Download: Pete Berwick's Early Days

Pete Berwick & the Generics - Live At the Kmart 1981 (Shotgun Records)

Americana pioneer Pete Berwick recently released two obscure recordings from his shadowy past and they provide a valuable glimpse into his foundational roots. Live At the Kmart 1981 is his punk rock EP, and not all that surprising, really, as Pete has always displayed a bit o’ punk attitude on his shit-kickin’ country-rock albums like The Damage Is Done and Just Another Day In Hell. The Generics were a short-lived but hard playing outfit that banged around the Midwest for three years circa 1981-1984. 

The six songs here don’t so much as caress your cerebellum as carom off your gray matter with a short, sharp shock. The sound sucks – definitely an audience or off-stage recording – with all the sonic artifacts that implies. But the songs are fast-paced, bristling with energy, and showcase an underlying melody that bursts out of the bootleg-quality taping with a reckless fervor. Two tracks, “I Wanna Be With You” and “There She Goes Again,” received regional college radio airplay and the EP overall is highly recommended for fans of late ‘70s/early ‘80s American punk…plus, it’s cheap!

Buy from Bandcamp: The Generics  

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Pete Berwick & Interstate - Poster Above the Urinal 1987 (Shotgun Records)

Fast forward a few years and Berwick – who would soon be haunting the side streets and dive clubs of Nashville – is fronting a more traditional rock ‘n’ roll outfit in his Chicago hometown, albeit one that veers dangerously onto cowpunk turf. Another audience recording, ten tracks, nine originals, and a wonderful cover of the Stones’ heroin ode, “Dead Flowers,” makes for a nice, tidy collection. 

The sound is marginally better than on the Generics EP, but still bootleg in quality – which does nothing to diminish the intoxicating cheap thrills that Berwick and his band Interstate serve up with Poster Above the Urinal 1987. The punkish edge is still obvious on songs like “Wild Ones” which, at six-minutes-plus, is adorned with too much cool Duane Eddy-styled guitar licks, wildass harmonica, and explosive drumbeats to be mistaken for Green Day or the Descendents.     
    
“Ain’t Good Enough” amps it up even further with a machinegun rhythm that Berwick’s vocals dance atop while the satirical “American Family” brings the twang with skewed humor and a stripped-down, ramshackle country sound built on aggressive guitar strum and harmonica. Berwick’s lyrics reveal his uncanny songwriting skills and dark sense of humor, skills that would only get sharper through the years. The last few songs on Poster Above the Urinal 1987 get increasingly twangier, with “She’ll Never Know” standing out in the crowd for its Dylanesque fervor and blue collar poetry and “White Lines” is just a solid hard rock jam with raging harmonica and chiming guitars underlining the lyrics. 

As for the aforementioned cover of “Dead Flowers” – which is really more of a Gram Parsons song than true Jagger/Richards composition (IYKYK) – Berwick’s drawled vox and nuanced fretwork wrap the song’s dark-hued lyrics in a blanket of pathos and a doomed Hank Williams vibe. Poster Above the Urinal 1987 provides a roadmap for Berwick’s eventual Nashville sojourn while documenting his evolution from young punk to seasoned roots-rocker, Berwick one of the most criminally-overlooked talents in the increasingly stodgy Americana sphere.

Buy from Bandcamp: Pete Berwick & Interstate

CD Review: Freddie King’s Feeling Alright: The Complete 1975 Nancy Pulsations Concert (2026)

It’s heartening to know that, even at this late date in the growing shadow of the 20th century, there is still some amazing music being discovered in some vault or another. Last year we got an amazing, unknown John Lee Hooker album in The Standard School Broadcast Recordings and in 2026, so far, we’ve seen some fine live Humble Pie sides and a never-released Wild Tchoupitoulas set live in New Orleans. Now comes along Freddie King’s Feeling Alright, a previously-unreleased album documenting the legendary bluesman performing before 50,000 fans at France’s Nancy Jazz Pulsations Festival on October 10th, 1975. Released on vinyl as a three-LP set for this year’s Record Store Day event, it’s also available as a two-CD set for those of us with more discriminating budgets.

