Wednesday, December 31, 2014

time out

The Dave Brubeck Quartet produced a jazz phenomenon with this progressive polyrhythmic pantomime.   Brubeck learned piano from his mother and received a degree in music from the College of the Pacific in Stockton, California; despite the fact that he could not read music.  After being drafted into Army, he formed the racially integrated "Wolfpack" band.  It was during this time that he met Paul Desmond.  Brubeck worked with an octet and then a trio, both of which sold well for Fantasy Records.  A spinal cord injury while diving in Hawaii changed the way he played the piano. He formed the Dave Brubeck Quartet with Paul Desmond and had more success with Jazz at Oberlin and  Jazz at the College of the Pacific debut before switching to Columbia Records for Jazz Goes to College in 1954; the same year he was featured on the cover of Time magazine.

Over the next five years they released nine albums (Jazz: Red Hot and Cool, Brubeck Time, Dave Digs Disney, Jazz Goes to Junior College, Jazz Impressions of the U.S.A,Jazz Impressions of Eurasia, Dave Brubeck Quartet in Europe, Gone With the Wind, and The Riddle) with a revolving door rhythm section that included bassists Ron Crotty, Bob Bates, and Norman Bates; and drummers Lloyd Davis and Joe Dodge.  Joe Morello took over the kit in 1956 and African-American bassist Eugene Wright joined in 1958, creating some controversy where racial integration was still an issue.

A tour in Turkey exposed Brubeck to complex time signatures, which inspired the experimentation that informed 'Time Out'.   Teo Macero produced and Fred Plaut engineered the sessions at the Columbia 30th Street Studio in New York that featured Dave Brubeck on piano,  Paul Desmond on alto saxophone,  Eugene Wright on bass,  and Joe Morello on drums.  S. Neil Fujita did the cover artwork for 'Time Out', which became the first jazz album to sell a million copies.  

"Take Five" became one of the biggest jazz hits of all time, going to number twenty-five on the US pop chart and number five on the US easy listening chart.  Brubeck remembers the label's reluctance to release it as a single:   "They said no one would be able to dance to it...I’ve seen people of all ages dance to that song...Joe warned me, 'Dave, you’re going to have to keep that rhythm going when I take a drum solo' [laughs]. Paul and I framed it to feature Joe on drums. If you listen to the original recording, you can hear that the song was built around Joe's drum solo. At any rate, Paul took credit for writing the song...He thought it was his tune. I said, 'All of the tunes are being copyrighted by my company. It will be confusing if you copyright it separately.' He wasn’t crazy about doing it my way but he agreed just the same, adding, 'But it’s going to be my tune.'...The secret is the drumbeat, which was Joe Morello’s. You can't sit still when you hear it...When I first heard Joe play that beat backstage and Paul improvised against it, I said to Paul at our rehearsal for Time Out, 'Try to write down some of your improvisations.'...When he came back to the rehearsal, he said, 'I can’t write anything in 5/4.' I said, 'Well, I just heard you improvising on it and you sounded great.' Paul said, 'I wrote down some of those things.' I said, 'Great, let me see what you have.'...I looked at what Paul had done and said, 'Paul, I can put this together, and it will be a great tune.' We gave it a try, and the approach worked...The title is mine and so were the lyrics: 'Won't you stop and take a little time out with me, just take five. Stop your busy day and take the time out, to see, I'm alive.'...Teo Macero, the album’s producer, said there had to be a cover of the song with words to it. That was Columbia's way of covering its bases with the tricky 5/4 time, to have a vocal version. When I told that to Paul, he said he wanted his Picture 4 father to write them. But they didn’t come in as soon as we needed them. Teo wanted words so Carmen McRae could sing the cover almost immediately... [I finished the lyrics] probably a month or two after. Some lyricist told me later I had written some clever things that didn't quite come across in some of the vocal versions...The second stanza where the melody changes to a major key:'Though I'm going out of my way, just so I can pass by each day; not a single word do we say, it's a pantomime and not a play.' Most singers miss the nuance. 'It’s a pantomime and not a play.' There’s a double meaning there—a play can mean a spoken performance or it can mean a romantic pitch. A lyricist told me that was one of the cleverest lines ever written [laughs]."

Won't you stop and take a little time out with me, just take five;
Stop your busy day and take the time out to see I'm alive.

