Thursday, June 16, 2016

incidental lightshow

The Armoires reveal a great big musical world with the haunting heartfelt harmonic convergence of this eclectic power pop diary.   Originally brought together as part of a Talking Heads cover band that never happened, lead singers Rex Broome and Christina Bulbenko began to work on songs that Rex had written over the years.  This 'coffee house' duo expanded when Christina's son Ian began helping them record a demo.  As the sessions progressed, the band gained confidence; but after their first public performance, Ian was killed in a car accident.  In the aftermath of the tragedy, the band decided to continue with the recordings in his memory with Christina's daughter Larysa contributing viola and vocals; her bandmate Sean Barillas from symphonic metal band Mantis (referenced in "Playing With The Lights") on drums; multi-instrumentalist Nate Myer adding guitar, bass, keys, drums, and vocals; plus Derek Hanna and Clifford Ulrich who played with Rex in Skates & Rays (who get name dropped in "Doubtful Sound") on drums and on bass (and vocals) respectively.  Three of the songs ("Fort Ashby", "Unhaunted", and "Norma Corona, What Have You Done?") retain performances by Ian on drums.  Christina plays keyboards and Rex plays guitar, harmonica, and mandolin.  Recording took place at Burbank Music Academy Sound Studio, Causality Studios in North Hollywood, Roundhouse Recording in Encino (where producer Glen Laughlin sat in on guitar and bass), and "at home" in Burbank.  Much of the final mix for 'Incidental Lightshow' was done in Toronto by Alan Fraser.  

The Armoires have developed a network of likeminded musicians in the Burbank area with their monthly showcase “Big Stir: Power Pop and More” at the California Institute of Abnormalarts in North Hollywood, featuring some of the folks that helped to create their debut album and who share their genre defying mindset.  Christina considers: “We didn’t know how to start, and we didn’t know if we could go on after losing Ian.  In the end we had to. And now we’ve found ourselves welcomed into this beautiful community of amazing musicians and songwriters who get what we were trying to do all along. We’re flabbergasted, humbled, and happy to be home.”

The myriad musical styles in this mellifluous wardrobe run the gamut through Americana, sunshine pop, garage, throwback psychedelia, blue eyed soul, surf rock, new wave, shoegaze, and country.  Sometimes within a song. 'Incidental Lightshow' gets its title from the emotional centerpiece of the album, "Playing With The Lights", a touching tribute to Ian and the synchronous signs that the band experienced after his passing.  Mysterious dancing lights and mantis appearances leading to the question:  "Are you laughing in the stars and playing with the lights?".  Christina helped to compose the lyrics and Nate contributed the song's exploratory bridge.  

Each song has an emotional resonance that ties a thread through the entire album.  What are obviously very personal references seem somehow universal.  Although the lines are often blurred with alternately poignant and priceless phrases, there is a sense of a grieving process.  There is denial ("No one is to blame because no one is responsible at all") in the new wave powerpop of "Responsible", anger ("Violent revolution on behalf of the non-famous people!") in the surf rock complaints of "Norma Corona, What Have You Done?", bargaining ("Hearts might heal, but you can’t unbreak a home") in the domestic drama of "What You Don't Wish For", sadness ("Doesn’t get much lower than the waterline at Doubtful Sound") lurking under the surface of a doomed romance (or perhaps a new musical venture?) with a Mustang-less Sally, and acceptance ("Sometimes you feel like you get what you’re wishing for; sometimes you don’t even know") in the fleeting pop of the sweet album closer "Double Blades".       

Rex reveals:  “Our songs are stories.  Whether they’re dreamlike or straightforward, they always revolve around some kind of narrative, and above all, characters. The way Christina and I trade off lead vocals and come together for harmonies really allows us to bring those characters to life. There’s so much untapped potential in that male/female vocal approach. For all the classic duets in pop music, you don’t hear it much in bands. The New Pornographers are a big inspiration. Fleetwood Mac and X, as different as they are, both did it brilliantly. Those bands dig into multiple perspectives within a single song, and do it magically. That’s the starting point for The Armoires.”

In case you don't know, an armoire is a type of fancy cabinet with lots of drawers and compartments.  The songs themselves are thick with metaphors and layers of meaning that reveal more with each listen.  Although you can look too deep.  Is the "Wire Girl" an art piece, an old sketch, or a dilapidated ship?  I originally thought "Newberry Spectacle" was a reference to the matching glasses that Rex and Christina wear (instead of some kind of art contest?), or that Norma Corona might be a reference to the murdered Mexican activist.  I still like to think that the crass countrified capitulation of  "Live And Direct" could be subtitled "The Chronicles of Ventura".  And that line "he can't keep it up, she can't keep it down" is too perfect.  

