In the 1990s Fountains of Wayne had a huge impact on me. A Beatles, Elvis Costello, Marshall Crenshaw, and Squeeze kind of impact. I loved the quirky, alienated melodic should-be hits of the debut, couldn’t stop bopping to the hooks on Utopia Parkway, and marveled at the Sgt. Pepper-esque stature of Welcome Interstate Managers. Sure, Traffic and Weather seemed a bit of a holding pattern but then Sky Full of Holes had them back in fine form. I just assumed there’d be many more great albums to come. The recent passing of one half of the band’s creative force, Adam Schlesinger, has put the coda on that amazing body of work. Well, we’ll always have the songs. Indeed, now we’ll have to make do with how others take up the catalogue.
And here I am delighted to report that a fantastic new chapter of FOW life begins now with a great new collection of covers from Radiant Radish Records. If you love the band, there’s no doubt in my mind you’re gonna want to check out Can’t Shake That Tune: A Tribute to Fountains of Wayne. RR’s Mike Patton has put together a splendid stable of indie artist covering FOW material, with selections from each of the band’s albums. And for a collection put together in about a month – from conception to recording to release – the quality is impressive. Some artists hue pretty close to the originals (American Wood “Denise”; The Easy Button “The Summer Place”) while others attempt to jar our sense of the familiar with new tempos and styles (Jonathan Pushkar “Stacy’s Mom”). There’s punked-up energy (Vista Blue “The Senator’s Daughter”), folkie stripped-down restraint (Christian Migilorese “Troubled Times”), and plenty of ukulele too (The Soft Spots “Sink to the Bottom”).
You can feel the love all over this collection. And there really are no filler tracks here – everyone’s gonna have their faves. For me, it’s hard not to get choked up listening to “Hey Julie,” a song that encapsulates the genius of FOW, both songwriting and performance-wise. The Wellingtons capture the joy of the song, delivering something unique while honouring the feel of the original.
Can you believe it? This collection is being offered up entirely free! Get to Radiant Radish Records on bandcamp and dowload your copy. And while you’re there, click on the links for all the contributing artists to see what they’re doing and support independent music.
Like it or not friends, our voyage to brave new worlds is already underway and it’s not clear return tickets will be honoured. That’s Ok. There’s always something exciting lurking on the musical horizon, songs and performances that will push the boundaries of something new but somehow also feel familiar. That covers the acts in today’s post, explorers and adventurers with a twist of the familiar about them.
Vices is the new album from Brighton retro guitar duo Peggy Sue and, for me, it’s the very best thing they’ve released. Past records exhibit a range of talents with songs and performances that range from experimental to borderline punk to performance art folk. The collection of covers included on 2012’s Play the Songs of Scorpio Rising kinda pointed where the band was going to go and ultimately arrive with Vices. I mean, the reinvention of “My Boyfriend’s Back” was sheer genius. But Vices is, to my ears, a new level of accomplishment for the band. The album kicks off uber cool with “I Wanna Be Your Girl,” its Velvet Underground chords drawing you in, that is until the vocals arrive and clinch the deal. You hear it again on the ethereal “In Dreams” with its twisted David Lynch early 1960s aura. There are going to be those who hear a spooky Lana Del Ray vibe here but duo’s otherworldly, sibilant harmonies remind me of other amazing vocal bands like Everything But the Girl, First Aid Kit, Jack and Eliza, and The Kickstand Band. The guitars on this record are also pretty special, like the ghost of Link Wray is haunting the proceedings. And the songs! I’m loving “Motorcade,” “Validate Me,” and “Souvenirs” just to get started but, really, the whole record is a listener. Tune in to Peggy Sue. They really demonstrate that everything old can be new again.
It starts out a bit harsh but then the acoustic guitar kicks in and you hear the sweet melody and hooks that are soldering “Grow Your Garden” into your brain. So begins Brett Newski’s latest long-player, Don’t Let the Bastards Get You Down. It’s a record with an edge, like that bite of tequila after the salt, but one that ultimately rewards the listener with loads winning, melody-tinted tunes. The first three tracks say radio singles to me, particularly the spare but hooky charm of “What’d Ya Got to Lose,” while “Do It Again” sounds like a great lost Tom Petty song. I love the little details on the songs, the subtle organ backing on “Do It Again,” the plinky piano on “Buy Me a Soul,” and the addictive swing and killer chorus carrying “Pure Garbage.” Longtime Newski fans will applaud the folk notes here on tracks like “Lousy T-Shirt” and “Fight Song, while Petty loyalists will approve the strong Tom Petty vibes radiating from “Last Dance” and “Evervescent.” Don’t Let the Bastards Get You Down is a masterpiece of understated melodic rock and roll. The songs are punchy but Newski’s performance is nuanced, sometimes spare, leaving room for their subtle charms to shine.
