Wednesday, July 11, 2018

Vinyl Hampdin: “Red” (2018) CD Review

Vinyl Hampdin is a great loud funky beast of a band, led by trombonist and songwriter Steve Wiest, and featuring a horn section and some dynamic vocals. The band’s debut album, Red, is an odd and exciting mix of original material and covers, with even the covers, to a large extent, feeling like originals. The band is made up of Lisa Dodd on vocals, Ryan Davidson on guitar, Eric Gunnison on keys, Stockton Helbing on drums, Gerald Stockton on bass, Art Bouton on baritone saxophone and flute, Frank David Greene on trumpet, Ray Herrmann on tenor saxophone and flute, and Steve Wiest on trombone. These guys seem to draw inspiration from many different musical areas, including jazz, rock, progressive rock, funk and soul.

The band kicks things off with a fun, funky, jazzy rendition of Stevie Wonder’s “Superstition,” the horns having a prominent role, at least equal to that of the vocals. Then the song finds a somewhat mellower place to dwell for a bit, with some nice work on keys. But soon things get wild again. Yes, this group takes the song in some interesting and unexpected directions. And listen to Lisa Dodd belting out the lyrics toward the end. They follow that with an original tune titled “Gottaluvit,” a funky rock song with more nice work on horns, plus some catchy vocals on the title line. And check out these lyrics: “Think you so slick with what you say/The bigger the lie, the bigger the pay/Don’t matter what’s right, don’t matter what’s wrong/Get enough votes and sing a new song.” “Gottaluvit” was written by Steve Wiest.

“One Song,” also written by Steve Wiest, is a strange combination of jazz and progressive rock. We’ve stepped into some other realm now, and it feels like we’ve left everything else far behind. Can we even remember the funk? There is something theatrical here, particularly in the vocals. I’m not as fond of this one as I am of the first two tracks, but there is certainly something intriguing about it. You want to find out where it’s going. The electric guitar turns to hard rock toward the end, and the horns sound like Chicago if that band had something to prove and was heavily armed. (By the way, Ray Herrmann is also a member of that band.) We return to funkier ground with a cover of Bonnie Raitt’s “The Road’s My Middle Name.” Yeah, it’s still bluesy, particularly in Lisa Dodd’s vocal delivery, but those horns take things in a different direction from the original.

Vinyl Hampdin also delivers a very strange rendition of “Flowers On The Wall,” the Statler Brothers song. It’s nearly unrecognizable, except for the lyrics. Gone is the lighthearted sense of the original version, and in its place is someone who is perhaps a bit unhinged and a bit on edge. There is an eerie, even frightening, aspect to this version at moments. It’s different, obviously, but it makes sense, as I always thought the song was about someone in a mental hospital. That’s followed by an original tune, “Billions,” a song that urges us to choose love, something that is incredibly difficult to do these days. “Don’t fear the dark, open your heart instead/How many people are lost?/There are billions, billions.”

This band covers Rare Earth’s “I Just Want To Celebrate,” which seems a perfect choice to follow “Billions,” and a perfect choice for this band. I love this song, and these guys do a great job with it, giving it a fiery, positive energy. They then give us an original song about baseball, “Diamonds.” As you’ll recall, 2016 was a completely foul year. The only good thing from that year was the Cubs winning the World Series. I’m not even a Cubs fan (go Red Sox!), but that Game 7 was fantastic. “Diamonds” refers to the Cubs’ curse in the line, “No goats, my heart can’t take the strain.” That’s followed by a cover of Paul McCartney’s “My Love,” never one of my favorite Paul McCartney songs (but still much better than “Silly Love Songs”) Still, Vinyl Hampdin does a decent job with it. The album then ends with an interesting and powerful rendition of Bill Withers’ “Use Me,” featuring more great stuff on horns, as well as some nice work on guitar. “When you love me, I can’t get enough/And I want to spread the news/That if it feels this good being used/You just keep on using me/Until you use me up.”

CD Track List
  1. Superstition
  2. Gottaluvit
  3. One Song
  4. The Road’s My Middle Name
  5. Pay For It
  6. Flowers On The Wall
  7. Billions
  8. I Just Want To Celebrate
  9. Diamonds
  10. My Love
  11. Use Me 
Red is scheduled to be released on October 5, 2018 on Armored Records.

