All of these are search terms that people typed into Google, and wound up on my site. Today the theme is “bodily functions”. If you missed the last one, be sure to click here!
“peeing” rowboat
shiting on top of a shit
shit into hand while in shower
poo
guy pissing in doorway
boy holding poop in
poo pictures
poo in the door way
poop in the shower post
when to wash your hands pinterest
“When to wash your hands”? Definitely after all of that!
I couldn’t figure out a music video to put with this, so let’s go with “TV Dinners” by ZZ Top, since that often will cause you to need to perform search term #4.
Aaron says this is the first cassette he ever bought! He picked a good ‘un.
ZZ TOP – Eliminator (2008 CD+DVD Collector’s Edition, Warner)
Consider all earlier CD releases “eliminated”!
Say what you will about ZZ Top’s foray into 80’s music. Using sequencers and compression on the drums wasn’t everybody’s cup ‘o java, but it sure made ZZ Top millionaires. I like this album. Reverend Billy Gibbons’ guitar tone was so sweet on this album. It’s so smooth and creamy, I just love the tone. This might be my favourite album of his, purely for guitar tone. Just listen to that sweet picking on the album version of “Legs”. Man, how does he get that sound?
The original album has been lovingly remastered, with the original album version of “Legs” restored. However, fear not, the single version is still here as a bonus track. Other bonus tracks include live versions, the most exciting of which is a fiery “I Got The Six”. And hey, if you don’t like the techno sounds of the album, the live tunes give you an idea of what they’re like stripped down to the bone…like a juicy rack of ribs, meat falling right off. It’s cool how Frank Beard is just as metronomic on the live versions. He’s not a flamboyant drummer, but he’s definitely solid. Just like the Beatles wouldn’t have sounded the same without Ringo, or the Stones without Charlie, Frank is essential to that whole ZZ “Je ne sais quoi?”
I like the whole album, with only a few songs I call filler, such as “Thug”. I always enjoy hearing “Sharp Dressed Man”. I don’t know how all these years later I’m not sick of it, but I’m not. “TV Dinners” always makes me smile. Really, will these guys write about anything?
“I Need You Tonight” is one of those smooth ZZ Top blues. It’s slick, but unquestionably still blues. “If I Could Only Flag Her Down” is another blues based standout. This one’s a bit more of a boogie. Finally, “Bad Girl” (sung by Dusty Hill) is pure rock and roll.
The DVD is cool. You get the original music videos and some live TV performances. If you’re a ZZ Top fan (and for your own happiness, I hope that you are) I think you will enjoy the video stuff. Liner notes are also ample.
5/5 stars. It’s never too late to pick it up!
Click the pic of the Ford to see yesterday’s gallery of the Monogram ZZ Top Eliminator model kit!
This time last year, I dug up my old 1933 Ford ZZ Top deco “Eliminator” Monogram model kit. I would have assembled this when I was 13 or 14 years old. It’s been collecting dust for a long time, but I posted some pics with a crappy Nokia cell phone anyway, just because it was a cool find.
This year, I took some new pics, with my new BlackBerry Z10! I also took the liberty of cleaning it (as much as I dared to). In the process I snapped off one headlight (an easy fix) and detached part of the body from the chassis, a trickier fix. Unfortunately some of the chrome pieces did not age too well and show a lot of chrome wear, (on the headlights).
WTF Search Terms is a new feature here at LeBrain’s, where I reveal some amusing words that people typed into search engines, ending up at my site. Today I’ve gathered 10 of the funnier Rock-related search terms! If you missed the last one, click here.
10.“show me all of iron maidens art dra” “Show me”? Pfft. Show me your dra first.
9.“pol rodgers fire and waters”He knew how to spell Rodgers, but not Paul.
8.“band acting like a puppet”My best guess is Supergrass.
7.“jonbonjovi phoyoes never seen”If you’ve never seen it, neither have I.
6.“where was montly crew attacted in saskatchewan”He spelled Saskatchewan right.
5.“deep purple songs about nature appreciation”This thought had not crossed my mind once before now.
4.“when will def leppard be on itunes”Perhaps the answer is, like my old Psych 301 prof used to say, “On the 12th of Never.”
3.“why does burke shelley sound like a woman”Maybe because his last name is Shelley, huh-huh, huh-huh.
2. “paul di anno teh beast”Teh.