For a lot of people Grouplove amount to “Tongue Tied” but frankly I came to them on the strength of “Naked Kids” from that same 2011 debut album Never Trust a Happy Song and “Sit Still” from their 2013 EP Spreading Rumours. I love the loose group feel to the performances, like a crowd of friends just singing their hearts out. But such as sound actually takes a lot of precision and talent. Well, that talent is all over the band’s just released fourth album, Healer. The sound has that peppy contemporary pop feel of bands like The Mowgli’s and Portugal. The Man with just a bit of Fun thrown in. And let me note, this record sonically sounds amazing! Put on your headphones and just take in the exquisite mix on tracks like “Expectations,” “Youth” and the lovely acoustic “Places.” In terms of singles, “Deleter” got the nod for first release and it’s a worthy choice, but “Promises” is a subtle ear worm while “Hail to the Queen” doesn’t hide its winning hooky chorus. But the hands down winner here for me is “The Great Unknown.” I really like its slow burn approach, with a melodic kick that sneaks up on the listener in a shout-out-loud chorus. And Grouplove make it look so easy. This is one for your summer soundtrack, when the convertible top’s down and you want to look cool.
Peggy Sue, Brett Newski, and Grouplove have delivered some pretty exciting records. Embrace the adventure and buy these up. There’s no turning back now.
With just ten million people, Sweden definitely punches above its weight in international popular culture. I mean, sometimes it seems like every second person there must be a crime fiction writer or member of a rock combo. Maybe both. Today I feature just two fab Swedish bands that deserve more scrutiny from discerning international poprock fans: Caesars and The Lonely Boys.
First up: Caesars, aka Caesar’s Palace, aka The Twelve Caesars. Confused? They started with Caesar’s Palace for the first few albums but worried about problems with a certain US hotel chain and so shortened it, while the 12 was added for tours around Scandinavia, for reasons that are unclear. Well, suffice to say, everything can be found under the Caesars brand now. Altogether the band released five albums between 1998 and 2008 but the first two are not generally available, though some of their songs appear on the 2003 compilation 39 Minutes of Bliss (in an Otherwise Meaningless World). The group’s breakout record was 2002’s Love for the Streets and it’s not hard to hear why, the album is chock-a-bloc full of hummable wonders that tap into a wide range of sixties and indie eighties motifs. From the anthemic “Over ‘for It Started” to the tripping good-time feel of “Candy Kane” to the more country-ish Stonesy feel of “Cheap Glue” the LP slips by effortlessly in easygoing party mode. The overall strength of the record is typically overshadowed by its underground monster organ-heavy hit “Jerk It Out” but I urge listeners – don’t stop there! It’s a cool tune, for sure, but there is so much more to love from this band. Both 2005’s Paper Tigers and 2008’s Strawberry Weed are solid albums, full of melodic treats, like “We Got to Leave” from the former and “Stuck with You” from the latter.
We Got To Leave
Next, a band created to provide a soundtrack to a book about a fictional 1965 band. In 1995 one half of Swedish duo Roxette agreed to put together a group and songs for Swedish author Mats Olsson’s 1995 novel The Lonely Boys. The results are 1965 fabulous! Per Gessle and his ragtag band of veterans from the Swedish music scene essentially become The Lonely Boys. They easily nail the sixties vibe as well as better known retro efforts like That Thing You Do, which came out a year later. The self-titled debut cranks through all the classic Beatles/Stones sounds but there is also a solid dollop of 1979 on tracks like “Lonely Boys” (with that slightly sped up Beatles sound). Then there’s “I’m Not Like You” which draws more on the Kinks and Who while “Keep the Radio On” flashes more Merseybeat. The only cover here is the Jagger/Richards rarity “So Much In Love” but “Flowers on the Moon” also sounds pretty late 1969 Stonesy. And then there’s the killer jangle on “Genius Gone Wrong.” For the uninitiated, The Lonely Boys will an unavoidable full-record listening session.
