Wednesday, October 24, 2007

Heaven and Hell

It's Heaven and Hell

Hey...better late then never.

So Black Sabbath can't call themselves Black Sabbath anymore, thanx Sharon! Heaven and Hell/Black Sabbath came and went last spring and I thought it would be great to hear the Dio era tunes again.

The stage looked like the gates of Hell and the show was...well...rather plodding and slow most of the night. Kind of a disappointment if you want to know the truth. I was expecting a blow out but it was anything but that. The opener was from Dehumanizer (remember that sack o'shit anyone?) and for the first five minutes of the show I was thinking, "What fucking song is this?", that's a good way to dump the show at the opening bell. come on guys we've been waiting years for this and that's the best you can do?

By the time they got to some meaty tunes I was wishing Megadeth could come back out. Let's face it Dio has a strong voice but the running around flashing the devils horns wore out it's welcome rather quickly. Even tunes like "Mob Rules" and "Children of the Sea" lacked the pop they had on the LP's. Playing a few new tunes that no one had heard before was a nice try but it didn't work either. Maybe that's the reason we've heard no studio stuff from any of the Sabs for a while. And 3 or 4 tunes from "Dehumanizer" for crying out loud that king of "suck" Meatloaf has better songs. I'd have liked for them to have had a go at a new one called, "Bat Out of Heaven and Hell".

For goodness sakes by the time they got to "Heaven and Hell" the pit was asleep. And boys, just play the song. It's already 8 minutes long, it doesn't need to be 14. How many times does the crowd have to help out by singing, "It's heaven and hell"? Geez- 40, 50 times? Audience sing-a-longs are better when served up by John Denver and "Thank God I'm a Country Boy" than they ever will be by Black Sabbath. Can you imagine Ozzy having the crowd sing, "God knows as your dog knows, bog blast all of you!" for a fucking half an hour?

Megadeth however kicked some good old fashioned ass!!! Good job Dave!!!


Posted by 1600 at 1:27 PM

Friday, October 19, 2007

Colbert Announces Candidacy, As Major Parties Tremble

Well, it had to happen.

Finally, a legitimate candidate had to get in the race for the White House in 2008. And unlike the line of also-rans that have pandered for popular votes on the Daily Show with Jon Stewart, like John McCain, Joe Biden, John McCain, Barack Obama, John McCain, Bill Bradley, John McCain, Wesley Clark, and John McCain, this candidate already has the voters abuzz with unbridled expectations! After publishing a runaway best seller earlier this month, and a revealing interview last week on Larry King, Stephen Colbert has finally bowed to Nation's will and agreed to run for the White House in 2008! As you have remarked so many times, Mr. Colbert: "the marketplace has spoken."

Yet, some people are skeptical as to whether Colbert is serious, comparing him to the late Pat Paulsen in his many unsuccessful bids for the Presidency. And to date, Colbert has pledged to campaign only in his home state of South Carolina, where as a "favorite son," he predicted he would receive substantial support only to flounder and flail in all other primaries, and disappear off the national radar completely. He also said he would apply for the ballot as both a Republican and a Democrat, so he could "lose twice."

A good plan, Stephen- if we were to believe that carefully honed exterior and famous false bravado as a psuedo-pundit were actually true. But you gave us a glimpse of the real guy underneath the carefully crafted facade when interviewed on King, the man whose mind works constantly. That's what this country needs now, more than anything else- someone that thinks, and not just for himself. Someone that sees the inherent insanity of a rapidly collapsing system, uncaring and heedless, unresponsive and irresponsible to the people whom our elected leadership are supposed to represent. Someone that gives a rat's ass. Somebody smart. At least one other candidate, Mike Huckabee, takes you seriously enough to have offered you the vice presidency if you would join his ticket. I know you said you'd have to make the same offer to him, but I really think Stewart would be a better choice, and he already knows how to handle tools like Chris Matthews and Tucker Carlson when he delivers your policies to the Fourth Estate, with a smackdown and a smile!

So stay the course, Colbert. The people- your people, will respond. Don't limit your potential because you don't have an agenda, or ambitions (pretensions?) to greatness. Sure, there's a pay cut, but think of the service you'll provide your country once a rational human being can unite us. You're probably the only hope we'll have for that for a very long time. You'll probably even be able to keep the show, but would likely have to cut back to once a week because of your additional responsibilities. But we eagerly anticipate a broadcast from the Oval Office, where a Saturday evening Fireside Chat would instill pride and strengthen the morale of your countrymen everywhere. And to paraphrase Pat Paulsen- "You've gotta sleep somewhere." Why not make it mortgage free for 4 (or better yet, 8) years?