1.“does sebastian bach really like model trains”Yes, him and Sheldon Cooper!
Considering that this band has housed such monster players as Steve Vai and John Sykes among many others, I take great risk with my opening statement, but here goes: I think Forevermore, the newest album by Whitesnake, is the most guitar-heavy of their entire career. Indeed, on first listen, one is blown away by the extremely well recorded antics of Reb Beach and Doug Aldrich. These guys can wail.
And wail they do, the opener “Steal Your Heart Away” (not to be confused with “Steal Away” from Snakebite) just roars with bluesy chords, fast fretwork, and slippery slides. The guitars are greasy! And that’s just the opening track.
You can definitely hear an urge from Coverdale and Co. to keep everything loosely based on the origins of Whitesnake. You get a lot of bluesy rock, a lot of soul singing from one of the best there is, and some serious groove. On the whole, this album sounds like a growth from the last album, the solid but safe Good To Be Bad. Good To Be Bad was a decent album, but very “safe”. It did not stray much if at all from the classic Whitesnake 1987 sound, complete with guitar solos from the John Sykes School of Axe Wizardry. Now Whitesnake are stretching out more, and dropping a lot of the Sykes-isms. If the last album was a debut album of sorts, this one definitely sounds like the more confident second album.
David is singing great. His voice is as marvelously rich as it was on the Coverdale-Page album back in 1993. And speaking of Coverdale-Page, some of these songs definitely bring that great album to mind.
The only thing that I really don’t like about Whitesnake today are the lyrics. David’s a capable lyricist, and songs like the oldie “Sailing Ships” are really well written. When David, at his current age, starts singing about girls that way that he sings about girls, I feel mildly queezy inside. But then, on the album closer “Forevermore”, David returns to his philosophical lyrical side, a side I prefer. (And it’s a great song.)
It is what it is, and musically this is just a freakin’ great album. My current fave track is “All Out Of Luck” which sports this nifty space age blues metal riff. You will find your own favourites too. Fans of both 70’s and 80’s ‘Snake should find something to enjoy here.
There’s a bonus DVD: A music video, some making-ofs, and a track by track commentary by DC himself.
There are bonus tracks on my “deluxe edition”, all remixes and alternate versions. Just a nice bonus, not essential for the enjoyment of this album. The “Evil Drums” mix of “My Evil Ways” is a little crazy. Of note, Japan also got an exclusive bonus of their own, a “Swamp Mix” of “Whipping Boy Blues”. Like our bonus tracks, it’s just a bonus, not essential to the flavour of the album. Track it down if you’re a collector. I’ve heard it, it’s cool.
For the last installment of this series, click here.
WHITESNAKE – Good to Be Bad (2008 Warner/SPV)
Whitesnake disbanded in 1990. Coverdale did his album with Jimmy Page, but that didn’t prove to last either. Although they’d started writing for a second album, the affair ended and David Coverdale assembled a new Whitesnake for a Greatest Hits tour in 1994. This reformation eventually led to an album in 1997 called Restless Heart (billed as “David Coverdale and Whitesnake”. This R&B flavoured album, a personal favourite, did not resonate with some fans of 80’s ‘Snake.
After another hiatus, and a solo album (2000’s Into the Light), David once again formed a new group of ‘Snakes, a mixture of old and new members. After several years of touring (and lineup changes), the long awaited new Whitesnake album, Good to Be Bad, hit the shelves in 2008. Former Dio guitarist Doug Aldrich and Winger’s Reb Beach had been a formidable guitar duo since 2002.
Similarly to his partnership with Adrian Vandenberg, David has retained his writing style of co-writing with just one co-writer; in this case, Aldrich. It seems to be evident that the guys have gone for a John Sykes guitar sound and style. You can certainly hear a lot of trademark sounds and tricks that Sykes used to do, that gave the 1987 album such a cool sound. This isn’t to say that they don’t play plenty of their own style too, but the retro stuff is frequent.
So similar is the direction of this album to 1987, that you can play “name that tune” with all the new songs:
“Can You Hear The Wind Blow” for example directly references moments on 1987, right down to those flares that Sykes used to do. “All I Want, All I Need” equals “Is This Love” Part Deux. Basically, every song on Good To Be Bad is a mash-up of songs from Coverdale Page, 1987 and Slip Of The Tongue, and you can hear the references quite distinctly. “A Fool in Love” is “Crying in the Rain”. “Lay Down Your Love” is “Shake My Tree”, without Jimmy Page. Throw in a little “Kashmir” during “‘Til The End Of Time” (which seems to be based off “Till The Day I Die” from Come An’ Get It) too.