Maxwell James: “Maxwell James” (2018) CD Review

Maxwell James is a singer and songwriter based in Nashville, his music a delicious blend of folk, rock, pop and blues, any sort of musical boundaries ignored in the name of pursuing something better. And he gets there. On his self-titled debut EP, he is joined by Jason Cheek on drums and percussion, Chris Croce on bass, David Dorn on organ and electric piano, and Scotty Murray on electric lap steel. All the songs are originals, written by Maxwell James.

The EP opens with “Roll Down Your Window Slowly,” a catchy tune with a steady beat, a song I dig right the start. It’s rock and pop, with a bit of a bluesy edge, a good song for summer. “Roll down your window slowly/Going to get to know me.” There is some playful vocal work toward the end, giving it a kind of relaxed groove, followed by a false ending. The blues edge is stronger, more pronounced, at the beginning of the next song, “Feed My Evolution.” This one too has a steady, and somewhat slow, rhythm, with an almost menacing quality. I particularly like the part on keys in the second half of the song. “Be my absolution from evil/Bite your tongue and don’t make a sound.”

My favorite track is “The More You Say, The Less I Know,” a wonderful mix of folk and blues with some damn good lyrics. “I’m on my way to feeling low/Sometimes I pray I just let go/What can I say when I know that I’ll be wrong.” There is something catchy about this song, and there is a good chance you’ll be singing along before it is over. That’s followed by another of this disc’s highlights, “Blatantly,” which begins with acoustic guitar and some seriously nice vocal work. There is something absolutely delightful about this song, about its sound. It has me smiling every time I listen to it. And check out these lyrics: “I don’t want to be untied/I just want to be on your side/When all of your friends/Have left you again/I don’t want to be inside/I just want to be on your mind/When all of your sins/Catch up in the end.” I love this song. The EP then concludes with “When It’s Real,” a slower folk-pop song, with more nice vocal work and a sweet, kind of sad vibe, which I love. “Right or wrong, I want to feel it/There’s a hope when it’s real/In my heart, I want to hear it/Like a song in my ear/And I know I can’t pretend/There’s a life without trouble/So I go and try to live/When I can.”

CD Track List
  1. Roll Down Your Window Slowly
  2. Feed My Evolution
  3. The More You Say, The Less I know
  4. Blatantly
  5. When It’s Real 
Maxwell James was released on March 22, 2018. I am definitely looking forward to hearing more from this singer/songwriter.

Tuesday, July 10, 2018

M.D. Dunn: “The River Lately” (2018) CD Review

It’s a bit unnerving to suddenly find ourselves living in horrible times, among horrible people, and to not be able to predict when those times (and people) will come to an end. I honestly thought we were better than this, that we had progressed in some way. I was wrong. Being angry about it only seems to hurt me, but not being angry about it makes me feel guilty. And so I’ve been turning to music to help me through, and to remind me that, although a significant portion of the country has gone irreparably sideways, there are still lots of decent folks out there who are struggling with the same problems, the same anger, the same depression. Music tells us we are not alone. Music reminds us of what is truly important. I was turned on to M.D. Dunn’s music a couple of years ago, just before everything went wrong. His 2016 release Solace impressed me, and I was excited to hear more from him. His new album, The River Lately, features all original material, largely in the folk realm, but certainly not limited to that. This album contains some seriously excellent lyrics. But, perhaps more importantly, it is music to help us as we try to make sense of a world that lost its balance.

M.D. Dunn opens the new album with “The River Lately,” the title track. It eases in with a sweet folk sound on the guitar, and seems to kick in gradually, in stages, first taking on a cool, mellow 1970s vibe, like some of CSN’s mid-1970s work. Then the horn comes in, which is kind of a delightful surprise. I love the sound of this song, and the way it builds. But the lyrics are what really grab me. Check out these lines: “Have you been to the river lately?/You should see how high the water is now/Last time you couldn’t drown here if you’d been trying.” And these: “There are no shortcuts where we’re going/We’re going to have to play it through.” And these: “You probably have it all figured out anyway/Don’t let that keep you from trying.” How’s that for some good advice? The sax comes back in after this, and the song has kind of a nice little jam, which I dig. By the way, that’s Josh Norling, who plays both trumpet and saxophone on this album. “Hold on, hold on/With all those thoughts making noise all the time/Stick around for the punchline.” Yes.

