Pickled Priest Mixtape: Our Favorite New Songs of 2024, Volume #2, "Discovering Your Own Music"
How else am I gonnna find out what the world is made of
than by thumping and whacking on it, jostling the secret loose
with a little loving persuasion
—W.A. Mathieu
SIDE A
Intro: "Life Drummer" | Vanishing Twin
You don't run a marathon without warming up a little bit, so we've decided to give your ears a little stretching time to prepare for the rigors of the 26.2 song mixtape that follows (the "Outro" counts as the .2). So here's the latest Sub Pop Singles Club offering from London's electro-pop lab rats, Vanishing Twin. "Life Drummer" is a pseudo "cover" of author W.A. Mathieu's chapter of the same name, taken from his book, The Listening Book, which is subtitled Discovering Your Own Music. And if there's a better way to get ready for some new music listening, I don't know what it is. I enjoyed his take on the art of listening so much, I've included an excerpt from his audiobook below. The song is cool, but his reading is also well worth five minutes of your time.
01 "Learning to Love a Band" | The Reds, Pinks & Purples
Gonna find yourself alone
When the clouds lift in your home
And then it hits you
You're learning to love a band
Talk about getting into the proper mindset for a new music mixtape! "Learning to Love a Band" isn't always necessary, of course, because sometimes no effort is needed at all. It's love at first listen. But there are other times where it may take your brain a little time to rewire itself in order to accept a new song, record, or band. It's happened to us countless times. Case in point. Once a casual listener, now I'm what the kids would call "obsessed" with the Reds, Pinks and Purples, and their miserabilist leader, Glenn Donaldson, the king of a genre I'm now calling Record Store Pop. This is what the fictional staff of Championship Vinyl from High Fidelity would listen to on a slow Monday morning (before Barry arrives, of course). Glenn has written some of the best "record store" songs of all-time over the last five years: "The Record Player and the Damage Done," "The Biggest Fan," "Use This Song if You Need One," and the quintessential counter clerk anthem, "Saw You at the Record Shop Today," which Glenn has described as being "for the outsiders and lonely, lost people who find refuge in albums and record shopping." I have no idea what he means, and I'm being, gulp, honest about that. Here, Glenn nails that moment when you realize a band has crossed over from like to love.
02 "Era Primavera" | Chicano Batman
I learned to love L.A.'s Chicano Batman back in 2017 when their song "Friendship (Is a Small Boat in a Storm)" made my year-end best songs list. Fashioning themselves as a Latino kaleidoscope incorporating influences from North, Central, and South America, along with African beats and rhythms swirled into the same potion, they seemed like a band with limitless creative possibilities. After its follow-up got lost in the pandemic in May of 2020, they're back again in better circumstances with their most fully-realized album to date, Notebook Fantasy. And Ryan Gosling is not involved in the project whatsoever, if you're wondering. Honestly, I didn't know where to start on this one—there's so much worth hearing here that one single track won't cut it. "Era Primavera" won out in the end because it introduces a gorgeous new sound for the band, complete with a wordless chorus and coda that makes me feel like all is going to be fine with the world soon enough.
03 "Right Back To It" | Waxahatchee (ft. MJ Lenderman)
Partner Kevin Morby would've worked just fine on this duet, but bringing in Wednesday's MJ Lenderman, who is fashioning a fine solo career in his own right, was an inspired choice. He has just the right casual ache in his voice to perfectly augment the song's fraying albeit still functioning chorus, like he was recorded singing along to the song unaware that anyone else was around. Katie Crutchfield continues to captivate with her distinct brand of poetic genius all over her new album, Tigers Blood, with arresting lyrical moments that sneak up on you when you least expect it, like You come to me on a fault line / Deep inside a goldmine / Hovering like a moth. Economical impact at its finest.
04 "Paperweight" | The Secret Sisters
Effortless. Since making Pickled Priest's Top 10 Records list in 2020 with Saturn's Return, we've been impatiently waiting for a follow up. Cliché warning, Mind, Man, Medicine more than lives up to our high expectations. The literal Sisters (not a secret) claim a sense of contentment has settled in since their last album, and based on the black clouds that hovered over that amazing record, I imagine there was no place to go but up this time. So does a lack of darkness diminish the impact of these songs? Not in the slightest. Great songs have a way of elevating their surroundings, even relatively simple love songs like the immediately memorable "Paperweight," a charmer you'll repeat again and again in order to prolong your time in its sunspot for a few more fleeting moments.
