Friday, July 31, 2020

End Construction at Club Passim Online, 7-30-20 Concert Review

Music is what is getting me through this crazy and unsettling time, especially the music of the four guys who make up End Construction (Brian Doser, Jim Infantino, Ellis Paul and Jon Svetkey), all of whom have been performing online shows from their respective homes during the pandemic. Last night the four came together – through the wonders of technology – to play a reunion show to celebrate the group’s thirtieth anniversary (though actually it’s been thirty-one years at this point). An End Construction reunion is certainly cause for celebration, even if we can’t be there in person, and even if the musicians themselves aren’t all in the same room. None of the energy, joy, laughter and camaraderie that you’d expect from one of their concerts was lacking from this online performance. The show was shown on the Club Passim Facebook and YouTube pages, and was hosted by Matt Smith.

Because of the weird time delays and whatnot, the musicians couldn’t actually play together, as they would normally do. But the show began with a video that the four musicians had created in which they do perform together, though still from their separate homes. The song chosen was Jon Svetkey’s “Reeling Down A Road,” the title track from The Loomers’ 2010 release. A perfect choice, really, as the song is all about the early days when these guys played together, and its lyrics contain references to several of the songs they performed back at that time. They just had to update the first line from “Was it twenty years ago” to “Was it thirty years ago.”  It was a cool way to introduce the show, set the right tone, and get us all excited. And the photograph that Jon mentions in this song is one he actually later showed the online audience.

Jon Svetkey said, “I drew the short straw and I get to play first,” and got the show going with a relatively new song (well, new, in the grand scheme of things), “Matchbox Car,” a sweet song that I love more each time I hear it. “Grandpa says, this little black car looks exactly like the Packard I was driving when I married your grandma.” Brian Doser followed that with “Waiting For The Moon,” a beautiful song that he wrote in Kerrville, Texas. “I find that I write best when I’m alone somewhere,” he said in the song’s introduction, then mentioned that he now has four children and is never alone anymore. I love the line “She gives all my troubles a name.” It was Jim Infantino’s turn next, and he chose “Hate Street,” an excellent choice for these troubled days, and a good reminder to not allow hate to determine our path. “I can’t go the way I used to/I’ve got to find a kinder way.” “It’s good to hear you guys singing,” Ellis Paul said afterward. “It feels like I’m in a time machine of sorts.” That led to them talking a bit about their history, about how they all met, mentioning WERS, the Nameless and the Old Vienna. The Old Vienna is where I first saw these guys play back in 1989, both as a group and individually. It was a great venue. Ellis then played “Rose Tattoo,” a wonderful song in which he sings, “If I ever lost you/I’d be lost too.” I think we all know that feeling. And we certainly all need to hear someone sing to us, “Hey, I’ve got your back.”

Up until this point, when one of them was singing, the others weren’t visible. But at Jim’s request, Matt Smith changed the screen so we could see all four at the same time, to make the experience more in line with how the shows were. An excellent decision, for – at least from my perspective – this is when the concert started to feel right. And in that spirit, Jon said, “I figure I’ll go back in time right now, into the time machine, and play one from the Old Vienna days.” The song he chose was “Dead End Streets,” a song I always love hearing. When he plays this one in person, there is a moment when the entire crowd stomps their feet three times, and it was kind of fun to imagine that all across the country people were stomping their feet in their homes. After that song, when each of the musicians was in his own quadrant of the screen, Ellis joked that it was like The Brady Bunch, and they all pretended to look at each other like in that program’s credit sequence. And that sort of goofing around was always a part of their concerts, and so helped make this online experience closer to what we all remember. Brian then said he was going to reach back pretty far for his next song. At first he teased that he’d play “Early Sunday Morning,” which was my favorite of his from the very early days, and then “Beacon Hill.” But what he chose was just as much a surprise, and just as welcome – “The Ballad Of Joe And Naz.” I hadn’t heard this song in a long time, and it was a treat to see him play it. Jim talked a bit about how they each inspired the others to write, and that he also got the same sort of inspiration from David Wilcox, which led to the writing of “Can’t Fall Down.” This is a song Jim has been playing sometimes on his “Solo In Isolation” Saturday concerts, and it is one I am always excited to hear. Ellis followed that with “Hurricane Angel,” an excellent song about Hurricane Katrina, one he played on keyboard. Before starting it, he mentioned that he missed those early days of End Construction. “That was honestly the best period of my life as an artist, that first three or four years.”