“War In Me” feels like folk for the first few seconds, then comes in with a force, with an edge, which seems fitting for the song’s content. After all, turmoil within is going to affect what comes out. “You’re the sound I make when I dream/Another soul who is more than you seem.” What a line, eh? “You’re the sound I make when I dream.” This album is full of astute, intriguing lines like that. “War In Me” is followed by “The Story Begins,” which has a lighter, more playful vibe, in strong contrast to what we’ve just experienced. This track features more good work on saxophone. “When you arrive, the story begins.”

“Barn Swallow’s Dance” is the album’s first instrumental track. It’s strange, but sometimes when I listen to it, I feel it should have lyrics. I’m surprised when his voice doesn’t come in at some point. That being said, this tune has an uplifting vibe which I appreciate. The other instrumental track is “Dragonfly,” a pretty guitar piece that has a positive feel to it.

One of the album’s most important and timely songs is “The Cowardice Of Kings.” It is no secret that Donald Trump fancies himself a king, and that he has strange love affairs with dictators. He is a dangerous and doltish enemy of democracy, and thus an enemy of the United States, and he should be treated as such. Donald Trump is not mentioned by name in this song. But see if these lyrics don’t apply: “The cowardice of kings brings cruelty to the weakest/Go on and call him on it and you become his new enemy” and “The cowardice of kings makes everyone a traitor/Sees refugees as enemies and immigrants as invaders/Public dissent becomes a treasonable crime.” And this: “The cowardice of kings brings out the tyrant.” This song reminds us to “stick around” for “the weather will change.” Yes, but please hurry.

The first line of “Only In Summer” caught me by surprise: “All he said was she was pretty enough to be a stripper.” Before I could catch myself, I laughed aloud. M.D. Dunn follows that with these lines: “They used to say that back home/It never was a problem/He thought it was a compliment.”  And there is a really good line about thinking about what you say before saying it: “Every scene you’re in needs editing/Before it goes to air.”  This is a good country song, delivered with a passion, his voice once or twice reminding me of Brian Doser. The album closes with “We Need Everyone,” in which M.D. Dunn sings “We need you now/We need everyone/You have always, always been loved.”

CD Track List
  1. The River Lately
  2. War In Me
  3. The Story Begins
  4. Ghost Water
  5. Barn Swallow’s Dance
  6. The Cowardice Of Kings
  7. When I Fall Away
  8. Only In Summer
  9. Dragonfly
  10. We Need Everyone
The River Lately was released on April 29, 2018.

Adam Ezra at Kiva House Concerts, 6-10-18 Concert Review

Adam Ezra performing "Yellow Brick Road"
I do not enjoy looking for things. If I can’t find something quickly, I figure the hell with it, it will turn up or it won’t. That’s what happened with my notes from the Adam Ezra concert I saw a month ago in Massachusetts. When I went to write my review, the notes were not where I expected them to be, and I figured they could have come loose from my clipboard anywhere between Massachusetts and Los Angeles. Someone in the Dallas airport might be reading them, assuming of course that anyone can read my handwriting. Well, last night the notes turned up. They were in an envelope with a CD I had been listening to. How did they get in there? No idea. But the concert was so good that I figured I’d write something now, using the small portions of the notes that I myself can make out (though mostly what I wrote was simply the set list, because I was enjoying the show too much to take copious notes) and my memory (those who know me well might be questioning the wisdom in trusting my memory, but hey, sometimes a slightly fictional account of a show can be just as enjoyable). Okay, enough of this rambling introduction.

My brother runs the Kiva House Concerts in Billerica, Massachusetts (just a bit outside of Boston). And he tries to book a show whenever I’m in town. This past trip, Adam Ezra did a solo show, and the weather was nice enough that the show was held outside in the back yard (rather than in the basement). And it was a phenomenal concert, with lots of positive vibes. It was a Sunday, and it also happened to be our parents’ wedding anniversary, but more on that in a bit. When Adam began the show, at 3:34 p.m., he mentioned he had no plans for the set list, and that people could shout out ideas. And indeed, they did. They were not shy about it. Several songs in the first set were requests, including “OK By You,” “Yellow Brick Road” and “Lonely Mile.” Also early in the first set, Adam played “The Toast,” and this he dedicated to our parents for their fifty-first anniversary. In the song, he urges, “Raise up your glasses/Let us drink to the wind at our backs.” It was an incredibly sweet moment. But really, the entire show was like that. It was intimate and friendly and wonderful. Not that every song was sweet, of course. He played “Something To Break,” mentioning that it’s an angry song, and that he just has to play it all the time these days. I think we all can understand that. “I wish I had something to break.” He played harmonica on “A Boy’s Song” and “Switching To Whiskey.” “Switching To Whiskey” is a somewhat new song that I love. The first set closed with a cover of “Sweet Baby James.” The first set ended at 4:36 p.m.