05 "I'll Cry for Yours (Will You Cry for Mine)" | Miko Marks
"Small Towns (Are Smaller for Girls)" | Leyla McCalla
I'm sneaking in a double-play here because, after an internal audit, there were a spare few minutes left on Side A's time budget. If I had even more room, I'd have made it a triple-play, possibly even a quadruple-play if that was even a thing. In other words, there's a lot of low hanging fruit for the Pickled Priest to pick n pickle from the new tribute album, My Black Country: The Songs of Alice Randall, mainly because Alice wrote some pretty great country songs in her day. Long before Tracy Chapman made news for topping the charts as the songwriter of Luke Combs' #1 cover (meh) of her classic "Fast Car," Alice Randall was the first Black female to co-write a #1 country song, Trisha Yearwood's 1994 smash, "XXX's and OOO's (An American Girl)." And she didn't stop there, publishing songs regularly with other well-known artists for years. For this album, however, all of Randall's songs are covered by Black female performers, where the original versions were predictably all white, all the time, which tells you a lot about the slow yet incremental progress made by Nashville in the past three decades. This is the rare tribute album where just about all the new versions are considerably better than the known versions of these songs. My biggest revelation is Miko Marks's "I'll Cry for Yours (Will You Cry for Mine)," which now sounds like the country-soul standard it always should've been—worth the price of the album alone. The emergent Leyla McCalla dusts Holly Dunn's staid take on "Small Towns (Are Smaller for Girls)" and proves the song was thematically ahead of its time in the process. Oh, and Trisha's rote Nashville take on "XXX's and OOO's," #1 hit or not, is completely obliterated in all ways by Alice Randall's daughter Caroline Randall Williams, who takes the song and turns it inside out, converting and recontextualizing it like she's the female equivalent of Gil Scott-Heron circa 1971. It's also worth mentioning that Randall wrote a key song for the 1993 movie about struggling young Nashville songwriters, The Thing Called Love, called "Big Dream," sung beautifully in the film by actress Samantha Mathis (and here by Valerie June). It's the song that gets Mathis "discovered" at the famed Bluebird Cafe in Nashville. Ironically, the same place Randall was discovered by a young Steve Earle back in 1983. The guy knew talent when he heard it and Alice did the rest. Here's evidence.
06 "Your Love" | Lizz Wright ft. Meshell Ndegeocello & Brandee Younger
This triple-scoop of chocolate goodness features the rich, honey-smooth vocals of the incomparable Lizz Wright, the thick, fluid basslines of Meshell Ndegeocello, and the entrancing harp of Brandee Younger. That's more than enough to get me lathered up, but "Your Love" miraculously delivers more than the sum of its contributors, offering up a song that wouldn't sound out of place in the Southern Georgia church where Lizz first started singing as a girl. She was last heard on record way back in 2017, so her return with a record as stunning as Shadow is a long time coming, but well worth the wait.
07 "I Am" | Alice Russell
While on the subject of triumphant returns, Alice Russell (not to be confused with Canadian "Americana" artist Allison Russell) is back after over a decade raising two children. She left us with the amazing To Dust, a record that made our Top 10 list in 2013 (pre-Pickled Priest) and now she's back with another modern soul classic, I Am. The title track tells you what you need to know. She's at the height of her powers, stronger than ever, resolved, and most importantly, fully aware of who is solely responsible for protecting her heart from hurt from now on. As she repeatedly sings, I am, I am, I am, I am, you can't help but be soul stirred. As a result, we anoint the record with our highest recommendation.
08 "Maktub" | Gary Clark Jr.
Gary Clark Jr. is flying under a lot of people's radars for some reason, but know this. He's a major artist, creatively adventurous, artistically restless, and constantly pushing the needle in every other respect. If you had him conveniently classified/dismissed as just another modern blues prodigy, you've woefully underestimated him. This year, he checks in with JPEG RAW, a new album that sounds like it has been injected with a 12-inch adrenalin needle. The thing positively cooks from the get-go, with "Maktub" bursting from the speakers like Tinariwen on steroids. A fucking raging bull, this song.