Though I'm going out of my way,
Just so I can pass by each day,
Not a single word do we say,
It's a pantomime and not a play

Still I know our eyes often meet,
I feel tingles down to my feet,
when you smile that's much too discrete,
sends me on my way.

Wouldn't it be better not to be so polite, you could offer a light;
Start a little conversation now, it's alright, just take five, just take five.

Though I'm going out of my way,
Just so I can pass by each day,
Not a single word do we say,
It's a pantomime and not a play

Still I know our eyes often meet,
I feel tingles down to my feet,
when you smile that's much too discrete,
sends me on my way.

Wouldn't it be better not to be so polite, you could offer a light;
Start a little conversation now, it's alright, just take five, just take five

Carmen McRae version

"Blue Rondo à la Turk"
Brubeck says:  "I think it's equally as important as Take Five. But Columbia wanted to push Take Five. Blue Rondo is based on a street rhythm I heard while we were in Turkey. It's in 9/8 time, with the blues section in 4/4. People loved that song and still do...Take Five is a title you could put on a jukebox and remember more easily in a record store. Blue Rondo a la Turk was too long a song title. In those days the jukebox determined what became a hit. I should have called it just Blue Rondo. Blue Rondo a la Turk wound up on the B-side of the single."

"Three to Get Ready"

'Time Out'
full album:

All compositions by Dave Brubeck, except "Take Five" by Paul Desmond.

Side one
1. "Blue Rondo à la Turk"   6:44
2. "Strange Meadow Lark"   7:22
3. "Take Five"   5:24
Side two
1. "Three to Get Ready"   5:24
2. "Kathy's Waltz"   4:48
3. "Everybody's Jumpin'"   4:23
4. "Pick Up Sticks"   4:16

Original 1959 LP Liner Notes (Copyright Columbia Records) 

Should some cool-minded Martian come to earth and check on the state of our music, he might play through 10,000 jazz records before he found one that wasn't in common 4/4 time.

Considering the emancipation of jazz in other ways, this is a sobering thought ... and an astonishing one. The New Orleans pioneers soon broke free of the tyranny imposed by the easy brass key of B-flat. Men like Coleman Hawkins brought a new chromaticism to jazz. Bird, Diz and Monk broadened its harmonic horizon. Duke Ellington gave it structure, and a wide palette of colors. Yet rhythmically, jazz has not progressed. Born within earshot of the street parade, and with the stirring songs of the Civil War still echoing through the South, jazz music was bounded by the left-right, left-right of marching feet.

Dave Brubeck, pioneer already in so many other fields, is really the first to explore the uncharted seas of compound time. True, some musicians before him experimented with jazz in waltz time, notably Benny Carter and Max Roach. But Dave has gone further, finding still more exotic time signatures, and even laying one rhythm in counterpoint over another.

The outcome of his experiments is this album. Basically it shows the blending of three cultures: the formalism of classical Western music, the freedom of jazz improvisation, and the often complex pulse of African folk music. Brubeck even uses, in the first number, a Turkish folk rhythm.

Blue Rondo à la Turk

Blue Rondo à la Turk plunges straight into the most jazz-remote time signature, 9/8 - grouped not in the usual from (3-3-3) but in 2-2-2-3. When the gusty opening section gives way to a more familiar jazz beat, the three eighth-notes have become equivalent to one quarter-note, and an alternating 9/8 - 4/4 time leads to a fine solo by Paul Desmond. Dave Brubeck follows, with a characteristically neat transition into the heavy block chords which are a familiar facet of his style, and before long "Rondo à la Turk" is a stamping, shouting blues. Later the tension is dropped deliberately for Paul Desmond's re-entry, and for the alternate double-bars of 9- and 4- time which herald the returning theme. The whole piece is in classical rondo form.

Strange Meadow Lark

Strange Meadow Lark opens with Dave Brubeck playing rubato, though there are overtones of 3's and 4's, and the phrase length is an unusual 10 bars. Dave Brubeck's performance throughout is simple and expressive, with fine support from Eugene Wright and Joe Morello .Strange Meadow Lark closes with a contribution from the wistful, dream-like saxophone of Paul Desmond.