And if you're reading this and reside in South Carolina, sign the damn petition already, and get him on the ballot there so he doesn't have to spend $2,500.00. Or don't you support fiscal conservatism? Vote early and often, may the funniest candidate win!

In re: Parrotheads v. Carrotheads

It's Jimmy Buffett, not Warren Buffett- he gets so confused!

As a casual legal observer, the Parrothead v. Carrothead copyright infringement controversy between Jimmy Buffett and the Six Flags amusement park chain (now owned by Washington Redskins' answer to George Steinbrenner, Dan Snyder) looks like a frivolous lawsuit. But according to the inside word, gleaned from the keen mind of astute legal analyst Susan Rabinowitz, this may not be such a slam dunk, after all.

"Jimmy Buffett's Parrotheads raise a lot of money for charities," Ms. R told me. "They probably don't want to be confused or identified with a 'for-profit' venture such as Six Flags." And therein lies the rub. I thought Jimmy was being heartless, as the Carrotheads are a kids' fan club for Looney Tunes characters like Bugs Bunny, Daffy Duck, and the Tasmanian Devil (now an endangered species!) who attend the amusement parks, ride the roller coasters, and buy the swag readily available there.

Others have a different take on it, claiming that the 10,000 or so kids in the Carrotheads Club (so named for the nerf headgear shaped like a carrot worn by the wee tykes) don't deserve to have the plug pulled on their fun, noting that they would not be easily confused with the margarita-swilling, Hawaiian shirt-clad Parrotheads that habitually follow Buffett, creating sold out performances at every venue he visits.

Personally, I think its way over the top, and that Buffett and Six Flags, and Looney Tunes copyright owners Time/Warner/AOL should shake hands and get over it, so that nobody's Mommy and Daddy have to explain why the kids' club is banned by a cease and desist order from the Federal Judiciary. Maybe they can even do a joint fundraiser for some of the charities that Jimmy supports, complete with cartoon icons, and smiling children.

Or maybe they just feed Buffett to Taz, with a little salt and lemon, and see whether all that tequila he's absorbed over the years has a negative impact on the creature's ability to belch.

40 Acres and That Goverment Mule You've Been Dreaming Of

After touring earlier this year with the Allman Bros., Warren Haynes recently took his alter ego Gov't Mule on the road for a series of high energy show this fall. The band spent two solid, well- attended nights at DC's 9:30 Club where they jammed the night away playing their unique blend of rock, pop, and soul, drenched in blues, and buoyed by the big man's masterful guitar and soulful vocals. And as usual, the 1600 team was there!

From hearing bits and pieces of their live shows over the years, I was really looking forward to checking these guys out in person. Virtuoso guitarist Haynes, flanked by Matt Abts (drums), Andy Hess (bass), and Danny Louis (keyboards) were also joined by saxophone master and DC perennial, Ron Holloway, a longtime member of Susan Tedeschi's band, who improvised with inspired enthusiasm with his old friend Haynes, collaborating on several songs each night.

Another brief word here about the opening act, Grace Potter and the Nocturnals. Walking in that night, I was accosted by several friends who all cautioned me not to miss a minute of her set. So, denying ourselves the customary bathroom/smoke/beer walkabout usually reserved for opening acts, we stood at the edge of the stage, hanging on her every word, taking in the 24 year-old "Vermonster's" tasty slide guitar and Hammond B3 organ- fueled jaunts through her entire one hour set. It was good advice, and I'm glad we heeded it. Grace growled out her original songs with an authority reserved for the likes of seasoned blues vets.

The band, comprised of lead player Scott Dournet, bassist Bryan Dondero, and drummer Matt Burr, cooked with a fiery intensity, playing a loose but well-rehearsed set that included several songs off their second record, "This is Somewhere." Highlights included Ah Mary, Stop the Bus, Ain't No Time, and Big White Gate. 1600 anticipates that this band will headlining the next time they come to town, and looks forward to seeing them again soon. See for more info, future dates, downloads, and pictures.