Jon began the show’s final round with a new song, “Some Kind Of Kindness.” “This is kind of where my head is at these days,” he said during the introduction. It was fantastic to hear a new song, and this song is likely in line with where a lot of people are these days. “I need some kind of kindness/It’s easy to find/It’s not complicated/It comes in all sizes/It’s a hand to hold onto/When you’re falling over/It’s a pat on the back/It’s a squeeze of a shoulder.” At the end he sings, “I need kindness, especially now.” Indeed. Brian then surprised me by playing a snippet of a new song and dedicating it my brother and me, knowing that both of us are always happy to hear something new. The song, titled “Fireflies,” includes these lines: “Fireflies, fireflies/I’m still only ten in my backyard when I close my eyes.” Wonderful. Brian then played a classic, “I’m Sorry (That I’m Not Sorry),” a staple of the End Construction shows back in the day. In the verse about his parents, the line “as I kicked them down the stairs” became “as I escorted them kindly down the stairs.” He also mentioned that the cop verse is a true story, it took place in Winthrop, Massachusetts. It was odd not hearing Jon’s touches during this song, though we could see him playing them in his quadrant. And then, just to prove why it can’t be done, Brian has the other guys unmute their microphones and sing along on the chorus at the end. It was perfect. It started to rain at Jim’s place, and it was audible to all who were watching the show. Jim then played “Red Motorcycle,” though in the introduction he said it was called “Googly Eyeballs.” Has he renamed it? Anyway, it’s a sweet and delightful song, and the lines that stand out most for me are “Oh you ran up and kissed me/Oh you couldn’t resist me/Oh you said that you missed me.” The rain was really coming down at that point. Ellis then concluded the show with “You’ll Never Be This Young Again,” a song from his latest release, The Storyteller’s Suitcase. First he told the others, “There’s a little of your DNA in everything I do.” It’s a song about not giving up on dreams, no matter what your age is, and is a song that has been in my head a lot in recent days and weeks and months.

The show began with a pre-recorded performance of “Reeling Down A Road,” and it concluded with a pre-recorded performance of Jim’s “Everybody Gets The Blues,” a song they’d often play at the end of their shows back in the day. This version featured Ellis on keys. I don’t recall him playing keyboard on this one before, though my memory isn’t always perfect. It was a wonderful and gentle rendition, a perfect way of wrapping up the show. It concluded at 9:45 p.m. eastern time. Though, actually, that wasn’t really the end of the night, for they set up a Zoom call afterward to talk about old times and tell anecdotes and catch up on what’s happening in their lives. It was a lot of fun, and went on for more than two hours. What a fantastic night.

Set List
  1. Matchbox Car
  2. Waiting For The Moon
  3. Hate Street
  4. Rose Tattoo
  5. Dead End Streets
  6. The Ballad Of Joe And Naz
  7. Can’t Come Down
  8. Hurricane Angel
  9. Some Kind Of Kindness
  10. Fireflies
  11. I’m Sorry (That I’m Not Sorry)
  12. Red Motorcycle
  13. You’ll Never Be This Young Again

Thursday, July 30, 2020

Adam Wade: “The Coed Albums: And Then Came Adam/Adam And Evening” (2020) CD Review

Omnivore Recordings is taking us back to the late 1950s and early 1960s with the release of several collections of music from the Coed Records label. Much of it is that great doo-wop music, such material from The Crests and The Rivieras. Adam Wade gives us something a little different, performing more in the crooner style, with big band arrangements. He recorded two albums on the Coed Records label in the early 1960s – And Then Came Adam and Adam And Evening – and both are included on a single disc. Following these two albums, Adam Wade moved to Epic, and also began an acting career. In 1975, he became the first black game show host, hosting Musical Chairs on CBS. This disc includes new liner notes by Bill Dahl, with information on the recordings as well as on Wade’s career beyond these two albums.

And Then Came Adam

The first album, And Then Came Adam, was released in 1960. It begins with “Tenderly,” which has a sweet, almost magical opening that immediately transports us to a gentler, more loving place. And who doesn’t want to visit such a place these days? And Adam Wade’s voice is like the most wonderful guide to this other realm. “Tenderly” was written by Jack Lawrence and Walter Gross, and recorded by folks like Sarah Vaughan and Nat King Cole. The backing vocalists play a prominent part in “Tell Her For Me,” even starting this track before Adam Wade comes in, and then interacting with Adam throughout, for example telling him, even teasing him, “You love her, you know you still do.” Adam’s vocal performance is excellent here, and works in some contrast to the attitude of the backing vocalists, creating an interesting dynamic. “Tell Her For Me” was written by Selma Craft.