The first time I ever heard of an armoire was in the famous "Soup Nazi" episode of 'Seinfeld'.  As with the many wonderful recipes that the titular character had stashed away in his armoire, you'll be amazed at the variety of musical flavors; and like armoire-stealing "street toughs" Bob and Ray, you'll be intrigued by the gorgeous inlay and insist on taking it home for yourself.  And that's all there is to it.


"Fort Ashby" opens the album with a flood of childhood memories of the Mineral Country Fair in West Virginia.  

Out-of-tune piano, cylinder gramophone
Katydids, calliopes, big machines that buzz and groan
Down at the County Fair
There’s music in the air
It’s like a Tom Waits tune but with a different singer
It’s a great big world and it seems to me (it’s coming back to me)
It’s much bigger and it’s so much smaller than it
Ever used to be
In my grandma and grandfather’s backyard
They built a forty-foot slide
All I remember is the light
There’s a funhouse called Star Warz, it’s spelled with a “z”
Copyright infringement, it’s all coming back to me
Here comes a big bass drum
To rock my skeleton
There’s candy in the air, it’s slipping through my fingers
It’s a great big world and it seems to me
It’s much bigger and it’s so much smaller than it
Ever used to be
Now they tell me that it’s monster trucks and
Tractor pulls in the night
All I remember is the light
Put me in the moonwalk, I can’t even stand
Take me to the stage to see Daddy in a country band
Some kid who’s half my size
She won the livestock prize
She had a little lamb
And then the lamb got bigger
It’s a great big world and it seems to me
It’s much bigger and it’s so much smaller than it
Ever used to be
Got my baby beside me going eastbound
On a cross-country flight
All I can think of is the light
It’s coming back to me…

"Unhaunted" describes someone obsessed with the memory of a departed love.  

Empty house on my street with the doors chained up tight
And a window with candles that burn late at night
Children quicken their pace as they walk on by
From all the stories they’ve heard and they’re too young to die
And I miss her so badly I wish I were there
To see the spectral lights and feel the chill in the air
Empty bottle of wine and nobody to toast
I’m so jealous of other people’s ghosts
When I want her to haunt me she leaves me alone
No creaking floor, no flickering flame
Black candelabra and black cat bone
No disembodied voice to breathe my name
Got a box with a lock of her hair that I saved
And a bag filled with dirt that I took from her grave
Halloween once again and I’m here by myself
While her ghost is out haunting somebody else
When I want her to haunt me she leaves me alone
No creaking floor, no flickering flame
Black candelabra and black cat bone
No disembodied voice to breathe my name
She’s leaving me
Don’t want to be
And she had such faith in the world beyond
But I’m truly afraid that she’s truly gone
She won’t come to me as some tender wraith
In a column of vapor with her face
When I want her to haunt me she leaves me alone
No creaking floor, no flickering flame
Black candelabra and black cat bone
No disembodied voice to breathe my name
It’s November the First under a hangover sky
She’s bound to leave me unhaunted whatever I try
All my breaking and entering won’t raise the dead
And I’ll still be unhaunted tonight in her bed
All the leaves on the ground blow around in the wind
Like a family of rodents relieved of their skin
Halloween on a dirt road, 1983
I believed it was real, it could happen to me

The careening groove of "Caterwaul" could fuel a rave.  

Come down, catercorner
Carry me across the square
Come down, catastrophic
Crushed and quite beyond repair
Come down, calla lilies
Cold and lovely in a vase
Come down, cantilever
Can you lever me in place?
But if it’s not your time
You can’t make it your time
If it’s not your time
Come down, cat o’ nine tails
Count again, it’s more like ten
Come down, catatonic
Cannot wake her up again
And if it’s not her time
You can’t make it her time
Can’t make it her time
Come down, Cosa Nostra
Clarity and Claritin
Come down, catalytic
Car exhaust to do you in
Come down, cantaloupe and
Honey, do it while you can
Come down, caterwaul and
Honey can I be your man?
And if it’s not your time
You can’t make it your time
If it’s not your time
Caterwaul, catewaul, caterwaul

'Incidental Lightshow'
full album:

Fort Ashby
What You Don't Wish For
Playing With The Lights
Wire Girl
Doubtful Sound
Live And Direct
Newberry Spectacle
Norma Corona, What Have You Done?
Double Blades

Velvet Ties interview:

Wednesday, April 20, 2016

east of the river nile

Augustus Pablo legitimized the melodica in a natural way and gave new life to dub instrumentals.  Born Horace Swaby, he learned to play the organ while a student at the Kingston College School.  He acquired a melodica from "a little sistren" and began playing the instrument incessantly.  The blow-organ instrument had not been taken seriously at this point and was primarily used in school music classes.  