But as usual, I digress. The band we went to see was Gov't Mule (get more info at And their reputation for playing great shows is well- deserved. Steve, a longtime Mule vet, accompanied by friend of 1600 Tommy Gavin, managed to make it both nights, and I could kick myself for missing out on many of Mule's signature tunes, including Thorazine Shuffle, A Million Miles From Yesterday, and Mr. High and Mighty, as well as their excellent reading of the Rolling Stones' Play With Fire, and duets with the forementioned Ms. Potter on Find the Cost of Freedom and Ohio. The band rarely repeats a song two shows in a row. My bad.

As for the show we did see, the first set kicked off with Streamline Woman and Brand New Angel, setting a high bar for the night. Bad Little Doggie, Blind Man in the Dark, with Ron Holloway eliciting a whooping response from the crowd as he laid down some blazing sax leads, and Unring the Bell found everyone at the 9:30 Club on their feet and dancing. We were also treated to an exultant Southern Man, with Warren sharing vocal duties once again with Grace Potter, just before the break.

After we caught our collective breath, the band soon returned and launched into another high energy set. Holloway sat in on several songs, including Soulshine, a great jam with drummer Abts, and my favorite song of the night, a cover of Traffic's Low Spark of High Heeled Boys. The set also included the Beatles' I'm So Tired, and Unblow Your Horn, from the new release "Mighty High." The encore featured a somewhat lackluster cover of U2's One, a song not really well suited for Mule's strengths, but finished on a high note with a powerful rendition of of Little Feat's Spanish Moon, with Holloway again at the forefront adding his muscular tenor to Mule's bluesy sound.

Fans can download songs and entire shows from the band at, through their most recent stops in DC and Richmond VA last week. The more I hear, the better I like these guys, and the mix of covers (everything from the Grateful Dead to the Blues Bros., Jimi Hendrix and Prince) and their own originals make Gov't Mule another "must see" band that's worth every penny of the price of admission, and then some.

Thomas Dolby and the Jazz Mafia Horns

Once again, an evening at the Birchmere brought back a familiar face or two. This time, it was keyboard auteur Thomas Dolby reprising several recent appearances (the last time, opening for BT in December, 2006) supported by the Jazz Mafia Horns, and featuring Baltimore transplant Joanne Juskus as the opening act.

Juskus, along with guitarist Adrian Bond, was outstanding. Her ethereal vocal style is reminiscent of Annie Haslam of Renaissance, and able to summon the keyboard chops of Sarah McLachlan or Kate Bush, Ms. Juskus also performs in Telesma, described as an "electro-acoustic psychedelic tribal world dance band." (Perhaps that description alone might compel me to seek them out!) They played selections from both of her albums, including Never Be The Same, Missing You, Rebel, and the title cut from the new recording, See Your Face, as well as a cover of Dolby's own Screen Kiss. She also told the crowd that during soundcheck, as they practiced the song, she looked up to see Dolby himself there grinning amiably, enthusiastically explaining to the audience that she would be sitting in rapt attention during his set, a rabid fan herself.

A note to our readers: Telesma will be performing along with Tryst and the Indra Lazul Bellydancers at the Metro Gallery, 1700 North Charles St., in Baltimore, Next Saturday, October 27 at 9 pm. Tickets for this all ages show are $8.

For his part, Dolby dazzled the audience with an array of his 80's hits, describing how many of the the songs came about. He mentioned his brief brush with Malcolm McLaren (best known for producing the Sex Pistols), who turned down a song Dolby had written for a project, which led him to write one of favorite pieces. His songs remained fresh and timely, with Budapest by Blimp, his funky collaboration with George Clinton Hot Sauce, his tongue in cheek, Valley Girl-esque take on modern non-culture, Airhead, and a stripped-down arrangement of Europa and the Pirate Twins all as good as remembered. Dolby tried out some new material as well, promising a new album in '08, his first in years.

The big difference between this show and his last visit here, when he opened for BT in December of '06, was the addition of the Jazz Mafia Horns. They added a fresh element to the set beyond Dolby's programs and effects, and the songs took on a livelier and more spontaneous feel. The Horns' (Adam Theis, Joe Cohen, and Rich Armstrong) contributions included saxophone, trumpet, and trombone, as well as various percussion effects and some solid harmonies, contrasting from and complimenting Dolby's delivery at the same time. Hyperactive, another Dolby classic, sounded better than ever with the inclusion of brass, as did a G rated rendition of The Keys to Her Ferrari, the Horns chiming in with an upbeat and punchy sound that has always reminded me of the theme music to a 60's TV private eye crime drama.