Things get livelier with “Just In Time,” with its big band sound, and with Adam’s vocal approach matching that energy. Also, a strong bass line helps make this one of my favorite tracks. “Just In Time” was written by Betty Comden, Adolph Green and Jule Styne. And once it kicks in, “Witchcraft” is also a lot of fun. The joy in his voice as he tells us “And I’ve got no defense for it” is delightful, and we know just exactly how he’s feeling. This song, written by Cy Coleman and Carolyn Leigh, was a hit for Frank Sinatra. Adam Wade does a spectacular job with it. He then delivers a good rendition of Cole Porter’s “So In Love.” There is an intensity to his performance at moments, as when he sings “Even without you/My arms fold about you.” At other times he gets caught up in the sweep of the strings, in the passion of the moment. This song was written for Kiss Me, Kate. That’s followed by “Fascination.” There is something of a fairy tale vibe to this track, a magical landscape, a moonlit dance, which is so appealing. I want to get lost in the sound of this song, have it take me right out of the questionable reality I find myself immersed in during my waking hours.

When I was growing up, I imagined that I’d meet dozens of women named Ruby, and they’d all be cool, for that name figured prominently in so many songs. That has not turned out to be the case, but I still like the songs. This particular “Ruby” was written by Heinz Eric Roemheld and Mitchell Parish, and was a hit for Ray Charles. “You thrill me so/I only know/Ruby, it’s you.” Adam Wade also delivers a beautiful rendition of “I Had The Craziest Dream,” featuring a strong and smooth vocal performance. “I found your lips close to mine, so I kissed you/And you didn’t mind it at all/When I’m awake/Such a break never happens/How long can a guy go on dreaming.” The first album concludes with “Around The World,” a totally enjoyable number that moves at a good clip and includes plenty of good work from the horn section. “No more will I go all around the world/For I have found my world in you.”

Adam And Evening

The second album, Adam And Evening, was released in 1961. Its opening track, “Sleepy Time Gal,” begins with some nice work from the backing vocalists, paving the way for Adam Wade’s entrance. His vocal performance has a gentle and romantic sound. It is not quite a lullaby, but headed in that direction. The romantic vibes then continue with “We Kiss In A Shadow,” written by Richard Rodgers and Oscar Hammerstein II for The King And I. This is the first of two songs from that musical to be included on this album. The second selection is a pretty rendition of “I Have Dreamed.” And from BUtterfield 8, Adam Wade chooses “Gloria’s Theme,” delivering a good rendition. I particularly like his delivery of the line “All she holds is a shadow.” That’s followed by “Guess I’ll Hang My Tears Out To Dry,” which features another gentle and beautiful performance. This track too takes us to a different time, a different place. It was written by Sammy Cahn and Jule Styne. “When I want rain, I get sunny weather/I’m just as blue as the sky/Since love has gone, can’t pull myself together/Guess I’ll hang my tears out to dry.”

Things begin to swing a bit with “Canadian Sunset.” “Cold, cold was the wind/Warm, warm were your lips.” Oh yes, we all know the thrill of that feeling, that moment, don’t we? Another of this album’s highlights is his rendition of “My Reverie,” the track itself feeling like a reverie, or dream, right from the beginning. This track features some beautiful work from the string section. As “I Couldn’t Sleep A Wink Last Night” begins, the presence of a clock is hinted at, before Adam’s vocals come in. It is like he has waited for an appropriate hour to reach out to her, after an argument led to bad dreams the previous night. “I had to call you up this morning/To see if everything was still all right/Yes, I had to call you up this morning/Because I couldn’t sleep a wink last night.” This track has a beautiful sound, in part because of the strings. That is followed by “For You.” There is something kind of delightful about this song, with those backing vocals. And again, there is a magical quality to Adam Wade’s delivery, helping to make this track another of the disc’s highlights. The album concludes, somewhat appropriately, with “The Party’s Over,” a song written by Betty Comden, Adolph Green and Jule Styne. When the bass line comes in, things start to get moving, and as this song builds, it seems that the party is just beginning. “Now you’ve got to wake up.” Maybe, but you can take that sense of joy into the new day, as this rendition seems to urge.