Herman Chin Loy, owner of the Aquarius record shop, heard him playing the instrument and booked him in a studio the next day.  He cut his first single "Iggy Iggy" as well as an instrumental track that would eventually become the title track for 'East of the River Nile'.   In the meantime, he recorded four albums   (This Is...Augustus Pablo  and Ital Dub in 1974,  Thriller  in 1975,  and  King Tubbys Meets Rockers Uptown in 1976) and set up his own Rockers record label.  

'East of the River Nile' was recorded at Harry J's, Channel One, King Tubby's, and Black Ark in Kingston.  Pablo produced the sessions and played organ, piano, strings, keyboards, clavinet, and melodica;  with  Aston "Family Man" Barrett, Clayton Downie, Robert "Robbie" Shakespeare, and Earl "Bagga" Walker trading off on bass;  Carlton "Carlie" Barrett, Noel "Alphonso" Benbow, and Max Edwards sitting in on drums;  Earl "Chinna" Smith on guitar; Everton DaSilva on percussions;  and the Ja-Malla Band playing on "Chant to King Selassie I" and "Natural Way".   The Upsetters played on "Upfull Living", "Unfinished Melody", and "Memories of the Ghetto".  King Tubby and Lee Perry did the mixing.  

East of the River Nile 
original version

Natural Way

'East of the River Nile'
full album:

00:00 - 1 - Chant To King Selassie I
03:42 - 2 - Natural Way
11:08 - 3 - Nature Dub
15:00 - 4 - Upfull Living
19:58 - 5 - Unfinished Melody
22:32 - 6 - Jah Light
24:48 - 7 - Memories Of The Ghetto
28:10 - 8 - Africa (1983) 
31:13 - 9 - East Of The River Nile
34:06 - 10 - Sounds Form Levi
38:06 - 11 - Chapter 2 
42:23 - 12 - Addis-A-Baba 
46:08 - 13 - East Africa 
48:56 - 14 - East of the River Nile (original)
51:54 - 15 - Memories of the Ghetto Dub 
55:28 - 16 - Jah Light Version 
58:00 - 17 - Islington Rock
1:00:00 - 18 - Meditation Dub

Sunday, March 27, 2016


This sacred oratorio has become one of the most recognized musical pieces of all time.  George Frideric Handel composed the music with lyricist Charles Jennens who drew from the King James Bible.  

The German born Handel had been trained in German and Italian schools before relocating to England in 1712.  He had quite a bit of success with Italian operas; but as the demand for music in English grew, he gradually made the transition to meet the demand.  Handel had written oratorio about Christ in Italy (La Resurrezione, 1708) and Germany (The Brockes Passion, 1716); but when Charles Jennens, 
with whom he had already collaborated (Saul, 1739), offered him the libretto for another collection from Scripture, he waited three years before he began to compose music for it.  

'Messiah' made its debut in Dublin in 1742 to rave reviews and universal acclaim.  When the oratorio came to London the next year, it was not so warmly received.  There were complaints about the sacred piece being performed in a secular theatre.  Also Jennings was not happy with some of the sections.  Handel reworked them and the oratorio was revived in 1749.  Since then, it has received more expansive orchestral arrangements and is one of the most performed oratorios ever.  

Hallelujah Chorus

full oratorio:

Scene 1: Isaiah's prophecy of salvation
01:46 : 1. Ouverture
05:34 : 2. Comfort ye my people (Tenor)
08:30 : 3. Ev'ry valley shall be exalted (tenor)
11:50 : 4. And the glory of the Lord (chorus)
Scene 2: The coming judgment
14:48 : 5. Thus saith the Lord of hosts (bass)
16:16 : 6. But who may abide the day of His coming (bass)
20:45 : 7. And he shall purify the sons of Levi (chorus)
Scene 3: The prophecy of Christ's birth
23:25 : 8. Behold, a virgin shall conceive (alto)
23:49 : 9. O thou that tellest good tidings to Zion (alto and chorus)
29:24 : 10. For behold, darkness shall cover the earth (bass)
31:22 : 11. The people that walked in darkness have seen a great light (bass)
34:55 : 12. For unto us a child is born (chorus)
Scene 4: The annunciation to the shepherds
39:03 : 13. Pifa ("pastoral symphony": instrumental)
41:46 : 14a. There were shepherds abiding in the fields (soprano)
42:03 : 14b. And lo, the angel of the Lord (soprano)
42:25 : 15. And the angel said unto them (soprano)
43:06 : 16. And suddenly there was with the angel (soprano)
43:23 : 17. Glory to God in the highest (chorus)
Scene 5: Christ's healing and redemption
45:22 : 18. Rejoice greatly, O daughter of Zion (soprano)
49:55 : 19. Then shall the eyes of the blind be opened (alto)
50:28 : 20. He shall feed his flock like a shepherd (alto and soprano)
55:42 : 21. His yoke is easy (chorus)

Scene 1: Christ's Passion
58:17 :    22. Behold the Lamb of God (chorus)
1:01:08 : 23. He was despised and rejected of men (alto)
1:12:50 : 24. Surely he has borne our griefs and carried our sorrows (chorus)
1:14:32 : 25. And with his stripes we are healed (chorus)
1:16:24 : 26. All we like sheep have gone astray (chorus)
1:20:11 : 27. All they that see him laugh him to scorn (tenor)
1:20:52 : 28. He trusted in God that he would deliver him (chorus)
1:23:19 : 29. Thy rebuke hath broken his heart (tenor)
1:25:10 : 30. Behold and see if there be any sorrow (tenor)
Scene 2: Christ's Death and Resurrection
1:26:18 : 31. He was cut off (tenor)
1:26:48 : 32. But thou didst not leave his soul in hell (tenor)
Scene 3: Christ's Ascension
1:29:04 : 33. Lift up your heads, O ye gates (chorus)
Scene 4: Christ's reception in Heaven
1:34:20 : 34. Unto which of the angels (tenor)
1:34:35 : 35. Let all the angels of God worship Him (chorus)
Scene 5: The beginnings of Gospel preaching
1:36:07 : 36. Thou art gone up on high (alto)
1:39:18 : 37. The Lord gave the word (chorus)
1:40:24 : 38. How beautiful are the feet (soprano)
1:42:48 : 39. Their sound is gone out (chorus)
Scene 6: The world's rejection of the Gospel
1:44:21 : 40. Why do the nations so furiously rage together (bass)
1:47:16 : 41. Let us break their bonds asunder (chorus)
1:49:00 : 42. He that dwelleth in heaven (tenor)
Scene 7: God's ultimate victory
1:49:12 : 43. Thou shalt break them with a rod of iron (tenor)
1:51:17 : 44. Hallelujah (chorus)

Scene 1: The promise of eternal life
1:55:20 : 45. I know that my Redeemer liveth (soprano)
2:01:30 : 46. Since by man came death (chorus)
Scene 2: The Day of Judgment
2:03:40 : 47. Behold, I tell you a mystery (bass)
2:04:14 : 48. The trumpet shall sound (bass)
Scene 3: The final conquest of sin
2:13:06 : 49. Then shall be brought to pass (alto)
2:13:23 : 50. O death, where is thy sting (alto and tenor)
2:15:21 : 51. But thanks be to God (chorus)
2:17:45 : 52. If God be for us, who can be against us (soprano)
Scene 4: The acclamation of the Messiah
2:23:05 : 53. Worthy is the Lamb (chorus)
Amen (chorus)