Take Five

Take Five is a Paul Desmond composition in 5/4, one of the most defiant time-signatures in all music, for performer and listener alike. Conscious of how easy the listener can lose their way in a quintuple rhythm, Dave Brubeck plays a constant vamp figure throughout, maintaining it even under Joe Morello's drum solo. It is interesting to notice how Joe Morello gradually releases himself from the rigidity of the 5/4 pulse, creating intricate and often startling counter-patterns over the piano figure. And contrary to any normal expectation - perhaps even the composer's! - Take Five really swings.

Three To Get Ready

Three To Get Ready promises, at first hearing, to be a simple 'Haydn-esque' waltz theme in C major. But before long it begins to vacillate between 3- and 4- time, and the pattern become clear: two bars of 3, followed by two bars of 4. It is a metrical scheme which suits Dave Brubeck down to the ground; his solo here is one of the high spots.

Kathy's Waltz

Kathy's Waltz (dedicated to Dave Brubeck's little daughter) starts in 4, only later breaking into quick waltz time. As in the Disney-born "Someday My Prince Will Come", Dave Brubeck starts in triple time, then urges his piano into a rocking slow 4. Theoretically it is as if Joe Morello's three beats had ceased to be the basic pulse, and had become triplets in a slow 4-beat blues -- though with Eugene Wright's 1-in-a-bar bass as the constant link between piano and drums. The listener who keeps abreast of the cross-rhythms here can congratulate themself on sharing with the Brubeck Quartet an enlightened rhythmic sense. Even feet are useless in following a time experiment of such complexity.

Everybody's Jumpin'

Everybody's Jumpin' opens without any precise feeling of key, but with a vague impression of 6/4 time, and a strong beat. Joe Morello's brief drum solo shows again what a superb colourist he is on the canvas of percussion tone.

Pick Up Sticks

With Pick Up Sticks, the earlier hint of 6/4 becomes positive. As so often in Dave Brubeck's time experiments, it is the bass part which supplies the anchor for the listener. This time Eugene Wright plays a regular pattern of six notes: a passacaglia on which is built the whole structure of this closing number. The high spot of "Pick Up Sticks" comes near the close, in a session of commanding piano. This is Dave Brubeck in the grand manner, as exciting as eight brass, but with that feeling of urgent discovery which can never be captured by the arranger's pen.

Time Out

In short: "Time Out" is a first experiment with time, which may well come to be regarded as more than an arrow pointing to the future. Something great has been attempted...and achieved. The very first arrow has found its mark.

Steve Race

Tuesday, December 30, 2014


Labelle gave us the funky truth with this glammed out disco marmalade.  The group had formed when rival girlgroups the Ordettes from Philadelphia, Pennsylvania joined forces with the Del-Capris from nearby Trenton, New Jersey.   "Patsy" Holt and Sundray Tucker from the Ordettes convinced Nona Hendryx and Sarah Dash from the Del-Capris to become Ordettes and the new ensemble became a sensation.  The ten year old Tucker's grades were suffering so she left to be replaced by college student Cindy Birdsong.  The other girls were still in their early teens.  

As The Bluebelles, they had a top twenty hit with "I Sold My Heart To The Junkman" in 1962.  Shortly thereafter, Holt was given her stage name LaBelle by Newtown Records president Harold Robinson to avoid a lawsuit from another label over the name of the group and they became Patti LaBelle and the Bluebelles.  The quartet had a couple of top forty hits ("Down the Aisle (The Wedding Song)" and "You'll Never Walk Alone") before Birdsong left in 1967 to join The Supremes.  The remaining trio moved to London and Warner Bros. Records with new manager Vicki Wickham, who advised them to reinvent themselves as Labelle,  Their groundbreaking fusion of rock and soul struggled to find success over several albums:   'Labelle' and 'Moon Shadow'  on Warner Bros.;  'Gonna Take a Miracle'  on Columbia with Laura Nyro;  and 'Pressure Cookin'' on RCA.  After opening for the Rolling Stones, they switched to CBS Records subsidiary Epic and went to New Orleans to record with producer Allen Toussaint at Sea-Saint Studios.  