CD Track List
  1. Tenderly
  2. Tell Her For Me
  3. Just In Time
  4. First Love
  5. Witchcraft
  6. So In Love
  7. Fascination
  8. Ruby
  9. A Moment Of Madness
  10. I Had The Craziest Dream
  11. I’m Wise
  12. Around The World
  13. Sleep Time Gal
  14. We Kiss In A Shadow
  15. Polka Dots And Moonbeams
  16. Gloria’s Theme
  17. Guess I’ll Hang My Tears Out To Dry
  18. Canadian Sunset
  19. My Reverie
  20. I Have Dreamed
  21. I Couldn’t Sleep A Wink Last Night
  22. For You
  23. Dreamy
  24. The Party’s Over
The Coed Albums: And Then Came Adam/Adam And Evening is scheduled to be released on September 11, 2020 through Omnivore Recordings.

Wednesday, July 29, 2020

Graham Bramblett: “The Great Inbetween” (2020) CD Review

Graham Bramblett is a singer and songwriter based in Nashville. He released his first album, Under The Lights, in 2016, and followed that a couple of years later with Standard Harmony. His new release, The Great Inbetween, is an EP containing all original material, written or co-written by Graham Bramblett. Joining him on this disc are Ken Wilson on steel guitar, Andrew Golden on trumpet, and Elliott Blaufuss on guitar and keys. Providing the backing vocals are Sarah Morris, Kensie Coppin and Davis Corley. The music has a great stripped-down sound, but the vocals lose nothing of their power or their edge.

I was in kind of a bad mood when I put this disc on the first time (a fairly normal situation these days, eh?), and it was approximately a minute into the first track, “Tom T. Hall T-Shirt,” that my mood began to lift. There is something delightful about the honest, raw, loose sound of this song, particularly the vocal performance. Plus, there is something ridiculously innocent and playful about the song’s main line, “Walking downtown in my Tom T. Hall T-shirt.” For those who might not know, Tom T. Hall is a songwriter and performer, possibly most well known for writing “Harper Valley P.T.A.” (though I prefer his “I Like Beer”). But the moment when I totally fell in love with this release is when Graham Bramblett sings “Stomp, stomp” just before the song kicks in. My bad mood was completely gone at that point. That’s followed by “Rain On The Roof,” a song with a mellower, sweeter tone, this one written by Davis Corley and Graham Bramblett. There are some good lines, such as “That lightning won’t steal our thunder.” The line “You and me sipping clouds in our coffee” of course brings to mind the phrase “clouds in my coffee” in Carly Simon’s “You’re So Vain” (which I always thought simply meant the reflection of the sky in the liquid). This is a love song with a great deal of appeal, both in its sound and its mood, as well as in the message it conveys. It’s about lying next to someone and listening to the rain on the roof. In this time of isolation and fear, we are often limited to the company of just the person we live with, and maybe at times it feels like that’s not enough. But listening to this song, we know that it can be enough, that these simple and natural moments are where the real beauty is, where life is. Adding to this track’s beauty is the harmony vocal work.

“Stickers,” also written by Davis Corley and Graham Bramblett, is about how something we feel or think in the moment might not remain permanently true or important to us, leading him to sing, “I don’t put stickers on my car.” I don’t see a lot of bumper stickers anymore, so perhaps a majority of people feel that way. “I’ve lived enough to know I’ll change/This way it stays good as new/No dirty, gummed up residue.” It used to be that nearly every car had at least something to say, right? In this song he also sings that he has no tattoos. “It hurts like hell and don’t come cheap/And love ain’t always permanent.” But he then admits that once there had been a tattoo there, a name, which he then had to pay to have removed. What a beautiful and sad way of describing the need to divest oneself of the memories of a relationship, of a person. There is something sad also in acknowledging or believing that nothing is permanent because of the passing of earlier relationships, this idea of entering a new relationship with the thought that it too won’t last. Yet you might find something positive here as well, in the idea of a brand new start. That’s followed by “The One That I Want.” This one is fun, with a cheerful rhythm, and it provides the EP with its title in its opening lines: “Oh, the one that I want, she don’t want me/And the one that I don’t, oh, she wants me/So I sit at the bar with a stone in my heart/Sinking in the great in between/Leaving me lonely, leaving me lonely.” And then halfway through, we get some bright work by Andrew Golden on trumpet, making the song even more enjoyable. Plus, this track has a cha-cha-cha ending.