Thursday, March 17, 2016

the commitments

Alan Parker brought Roddy's Doyle's novel about building a soul band in Dublin to life by building a soul band with actual working musicians.   Parker remembers:  "I had said from the outset, rather rashly, that in our search for the Commitments members I would consider anyone who sang or played a musical instrument. It was pointed out to me that there were as many as 1200 bands playing in Dublin, which is extraordinary in a city of just over a million people. There was a little Irish blarney attached to this, however, as I discovered that many of the young musicians often play in three or four bands at a time and “The Boneshakers” this week can inexplicably be called “Hep Cat Huey” the next. Each evening a different pub offered us up yet another band belting away in the cramped upstairs rooms. They say forming a band in Dublin is one thing, but finding somewhere to play is a little more difficult. Also on every street corner there seemed to be a busker who was dutifully dragged in to audition. Many reasons are put forward for the music explosion in Ireland. The international success of performers like U2, Sinéad O’Connor, Van Morrison and Bob Geldof are obvious beacons for young Dubliners. Ireland also has the youngest population in Europe and (in 1990) the high unemployment amongst young people is an important factor in why so many struggle to buy their guitars and form their garage bands as a way of gaining some dignity for the present and hope for a future...Also, in order to cast our net as widely as possible, we had organized an open casting call at the Mansion House (town hall) where we invited anyone in Dublin who wanted to be considered for the film. Over 1500 young hopefuls turned up reading a page of the script and singing and playing everything from guitars to tin whistles, banjos to bagpipes (quite a miraculous turnout considering Ireland was doing rather well in the World Cup at the time, consequently bringing Dublin to a halt). The truth is, of course, if you ask absolutely anyone to sing in Ireland they’ll gladly oblige —often quite beautifully and sometimes even without a glass of Guinness in their hand."

The group was assembled using ten musicians and two actors (Bronagh Gallagher and Johnny Murphy).  The film stars:  

Robert Arkins as Jimmy Rabbitte, manager.

Sixteen year old Andrew Strong as Declan "Deco" Cuffe, lead singer. His father, Rob Strong, was the film's vocal coach and when Parker heard his son singing, he asked him to audition for Deco.

Glen Hansard from the band The Frames as Outspan Foster, guitar.

Kenneth McCluskey as Derek Scully, bass.

Johnny Murphy as Joey "The Lips" Fagan, trumpet.  Rory Gallagher and Van Morrison had been approached to play the part.

Félim Gormley as Dean Fay, sax.

Michael Aherne as Steven Clifford, piano.

Dick Massey as Billy Mooney, first drummer.

Dave Finnegan as Mickah Wallace, second drummer.

The Commitmentettes
Angeline Ball as Imelda Quirke, backup singer.
Maria Doyle as Natalie Murphy, backup singer
Bronagh Gallagher as Bernie McGloughlin, backup singer.

Colm Meaney as Jimmy Rabbitte, Sr.
Anne Kent as Mrs. Rabbitte

All four siblings from The Corrs appear in the film.

Andrea Corr as Sharon Rabbitte, Jimmy's younger sister. She does not sing in the film.
Jim Corr as a "Avant-Garde-A-Clue" band member
Sharon Corr (uncredited) as Fiddle Player in Country & Western band
Caroline Corr (uncredited) as Drummer in Country & Western band

Peter Rowen (who featured on the cover of U2's Boy and War) as the skateboarding boy who wants to audition for the band.
Colm Mac Con Iomaire as an auditioning fiddler
Sean Hughes as Dave from Eejit Records
Alan Parker as Eejit Records producer

Parker says:   "Our music priority was to lay down the basic tracks for the twenty-four chosen performed songs. We had decided to use a new system for shooting and recording the music which had never been used before on a film.  Most film music from “Singing In The Rain” to MTV uses pre-recorded tracks and vocals which are played back as the camera takes up different positions with the artists miming. I wanted to capture the reality of the rehearsals and performing by recording the vocals live on set. This is very difficult as modern film requires many different angles to be covered and a constant sound track is needed in order for the finished edited scene to match cut by cut. We used a new system of out-of-phase speakers which enabled us to play the pre-recorded constant backing tracks at maximum volume on set to give us a live performance atmosphere for the vocalists to sing to. Each vocal was then recorded live onto a twenty-four track recorder that was on set with us. Because of the out-of-phase speakers the vocals could be recorded cleanly, as they were filmed, for re-mixing later. This allowed us the technical precision needed for a complicated cut but gave us the truth, energy and spirit of a live performance. It also enabled us to interweave dramatic dialogue with the songs.  By the end of the month we had rehearsed each scene in the film over and over until  our ten musicians had become actors and our two actors had become musicians and all of them had become an accomplished ensemble theatrical group. By the time we were ready to film, all the songs could be performed by the cast and we could run through the whole script, from beginning to end, in one stretch, just like a play."

'The Commitments'  earned almost fifteen million at the box office and won the BAFTA Award for Best Film, as well as  Best Director, Best Editing, and Best Adapted Screenplay. It was nominated for the Golden Globe Award for Best Motion Picture - Musical or Comedy and for the Academy Award for Best Film Editing.  In a poll done in 2005 by Jameson Irish Whiskey, The Commitments was voted best Irish film of all time.  