Recorded in two weeks, 'Nightbirds' features Patti LaBelle, Nona Hendryx, and Sarah Dash on lead and backing vocals;   Allen Toussaint on keyboards, percussion, and guitar;   Art Neville on organ;   George Porter, Jr. and Walter Payton on bass;   Leo Nocentelli and  Rev Batts on guitar;   Smokey Johnson and Herman Ernest III on drums;   Bud Ellison on piano;   Earl Turbinton on alto saxophone, soprano saxophone, and clarinet;   Alvin Thomas and Lon Price on tenor saxophone and flute;   Clyde Kerr Jr. and Steve Howard on trumpet;   Lester Caliste on trombone;   Carl Blonin on baritone saxophone;   and Clarence Ford on alto saxophone.   'Nightbirds'  went to number seven on the US album chart and four on the US R&B album chart, sold over a million copies, and helped to launch the disco era.

"Lady Marmalade" became a number one smash hit that has gone on to be a chart topper for others as well. 
"Voulez-vous coucher avec moi (ce soir)?"

"What Can I Do For You?"
"Give me the truth or nothing at all!"

full album:

All songs written and composed by Nona Hendryx, except where noted. 

Side one
1. "Lady Marmalade" (Bob Crewe and Kenny Nolan) 3:56
2. "Somebody Somewhere"   3:25
3. "Are You Lonely?"   3:12
4. "It Took a Long Time" (Raymond Bloodworth, L. Russell Brown and Bob Crewe) 4:03
5. "Don't Bring Me Down" (Allen Toussaint) 2:48
Side two
6. "What Can I Do for You?" (Edward Batts and James Budd Ellison) 4:02
7. "Nightbird"   3:09
8. "Space Children"   3:02
9. "All Girl Band" (Allen Toussaint) 3:50
10. "You Turn Me On"   4:37

Monday, December 29, 2014

the turning point

John Mayall found room to move on from the busted bluesbreakers with this acoustic rebirth.  After ten albums (John Mayall Plays John MayallBlues Breakers with Eric ClaptonA Hard RoadCrusadeThe Blues AloneThe Diary of a Band - Volume OneThe Diary of a Band - Volume TwoBare WiresBlues from Laurel Canyon, and Looking Back) in five years with a revolving cast of British blues legends including Eric Clapton and Jack Bruce (who would leave to form Cream);   Peter Green, Mick Fleetwood, and John McVie (who left to form Fleetwood Mac); Andy Frasier (who left to form Free);  and Mick Taylor (who left to join The Rolling Stones);  Mayall decided to create a whole new band:   "Whenever you get a new musician it obviously affects the way that the music is played. It actually gives you a nice shot in the arm and its always very exciting to get a new twist on things.,,It’s just a part of my history and wherever I am I have a band. It really sums up the period of my life when I was in London. It was such a swift turnover of musicians. All of them were just young guys who were just trying to find their feet and I was able to help them along."

His new combo recorded 'The Turning Point' in New York at Bill Graham's Fillmore East on July 12, 1969.  Monique McGuffin was the production coordinator with engineer Eddie Kramer.  The set features John Almond on flute, saxophone, alto saxophone, tenor saxophone, and mouth percussion;   Jon Mark on acoustic guitar;   John Mayall on production, guitar, harmonica, keyboards, tambourine, vocals, slide guitar, and mouth percussion;  and Steven Thompson on bass guitar.  

'The Turning Point' went to number eleven on the UK album chart and charted a whole new course for Mayall's career.   Mayall revealed in the liner notes:   "The time is right for a new direction in blues music.  Having tried to dispense with heavy lead guitar and drums, usually a 'must' for blues groups today, I set about forming a new band which would be able to explore seldom-used areas within the framework of low volume music.  This album is the result of this experiment and it was recorded live at the Fillmore East Theater, New York, after only four weeks experience of each other's playing...This year has been something of a rush so far and the changing face of my music has had a lot to do with this.  During the tour of the USA that I did between February and May 1969 it became apparent that Mick Taylor was showing signs of following the pattern of his illustrious predecessors and about ready to make his mark in the world as a name and a musical leader.  It no longer seemed logical to me that I should find yet another new lead guitarist; since Eric Clapton more or less founded a whole cult of blues guitar stylists, too many people are into that bag for it to mean much anymore.  So I have now got a new thing in operation whereby drums are not used on the theory that every instrument is capable of creating its own rhythm.  An acoustic finger style guitarist of the finest order, Jon Mark, replaced drummer Colin Allen, Johnny Almond on flutes and saxophones replaces Mick Taylor who made the headlines a week after leaving me when he was asked to join the Rolling Stones.  Within the new format Steve Thompson is now heard to much greater advantage and I’d go as far to say he is the best bass player I’ve yet worked with.  In addition to his prodigious playing, he is developing a flair for composition which is well illustrated on this album."