“What Do You Do” has a mellow, pretty vibe right from its start. This song has a lonesome sound as well, and is about memories and the inability to move on, about a relationship that has ended but hasn’t quite gone. “Looks like the rain’s on time/Coming down to remind me/I’ll be alone tonight/I’m looking hard, but can’t find it/That silver lining/There ain’t no good in goodbye.” These lines also stand out: “Those pictures you’ve been erasing/They needed replacing/You sure look good in them now.” “What Do You Do” was written by Kelli Johnson and Graham Bramblett. The EP then concludes with “You Can’t Dance,” a playful number with a strong rhythm on guitar, about going out to a bar to meet a girl. With those lines about “with your hands in your pockets,” this song reminds me of old recordings of the Grateful Dead performing “Turn On Your Lovelight,” when Pigpen would get on his “Take your hands out of your pockets” rap. And though it includes that “shelf”/“self” rhyme, I do dig this track. As it goes, the track adds crowd sounds in the background, as it seems to become a live track, and there is applause at the end. “You Can’t Dance” was written by Amanda Williams, Taylor Lewis and Graham Bramblett.

CD Track List
  1. Tom T. Hall T-Shirt
  2. Rain On The Roof
  3. Stickers
  4. The One That I Want
  5. What Do You Do
  6. You Can’t Dance
The Great Inbetween was released on July 17, 2020.

Tuesday, July 28, 2020

The Duprees: “The Coed Albums: You Belong To Me/Have You Heard” (2020) CD Review

More and more I am looking for some form of escape from the horror this country has become. I’ve been taking refuge in music, often in the music of the past. Omnivore Recordings has helped out by releasing a series of discs celebrating the music from the Coed Records label, some wonderful doo-wop and pop music from the late 1950s and early 1960s. The Coed Albums: You Belong To Me/Have You Heard contains two complete albums from The Duprees, a group that formed in New Jersey in the early 1960s and had several singles chart on the Billboard Hot 100, including their version of “You Belong To Me.” This collection includes liner notes by Bill Dahl, detailing some of the history of The Duprees.

You Belong To Me

The first of the two albums the group recorded for Coed Records opens with its title track, “You Belong To Me,” a song written by Pee Wee King, Redd Stewart and Chilton Price. It had been a hit for Jo Stafford, though the version that often gets in my head is that by Bob Dylan, which was featured in the movie Natural Born Killers. This rendition by The Duprees is excellent. It was released as a single and became a hit for the group, reaching #7 on the Billboard chart. Something about this song never fails to move me, and it immediately pulls me from my surroundings. The lyrics mention other places – the pyramids, Algiers, the jungle – and though it’s the person he’s singing to that is in those places, I often feel when listening that I am in some far-off place. And now that is more appealing than ever before. The last line is delivered a cappella. This song is also included on The Duprees’ The Coed Singles, another of the special collections being released through Omnivore Recordings. That’s followed by “Ginny,” a love song featuring some good vocal work. “Oh Ginny, I didn’t mean it/Oh Ginny, don’t you know I was jealous, so jealous.” This song makes me think of Samantha’s older sister in the movie Sixteen Candles. I love the classical style to the group’s music, particularly in a song like “Why Don’t You Believe Me.”

“September In The Rain” opens with some great vocal work. Then when it kicks in, this track has a playful style and a cheerful vibe. This delightful song also features a nice lead on saxophone. This is one of my personal favorites. It was written by Harry Warren and Al Dubin. That’s followed by “Take Me As I Am,” which begins with a declaration of love: “Yes, it’s you/Yes, it’s you/And I will always love you.” He then admits, “I’m not perfect, as you can plainly see,” leaving it up to the woman whether he’s good enough for her. But if so, she must take him as he is. Oh, but will she take him and then try to change him? Somehow I have faith things will work out. After all, this is an early 1960s love song.