09 "To Be Loved" | Les Amazones d'Afrique
They say, when the time comes to speak
And you don't speak
Don't bother speaking afterwards
For the time to speak has passed
Now that's logic I can get behind. Put up or shut up. Be it a political issue or simply telling someone you love them while you have the chance, open your fucking mouth and let it fly. We can all learn valuable lessons from the powerful voices in Les Amazones d'Afrique, a collective of some of Africa's finest and most important female artists rotating in and out as time permits. "To Be Loved," the source of the translated message above, features band newcomer Kandy Guira on lead vocals and she announces her arrival with conviction, voice confident and strong. Practice what you preach, people.
10 "Best For You and Me" | Helado Negro
I don’t understand exactly how he does it, but I like it just the same. Apparently Roberto Carlos Lange visited with the University of Illinois’ massive self-composing synthesizer (a replica of the 'Harmonic Tone Generator' originally built in 1964!) and left with all kinds of weird electronic recordings that he then incorporated into the songs on his new record, Phasor. I'll gloss over the meaning of the album title* because it won't help anyone without a PhD in physics understand the music under discussion, so I'll move on with your presumed consent. Helado Negro, which sounds more like a microbrew than a pseudonym for Lange's musical exploits, is a bit of a sonic paradox. Part tech, part organic. Delicate yet complex. Organic but digital. A real hybrid model in all ways. His songs percolate effortlessly over a modulated wavelength—the ultimate hot summer day fare—but also sound capable of real human feelings, too. Real Island of Doctor Moreau type shit. To simplify matters, it's a pretty cool vibe. If you're looking to escape for 35-minutes or bring down your blood pressure, here's my prescription.
*In physics and engineering, a phasor (a portmanteau of phase vector) is a complex number representing a sinusoidal function whose amplitude (A), and initial phase (θ) are time-invariant and whose angular frequency (ω) is fixed. Got that?
11 "Count the Days" | Swamp Dogg ft. Jenny Lewis
Not sure how Swamp Dogg and Jenny Lewis hooked up for this track, but it's a fresh and easy take on an old favorite, originally titled "(1-2-3-4-5-6-7) Count the Days." Inez and Charlie Foxx had a hit with it in 1968 and it has been covered several times hence. It contains the classic kiss-off, "If you don't believe I'm leaving, just count the days I'm gone." That's quite a takedown. Swamp Dogg's been having a nice little late-career resurgence recently and he's certainly got quite the fan club. In addition to this pleasingly understated Lewis vocal, he's hanging with Vernon Reid (Living Colour), Justin Vernon (Bon Iver), and Margo Price on his new bluegrass album (you heard me right), Blackgrass: From West Virginia to 125th St. The Swamp Doggy Dogg's got his mojo workin' that's for sure.
12 "Running Low" | Orgone
Now an L.A. institution, Orgōne has consistently featured two founding members (band leader/guitarist Sergio Rios and keyboardist Dan Hastie) with a ever-changing cast circulating through the lineup for almost two decades now. They hold down the groove—raw, soulful, and funky with no compromises or descents into superfluous jam-band noodling. These guys are the real deal, seemingly with an endless supply of willing collaborators. They've lost seemingly irreplaceable singers like Fanny Franklin and Adryon De León in the past and somehow carried on, getting more and more ambitious along the way. "Running Low" is late-night prowler of a track, so find an unlit two-lane and pretend you're on a secret mission.
13 "What I Like Most About You is Your Girlfriend" | Nouvelle Vague
This French band has been kicking around since the early-2000s, doing unlikely covers with a blasé vocal style and a bossa nova beat and their staying power is a tribute to their ability to reinvent unlikely songs in their own image. I first fell in love with them when they did an amazing take on the Dead Kennedy's "Too Drunk to Fuck" on their very first record way back in 2004. I had no idea I'd still be talking about them twenty years later, however. In fact, I would've bet heavily against it. As usual, their new album, Should I Stay or Should I Go, has some hits and some misses—the very nature of the dreaded covers album. I narrowed my potential choices down to three songs in the end, all tastefully converted into lounge-pop curiosities. The title track reinvents the titular Clash hit with just the right amount of coy playfulness and "She's in Parties" takes on the Bauhaus favorite with just the right amount of late-night flirtation. You'll want to follow it into a dark corner to see where it goes. But the cover that most improves upon the original is the band's take on the Specials' "What I Like Most About You is Your Girlfriend." Revisiting the original now, it's oddly bland for a Specials cut with a stupid video to boot. This version takes the song into a whole new direction with a clever gender reversal and a coquettish French vocal that makes it sound like the alluring come-on it was always meant to be.