Having said that, despite the lack of originality, Good To Be Bad is still a very enjoyable listen, and a very welcome return. A world without David Coverdale’s voice is like a world without crème brûlée. That voice is in fine form, perhaps even stronger than it was on 1997’s Restless Heart. The album has a lot more life to it than Restless Heart, although it does lack that album’s subtlety and R&B moments. The band play great, kicking it on every tune, even the ballads. The melodies are strong and memorable. It’s just…too contrived.
The bonus live disc is the the Canadian special edition is highlights from Live: In The Shadow Of The Blues. No big deal. It’s nice to hear Whitesnake playing “Burn/Stormbringer” from David’s Deep Purple days, and cool to hear the old 70’s classics.
The real cool version to have is the Japanese release with two bonus tracks. And a sticker! Can’t forget the sticker. The bonus tracks are both remixes (a “Doug solo” version of “All For Love”, and a stripped down version of the lovely “Summer Rain”). For $20, I wasn’t complaining.
Mick Fleetwood and Dweezil Zappa appear in this cheesey 80’s classic!
THE RUNNING MAN (1987, starring Arnold Schwarzenegger, directed by Paul Michael Glaser)
It’s hard to believe that, as goofy as The Running Man is, it came so close to predicting what aspects of our society would be like in the future. We still have a few years before we hit 2019, perhaps we are right on track for our 2019 to match this version!
The Running Man is loosely (and I mean, very very very loosely) based on the novella by Richard Bachman, otherwise known to his “dear readers” as Stephing King. Where the King book involved a desperate man who needs money to buy medicine, and a game where he can travel anywhere in the world, the movie scales things back. Ah-nold, at his one-liner best, is Ben Richards, a former pilot who disobeyed orders and refused to fire on an unarmed mob. He is imprisoned but escapes, and is now about to appear on “The Running Man”, a 24 hour a day, 7 day a week television show (hmmm, Big Brother?) and fight for his life. The prize is a full pardon for your crimes, a loss means death.
This story was recently ripped off in a lil’ smash hit movie called The Hunger Games. Perhaps you’ve seen it, or a 13 year old girl wearing a Peeta shirt?
Society is now a police state (hmmm?) and the people are distracted by endless game shows on television (hmmm?). News is heavily censored and “edited for television” (hmmm?). Ben Richards’ crime of disobeying orders has been spun by the networks — they show a fake video of him firing on the unarmed crowd, earning himself the nickname “The Butcher of Bakersfield”. Now he will have the chance to win his freedom on The Running Man, but the odds are well stacked against him. By his side, also fighting for their lives, are two captured freedom fighters. These guys are hoping to use their capture to find the source of network transmissions. Then they could jam it, and broadcast the truth of what the world has become….
The Running Man is not a great film. It’s an 80’s Arnold film. If you’ve seen one, you know what you’re getting. Lots of action. Arnold must battle “Stalkers” on The Running Man. Much like the gladiators on American Gladiators, these stalkers will do everything they can to stop Arnold from winning. They include:
* Sub-Zero, as played by Professor Toru Tanaka (weapons include hockey stick blade and exploding pucks)
* Fireball, played by Jim Brown (flamethrower, jet pack)
* the opera-loving Dynamo (who has a punk-rock-looking suit that can fire electricity; sings)
* Buzzsaw (so named for his use of chainsaw and motorcycle)
* the retired Captain Freedom (Arnold’s friend Jesse Ventura)
The show is run by Damien Killian (subtle!), played by former Family Feud host Richard Dawson. Nobody could have played this role better than Dawson. While playing a game show host was not a stretch for him, Dawson was absolutely flawless in the role. Other famous names include Yaphet Kotto (Alien) as another Running Man contestant, Mick Fleetwood as former-musician-turned-freedom-fighter named Mic (I like to think Mick is just playing the future version of himself) and a very young Dweezil Zappa.