'The Turning Point'
full album:

All songs written by John Mayall, except where indicated.

Side one
"The Laws Must Change" – 7:21
"Saw Mill Gulch Road" – 4:39
"I'm Gonna Fight For You J.B." – 5:27
"So Hard To Share" – 7:05
Side two
"California" (Mayall, Steve Thompson) – 9:30
"Thoughts About Roxanne" (Mayall, Thompson) – 8:20
"Room To Move" – 5:03

bonus tracks:
"Sleeping By Her Side" – 5.10
"Don't Waste My Time" (Mayall, Thompson) – 4.54
"Can't Sleep This Night" – 6.19

Sunday, December 28, 2014

couldn't stand the weather

Stevie Ray Vaughan and Double Trouble got ready for the storm with the blistering blues of this scuttle buttin' swang.   Expanding on the sound of their debut 'Texas Flood', 'Couldn't Stand the Weather' was produced by Stevie Ray Vaughan and Double Trouble with Richard Mullen and Jim Capfer.  Executive producer John H. Hammond oversaw the sessions  at the Power Station featured the Double Trouble trio of Stevie Ray Vaughan on guitar and vocals;   Tommy Shannon on bass;   and Chris Layton on drums;   with  Jimmie Vaughan playing rhythm guitar on "Couldn't Stand the Weather" and "The Things That I Used to Do", Fran Christina siting in on drums for "Stang's Swang",  and Stan Harrison adding tenor saxophone on "Stang's Swang".  The recording was engineered by Richard Mullen with assistant engineer Rob Eaton.   'Couldn't Stand the Weather' thirty-one on the Billboard 200 album chart and has been certified double platinum.  

Vaughan would describe his process and consider the comparisons with Hendrix:    "I just play...I loved Jimi a lot. He was so much more than just a blues guitarist. He could do anything. I was about sixteen when he died. I could do some of his stuff by then but actually I’ve been trying to find out what he was doing more so lately than I was then. Now I'm really learning how to do it and I'm trying to expand on it ... not that I can expand on it a whole bunch. But I try...I took music theory for one year in high school and flunked all but one six-week period.  That's because I couldn't read music and the rest of the class was already eight or nine years into it. The teacher would sit down and hit a ten-fingered chord on the piano and you had to write all the notes down in about ten seconds. I just couldn't do it. It was more like math to me...A lot of the songs I write now...I don’t even know what key they're in. I have to ask somebody to find out. I can play it, I just can't name it. Jazz changes and all. But I don't know the names of what it is I’m doing...Now I can just lay down tracks and play it back to the guys so they can hear just how I'd like it to sound. I did one the other day with two guitar tracks and a drum track. I played some drums before picking up the guitar and I still like to mess around with them. So now I can use this Fostex [four track] and get down pretty much what I want, then let the guys take it from there."

"Couldn't Stand the Weather"

Comin' through this business of life
There's rarely time if I'm needed to
Ain't so funny when things ain't feelin' right
Then daddy's hand helps to see me through
Sweet as sugar love won't wash away
Rain or shine, it always here to stay
All these years you and I've spent together
All this, we just couldn't stand the weather
Like a train that stops at every station
We all deal with trials and tribulations
Fear hangs the fellow that ties up his years
Entangled in yellow and cries all his tears
Changes come before we can go
Learn to see them before we're too old
Don't just take me for tryin' to be heavy
Understand, it's time to get ready for the storm

"Cold Shot"

'Couldn't Stand the Weather'
full album:

All songs were written by Stevie Ray Vaughan except where noted.