Lonely BoysKeep the Radio OnFlowers on the Moon
Seems Sweden used to be just famous for massages and a pretty good welfare state. Well, they needn’t stop there. Get caught up on these Swedish pleasures online.
I have an unerring knack of discovering artists or bands at the very point their career is about to implode, call it quits, or forget how to write songs. So it was with The Jam. Living in my parents’ basement in godforsaken North Burnaby I somehow got wind of “A Town Called Malice” in grade 11 and I was hooked. I was an instant Jam-o-phile! The band’s tight Who-meets-Beatles sort-of new wave sound was right up my alley. From then I only got to enjoy the two extended singles (“The Bitterest Pill” and “Beat Surrender”) before they disbanded in 1982. Sure, I signed on to The Style Council and their first few records were nice but it just wasn’t the same. Not even close. But after the Style Council split I thought perhaps Weller would get back to some Jam-like stuff as a solo artist. For the most part I’m still waiting.
Paul Weller has released 15 solo albums since 1992 and I’ve waded through them all, needle dropping every cut for signs of something reminiscent of anything from the Jam’s 5 year, six album run. After reviewing the roughly 200 tracks that populate all those Weller solo albums, I can find (IMHO) only one truly Jam-worthy cut: “Friday Street” from 1997’s Heavy Soul. The guitar, the harmonies, the subtle hook in the chorus all sound Jam-ish enough to me to be squeezed onto any of the band’s mid to late releases.
Perhaps you have a strong opinion about some other Weller solo cut that you think is suitably Jam-like that I’ve overlooked? If you do, please let me know – I’d love to find more!
He’s got regular gigs already, serenading the ladies who win K-EARTH 101’s daily ‘Office of the Day’ contest in Yuma, Arizona and laying down hot licks with Dwight Yoakam’s back up band. So that might explain why there’s been no follow up to Eugene Edwards’ amazing 2004 debut album, My Favorite Revolution. But that’s a shame because the record seemed like just the first of many inventive, career-spanning releases (along the lines of an Elvis Costello or Tom Petty). I mean, listening to just this one album, man can this guy write songs!
Your Own Nightmare
The poprock influences are all over this record – the 1960s, new wave, Britpop – but somehow never risk overwhelming what is new and fresh here. From the opening bars of the opening cut, “Your Own Nightmare,” you know you are in for an uber cool experience when the beat just won’t let you stand still. “It Doesn’t Get Better Than This” opens like a Costello number but the melody is so Squeeze. “Congratulations My Darling” uses jangle to good effect, with a nice British invasion vibe. “The Next Time You Go” slows things down, acing a great Colin Blunstone phrasing. “At Your Place,” “I’d Like to Think So,” and “Permanent One” could be mistaken for an American version of Squeeze or Crowded House while “Shattered Flower,” “Not That Kind of Girl” and particularly “Victim at Bedtime” have the Costello chops in mixing music with lyrics. Meanwhile “Telling the Lie Again” reminds me of The BoDeans with its rustic Americana rock and roll sound.
It Doesn’t Get Better Than ThisCongratulations My DarlingVictim at Bedtime
If My Favorite Revolution is it, album-wise, from Eugene Edwards, I guess we should be grateful. It’s a stunning piece of work that does not fail on any of its 14 tracks. It sounds as fresh and exciting today as it did on release in 2004. Buy it, play it, enjoy it. And maybe drop Edwards a line of new-album encouragement while you’re at it.
Head Sounds is another super-Cali-fantastic release from Paul Ryan aka Super 8! Imagine Ray Davies joining the Beach Boys sometime in 1968 for a one-off album outing and you kinda get the picture. Ryan aces that late 1960s California poprock sound on tracks like “Dragonfly,” with its sometimes dreamy, sometimes swinging groove and timely sentiments about ‘what if you could only live for a day’? And things just get more groovy from there. Five of Head Sounds numbers already appeared on an EP of the same name but the expansion really fills out the original sunny, sand-flecked ambiance. Dig the happy township jive animating “BoNes,” or the addictive rhythmic hook undergirding “BeBopALuLa,” as well as inspired covers of both the Beatles (“Across the Universe”) and Beach Boys (“In My Room”). There a Roddy Frame/Aztec Camera quality to “Love Like Ours,” a skipping-on-a-sunny-day feel to “Millionaire,” and a laid-back let it be vibe to “Keep the Home Fires Burning.” If sunshine had a soundtrack, it might sound like Head Sounds. Drop the needle anywhere on this disc and groove your cares away.