The blu-ray disc has enough bonus features to keep you going after the film has ended, including audio commentaries and featurettes. The audio is really nice, mastered in sweet, sweet 7.1 surround. When Arnold is in that little pod heading down to The Running Man’s play area, the sound was awesome. If you have 7.1 at home you need to check this out. I really enjoyed the sound.
If you like other cheesey Arnold Schwarzenegger movies such as Total Recall or Commando, add The Running Man to your collection. If you like movies with a stirring plot and dramatic acting, avoid at all costs. Regardless of your feelings on this film, do try to read the book. I have always felt that a remake of this film, following King’s book, is well overdue.
WHITESNAKE – Snakebite (1978, released as both album and EP)
You gotta give David Coverdale some kind of credit for name-dropping two of his old Deep Purple Stormbringer classics right there in the first song on this album/EP, “Come On”.
“I’m just a SOLDIER OF FORTUNE, Must be the GYPSY in me…”
Maybe David just wanted to remind people who he was, that this was not just some “new” band. Either way, it’s a very solid outing, considerably more enjoyable than David’s first two albums as a solo artist.
Snakebite was originally a 4 song EP, under the name Whitesnake. Over here in Canada, I knew it as a full album . North America stuck on four of the better tunes from David’s solo album, Northwinds, and released it as an LP.
The EP, or side one of the album, was helmed by Purple producer Martin Birch. He ensured a solid sound, and Coverdale & Whitesnake provided four solid tunes.
The aforementioned “Come On” sounds like a smoove Paul Rodgers prowl, and features three players who would stay through most of Whitesnake’s history: Neil Murray (bass), Bernie Marsden (guitar) and Mickey Moody (guitar). Track two, “Bloody Mary” is driven by a boogie piano, one of the best songs on the album. My personal favourite of the album, anyway. It’s just impossible not to move to this one. David’s as naughty as ever in the lyrics:
“You know that Madam Palm and her five sweet daughters” Couldn’t give her man what the doctor ordered”
Then Coverdale gets bluesy. “Ain’t No Love In The Heart Of The City”, previously a hit for Bobby “Blue” Bland, ended up becoming Whitesnake’s live centerpiece. On the original EP, it is the last track, its position swapped with “Steal Away”. “Steal Away” is a another highlight. Moody’s slide guitar is just pure awesome sauce. The only thing I dislike is some really cheesy sounding electronic toms.
Side two of the LP had the earlier Northwinds material, produced by ex-Purple bassist Roger Glover. Although Mickey Moody plays on these songs, he’s the only future Whitesnake member present. The tunes are decent enough. “Keep On Giving Me Love” was funky, like the kind of stuff Glenn Hughes was always trying to push on Deep Purple. It’s not really outstanding until you get to the chorus. “Only My Soul” however is a stand out. Coverdale has often done these incredible soul-searching pieces, such as Purple’s “Soldier Of Fortune”, and Whitesnake’s later “Sailing Ships”. This time out we’re treated to some very appropriate violin, and Glover on synth. The side is rounded out by “Queen of Hearts” and “Breakdown”, the raucious rocker written about the final demise of Deep Purple.
Although David Coverdale seemed to still be searching for direction after leaving Purple, the Snakebite album (or EP, whatever you happen to own) is an enjoyable listen from front to back. Some material really showed what David was capable of, and he certainly would deliver in full in the future. Whitesnake diehards should not do without Snakebite, as it provides an interesting set of snapshots as to what Coverdale was up to, between his bouts of fame and glory.
There are numerous options today to get this music. Not only is the Snakebite album still in print on CD in North America, but you can now also find the tunes remastered. The Snakebite EP has been added as bonus tracks to Whitesnake’s debut album, Trouble. You can also get David’s solo album, Northwinds, remastered with bonus tracks. Or you could just get ’em on original vinyl! The choice is yours, but I think any Whitesnake fan would enjoy this Snakebite.
THE ROLLING STONES – Their Satanic Majesties Request (1967 London/Decca)
It would be lazy for me to compare this album to contemporaries of the band. It would also be lazy to use the old outdated “psychedelic” adjective to describe this music. I can think of numerous other adjectives: challenging, rewarding, inventive, chaotic, grimy, majestic.
Andrew Loog Oldham had quit his post as the band’s producer and manager, leaving the Stones to their own devices. It sounds as if they explored every possible indulgence (musically and otherwise).