Freddie King’s Feeling Alright: The Complete 1975 Nancy Pulsations Concert

King wasn’t at his prime in 1975, but he wasn’t far from it even with his death tragically looming in the year to follow. The guitarist had released his sixth album of the ‘70s, Larger Than Life, which was a studio/stage hybrid with tracks recorded live in April of that year at the Armadillo World Headquarters in Austin TX and in the studio in Hollywood with producer Mike Vernon. King embarked on a lengthy tour in support of the LP, barrel housing his livewire sound around the globe. 

King is backed on Feeling Alright by a solid band that included talents like second guitarist Ed Lively, bassist Benny Turner, and pianist Lewis Stephens as well as keyboardist Alvin Hemphill and drummer Calep Emphrey. Together, they make a joyous noise, the band members knowing when to play and when to stay and when allow the maestro to perform his six-string wizardry. They run through sixteen songs which represent a little old, a little new, and a whole lotta blues.

Have You Ever Loved A Woman

The set opens with King’s take on the Billy Myles’ song “Have You Ever Loved A Woman?,” the 1960 single expanded upon with King’s elegant, lengthy instrumental intro (nearly four minutes of guitar blues nirvana!) before he introduces the band (accompanied by individual solos, as was the style at the time…). King jumps back on the fretboard for a few minutes of bliss before introducing himself; it’s roughly ten minutes before he gets to the actual singing part. His emotional vocals make it well worth the wait, however, King delivering the lyrics as a heartbroken torch song punctuated by lonely guitar notes against a somber instrumental backdrop. It’s a stunning performance, King’s dynamic six-string work providing the song with gravitas and soul.

Although the opening track takes up nearly one-third of the first disc, what follows is equally as fiery and entertaining. “Whole Lot of Lovin’” is a booger-rock romp with a swinging rhythm and shards of brittle fretwork falling like rain on the chiming keyboards. The “Hey Baby”/“Mojo Boogie” medley rocks and rolls like Saturday night at the club while King’s reading of the 1953 Guitar Slim R&B hit “The Things I Used To Do” is precious, slowing the tempo down to a smoldering temperature while King belts out the lyrics. Definitely more up-tempo than its predecessor, a rowdy cover of Junior Well’s “Messin’ With the Kid” enlists full band participation and offers up one of King’s best vocal performances. 

Goin’ Down

The Don Nix blues standard “Goin’ Down” (recorded by the guitarist for his 1971 Getting Ready album) becomes putty in King’s, a raucous, rockin’, hell-raisin’ performance that knocks all of the contenders and pretenders out of the box. Contrast it with King’s masterful rendition of T-Bone Walker’s “Stormy Monday Blues,” providing the song with a sober, nuanced performance. The second disc of Feeling Alright is comprised largely of inspired and wired blues covers, King tearing through songs like Robert Johnson’s “Sweet Home Chicago” and B.B. King’s “Sweet Little Angel” with reckless abandon. The disc’s opening medley incorporates King’s classic 1961 single “Sen-Sa-Shun” with John Lee Hooker’s “Boogie Chillun” and “Magic” Sam Maghett’s “Lookin’ Good,” creating an electrifying nine-minute-plus instrumental that blasts through your speakers like a lightning-bolt.

Muddy Waters’ signature tune, “Got My Mojo Working,” is tailor-made for King’s talents, his fluid guitar lines driving the band’s spry rhythms in creating a foot-stomping performance certain to get people out of their seats. Johnson’s aforementioned “Sweet Home Chicago” is equally audacious, slowed down to a mid-tempo barn-burner with plenty of piano and swinging bass lines to accompany King’s razor-sharp guitar solos. “The Danger Zone,” written by R&B great Percy Mayfield for Ray Charles, is a departure, a blistering ballad that King wrings dry of pathos. British rocker Dave Mason’s Traffic-era classic “Feelin’ Alright” is the album’s title track, King retaining the Mason’s hooky chorus but affording the overall song lively a funk-rock arrangement propelled by his scrappy guitarwork and Alvin Hemphill’s raving keyboard runs.