Super 8 has delivered the tonic we need at this particular historical moment, an album to help us ‘stay calm and carry on’. Get your smile on with a copy of Head Sounds right now.
Once upon a time jangle guitar player/singer/songwriter Dave Kuchler joined an already established New Jersey band to help deliver one of the most criminally overlooked poprock masterpieces of the early 1990s, the Soul Engines’Closer Still. It’s Kuchler singing lead on that janglicious, hook-infested “It’s Just Another Day.” And then … nothing. A follow up got underway but sputtered out amid record company chaos and line up changes. Well, I’m excited to report that Dave Kuchler is back with a new solo album, It’s Pronounced …, and it’s definitely been worth the wait. Kuchler’s put together a collection of tracks that exudes a distinctive New Jersey rock and roll synthesis (think heavy doses of Hammond B3 and saxophone) with a particular accent on melody. Just check out the medley of influences on the album’s stellar opening cut “If I Saw You” with its Springteen-esque roll out that trades melody lines between electric guitar and sax, with hints of Byrdsian jangle hovering in the background. It’s an auspicious start that doesn’t let up over the album’s twelve tunes.
It’s Pronounced … brings together old and new, with six tracks representing recovered older material (some from the early 1990s, others from aborted Soul Engines sessions circa 2002), while others are newly recorded songs, supported by longtime Joe Jackson bass player Graham Maby and regular Kuchler collaborator/producer/instrumentalist Pinky Giglio. Beyond elements of what some might call a ‘Jersey shore’ heartland rock, the record covers a broad range of styles, from the neo-Mersey vibe of “Better Things to Do” to the Elvis-style rockabilly vocals on “Pull My String” to the Jackson 5-influenced “Go!” Who would have thought the world needed another cover of “When You Walk in the Room” but Kuchler aces it, adding muscle to the tune amid killer organ flourishes and spot on sibilant guitar work. But the highlights of this record for me are the double-barreled should-be hit singles, “Really Lasts” and “Slave to Katy.” The former cooks with an unrelenting Motown meets Stax-Volt pop soul dance groove, ornamented with an ear-wormy bells/keyboard effect that Bruno Mars used to good effect on “Marry You.” Originally recorded with the Soul Engines for the follow up to Closer Still, the cut sounds just as fresh and contemporary as ever. Meanwhile “Slave to Katy” illustrates how Giglio’s Hammond B3 organ work is the not-so-hidden star of this album (as well the sonic glue linking old and new material).
Kuchler’s It’s Pronounced … has the sound of a timeless classic, a paean to poprock songcraft and performance. It deserves a wide hearing. Find out more about on Kuchler’s Facebook page and get over to bandcamp to get your copy.
A toy piano kicks off “Good Call,” the opening track of I Know Why You Cry. The song also features a pretty wicked violin solo. It’s all part of the unpredictable whimsy we’ve come to expect from Guelph, Ontario’s favourite son, Gregory Pepper. But the song also touches on aging, life struggles, and questions of identity, themes that appear throughout the record. I Know Why You Cry is actually a curated selection from Pepper’s mammoth “Song of the Week” exercise from 2017-18, a “long, cheeky, confessional mixtape” says Pepper that produced 52 tracks of sometimes undisciplined, often manic melody. Amid the chaos of delivering a new song each week Pepper also grappled with classic transitional life events like losing a parent, having a baby, and rebuilding a kitchen. Now, almost two years later, Pepper offers up a precisely crafted distillation of the experience. And the results are good. Very good indeed.
The album’s ‘dark’ side opens rather sprightly with “Good Call,” despite a melody and march-like feel that belies its serious themes. “Bottle of Ink” is basic biography. Pepper is also an accomplished graphic artist that uses his bottle of ink to capture things that are ‘funny and sad when life is a drag.’ Then its full on into darkness, with songs exploring worry (“Worrier Spirit”), loss (“Maybe I’ll See You”), identity (“Unsolved Mystery”) and coping (“Bogus Journey”). But darkness Pepper-style is not really a downer at all. The tuba and Monty Norman Bond coda on “Worrier Spirit” cuts the dread down the size pretty effectively. Things do occasionally get somber, as on “Bogus Journey” when Pepper channels Yann Tierson in his Amélie and Goodbye, Lenin! phase. But never for too long. Case in point: the lovely situational sketch drawn out in “Sublime Sun Tattoo” where a shop song query segues into surreal speculation about Enya’s lonely castle and stalkers so obsessed they stab themselves. It takes a certain kind of wonderfully twisted creativity to deliver this stuff.