Their Satanic Majesties Request takes some of the musical expeditions that The Rolling Stones had completed on Between The Buttons (think “Ruby Tuesday”), and turns that on its head. Mix in ample supplies of chemicals and a total fearlessness, and a belief that what they were doing was total brilliance, and what you get is Their Satanic Majesties Request. This album surely must have convinced parents that Satan himself was possessing the hi-fi.
Light on guitar, rhythm and blues, Their Satanic Majesties Request is still among the best Stones albums if you can penetrate its purple smokey haze. Doing so will reveal an album constructed in layers, and peeling back these layers will release melodies and instrumentation that will keep you enthralled for years, as you keep coming back to this album. Is that Mick asking, “Where’s that joint?”
I’m fond of the opening track, “Sing This All Together”, which sounds (at times) like a cross between the Beatles and a James Bond theme. I’m sure some fans were wondering, “Where’s the guitars?” They’re on there, used sparingly but effectively. “Citadel” has guitars; grimy, dirty guitars, chugging out distorted chords under Mick’s dreamy melodies. This one reminds me of early Alice Cooper, who I am sure was influenced by this album.
Bill Wyman sings lead on “In Another Land”, the watery vocal track sounding like it was recorded in another land. “2000 Man” is as catchy as anything else the Stones produced, with neat lyrics that must have seemed so forward-thinking in 1967. I love the guitar melody, and how it sounds like a completely different song on the choruses. “She’s A Rainbow” is a perfect pop song, as brilliant as “Ruby Tuesday” if not moreso due to Charlie Watts’ relentlessness. Meanwhile, “The Lantern” happily meanders along, amidst what sounds like out-of-tune guitars and horns. Likewise “Gomper” wanders about, loads of sitar invading the eardrums, and lots of other stuff I can barely identify.
“2000 Light Years From Home” is a good one, loaded with Brian’s mellotron, again sounding perpetually out of tune. Fortunately Charlie keeps the song moving forward, his timing always perfect. Then, “On With the Show” brings us back in time to a simpler age, Mick affecting an accent for this fun retro piece.
While every song has melodies and instrumentation coming out the wazoo, it surely is “Sing This All Together (See What Happens)” (not to be confused with “Sing This All Together”) that is the centrepiece of this bizarre journey into the unknown. 8 1/2 minutes long, and never really going anywhere, some might consider this a waste of vinyl. On the other hand, those that have studied free improvisation will get inspiration out of this bizarre arrangement.
Brian Jones continued to experiment with multiple instruments including sitar (hey, it was the 60’s). Guests include Lennon and McCartney, Steve Marriot and Ronnie Lane, Nicky Hopkins, and future Led Zeppelin bassist / keyboardist / string arranger John Paul Jones.
The original LP featured a lenticular cover gimmick, as well as a maze inside that can never be solved. How quaint!
Next time somebody comes up to you and says, “Yeah, this new band that I like, they sound really Stones-y,” then respond by playing “Sing This All Together (See What Happens)” and ask if this is what they meant. Watch the looks on their faces.
In the end, the Stones decided to return to their blues rock sound on Beggars Banquet, which was probably the best way to continue to have a viable career.
WHITESNAKE – Come An’ Get It (EMI 1981, 2007 remastered with bonus tracks)
Come An’ Get It is my favourite Whitesnake album. Therefore it’s a bit of a surprise that I still haven’t reviewed it. On the other hand it’s always nice to leave some goodies for later and cherish them, I suppose?
The first time I heard this album was in 1990. I had ordered the cassette from Columbia House, and brought it with me on a trip to go visit my cousin and aunt in Calgary, Alberta. I remember I brought two brand new (to me) albums with me from that Columbia House purchase; the other was School’s Out by Alice Cooper. I ended up loving both, not a bad trip eh? Driving through the mountains with “Lonely Days, Lonely Nights” by Whitesnake on the earphones was pretty fucking cool.
Come An’ Get It features this classic Whitesnake lineup, aside from David Coverdale himself:
Jon Lord – organ
Ian Paice – drums
Bernie Marsden – guitars
Mickey Moody – guitars
Neil Murray – bass
Basically, THE lineup of early ‘Snake. In the liner notes, David says he finds this to be one of his most consistent efforts, and his favourite of the early band.