SIDE B
14 "Alarm Clock" | Sheryl Crow
Wake up! Side B beckons! Well, well, well, a new crop of Sheryl Crow songs is here, sure to become a part of the fabric of adult contemporary radio for decades to come. I was nonplussed at the news. But Sheryl, rock music's version of Sandra Bullock, sure knows how to write an accessible pop song that'll sound awesome on a car radio and this is another one to throw on the pile. By now, she has so many ubiquitous hits she could stack them up like cordwood outside her Hollywood mansion. She'd never have to turn on her furnace. "Alarm Clock" is another such song and I've got to say, I love it. I don't know if I'm going to love it in a month or a year, but I dig it right now. And that's all that matters.
15 "All Cranked Up" | His Lordship
Gotta say, I love this band name. Ladies and gentlemen...His Lordship!! It just checks all my boxes. Add a brilliantly sarcastic band slogan, "Rock and Roll Is Not For Everyone" and a highly credible rock pedigree, and the band simply restores my faith in the raging fire that was once real rock and roll. His Lordship is made up of James Walbourne, the not so secret weapon (songwriter/guitarist) of the current incarnation of the Pretenders (who have placed their last two albums on our Top 50 Albums lists) and drummer Kristoffer Sonne, who has also played with Chrissie Hynde (and Willie Nelson). The combo have one mission; to bring raw, reckless rock and roll to the people. And they manage to do just that on "All Cranked Up." You'll know soon enough if this is your new favorite band or not. But don't worry, as promised, it's not for everyone.
16 "Interwebs (Sex, Drugs 'n' Theft)" | Pleasants
17 "The Wheel" | Split System
Here we have two more Aussie rock 'n' roll bands from a seemingly endless supply to keep the rock and roll dumpster fire blazing a little longer. Hang on tight everyone, don't let go, there are still music scenes where bands are playing nasty, fast punk rock like they used to make in daddy's garage back in the day. First up, Pleasants from Perth, who have clearly done their punk history homework. Rocanrol is in and out in ten songs, a shade over 20-minutes of amateurish noise of the best kind. It makes me feel good to know this is out there in the world, it does. Same deal for Split System, this time over in Melbourne, a band that features Arron Mawson, guitarist from revered Melbournites Stiff Richards. If that doesn't mean anything to you, it should. That band made our Top 25 Records list in 2021 (now known around here as "The Year of the Kangaroo"). A high honor indeed. Split System released their second volume of tunes this year (titled Vol. 2, which is how we know). "The Wheel" kicks off the record with reckless abandon and it's a total rush. I'm not saying either of these bands has ascended to Aussie royalty just yet, but they've got potential.
18 "Lip" | Mama Zu
If you missed out on Murfreesboro, TN, band Those Darlins in the late-aughts/early tens, you missed out on a great little garage-pop band with a knack for writing catchy, roughly-hewn songs. When they disassembled in 2015, drummer Linwood Regensburg (objectively, a great name for a drummer) and singer Jessi Zazu broke off to work together on a new project. Two years later Jessi was dead of cervical cancer at 28—a heartbreaking loss. With some material recorded before she died, Regensburg finally found the will to finish some of the songs they started, only completing the job in 2024 under the band name Mama Zu, an obvious homage. "Lip" makes you wish the two had been able to play together for much longer. It's one of many great songs on the record—she just had the knack. The whole album, Quilt Floor, is a joy from front to back. Bittersweet for sure, but I bet she'd be pleased her last songs finally came out. One of the great gifts of 2024 so far.
19 "I'm Not a Cop" | Laura Jane Grace
Laura Jane Grace of Against Me! (on hiatus, not broken up) has released a solo album this year titled Hole in My Head, which I haven’t heard in its entirety yet. But I did stumble upon “I’m Not a Cop” somewhere and was immediately taken by its sense of humor, a rave-up rock and roll song that deviates from her band’s usual issue-driven intensity. Yes, rock & roll can be the ultimate form of cultural rebellion, but it can also be fun at the same time. I do admit, I am particularly drawn to this song for a couple different and unrelated reasons. One, because it reminds me of one of my favorite moments from the movie Almost Famous, where Russell Hammond of Stillwater, in the throes of an acid trip, screams, “How do we know you’re not a cop?" at 15-year-old journalist William Miller out of nowhere. I often wonder if that line was in the original script or ad-libbed on the spot. It sounds convincingly spontaneous. Second, the song is set on the Northwest side of Chicago, at the legendary Superdawg drive-in restaurant (which evokes, as the song does, that early 1950’s rock & roll spirit), right there at the corner of Devon and Milwaukee Avenues, right near my old stomping grounds. The lyrics even mention a couple of roads I frequented back in the day, which only makes it more sentimental.