The Reverend’s Bottom Line

Feeling Alright: The Complete 1975 Nancy Pulsations Concert is provided lengthy liner notes by blues historian and Chicago native son Cary Baker (author of the excellent book Down On the Corner: Adventures In Busking & Street Music) that includes reflections from King’s daughter Wanda and bandmember Lewis Stephens. The set also includes a lengthy interview with Wanda King, who shares great memories of her dad. As there’s little of King’s live performance prowess available (a few tracks from Larger Than Life, a couple of bootlegs CDs, including Ebbets Field Denver ’74), Feeling Alright is a blues guitar showcase, an entertaining and provocative performance that cements Freddie’s status as one of the “Three Kings” of the blues alongside his contemporaries B.B. and Albert. (Elemental Music Records, released March 27th, 2026)

Buy the CD from Amazon: Freddie King’s Feeling Alright

Also on That Devil Music: Freddie King’s The Complete Federal Singles CD review

Book Review: Cat Taylor’s Music Row Rejects (2026)

Despite the fact that there’s been a thriving Nashville rock scene for better than four decades, there’s still the widespread notion that the ‘Music City’ is more country music than not, an oversight not helped by the glut of country-flavored celebrity tourist-trap bars on Lower Broadway. It’s a bit of an illusion, actually, as the best country artists (i.e. ‘Americana’) are everywhere but in Nashville. The money-making genre’s corporate infrastructure of offices and studios in the mid-city enclave known as ‘Music Row’ is a sterile construct, cranking out assembly-line music that is homogenized by producers and record labels to appeal to the largest number of middle-aged, middle American housewives as possible.

Rock ‘n’ roll has always had a rough slog in Nashville, Elvis Presley’s adventures in RCA Studio B notwithstanding. There was little or no local rock scene in the city during the mid-‘70s apart from R. Stevie Moore and his friends, who altogether combined for something like 100 different bands. But Stevie split town for Jersey and D.I.Y infamy after releasing 1978’s Phonography album, and it would take another year or so before bands like David Olney & the X-Rays, Cloverbottom, File 13, and CPS (Committee For Public Safety) would pick up the torch and start lighting stages like Springwater or the long-gone Phranks ‘n’ Steins on fire.

If rock music received a less-than-friendly reception from the “powers that be” on Music Row, punk rock was disdained, if not overlooked altogether. Still, as writer Charles “Cat” Taylor documents in Music Row Rejects, his extensive discography and history of the city’s punk scene, punk has been an integral part of the city’s rock scene since the 1980 release of Cloverbottom’s Anarchy In The Music City 7” vinyl EP. A profusely-illustrated 104-page “bookazine” (not quite a book, not quite a zine), Music Row Rejects is a welcome guide to the city’s often overlooked punk scene, which has run not-so-quietly beneath the more mainstream rock ‘n’ roll currents for decades.

It took me six years of research and writing to put together my 600+ page doorstop of a book, The Other Side of Nashville, An Incomplete History & Discography of the Nashville Rock Underground 1976-2006, which was published in 2012, so I know all too well the risks of taking on a project like Music Row Rejects. Taylor took on an immense task and acquits himself nicely. His efforts were helped, no doubt, by his own participation in the city’s ever-evolving punk rock scene over the years as the lead singer for two popular punk outfits, Rednecks In Pain and Fun Girls From Mt. Pilot, as well as a contributor to the House O’ Pain zine and indie record label.

Cloverbottom

With Music Row Rejects, Taylor documents the scene with an impressive discography of close to 200 recordings by a 100 or so bands (I’m guessing), providing release info and track lists (when available) for a wealth of punk, hardcore, and punk-pop records, CDs, and cassette tapes that represent the scene as it existed from 1980 through 1997. In many instances, he has tracked down band members to provide their perspective, or at least share some rowdy stories of their rock ‘n’ roll daze. Taylor fills it out with cool graphics like show posters, band photos, and such. It’s a fun read, and I can’t imagine the book being much more comprehensive, as there are dozens of bands that I’ve never heard, and I was covering the scene at the time for numerous publications (including my own music zines).

The Nashville punk scene’s halcyon days can be assigned to the tenure of Lucy’s Record Store circa 1992-1998, where popular bands like Jack, Fun Girls, Java Christ, and Teen Idols were booked by Lucy’s owner Mary Mancini and House O’ Pain’s Donnie and April Kendall (who had been promoting “Migraine Matinee” all-ages shows at the local club Pantheon) alongside touring national acts like They Might Be Giants and Guided By Voices. But Taylor also digs back into the early ‘80s with entries for early punk outfits like the aforementioned Cloverbottom and CPS as well as like-minded bands such as the Resistors, Placid Fury, and the Ratz. 