The incredible album kicks off with the flirtatious title track, Cov the Gov as cocky as ever, with this seasoned band behind him solidly grooving. “If you want it, come an’ get it, I got something for you.” And kids, I hate to break it to you, Coverdale’s “something” was not something innocent like candy or treats.
“Hot Stuff” is the second track, which changes up to a breakneck speed. Lordy on the piano hammers away, keeping up with the furious pace of Paice and the 3 M’s – Moody, Marsden and Murray. Another standout.
The single, “Don’t Break My Heart Again” is a bit more ominous, with Lord’s trademark Hammond organ carrying the song. It’s a bit darker, a bit plaintive, David convincing us that he really is heartbroken, even though two songs ago he was begging some lovely lass to “Come An’ Get It”. This is a standout song, with fantastically colourful solos and a memorable melody. Shades of the Whitesnake to come.
The aforementioned blues, “Lonely Days, Lonely Nights” follows. It’s this kind of song that David really sinks his teeth into. Moody and Marsden throw in plenty of bluesy licks, Lord with his Hammond colouring the backdrop. Once again, David will have you convinced that somehow, he really is lonely. Lonely, even though the very next song talks about how much he loves “Wine, Women An’ Song”!
“Wine, Women An’ Song” is actually my favourite tune on the album. Coverdale is as cheeky as ever:
“If I can make you smile, I will raise my glass, But if you don’t like it, baby you can kiss my ass, Yes indeed… You can tell me it’s wrong, but I love wine women an’ song!”
This barroom piano bopper is irresistibly catchy. I’ve always been a sucker for past piano tunes, that’s why I love Little Richard I guess! David’s done a number of these over the years (“Bloody Mary”, “Bloody Luxury”) but this one is my favourite. And that ended side 1.
Side 2 kicked off with one of David’s more philosophical songs, a style he also does well. “Child of Babylon” starts slow and bluesy but soon becomes something a bit more menacing. This is another triumph. “Would I Lie To You” returns David to his cheekier side. “Would I lie to you…just to get in your pants? I think so,” winks Cov the Gov. This is just a fun Whitesnake tune, catchy, danceable, tongues in cheeks (just not necessarily the cheeks of the tongue’s owner).
My least favourite song is the next one, the slightly funky “Girl”. The liner notes compare it to Deep Purple; I don’t think so. Yes, both bands forayed into funk. I think Deep Purple did it better than this. Much better is “Hit An’ Run”, which drives. This song kicks. David’s vocal is perfect, and there’s even a talk-box solo, and then a killer slide solo! What more could you want?
The final song of the original album was “Till the Day I Die”, another one of David’s perfect philosophical album closers. He seems to like to close his albums with tunes like this, or “Sailing Ships”, songs with some mood and thought to them. “Till the Day I Die” is one of the best ever, a dramatic, sweeping number that goes from acoustic to epic in under five minutes.
Martin Birch produced Come An’ Get It, as he did many ‘Snake platters. It has a workmanlike sound, powerful enough, sonically clear, with excellent performances. Slide It In is more powerful in the long run, but this is a step on that road.
There are six bonus tracks to keep you satisfied after the main meal. Think of this as dessert, as these are unfinished or rough mixes of album tracks. There is nothing especially revelatory here, but as added value, it’s nice to have these bonus tracks. There’s some unheard stuff here, such as Ian’s count-in to “Child of Babylon”, nothing mindblowing, just nice to have to fill out the CD. Some alternate vocals, solos, and so on.
The liner notes by Geoff Barton are excellent, loads of photos, lots of text. Coverdale shows up to offer his perspective, and illustrates a harmonious band firing on all cylinders.
Keep in mind that context is everything, especially when it comes to music. I have powerful memories of this album. For you, it might not be worth it, but for me:
You can definitely hear an urge from Coverdale and Co. to keep everything loosely based on the origins of Whitesnake. You get a lot of bluesy rock, a lot of soul singing from one of the best there is, and some serious groove. On the whole, this album sounds like a growth from the last album, the solid but safe Good To Be Bad. Good To Be Bad was a decent album, but very “safe”. It did not stray much if at all from the classic Whitesnake 1987 sound, complete with guitar solos from the John Sykes School of Axe Wizardry. Now Whitesnake are stretching out more, and dropping a lot of the Sykes-isms. If the last album was a debut album of sorts, this one definitely sounds like the more confident second album.
mikeladano.com 