Flipped over, the album approaches ‘daybreak’ covering themes like pretension, self-examination, parenting, and mortality. Sound like pretty heavy stuff? Yes, but that’s not the Pepper way. He calls out bullshit on “Art Collector” amid squiggle horns, birdsong, car horn shots, and a cloud of uplifting background vocals. Concerns about parenting and the world our kids will inherit are given voice in a trio of songs, a mini-musical of sorts, that vibe Macca’s macabre Maxwell side, with perhaps a bit of 10cc on “Diaper Hill.” On “Bigger Than Jesus” Pepper cuts through his sardonic armor to offer a song that is just lovely in style and sentiment. But it’s back on “Father’s Day” where ‘he doesn’t want much’ … ‘just to hear the voice of God or whatever’s on the iPod.’ “Coda” reviews the album’s songs in a wonderful sort of ‘end-ature’ medley.
I Know Why You Cry is Gregory Pepper’s most fully realized and mature work, beautifully crafted, alternatively hilarious and touching, evidence of an artist in full control of his muse. And that is saying something given his impressive back catalogue. This record is heading straight for the ‘best of’ lists. My advice? Get on over to bandcamp and help make this guy a star.
Looking for a new fave 1960s-influenced band? Your search ends here. Today’s post is all about the beauty of Austin, Texas retro poprock should-be hit-makers The Ugly Beats. Often referred to as ‘garage rock,’ the band definitely has one foot in the car port but a dip into any one of their five LPs shows they have are so much more to offer.
Take the band’s most recent 2019 release, Stars Align. Sure, track three, “Count to Ten” is arguably garage-y, but it’s the tidiest one on the block. Meanwhile tracks one (“All In”) and four (“Heidi”) are vibing R.E.M. big time. The rest of album ranges across various sixties influences, from the Monkees-ish “In Her Orbit” to the early Kinks guitar squawk kicking off “She Come Alive.” What I love about this band is that the influences are obvious but never overbearing. “What Was One” combines an indie-fied British dollybird vocal with alternating jangle and power chord guitar – brilliant! And seldom have I heard a band use an organ to such good effect – check out the pulsating Farfisa in “Boy You’re in Love.” Meanwhile, few solely garage outfits can produce the nuanced Rubber Soul acoustic/electric guitar blend backing on “One Down.”
More good news: if you like the latest record, you’re going to love the band’s back catalogue. The 2005 debut Bring On the Beats established the group’s strong garage rock cred with some pretty sweet 1960s touches, particularly on tracks like “I’ll Walk Away” and “I’ll Make You Happy.” Think of what The Molochs have been doing recently and you’ve got the groove. 2007’s Take a Stand broadened the sound, upping the melody quotient (“Million Dollar Man”) and even throwing in a ballad (“Get in Line”). Of course, there’s more great 1960s garage numbers and few really unique departures, like vocal harmony-laden “Last Stop” with its great Rickenbacker guitar accents and organ shots.
2010’s Motor! put the organ even more front and centre on tracks like the Plimsouls-ish “Things I Need to Know” and “Through You.” While featuring the fabulous garage juggernaut instrumental “Motor,” most of the album sees the band flexing their musical chops across a number of styles. A bit of the Bakersfield sound on “Harm’s Way,” Blue Rodeo country tinges on “You’ll Forget Me,” some Merseybeat on “Please Don’t Go,” and classic mid-1960s American poprock with “Funny Girl.” 2014’s Brand New Day is more of the good same, from the manic garage intensity of “Up on the Sun” to the groovy jangle on “All of the Things.”
You just know from these records that The Ugly Beats would be an amazing live experience. Help fund that tour trip to your town by stocking up on their party-approved LPs from Get Hip Records (a label with a pretty impressive roster of other 1960s and punk-inspired bands!).