After a 35-minute break, he started the second set with “You Dance With Me,” which then led straight into “Corn Song.” The second set included some favorites like “Basement Song” and “Let Your Hair Down,” as well as a new song, “It Don’t Land.” He also did a cover of Leonard Cohen’s “Hallelujah.” I’ve heard a lot of artists cover this one over the past decade or so, and I’m always curious which verses they’ll do, and in what order. Leonard Cohen himself performed different verses on different tours over the years. Adam Ezra did five verses, starting with the “secret chord” verse and then the “kitchen chair” verse, the first two verses from the studio version heard on Various Positions (my personal favorite Leonard Cohen album). The other three verses he did were more recent ones, beginning with the “I’ve walked this floor” verse and following it with the “what’s really going on below” verse and finishing with the “maybe there’s a god above” verse. So basically, he performed all but one of the verses that Leonard Cohen did on that final tour (and in a slightly different order). And he did a really nice job with it. It was one of the highlights of the second set. He followed that with “Katie,” on which he played harmonica. He ended the second set with a cover of “Let It Be,” performing it unmiked in the middle of the audience. He broke a string and said, “Oh man, I really fucked this thing up,” and yet it was still a wonderful ending to the set. The second set ended at 6:20 p.m.

At that point, he told the crowd that he would do another set for anyone who wanted to stick around. This entire set, which started at 6:38 p.m., was performed unmiked and in the audience. It had a casual, intimate vibe. Hell, the whole show was intimate, but this set was particularly relaxed and fun. He opened it with “Flyin’” and at one point forgot some of the lyrics. The audience reminded him, and he responded, “You know this shit better than I do.” That was followed by “Shine” and then by a new song, which had a false start. He mentioned that it’s not quite out of the incubation stage yet. I don’t know the name of this song. My brother thinks it’s probably titled “When My Work Is Done.” The only lines I wrote down were “When I’ve come to meet my maker/When my work is done,” so that seems a fairly safe bet. Adam followed that with the crowd favorite “Sprig,” and then “She’s Just A Girl.” There was some audience participation on “Come On Over,” which wrapped up the third set. The show ended at 7:20 p.m. I’ve seen Adam Ezra only a few times, but this was absolutely the best of those shows. Apparently folks that have seen him a lot also remarked this was one of his best concerts.

Set List

Set I
  1. You Paint Me
  2. OK By You
  3. Yellow Brick Road
  4. The Toast
  5. All I Am
  6. Lonely Mile
  7. Rescue
  8. Something To Break
  9. A Boy’s Song
  10. Switching To Whiskey
  11. Sweet Baby James 
Set II
  1. You Dance With Me >
  2. Corn Song
  3. Kill Like This
  4. Glory Song
  5. Like An Angel
  6. It Don’t Land
  7. Basement Song
  8. Let Your Hair Down
  9. Hallelujah
  10. Katie
  11. I Believe
  12. Let It Be
Set III
  1. Flyin’
  2. Shine
  3. When My Work Is Done (title?)
  4. Sprig
  5. She’s Just A Girl
  6. Naïve Little Me
  7. Devil’s Side
  8. Come On Over
Here are a few photos from the show:

"A Boy's Song"
"Kill Like This"
"Basement Song"
"Let It Be"
"Flyin'" 
"Sprig" 

And if you are interested in attending one of the Kiva House Concerts, here is the link to the site.

