CD, Because Of You. This is his third album, following 1998’s Four Wheel Low and 2010’s Game Bird (the latter featuring Nanci Griffith on backing vocals on “Some Swedish Men” and “Petting Zoo”). And though Because Of You is his new CD, these tracks were actually recorded a few years ago, and were made available digitally in the summer of 2014. Chet wrote most of the songs, but a couple of tracks feature lyrics that Blaze Foley had written but never recorded. So Chet set those to music.

The CD leads off with “Not Drunk Yet,” a really good song which begins with the positive lines “Everything is quiet/Everything is cool,” then turns suddenly, “And my heart’s ripped out/And my brain just shouts/Why am I such a fool?” Ah, those strange and strong conflicting feelings when missing someone, weak and vulnerable and wanting more. “You make me feel like a man I once knew/And I can’t wait to get together again with you.” That’s followed by “True Love,” a sad and sweet song about two people looking for love. At times it reminds me of “The Band Played Waltzing Matilda,” but instead “Waltzing Matilda,” Elvis Presley songs are playing as a backdrop to this tale. The characters are vivid, and the song is kind of beautiful and moving.  Some lines are delivered almost as spoken word: “And she cooked lots of dinners/And she even got thinner/And Jimmy, he grew closer to God.”

The CD’s title track, “Because Of You,” is one with lyrics written by Blaze Foley. It has a sad feel, about a man lost in memories. “Well, I thought so many times your ghost had quit to haunt me/And then you reappear every now and then/There used to be a time when all you did was want me/Now that time is gone, it will never come again.” There is ultimately, perhaps, something positive in the final line, “It’s too long that I’ve been crying because of you,” because within that line is some kind of determination to move on, especially as the line is repeated. That one is followed by a goofier, happier tune, “Hick Tech(nology).” The line “Put your earplugs on/Because the muffler’s gone” made me laugh aloud the first time I put on this disc. “Goin’ Downtown” is the other track with lyrics written by Blaze Foley, and it’s one of my favorites. It’s about a man looking for some company downtown to help him shake his blues, and it has kind of a sweet vibe.

“Oh Angel” is another strong track, co-written with Thomm Jutz, Kim Richey and Jon Weisberger. It is really pretty, and features some excellent lyrics, like “Throw me a line to a time that I won’t regret” and “When I look homeward, you’re what I see” and “When ‘one more’ turns to more, you pull me from the brink. Kim Richey adds to the beauty of this song with her backing vocals.

Another track I am really fond of is “Drinkin’ Day.” Check out the opening lines: “Well, today’s going to be a drinkin’ day/My peace of mind has gone away/She said she was leaving, but she stayed/Looks like it’s going to be another drinkin’ day.” I love the way those lines surprise us, that it’s her remaining, not her leaving, that causes him to drink. Wonderful! The album concludes with “Talking Kerrville Blues,” a song about the Kerrville Folk Festival from a musician’s perspective.

CD Track List
  1. Not Drunk Yet
  2. True Love
  3. Because Of You
  4. Hick Tech(nology)
  5. Goin’ Downtown
  6. Oh Angel
  7. Star Café
  8. Drinkin’ Day
  9. Blue Martin
  10. Talking Kerrville Blues
Because Of You was released on  June 17, 2016 on Scarlet Records.

Wednesday, July 20, 2016

Kate & Anna McGarrigle: “Pronto Monto” (1978/2016) CD Review

It surprises me when a record hasn’t yet been released on CD, especially when it’s an album by a popular artist. But, until a couple of weeks ago, such was the case with the third album from Kate & Anna McGarrigle, Pronto Monto. Originally released in 1978, Pronto Monto was the duo’s third and final album for Warner Bros. Here the sisters are joined by some seriously talented musicians, including Steve Gadd on drums, David Spinoza on guitar and Michael Moore on bass. There is more of a pop sound to a lot of these tracks than was heard on their first two albums. Apparently, this album didn’t sell as well as they’d hoped. But there are some really good songs here. The CD includes new liner notes by Mark Leviton.

The album opens with “Oh My Heart,” written by Anna McGarrigle and her husband, Dane Lanken. There are brief funky moments by Tony Levin on bass, and I like Anna’s vocals particularly on the chorus, but this isn’t one of my favorite tracks. For me, things get more interesting with the second track, “Side Of Fries,” which is fun, and features a playful vibe and something of an old-time groove at times. And there is some wonderful work by David Woodford on saxophone. “Well, my momma didn’t tell me/And my poppa didn’t say/This world’s a busy place and time just wastes away.” “Side Of Fries” was written by Kate McGarrigle and Philippe Tartartcheff (Tartartcheff also co-wrote “Complainte Pour Ste. Catherine” on the first record and “Naufragee Du Tendre” on the second).  Phillip Tartartcheff also co-wrote this CD’s title track, “Pronto Monto,” its title a play on the first phrase, “Prends ton manteau.” This song is kind of delightful, and features Kate on squeeze box and Chaim Tannenbaum on mandolin.

“Just Another Broken Heart” is a mellow and pretty tune written by David Nichtern, who also plays electric guitar on this track. Nichtern, who produced this record, is probably best known for writing the hit “Midnight At The Oasis,” but he has also composed music for movies like White Line Fever and The Big Picture.

I guess I’m partial to the sillier songs on this album, because one of my favorites is “NA CL,” which is a bit bluesy, a bit jazzy, and provides something of a chemistry lesson with lines like “Just a little atom of chlorine, valence minus one” and “It’s fun to ionize.” It was written by Kate McGarrigle, who also provides a delightful piano part. Here is a taste of the lyrics: “But somewhere in that sea lurks handsome sodium/With enough electrons on his outside shell plus that extra one/Somewhere in this deep blue sea there’s a negative/For my extra energy/Yes, somewhere in this foam my positive will find a home.” And the song’s final line makes me laugh every time: “Think of the love that you eat when you salt your meat.” Plus, there is a tuba. I love this song.

When a songwriter writes about his or her children, the results are generally the artist’s weakest songs. Yes, there are exceptions, of course. But this album’s “Bundle Of Sorrow, Bundle Of Joy” is not one of those exceptions. In general, I would recommend that songwriters refrain from writing directly about their children, or at least from including those songs on their albums. “Come Back Baby,” which follows “Bundle Of Sorrow, Bundle Of Joy,” is a much better tune. Check out these lines: “Somebody I love I know I ought to hate/Runs me ‘round in circles and then he makes me wait/Got no head, got no brains/Just got a heart, and my heart is in pain.” Chaim Tannenbaum plays harmonica on this track.

The album ends with “Cover Up My Head,” written by Galt MacDermot and William Dumaresq. MacDermot is, of course, known for being one of the writers of Hair. (I also just learned he was one of the writers of a musical called My Fur Lady, and now I really want to get a copy of that record. Does anyone have it?) MacDermot and Dumaresq also wrote “No Biscuit Blues,” which Kate & Anna included on their second album, Dancer With Bruised Knees. George Devens plays marimba and percussion on “Cover Up My Head.” “I’m all alone now/I’m on my own now/I guess I’ll go to bed now/Cover up my head.”

CD Track List
  1. Oh My Heart
  2. Side Of Fries
  3. Just Another Broken Heart
  4. NA CL
  5. Pronto Monto
  6. Stella By Artois
  7. Bundle Of Sorrow, Bundle Of Joy
  8. Come Back Baby
  9. Tryin’ To Get To You
  10. Fixture In The Park
  11. Dead Weight
  12. Cover Up My Head
Pronto Monto was released on CD on July 1, 2016 through Omnivore Recordings.