"Scuttle Buttin'" – 1:52
"Couldn't Stand the Weather" – 4:40
"The Things That I Used to Do" (Eddie Jones) – 4:55
"Voodoo Child (Slight Return)" (Jimi Hendrix) – 8:01
"Cold Shot" (Michael Kindred / W. C. Clark) – 4:01
"Tin Pan Alley" (Robert Geddins/ James Reed) – 9:11
"Honey Bee" – 2:42
"Stang's Swang" – 2:46

live at Open Air Festival Loreley, Germany 
25 August 1984

Scuttle Buttin  /  Testify  /  Voodoo Chile (Slight Return)  /  The Things (That) I used to do  /  Love Struck Baby  /  Couldn't Stand the Weather  /  Tin Pin Alley  /  Pride and Joy  /  Texas Flood  /  Lenny  /  Third Stone from the Sun

Saturday, December 27, 2014

chocolate and cheese

Ween transcended novelty with eclectic musicianship and catchy cleverness in this twisted carnival of custard and dairy kitsch.    In the decade since Aaron Freeman (Gene Ween) and Mickey Melchiondo (Dean Ween) met in high school in New Hope, Pennsylvania, they had released six self-made cassettes (Mrs. Slack, The Crucial Squeegie Lip, Axis: Bold as Boognish, Erica Peterson's Flaming Crib Death, The Live Brain Wedgie/WAD, and Prime 5), one album for Twin/Tone Records ('GodWeenSatan: The Oneness'), one for ShimmyDisk ('The Pod'), and one for Elektra Records ('Pure Guava').  

Unlike their previous records, 'Chocolate and Cheese' was recorded at an actual studio with producer Andrew Weiss:    “No major label had ever put out a record recorded on a 4-track, except maybe [Bruce Springsteen’s] 'Nebraska'.  But obviously [Nebraska] didn’t sound Scotchguard. It didn’t wear its 4-track on its sleeve like Pure Guava does. So that was kind of a coup because they got all this dough for doing a record on a 4-track that cost, like, $100 to make, and that was probably all spent on pizza and weed.”

Melchiondo muses:  "I think it started out ’cause it was all we could afford really. And when you’re in the studio, you’re recording on the clock, and an hour of studio time plus the cost of the engineer is really more than your average, whatever, 16-year-old kid can afford, so...I think when you only have four tracks to record on, you have to write better songs, ’cause you can’t do much production . . . [laughs]."

Freeman reveals:  "I had moved to a large farmhouse called Brookridge Farm with a couple of buddies of mine.  It was on endless acres of beautiful Lamberville countyside and I had my own floor of the place.  I remember having a 4-track set up in my room and recording constantly.  This is where most of 'Chocolate and Cheese' was written.  The farmhouse was always host to a flux of girlfriends, musicians, drugs, etc.  It was an incredible place to be in your early twenties and was never short of inspiration.  I did a lot of kissing, dancing, and vomiting in those days.  It was awesome."

The sessions took place at Graphic Sound Studios in Ringoes, New Jersey with Dean Ween on guitar and vocals;  Gene Ween on vocals;  Mean Ween (Dave Dreiwitz) on bass;  and Claude Coleman on drums;   with additional contributions from Andrew Weiss, Claude Coleman, Patricia Frey Stephan, Stephen Said, and Scott Lowe.   Weiss produced, engineered, and mixed the album.  Addtional engineering was done by Greg Frey and mastering by Howie Weinberg.   Live sound by Kirk Miller. 'Chocolate and Cheese' went to number ten on the Billboard Heatseekers album chart with the single "Voodoo Lady" becoming their second (after "Push Th' Little Daisies") and final hit, going to number thirty-two on the US alternative singles chart.  

Freeman says:   "It was a very creative time and a real bridge record.  What came before that record and what was to come after were really very different things ... There was a design firm that came up with the cover for Chocolate and Cheese -- with the almost naked girl wearing the Ween belt. They made the belt, found the model, and hired the photographer. And when we tried to get the belt, nobody responded. They took it!"

 Freedom of '76

Voodoo Lady

I Can't Put My Finger on It

'Chocolate and Cheese' 
full album:

All tracks by Ween

1. Take Me Away - 0:00
2. Spinal Meningitis (Got Me Down) - 2:50
3. Freedom of '76 - 5:43
4. I Can't Put My Finger on It - 8:33
5. A Tear for Eddie - 11:22
6. Roses Are Free - 16:09
7. Baby Bitch - 20:44
8. Mister, Won't You Please Help My Pony - 23:49
9. Drifter in the Dark - 26:44
10. Voodoo Lady - 29:16
11. Joppa Road - 33:03
12. Candi - 36:06
13. Buenos Tardes Amigo - 40:09
14. The HIV Song - 47:16
15. What Deaner Was Talkin' About - 49:25
16. Don't Shit Where You Eat - 51:25