Dolby also told the story of how it was brought to his attention that his most famous tune, She Blinded Me With Science, had been lifted without his authorization by America's favorite single dad, Kevin Federline. Pulling up K Fed's site, Dolby heard his song being butchered, and tried to contact him. Joining myspace as one of Federline's online "friends" to get contact his information, Dolby dropped him a letter, not demanding royalties, just that he STOP. Unfortunately, the threat of legal action only applied to the pirated Dolby song.

Once again, a great and entertaining evening with the keyboard guru. I'll be looking out for that new album next year, as well as the live release by Dolby and the Jazz Mafia Horns "Live at SxSW," which was sold out before the show that night at the Birchmere's store or I might be listening to it right now...

Radiohead: Breaking Records and Labels

RADIOHEAD. The most influential band in the world today. THE cutting edge. By turns, profound. Timeless. Experimental. Provocative. Innovative. And unpredictable. Ya just never know what they'll do next. Like give away their latest album.

It's like a thumb to the eye of the recording industry, as they bounce the studios' heads off of the turnbuckle, and prepare for the Atomic Knee Drop, head butt, and coup de grace piledriver bodyslam, taking the tasteless record execs, greedy opportunists, and useless sycophants of the music business to the mat for a final submission hold.

You've heard us rail about it- the great bands that labor in obscurity, who can't get airplay because they don't have a single, a record deal with label that supports them, or have somebody cute enough to sell "product" in a sufficient number of "units" to compete with the American Idol pre-fab crowd of canned, calculated, and coached performances, packaged for market along with a signature line of clothes, hair and grooming supplies, tabloid headlines, and colognes.

Finally somebody with some pull is actually doing something about it- and a lot of other artists may take a cue from them, and start cutting out the middle man this way, too. Radiohead will provide you a link to download their new album, In Rainbows, for however much you wish to pay. So you can get it for a penny, plus the obligatory $1 download cost. However, there are a couple of catches:

1. The deluxe edition, which will contain both a 2 CD and a 2 LP set, pictures, artwork, lyrics, and other goodies runs a steep £40.00 (that's about $82.00 American at the current rate of exchange). A complimentary copy of the download is also included, so you don't have to wait until December 3rd to hear the album.
2. The deluxe edition also contains 8 more songs that are not part of the download, including a number of songs that they've featured in live performances in various renditions, under various names, for as much as ten years.
3. The mp3 download edition may not be playable on all equipment. I had to download an mp3 converter that would translate the album to WAV files, so that it would play on my CD/DVD player and laptop. Well, I actually downloaded 3 before I found one that would work. Many of the freeware/shareware downloads out there only work for a limited number of songs or files, before you're obliged to buy the licensed version. (I used the EASE Audio Converter, which will only let you do up to five songs at a time, save them to your hard drive, get the rest of the tracks, and then convert and copy to your burning program.) The whole process should take less than an hour, unless you're even more technology challenged than me, in which case, good luck!
4. Some people had problems seeing the download links and accessing the music, and there were reported complaints due to the initial rush from fans that tied up servers when the album was released on October 10. I used Firefox, and I had no problems.

So there are still a few bugs and glitches in the system, but it seems to be a step in the right direction. The artists actually can get the income directly from their fans, which, even after recovering their production costs ought to work out a whole lot better for many of them. With more bands recording live shows while on tour, many having the capability to sell copies of the show that night to appreciative fans, the same kind of grass roots, do-it-yourself ethic could easily be adopted for studio projects as well. Bands stand to reap a lot more from purchases made directly through their own websites than from royalties doled out by a monolithic conglomerate that only rewards artists selling multi-platinum, and won't support new talent.