By the late ‘80s, bands like the popular hardcore gang F.U.C.T., Rednecks In Pain, Caustic Solutions, Tommyrot, and Zero Hour, among others, were making exciting and adventuresome music and setting the stage for the Lucy’s Records era. Taylor ends Music Row Rejects right around the time that Lucy’s closed down, which did seem to be a sort of death knell for an independent punk scene at the time. Although other all-ages clubs would open and close throughout the 2000s and since, never again was the scene as much a community than it was at Lucy’s. Two Nashville punk/hardcore bands broke out from the local scene, Teen Idols and Today Is the Today making records for indie labels with significant distribution and worldwide reach.

Cat Taylor’s Music Row Rejects is more than a mere discography of the city’s punk scene, the author providing a narrative of the scene’s creative aspirations. Many of the bands listed in the book released but a lone single or cassette, but a surprising number of them managed to produce a small, albeit impressive catalog of music, often releasing it themselves on tape or seven-inchers that have since become pricey acquisitions for well-heeled punk collectors. More than a Discogs/eBay wish list for punk rock fans, Music Row Rejects is an invaluable reference and history of a Nashville punk scene that persevered despite the obstacles presented by the city’s staid music industry. (self-published, released January 2026)

Get yer own copy o’ Music Row Rejects, email Taylor at catidball@gmail.com or check out their Facebook page at https://www.facebook.com/musicrowrejectszine 

If you’re in Nashville, get you a copy at The Great Escape, Phonoluxe Records, Vinyl Tap, or Grimey’s Music...you’ll be glad that you did! 

 

Archive Review: Bryan Lee's Play One For Me (2013)

For better than two decades, veteran New Orleans bluesman Bryan Lee has recorded for Canada's Justin Time Records, forging a quiet reputation a soulful vocalist, skilled songwriter, and vastly underrated guitarist. Beloved by fellow string-benders (just ask Kenny Wayne Shepherd, among others), that fact that Lee hasn't broken through to a larger blues audience is one of the great oversights of our time. With Play One For Me, the guitarist's Severn Records debut, Lee has a puncher's chance with the larger label at reaching the audience his talent deserves. 

It's no surprise that, in his adopted hometown, the blind bluesman is a musical institution on par with the Neville family, Dr. John, or the great Allen Toussaint. Play One For Me backs up his reputation with a phenomenal mix of Lee-penned originals and choice cover tunes that all showcase his hearty vocals and elegant guitarplay. Fronting a band that includes Fabulous Thunderbirds frontman Kim Wilson on harp and rhythm guitarist Johnny Moeller holding down the back end, Lee bites into Freddie King's "It's Too Bad (Things Are Going So Tough)" like a hungry man at a buffet, widely choosing to jazz up the original's already classy guitar line with a muted sort of grace as Kevin Anker's keys dance in the background. Howlin' Wolf's classic Willie Dixon-penned "Evil Is Going On" is given a full-bore Bourbon Street treatment with a brassy arrangement, a big beat, raging piano-play, and Lee's downright nasty guitar licks.  

Lee's original material is equally entertaining, the guitarist's "Poison" channeling a 1920s-era Delta-bred malevolence with its studio-altered vocals, ambling rhythms, and delightfully greasy fretwork. "Let Me Love You Tonight" rides an entirely different (soul) train, sounding like a contemporary take on the classic Stax Records sound with pleading vocals, Cropperesque guitar, and a rambunctious horn section while "Sixty-Eight Years Young" definitely brings the funk, a sly groove paired with a bit of Southern-fried chicken-pickin' and jaunty, tongue-in-cheek lyrics. Some 20 years and a dozen albums into his career and Bryan Lee still manages to surprise, Play One For Me an entertaining and inspired collection with no little heart and soul. Grade: A (Severn Records, released September 17th, 2013)

Archive Review: Morrissey’s You Are the Quarry (2004)

As frontman for the highly influential British band the Smiths, Steven Patrick Morrissey created the blueprint for much of what was to follow in Britpop, from early ‘90s chart-toppers like Oasis and Pulp to new millennium art-rockers like Radiohead and Coldplay. Morrissey’s self-absorbed lyrics, his ambiguous sexuality and romantic yearning, his alienation and radical politics captured England’s imagination, albeit briefly, over the course of four mid-‘80s albums. The Smiths, courtesy of Morrissey’s writing partner Johnny Marr, brought the guitar back to rock ‘n’ roll, the band’s combination of punk-inspired DIY aesthetic and British Invasion-inspired tunecraft earning the band a fair degree of commercial success in its homeland and a passionate cult audience stateside.