*Side note: The legendary Superdawg has been an iconic Chicagoland establishment for a long time thanks to its giant sign above the restaurant (see below) and still has that Happy Days-esque vibe, complete with car-side food delivery. That said, the food is marginal at best. The last time I was there, shortly after I had my food delivered to my car, some drunk kid locked eyes with me through my front windshield and proceeded to vomit up his Superdawg combo right in front of my car, effectively killing the retro romance and my appetite simultaneously. Traumatized, I haven't been back since. I call it Superchunk now.
20 "Dominoes" | Mary Timony
These days, this would be considered a demo at best. Raw guitar licks and understated vocals. Not bad, flesh it out and get back to us when it's done. Back in the indie-rock 1990's, however, this would've been the end product. And we liked it that way. It was real, sans processing, sans production, sans record sales. But you had your credibility. That's all that mattered.
21 "Sixty-Two Thousand Dollars in Debt" | Pissed Jeans
Well I'm living here in Allentown
And it's hard to keep a good man down
But I won't be getting up today
— "Allentown" by Billy Joel
Allentown, PA's Pissed Jeans have been a going concern for almost 20 years now (unbelievable, really) and I couldn't be happier about it. They are the wind beneath my jaded wings, delivering growling punk songs with some of the most absurdly funny, not to mention spot-on, lyrics you'll ever hear. Whether it's lamenting the fact that we're "Killing All the Wrong People" (true), railing against "Helicopter Parents" (justified), or desiring a "Seatbelt Alarm Silencer" (I'd buy one today), lead singer Matt Korvette delivers his belligerent screeds with just the right dose of apathetic disgust and tongue-in-cheek sarcasm. All accompanied by some seriously abrasive noise, too. "Sixty-Two Thousand Dollars in Debt" gets at our culture of luring people into suffocating, rotating debt, never to be paid off due to oppressive interest rates and a shitty economy where wages can't keep up with inflation. As he celebrates his honest efforts to pay down his mountain of churning debt, his only hope is that next year he'll only be "Sixty-one thousand dollars in debt." Funny and depressing in equal measures, the band's ability to create killer rock songs out of the tribulations of everyday life sure make it easier for me to get up in the morning.
22 "Change Your God' | A Place to Bury Strangers
You can never have enough loud and A Place to Bury Strangers know that everything goes down better with intense, ear drum-crushing volume. Dubbed the loudest band in New York, I don't think we need to geographically qualify that claim anymore. I can't think of any band that smothers you quite like APTBS. Even at low volume, they seem loud. How do they do it? "Change Your God" (a smart move) is the first from a planned singles series this year from the band and this song is a good omen for the rest of the project. When's the next one coming? Don't know, but I'm sure you'll hear it when it does.
23 "Bambi" | Trapper Schoepp
Wisconsin troubadour Trapper Schoepp (a person, not a band, although he does have a band, too) has lately found himself a little niche writing folk songs about long-forgotten historical figures. One his last album, Siren Songs (which made our Top 50 of 2023), he told the story of Annie Edson Taylor, the first woman to go over Niagara Falls in a barrel and live in his song "Queen of the Mist." This year, Schoepp has been dropping some random singles and "Bambi" follows a similar formula as that song, albeit this time with more sordid subject matter, telling the story of Laurie "Bambi" Bembenek, a Milwaukee woman (and, gasp, a one-time waitress at the Playboy Club in Lake Geneva, WI) jailed for murdering her husband's ex-wife. She claimed her innocence, escaped from prison, and fled with a brand new fiancé to Canada, where she was eventually apprehended (see first video for some historical background). She got out legitimately after evidence pointed to another perp, but she died at 52, so she didn't get to live her full life. She will forever be remembered for gaining local celebrity status through a likely fabricated case and the corresponding catchphrase, "Run, Bambi, Run!," which was used by her supporters to egg her on after her escape. And now, in a small way, Trapper Schoepp sheds even more light on the enduring legacy of Bambi, a tragic figure from Wisconsin's dark annals of history.