'The Commitments'  

"Mustang Sally"

"Try A Little Tenderness"

The Commitments - Try a Little Tenderness by algizdk

The soundtrack produced two volumes of music.  The original soundtrack went to number seventeen in Sweden, twelve in Austria, eight in the US, six in Switzerland, four in the UK, two in Australia, and number one in New Zealand.  Volume 2 charted at number one hundred and eighteen in the US, thirty-two in Austria, twenty-five in Sweden, fifteen in Switzerland, thirteen in the UK, eleven in Norway, six in Australia, and number three in New Zealand.  

'The Commitments'  
soundtrack Volumes 1&2
full albums

1. "Mustang Sally" Mack Rice  00:00
2. "Take Me To The River" Al Green, Mabon "Teenie" Hodges  04:00
3. "Chain Of Fools"  Aretha Franklin  07:39
4. "The Dark End Of The Street" Dan Penn, Chips Moman 10:37
5. "Destination Anywhere"  (Niamh Kavanagh) Nickolas Ashford, Valerie Simpson 13:13
6. "I Can't Stand The Rain"  Ann Peebles, Don Bryant, Bernard "Bernie" Miller 16:22
7. "Try A Little Tenderness" Jimmy Campbell and Reg Connelly, Harry M. Woods 19:34
8. "Treat Her Right"   Roy Head and the Traits 24:09
9. "Do Right Woman, Do Right Man" (Niamh Kavanagh) Penn, Moman  27:48
10. "Mr. Pitiful"  Redding, Steve Cropper 31:04
11. "I Never Loved A Man" Ronny Shannon 33:15
12. "In The Midnight Hour" Pickett, Cropper 36:27
13. "Bye Bye Baby"  Mary Wells 38:52
14. "Slip Away" William Armstrong, Marcus Daniel, Wilbur Terrell 42:16

1. "Hard To Handle"  Allen Jones, Al Bell, Otis Redding  46:47
2. "Grits Ain't Groceries"  Titus Turner 49:10
3. "I Thank You" Isaac Hayes, David Porter 52:53
4. "That's The Way Love Is" Norman Whitfield, Barrett Strong 56:33
5. "Show Me" Joe Tex 1:00:42
6. "Saved" Jerry Leiber and Mike Stoller 1:03:36
7. "Too Many Fish in the Sea" Whitfield, Eddie Holland 1:06:33
8. "Fa-Fa-Fa-Fa-Fa (Sad Song)" Redding, Steve Cropper 1:09:18
9. "Land Of A Thousand Dances" Chris Kenner 1:12:11
10. "Nowhere To Run" Holland–Dozier–Holland 1:15:24
11. "Bring It On Home To Me" Sam Cooke 1:19:05
12. "Are You Lonely for Me" 1:22:50
13. "(She's) Some Kind of Wonderful" 1:26:46
14. "Too Many Cooks (Spoil the Soup)" 1:30:08
15. "Same Old Me" 1:33:34
16. "Ain't Nothing You Can Do" [Long Version] 1:38:40

where are they now?

Tuesday, March 15, 2016

the one and only PPL MVR

The One and Only PPL MVR revelled in revealing their yeti rock regression in this murky masked maneuver.   The group emerged from "the all encompassing oneness" as if from a cave with this frothy autotuned affirmation of their ability to affect activity.  Their contract with Elektra leads some to speculate that they are a famous band in disguise.  There is some circumstantial evidence that suggests that the group may consist of members of the band Brand New

Turn it up, gonna touch some salt, gonna swear to me or until it cleans the clock, when my second hand strikes a five leaf clover, goes the hangover, to the undercross
Step to the right, Walk to the left, When you get off BTR WTCH YR STP
I'm a PPL MVR, It's a cold producer, I'm a PPL MVR, It's a Red Medusa
Time to use all the tools in the shed, There's a Monkey Wrench and a creep in drag, like a bobble head saying yes yes yes, gotta acquiesesce to the knucklehead
Step to the right, Walk to the left, When you get off BTR WTCH YR STP
I'm a PPL MVR, It's a cult producer, I'm a PPL MVR, It's a Red Medusa
Step to the right, walk to the left, When you get off BTR WTCH YR STP
I'm a PPL MVR, It's a cold producer, I'm a PPL MVR, It's a Red Medusa
I'm a PPL MVR, It's a fool producer, I'm a PPL MVR, It's a Red Medusa

The One and Only PPL MVR
full EP

1   People Mover   2:57
2   Mad   3:23
3   Annie   3:13
4   Day of the Dead   2:48
5   Let's Take This Outside   1:46