Chalwa: “Concentration Time” (2018) CD Review

I like to smoke pot on occasion, but I am apparently not up on the lingo because I had no idea what “chalwa” meant. For anyone else who might be wondering, it is a kind of pipe for smoking marijuana. Chalwa is also the name of a reggae band based in Asheville, North Carolina. The band’s new album, Concentration Time, features all original music. This album has its own sound, its own feel, and isn’t your typical reggae release. This music really grew on me. The band, by the way, is made up of Dennis Berndt on lead vocals and guitar, Dustin Brown on bass, Bernard Carmen on keys and vocals, Tim Marsh on guitar and vocals, Nethali Percival on percussion and melodica, Joshua Lyn on drums, and Evan Ackerman on guitar. Joining them on this release are JP Furnas on trombone, Greg Hollowell on saxophone, Aaron “Woody” Wood on guitar, Mike Rhodes on drums, and Nik Hope on drums.

The album gets off to a good start with “The Journey,” a somewhat mellow, easygoing reggae tune. That steady reggae beat is present, but it’s not as prominent as it often is. And there is some nice work on horns. I really like this song’s vibe; it is having a relaxing effect on me. Like I could just let go and ride upon the soothing river of this song. “Even though it’s cold and dreary/Inside there’s burning a candle bright enough to light up the city.” That’s followed by “Roots,” which surprised me the first time I listened to it, as it has something of a 1950s or early 1960s sound mixed with reggae. This is a delightful, intriguing and seriously cool song, one of my personal favorites. I love what the group does vocally here. “A peace of mind without a piece of land/So take the roots in your heart and your hand/The roots will bring you back home.” Then “Concentration Time,” the album’s title track, has a very different vibe. I am really impressed by the variety of moods and sounds on this album. Sometimes reggae can feel a bit stale, when all the tracks have a similar sound. That is not the case here at all.  Inspiration, dedication, putting out your life creation/Your life creation/But anxiety is on the rise/Please don’t let these tears get in your eyes/Get in your eyes/Worries come and worries go/Let your heart just beat in full control.”

“Fire” begins with the sound effects of a storm, which I – as always – would rather do without. But this song, once it gets going, is quirky and fun and totally enjoyable, and it develops into a good jam. “We need some rain to put out this here fire/We need more love in this here hour.” (By the way, my copy of this CD contains an error on the back of the sleeve, with “Fire” listed as the fifth track, and “Life Goes On” as the sixth, when the two songs are actually in the reverse order.) “Fire” is followed by “Staring At The Sun,” the title of which reminds me of that moment when Donald Trump looked directly at the solar eclipse. What a fucking moron. Not only that, but the dipshit actually pointed at the sun, in case anyone wasn’t sure where it was. It would be funny if it all weren’t so depressing and frightening that this idiot is in a position of power. Anyway, the song has a really good groove. “Beating Of The Drums” is a fun, positive song that makes me smile. “Listen closely, here it comes/It’s the beating of the drums.” Yes, this album should help raise your spirits. And we can all use a bit of that these days, eh? The album concludes with “BassBalls,” a song that incorporates the sound of a baseball announcer, which calls to mind that section from “Paradise By The Dashboard Light.” I’m a big baseball fan, but this is my least favorite track on the album.

CD Track List
  1. The Journey
  2. Roots
  3. Concentration Time
  4. Can You See
  5. Life Goes On
  6. Fire
  7. Staring At The Sun
  8. Sisters Of The Moon
  9. Beating Of The Drum
  10. BassBalls
Concentration Time was released on CD on June 20, 2018.

Monday, July 9, 2018

Marty Elkins: “Fat Daddy” (2018) CD Review

Marty Elkins is an extremely talented jazz vocalist based in New York. Her voice fits with the best of the classic jazz singers, those women you turn to again and again. On her new release, Fat Daddy, Marty Elkins delivers excellent, heartfelt, and totally enjoyable renditions of some classic songs. Though the songs chosen for this release are all many decades old, they are not the well-worn numbers we’ve heard too many times. The band backing her includes Jon-Erik Kellso on trumpet; James Chirillo on guitar; Joel Diamond on piano, organ and alto saxophone; Steve Ash on piano; Lee Hudson on bass; Taro Okamoto on drums and tambourine; and Leopoldo Fleming on conga and claves.

Marty Elkins opens the album with “You Turned The Tables On Me,” her beautiful voice backed by just bass at the start. There is something amusing about this song, particularly in lines like “I always thought when you bought/The lovely presents you bought/Why hadn’t you bought me more.” This track develops into a fun, sweet version, and includes just a bit of scat at one point. That’s followed by “On Revival Day,” a song written by Andy Razaf, and recorded by Bessie Smith. The first time I listened to this disc, the moment this track began, I found myself with a goofy grin on my face. This one is an absolute delight, a bit of blues, a bit of gospel, a bit of New Orleans jazz, and a whole lot of joy. This song rhymes “hallelujah” and “peculiar,” so there. I love the work on trumpet. This song feels like a spiritual celebration, and is bound to lift your spirits.