Marshall Crenshaw has long been my fave solo artist. Why MC? Maybe it was the glasses – he looked kinda smart and rock and roll. But what first caught my attention was the 1000 watt hook lighting up Field Day’s first single, “Whenever You’re on My Mind.” Has anyone recorded a more perfect seven seconds of poprock intro? I don’t think so. But then I’ve always been a sucker for a stunning lead guitar line – stuff like the Beatles’ “I Feel Fine” and “Day Tripper” or the Church’s “Unguarded Moment” and Big Country’s “In a Big Country.” But it’s more than just hooks that makes Crenshaw a poprock legend, there’s something about his songs that can always toggle the joy and an involuntary smile from me. And it’s all there with his combination of 1950s Buddy Holly and Everly’s roots, Beatlesque melodies and a 1980s new wave/indie delivery.
With ten albums, six EPs, and a host of one-off singles, compilation contributions and covers there’s plenty of Crenshaw to choose from. What follows is just my whirlwind and idiosyncratic take on a pretty fabulous and inventive career. Now to begin, let’s be clear that MC’s first two albums, the self-titled Marshall Crenshaw and Field Day, are pretty much poprock perfection. I shouldn’t single anything out – these records are nonstop ear candy. I’ll say this much, you can dance to “She Can’t Dance” while “One Day With You” is a masterclass in melodic songcraft. Funny, though I first heard MC via Field Day’s initial single, I didn’t pick up the album until years later. Problem was, as an older release (by one year when I first heard it!) the damn record never went on sale at my local retailer.
The first Crenshaw album I really got into in real time (i.e. when it was released) was Downtown and it remains my favourite, mostly for sentimental reasons. I bought it and played it non-stop in my first one-room apartment in Vancouver’s West End. It was both a declaration of adult independence and – thematically, with its retro 1960s Warner Brothers vibe – a strong link to my parents’ record collection. The album rocks on tracks like “Right Now,” “Little Wild One,” “Terrifying Love,” and “(We’re Gonna) Shake Up Their Minds” while Everly-ing the hell out of “Vague Memory” and “Lesson Number One.”
From then on I’ve pretty much picked up every EC release as soon as they hit the shelves and never been disappointed. If you’re just starting out, here would be my picks from each to get you into the groove. From 1987’s Mary Jean & 9 Others I’d drop the needle on “Mary Jean” and “Calling Out for Love at Crying Time.” You really get a sense of Crenshaw’s mastery of the hooky lead line here. 1989’s Good Evening is hard to make choices over given its exquisite, dynamic mix of originals and covers. Personally I love “Someplace Love Can’t Find Me,” “She Hates to Go Home,” and “On the Run” but really I feel like I’m choosing which limb to hack off because every song here is pretty special. In 1991 MC left Warners for MCA with Life’s Too Short. In interviews for the record Crenshaw talked about the work he put into extending his guitar technique and it showed on should-be hit singles like “Delilah,” “Fantastic Planet of Love,” and “Don’t Disappear Now.”
On the RunDelilah
And then Crenshaw left the major label scene altogether for the relative freedom of more independent releases, first with Razor and Tie and then with his own 429 Records. Since then he’s moved in some new directions musically but always offered up some melodic poprock gems, like “What Do You Dream Of?” and “Starless Summer Sky” from 1996’s Miracle of Science, or “Television Light” and “Right There in Front of Me” from 1999’s #447. In the new millennium there’s been “A Few Thousand Days Ago” from 2003’s What’s in the Bag? and “Long Hard Road” from 2009’s Jaggedland. #395 is MC’s EP collection from 2015, a kind of quasi-album at 14 tracks, and it sees Crenshaw back in excellent form with “Moving Now,” “Front Page News,” and a killer Bobby Fuller cover “Never to be Forgotten.”
What Do You Dream Of?Right There in Front of MeFront Page News
While the flow of Marshall Crenshaw new material may have slowed in recent years there’s no lack of quality re-issues coming on stream. Intervention Records put out a fabulous redesigned Field Day a few years back, complete with a rare 12” US remix EP, while Crenshaw himself is just in the process of re-releasing his post major label work, tweaking the production on certain cuts and adding out-takes and b-sides, starting with the fabulous Miracle of Science. Hustle on over to marshallcrenshaw.comto keep up with the latest news.
Just to prove my MC cred, here’s snap from my past featuring my unique bachelor apartment decor! Ok, this is actually my second apartment (circa 1987) but if you look up in the far right corner, you’ll see the Billboard magazine ad/poster for MC’s debut LP that appears above on the wall! Photo credit: James Koester.