You don't have to be Radiohead to break the cycle and do this, but it sure doesn't hurt. However, even bands that don't have the established reputation or following can have this work for them, too. But, perhaps the best part of it is that this album's on a par with some of their best work. Reckoner and Jigsaw Falling Into Place struck me right away, while Weird Fishes/Arpeggi and House of Cards have a more delicate, lilting sound, evoking moments from The Bends' Fake Plastic Trees, High and Dry, or even Exit Music (For a Film), but with the swirling ambience of There There or Where I End and You Begin, from Hail to the Thief, thrown in for good measure. The more raw sound of Bodysnatchers could have fit somewhere in between Kid A and Amnesiac. The production here is a little more spare than on those records, and suits the material. Not to say that Radiohead has lost their interest in experimentation. Some of the soundscapes over which Yorke lays his trademark haunting vocals are spectacular, and different than anything I've ever heard them do before. The newly recorded songs should seem familiar, as they have been played live and appeared on countless bootlegs over the last several years.

The technology is there. The band continues to grow and evolve with each new release. So long as Radiohead maintains the continually high standard of quality, unique style, and thoughtful insights that set them apart from the pack, I'll gladly pick up anything they put their name on, sight unseen. And, oh yeah, I did spring for that deluxe edition, and will be counting the days until it arrives. But you probably already knew that.

Thursday, October 18, 2007

20,000,000 Led Zep Fans Can't Be Wrong...Or Can They?

Plant: Old and in the way?

Well, a couple of weeks back, it was announced that Led Zeppelin, including surviving members Robert Plant, guitarist Jimmy Page, and bassist and keyboard player John Paul Jones, and the heir to the mightiest bass pedal EVER, Bonzo's son Jason Bonham would reprise his tantalizingly brief stint on the drums, with his Dad's old mates.

The concert, to be held November 26 at the O2 arena in London, is being described as a "one-off," a one night stand in memory of Atlantic Records founder Ahmet Ertegun, with tickets for the 18,000 seat venue running a cool £ 125 (about $270) apiece. The website, which went live on September 12th, crashed in a matter of hours as in excess of 20 MILLION fans would try to book tickets for the event. The Who's Peter Townshend, and former Rolling Stones bassist Bill Wyman, will open. This fueled speculation that the reunited supergroup might do a few nights in the UK, Europe and the US before disappearing into retirement forever. Shortly after, Robert Plant looking much like a besotted extra on the crew of the Black Pearl, announced there would be no tour. At least, that's what they're saying now.

This marks the first time the three surviving members have reunited since their induction into the Rock N' Roll Hall of Fame in 1995. Prior to that, I witnessed their anticlimactic performance at the Atlantic Records 40th Anniversary Bash at Madison Square Garden in May, 1988, when they headlined a very long and memorable day of performances with a sloppy Kashmir, Whole Lotta Love, and Rock and Roll. It's not that they were downright bad, just kind of dull and listless. I was actually a lot more pissed that Townshend and Daltrey didn't show, and that Peter Gabriel and Steve Hackett weren't going to oblige Rutherford, Banks, and Collins for a brief Genesis reunion. And that Crosby, Stills, and Nash sure seemed weak and wimpy without Young. Or, for that matter, that I had to listen to Debbie Gibson, and hear the late Laura Brannigan do Gloria, and stomp angrily off the stage.

But it seems the bron-y-aurs shall stomp the terra again. At least once.

Would I do it even at $270 a shot? I dunno. I was never that big a fan. The taste I got at the end of a great day, nearly 20 years ago, was good enough- probably sufficient to hold me over forever. And back then, tickets for 12 hours of nonstop (and mostly good!) performances only ran $100, and we each spent easily that much on food and beer over the course of the show that day. But with Mr. Jones, and none of the wretched Page/Coverdale, or Plant/Page rearrangements that I can barely recognize, it's still kind of tempting. Except the hype will no doubt be so thick, and the gouging for t-shirts, and everything from bottled water to beer to lines at the bathroom so outrageous as to take the fun out of it for this veteran of the psychic wars.

I'll probably just wait for the inevitable DVD to come out, and put it in my Netflix cache...unless its at the 9:30 or the Warner. That might be worth checking out...!

Who's your "dada?"

Meanwhile, back at the State Theater, the 1600 crew got a chance to meet and greet the band dada. Most famous for their 1992 hit, Dizz Knee Land, Mike Gurley, Joie Calio, and Phil Leavitt, this unlikely trio have had a strange career since their meteoric rise to overnight stardom. Fifteen years later, the guys are still together, making great music, and still "flipping off President George," albeit a different one, but perhaps even more appropriate than ever today. Their sound has stayed familiar, but has matured and grown more thoughtful, while retaining the whimsical playfulness that marked their earliest records.