24 "Will Get Fooled Again" | SAVAK
Good bands like the Who, won't, but SAVAK will get fooled again. It's as simple as that and I appreciate the self-awareness. SAVAK (all CAPS) is named after a secret Iranian police force active from 1957 to 1979 (and yes, I had to look that up) which tells you these guys might know a little history or they're old enough to remember such trivial things (perhaps both). In reality, they're indie-rock lifers that have managed to find just the right combination of pills (per the funny video, which you should watch) to land their music in a deceptively relaxed realm that reminds me of similar bands whose music slowly seeps into your bloodstream via osmosis over time like, say, the Vulgar Boatmen or, more recently, Lewsberg. Formed in Brooklyn in 2015, they're seemingly just fine with their current situation, making music for the love of it. Imagine that. Who knows, maybe their "viral video" will catch on. I hope it does, because this endearing band deserves some more love.
25 "Metal, Madera" | Aziza Brahim
If you’ve been ignoring African-based music, you’ve made a big mistake. Some of the most vital and compelling music on the planet these days comes from the continent and the new LP from Sahrawi artist Aziza Brahim is more proof of that fact, as if any additional exhibits were even needed to convince an objective jury of open-minded listeners. While she hails from the Western Sahara desert, a place where I would collapse and die if exposed to it for longer than a half hour (heat and I do not mix), she’s been schooled in Cuba and now lives in Spain most of the time. So while her music naturally retains distinct African rhythms, sounds from around the globe also find their way into her music. In fact, prior to recording “Metal, Madera” (Metal, Wood), she educated her drummer on the rhythmic patterns of one of her favorite bands, the Clash, to prepare. I've gotta say, I was immediately intrigued. This song and the entirety of Aziza’s new record, Mawja (Arabic for “Wave”), shows an artist capable of incorporating lots of influences into her songs without overdoing it; in fact, restraint is this music’s best quality. Another hot talent from Africa, literally and figuratively.
26 "Disorder Starts at Home" | Liam Bailey
My favorite record of the year so far? It might be Liam Bailey's Zero Grace, a simmering, instant reggae/soul classic that captivates in a subtle way with laid-back grooves that come vibrantly to life on my vinyl copy (playing right now and sounding positively sublime). The record didn't come to me all at once, as I slowly calibrated it to my inner barometer and I now adore the whole free-flowing vibe, to the point I didn't know where to start when choosing a track. Initially, I had the idea of ending this tape with the gorgeous and optimistic ballad "Light Up the Darkness." What better way to send you off than with some positivity? Then I gravitated to the album's first single "Dance With Me," an understated song that'll make you drift rapturously around your living room floor (hardwood preferred) in your socks or slippers. Then I thought I should pick something with some powerful political heft, like "Mercy Tree," to represent the record's more serious intentions. In the end, I went with "Disorder Starts at Home," a highly personal song Liam wrote about his parent's dissolving relationship. It's a sad state of affairs, yes, but its sinuous reggae rhythms manage to make even this difficult moment seem strangely hopeful. There's a lesson here that we all should heed, with a subtext reflecting modern American politics and global unrest in general, and Liam delivers it to us with just the right amount of earned wisdom.
Outro: "Porque Te Vas" | Molly Lewis
Molly Lewis (whistler)
No kidding, that's how this Australian artist is identified on Wikipedia. Well, it turns out that's exactly what she is, so fair is fair, I guess. But she's a whistler like Caitlin Clark is a shooter. Somehow that simple description doesn't quite cover the scope of her greatness. Her new album, the brilliantly-titled On the Lips (My Lips Aren't Sealed would've also worked), is top-tier whistling like you've never heard before. She's taken it to the next level of artistry, actually several levels up, on the album. (You may have also noticed her name tucked away on the back half of the Barbie soundtrack.) It's a sleeper album that will stun you with its odd beauty and I found myself so entranced by it at times I had to remind myself that she's fucking whistling all of this stuff! So, we leave you with our favorite track on the record, "Porque Te Vas," and it's a beauty. Perhaps next time we can convince her to cover the theme from The Andy Griffith Show. She'd crush it.
_________________
See you soon for another long run. Could be a week, could be a month. All depends on what we find. In the meantime, support your favorite music by buying, not just streaming, your songs and records. You'll feel better if you do, I guarantee it.
Cheers,
The Priest