When the Smiths crashed and burned after Marr left the band in 1987, Morrissey jumped into a solo career without missing a beat. The following year he released his debut, Viva Hate, to significant commercial and critical acclaim, scoring hit singles with the songs “Suedehead” and “Everyday Is Like Sunday.” By the time of 1992’s Your Arsenal, the British music press had turned its back on its one-time wonder boy, openly calling Morrissey a has-been while questioning his well-earned musical accomplishments. By this time, however, the American audience had embraced the artist, driving the album to number 21 on the Billboard Top 200 chart. Morrissey’s 1994 follow-up, Vauxhall and I, climbed even higher, peaking at number 18, cementing Morrissey’s legacy as an artist. By the time of 1997’s underrated Maladjusted, the music industry had undergone a significant change in direction, with vacuous boy bands and flaxen-haired pop tarts making a mockery of Morrissey’s musical prose.   

Morrissey’s You Are the Quarry

You Are the Quarry is Morrissey’s first album in seven years, not so much a comeback as it is a reminder of the timeless quality of the artist’s muse. Morrissey’s off-putting sense of entitlement, heartworn romanticism, angst and political outrage is much in evidence throughout the album’s lyrics, the singer’s trembling vocals as engaging and mournful as they were 20 years ago. During his lengthy exile in Los Angeles, Morrissey’s status as a rock legend has outgrown his detractor’s best efforts, his band and solo work cited as crucial by artists as diverse as rocker Ryan Adams and rappers Outkast. Morrissey seems to have used his time away from the spotlight to resharpen his songwriting craft, the artist’s poison pen poised to tackle a number of relevant subjects.

“America Is Not the World” chides the artist’s adopted home for its excesses and bullying nature, Morrissey declaring his love for the country while pointing out why much of the rest of the world dislikes the U.S.A. One of many politically charged songs on You Are the Quarry, Morrissey is also quick to criticize the land of his birth in “Irish Blood, English Heart.” A wry commentary on English history, Morrissey’s vocals build from a whisper to a scream, exclaiming “I’ve been dreaming of a time/when the English are sick to death/of Labour and Tories/and spit upon the name Oliver Cromwell/and denounce this royal line that still salute him/and will salute him forever.” It’s a strong anti-monarchist statement, fitting perfectly with Morrissey’s left-leaning, humanistic viewpoint.

Trademark Melancholy

Morrissey doesn’t neglect his trademark melancholy with You Are the Quarry, a brace of strong songs tackling loss of faith (“I Have Forgiven Jesus”), unrequited love (“Come Back To Camden”) and the loss of privacy (“How Can Anybody Possibly Know How I Feel?”). Throughout the album, Morrissey bares his soul even more than usual, throwing out lines that reflect his concerns about the past (“I’m not sorry for the things I’ve done”) and his place in history (“The future is passing you by”). Along the way, he lets slip that his bravado is a mask to hide behind (“Jesus – do you hate me? Why did you stick me in self-deprecating bones and skin?”). Morrissey assaults American Idol-styled “lock-jawed pop-stars” who are “so scared to show intelligence” because “it might smear their lovely career.”

Morrissey saves his most savage invective for the music industry itself, “You Know I Couldn’t Last” providing him with the last laugh and offering an experienced glimpse of the price of fame. “The teenagers who love you/they will wake up/yawn and kill you” sings Morrissey, “the critics who can’t break you/unwittingly, they make you.” Decrying the “squalor of the mind” often created by success, Morrissey sings of the pressures of expectation, “there’s a cash-register ringing/and it weighs so heavy on my back.” In life, as in song, Morrissey has turned his back on the industry, the artist’s independent streak manifesting itself in his lyrics and business decisions alike. Dealing with the industry on his own terms, Morrissey got Sanctuary Records to activate the long-dormant Attack imprint in releasing You Are the Quarry.