I have never seen Gone With The Wind, though my curiosity about the film has grown a bit in recent days because of its suddenly becoming newsworthy again. Anyway, The Duprees cover “My Own True Love,” which comes from a piece of music from Gone With The Wind titled “Tara’s Theme.” It’s a good song, and this version became a hit, reaching #13 on the pop chart in 1962. They then deliver a somewhat fast rendition of “As Time Goes By.” This is a song that I love, one that I usually lose myself within. This version is a bit too fast to really have that effect, but it is still rather pleasant. “These Foolish Things (Remind Me Of You)” is a standard that lists various things that make him think of a specific woman who still clearly commands his affection. The first album concludes with a fun number, “I Wish I Could Believe You.” This one is a total delight, in part because of that great stuff from the bass vocalist, and also because of that sax lead. This is another of my favorite tracks.

Have You Heard

The second album, Have You Heard, was originally released in 1963. It opens with “(It’s No) Sin,” which is interesting title, what with the parenthetical section turning the song from Sin to No Sin. Anyway, it’s a sweet-sounding number, and was a hit for The Four Aces. This version by The Duprees didn’t chart nearly as well as that earlier version, but is still quite good. “Though you take away my heart, dear/Still the beating’s there within/I’ll keep you loving you forever/For it’s no sin.” That’s followed by “I’d Rather Be Here In Your Arms,” which has something of a country vibe. It’s a bit goofy, but enjoyable. “I’ve been to the cliffs of Dover/And found as I looked them over/That I’d rather be here in your arms.” Ah yes, there is no better place in the entire world than in the arms of the woman you love, no question about it. This song was released as a single, but didn’t fare all that well on the chart. The Duprees follow that with an interesting rendition of Pat Boone’s “Exodus.” This is kind of an odd song. “Theme Of Exodus” was composed by Ernest Gold for Otto Preminger’s movie. And Pat Boone added lyrics for his own version, which is also known as “This Land Is Mine.” The Duprees deliver an earnest performance.

“Yours” is another song offering a declaration of love. “I’ll never love anyone the way I love you.” Then they give us, “I Gotta Tell Her Now,” a song about needing to break up with a woman, but being worried about hurting her. This was back in the time when people cared about each other’s feelings and so on, long before the stupid days we are currently stuck in when people break up with their lovers through text messages. “Have You Heard,” the album’s title track, is one of the album’s best tracks. It is a love song about going on loving a woman after the relationship has ended, and hearing the news of her successful life since their breakup. There is something so honest about this song, in the delivery. “Rumors come and go/Still, I would like to know/If it’s true, won’t you tell me.” It was written by Lew Douglas, Frank Lavere and Ray Rodde.

The first album on this disc had a song from the film Gone With The Wind, and this one has a song titled “Gone With The Wind.” As far as I know, this song has nothing whatsoever to do with the film or the book, other than sharing its title, but again, I’ve never seen the movie or read the book. This song was written by Herb Magidson and Allie Wrubel, and was recorded by Horace Heidt And His Brigadiers in 1937, two years before the film was released. That’s followed by “So Little Time,” the title of which certainly rings true. Even in these days without work, when it seems that all we have is time, there seems to be so little of it. How is that even possible? I need to speak with someone about this. Anyway, this is a really good song. Here is a taste of the lyrics: “Why do the hours you spend with me/Always go rushing by/Why can’t your kisses go on endlessly/Why oh why oh why/Oh, there’s so little time.” I could do without the sound of the waves at the beginning of “The Sand And The Sea,” but I do like the sweet and romantic sound of this song, and I love that piano part. The album ends with a cover of “Where Are You,” a beautiful song written by Jimmy McHugh and Harold Adamson. “Where is my happy ending/Where are you?

CD Track List
  1. You Belong To Me
  2. Ginny
  3. Why Don’t You Believe Me
  4. September In The Rain
  5. Take Me As I Am
  6. The Things I Love
  7. My Own True Love
  8. As Time Goes By
  9. Let’s Make Love Again
  10. These Foolish Things (Remind Me Of You)
  11. My Dearest One
  12. I Wish I Could Believe You
  13. (It’s No) Sin
  14. I’d Rather Be Here In Your Arms
  15. Exodus
  16. Yours
  17. I Gotta Tell Her Now
  18. It Isn’t Fair
  19. Have You Heard
  20. Love Eyes
  21. Gone With The Wind
  22. So Little Time
  23. The Sand And The Sea
  24. Where Are You
The Coed Albums: You Belong To Me/Have You Heard is scheduled to be released on September 11, 2020 through Omnivore Recordings.