In case you suffer from SASS (short attention span syndrome), dada catapaulted to seemingly overnight success, only to have two successive major labels fold, ending one tour before it could really get off the ground, and sidetracking their career for several years. dada drifted apart for awhile, but kept returning to unite and eventually record new material, playing sporadically together until Spring of 2003, and pursuing other projects, including Calio's X Levitation Cult (XLC) and Leavitt's sometime association with the Blue Man group, as well as dada spin-off Butterfly Jones with Mike Gurley. But throughout, they have remained friends, and the undeniable chemistry that they share would finally put them back together, going on the road for short tours, releasing a new EP, and working once again on a new album. Since reuniting, they have been pleasing their fanatically loyal followers with blistering live performances coast to coast. And this evening was no exception, with fans from Pennsylvania, Ohio, and other parts unknown flocking to Falls Church for an appearance.

The band played a solid two plus hour set, featuring songs from their five full length discs, as well as the Friend of Pat Robertson ep released in 2006. dada also played new material, showcasing Calio and Gurley's vocal harmonies and pop sensibility for hooks and grooves, playing inspired jams on If Tears Were Balloons, Moment in the Sun, Dim, and Sick in Santorini, while Bob the Drummer, a fan favorite, was also particularly exquisite that night. A crowd pleasing Friend of Pat Robertson devolved into a singalong of The Message by Grandmaster Flash ("It's Like a jungle sometimes/It makes me wonder/How I keep from going under"), and a cover of Simon and Garfunkel's take on Scarborough Fair and the obligatory and always emotional Dizz Knee Land rounded out the set. Both newbies (like myself) and veterans (like Jerry) were pleased with both the selections and the performance. The sound at the State was good as well, perhaps because they didn't go for loud and overpowering, but had levels pretty well set for the mostly- packed house.

And the food drive netted some good returns for the folks at Food for Others, a local charity that can always use your support. dada is one of several bands that participates. But don't wait for another show to come through town. Go online to learn more about Food for Others (, and the folks they help take care of in Fairfax County!

We'll see you at the next show.

Los Straitjackets and Big Sandy/Paul Cebar and the Milwaukeeans

'Twas a hot August night indeed that found your friends from 1600 back at the Birchmere, this time for a repeat performance of Los Straitjackets and Big Sandy, still touring on their recent CD collaboration, "Rock en Espanol, Vol. One." The opening act, Paul Cebar and the Milwaukeeans, played a solid set which included both original material and standards. Their eclectic repertoire bridged rock, R & B, zydeco, reggae, blues and calypso, the band playing African percussion instruments in a rowdy, upbeat, danceable set. We hope to see more from this band, with four or five CDs available to date, they bear a second listen.

Just back from a European tour with the World Famous Pontani Sisters, who last graced the State Theater with their modern burlesque show last winter (as well as touring with Los Straitjackets and vocalist Kaiser George), surf guitar heroes Los Straitjackets swarmed on the stage shortly after, first ripping into their trademark instrumentals with abandon, but soon accompanied by the charismatic crooner, Big Sandy. They featured many of the tunes from the most recent release, including the Kinks' classic All Day and All of the Night, You'll Lose a Good Thing, Gimme Little Sign, and (my personal favorite) Lonely Teardrops. Naturally, they played some of their own material and classic surf tunes, including Casbah, with its synchronized choreography, Tailspin, Cavalcade, Tsunami, Itchy Chicken, and many others.

Big Sandy was in fine voice, and the band propelled it's way through a 90 minute set with the rhythm section of Jason "Teen Beat" Smay anchoring the band on skins, and Pete Curry on bass, giving a solid backdrop for guitarists Eddie Angel and Danny Amis to tear it up with their signature six string pyrotechnics. The crowd responded by filling the dance floor and dancing 'til the last song, still hungry for more. And as usual, the band was also kind enough to oblige fans with autographs and their good natured camaraderie after the show.

The band should be back again soon, and never play the same show twice. 1600 also hopes to see Big Sandy here with his Fly-Rite Boys to hear more classic roots tunes after this tour winds up. Always entertaining, Los Straitjackets and Big Sandy are a great bet for a fun night out and a trip back to the old school sounds that you grew up with. Check out their websites from our Links page!