Things then turn mellow for “How Can You Face Me,” a song about the end of a romance, written by Fats Waller and Andy Razaf. But after a moment, it kicks in with a nice steady rhythm, like she has decided she should not have to suffer. After all, it’s the guy’s fault, he was the one being dishonest, and she’s not going to remain down. “After you broke each vow/How can you face me now?” she asks, perhaps even challenges, him. There is more wonderful stuff on horn, and also guitar. Then on “That’s All There Is To That” Marty Elkins’ vocal performance has me entranced. It is smooth and sexy, and contains more than a dash of humor.

The trumpet gets “It’s Too Hot For Words” going, like a call to open our windows, to come out into the streets. This is one of my favorite tracks, and it certainly feels like the perfect song right now. “It’s too hot for words/There’s nothing like relaxation/Can’t endure this temperature/But if you want to make love, okay!” Amen! I love the excitement and joy in her delivery of “Okay!” Her humor shines through on this track.  There is more lovely work on horn. Actually, each of the musicians gets a chance to shine here, and I particularly love Taro Okamoto’s drumming. The fun continues with “Cow Cow Boogie,” with that cool rhythm on piano and some delicious stuff on horn and keys. There is a nice little jam here, and a certain playfulness to Marty’s vocal performance.

“Fat Daddy,” the album’s title track, is another fun and delightful tune to get you moving and shaking.  I’ve got men who are younger, handsome too/They just don’t move me like you do.” This track features some nice work on guitar, but it’s the horn that really makes this one so enjoyable. There is a bit of a New Orleans flavor here, which I love. “These Foolish Things” is a romantic number that, like most romantic songs these days, makes me think of my girlfriend (“Don’t get mushy,” she reminds me, too late). “Those stumbling words that told you what my heart meant/A fairground’s painted swings/These foolish things remind me of you.”  The album then concludes with “Trav’lin’ All Alone,” a groovy and catchy number with a prominent bass line.

CD Track List
  1. You Turned The Tables On Me
  2. On Revival Day
  3. How Can You Face Me
  4. That’s All There Is To That
  5. It’s Too Hot For Words
  6. Cow Cow Boogie
  7. I Cover The Waterfront
  8. It’s A Pity To Say Goodnight
  9. My Old Flame
  10. Fat Daddy
  11. I Can’t Face The Music
  12. Sugar
  13. These Foolish Things
  14. Trav’lin’ All Alone
Fat Daddy was released on July 6, 2018 on Nagel Heyer Records.

Sunday, July 8, 2018

My New Grateful Dead Shirt

Yesterday my friend Jon and I caught a really good show by Dead And Company. We ended up parking fairly close to Shakedown Street, so after the show we walked through, checking out all the wares. The last thing I needed was another T-shirt, but I saw one that I couldn’t resist purchasing. It was exactly right for me and for our current landscape. On the front it says, “Making America Grateful Again,” obviously a play on the slogan of that racist moron currently pretending to be president (a slogan he stole from Ronald Reagan, by the way). But also it touches upon the way a lot of us in this country feel, grateful that these musicians are touring again, spreading the good times. The picture on the front of the shirt is close to that which was on the back of the very first Grateful Dead T-shirt I ever owned, a “Twenty Years So Far” shirt from 1985. Below the picture is a line from “Uncle John’s Band”: “No time to hate.” (Well, the full line in the song is “Ain’t no time to hate, barely time to wait.”) A good reminder to myself when I read the news or when some fool comments on something I’ve posted.

The back of the shirt makes use of lines from “Throwing Stones,” a song that feels more relevant than ever. It reads, “While the politicians are throwing stones, the kids they dance and shake their bones,” a slight change from the song’s lines “And the politicians throwing stones/So the kids they dance and shake their bones.” (Those lines are toward the end; earlier in the song, the two lines are reversed.) The artwork reminds us that Donald Trump and his like are not representative of what this county is supposed to be about. There is still good out there.

So, yeah, it’s easy to see why I needed to buy this shirt. Anyway, I just thought I’d share that with you.