The Reverend’s Bottom Line

Throughout a career that has now spawned two decades, Morrissey has consistently defied expectations even while seldom adventuring beyond his (admittedly) narrow stylistic tendencies. Morrissey’s strength as an artist has always been in the confessional nature of his lyrics, his persistent dedication to craft and his connection with his audience. Although his exaggerated public persona is often attacked by critics, there is no doubting the artist’s sincerity and accomplishments. You Are the Quarry is an excellent addition to Morrissey’s oeuvre, a solid rock ‘n’ roll album that illustrates why Morrissey is held in such high esteem in the first place. (Attack Records/Sanctuary, released May 14th, 2004)

Archive Review: Various Artists - Radio Dick, Volume One (2003)

Named after the notorious pirate DJ, Pal-Tone calls its Radio Dick compilation “The 3-sided LP Series.” Each CD will feature four songs each from three distinctly different bands (thus the “3 sides”); volume numero uno offering up cuts by the American Plague, Windfall, and Vangard. The American Plague hail from Knoxville, Tennessee and sound a lot like stadium rockers trapped in punk rock bodies. “Alabama Tough Love” rips a riff right out of the Johnny Ramone playbook, pumps it up a bit with steroidal amplitude and rocks the hell out of it. The band’s other three songs shake the earth in a similar fashion, all muscular power chords and soaring vocals, kind of like a cross between Pearl Jam and Loverboy.

Windfall has a female lead vocalist, which lets you know right off the bat that you’re going to experience a different aesthetic from the Plague’s throwback crotchrock. Singer Jennifer Catucci has pretty good pipes, but fairly pedestrian material to work with, shimmering guitars and rhythmic crescendos supporting her operatic vocal gymnastics. “Kindle Eyes Nude” is the best of the batch, a hard-driving tune with clashing instrumentation, wiry leads and odd timing that works to great effect behind Catucci’s larger-than-life vocals. Of the trio of young ‘uns here, Windfall sounds the most like the big time. 

Vangard rounds out Radio Dick, Volume 1, kicking out the jams with rapid-fire, generic pop-punkola that could easily find a home on Drive Thru or Vagrant. Not that any of Vangard’s material is offensively dreck – it’s all pleasant enough I suppose, kind of like cherry cough syrup, with the sweetness covering the bad aftertaste (and the shudder of revulsion that follows). All in all, a mighty mediocre comp with little to distinguish these three bands from the universe full of rock ‘n’ roll hopefuls. (Pal-Tone Records, released 2003)

Review originally published by Jersey Beat music zine... 

Interview: Peter Holsapple of the dB's (1984)

Masters of a unique American pop/rock sound that garnered tem a great deal of critical acclaim for their two import albums, the dB’s are virtual unknowns outside of a few college radio markets across the country. “We received a lot of college radio airplay with those two albums,” says Peter Holsapple, the band’s songwriter and vocalist. “Songs like ‘Black and White’ and ‘Happen’stance’ were staples. When you have an import LP, though, and you’re taking it around to people, you don’t have the promotional ability that an American label, even a small independent, does.” This identity crisis should end, though, with the release of the band’s first American album, Like This.

Like This is a collection of various musical influences, produced by former Waitresses member Chris Butler. Listing influences as wonderfully diverse as REM, Jason and the Scorchers, Marshall Crenshaw, and the Gun Club, Holsapple says of the album “it’s an optimistic record for optimistic times.” With all eleven of the album’s songs penned by Holsapple, Like This represents a departure from the old dB’s style. Former member Chris Stamey, who left the band to pursue a solo career, wrote half of the band’s past material. Says Holsapple, “our focus has changed somewhat. We’ve tried to make it a diverse and yet as interesting as possible.” With six years of both on-the-road and in-the-studio experience already under their belts, of Like This Holsapple says “we got our sophomore jinx out of the way years ago, so this is our first third LP and our second first LP!”

The band acquired their recording contract after a two-year hiatus. “We had to take a break and look at where we were going, what we were achieving,” says Holsapple. During this break, Holsapple toured as an opening act for R.E.M., performing an amazing acoustic set. Because of these performances’s optimistic and upbeat nature, Holsapple dubbed this his ‘No Nebraska’ tour, an obvious reference to Bruce Springsteen’s somber recording of that name.

The dB’s will tour all summer and into the fall, not only to build a base for their audience (“I want people to say ‘Yeah, I want that album when it comes out!’” says Holsapple), but also to reacquaint themselves with the rigors of life on the road after such a long lay-off. “The power that this band puts out on stage is incredible,” says Holsapple, “it’s the hottest, cookingest little outfit I’ve heard in a long time.”

Interview originally published by Nashville Intelligence Report #24, October 1984

Also on That Devil Music: The dB’s Like This CD review