Jim Lough a/k/a Old Town Crier got in touch to let me know that he has a brand spankin’ new album up on Bandcamp that I needed to check out. Curious, and always psyched to hear from Jim – I’ve reviewed previous Old Town Crier recordings like the four-song EP Motion Blur earlier this year, and the full-length A Night with Old Town Crier back in 2023 – I hustled over to Bandcamp and downloaded his latest five-song EP, Peterson Motel. Like its predecessors, half the proceeds from the EP’s sales will go to charity, in this case the ACLU, which can use the cash to, you know…fund its fight to keep democracy from dying in the good ol’ U.S. of A…
Old Town Crier’s Peterson Motel
Also like its predecessors, Peterson Motel rocks with the joyous abandon of the last day of school before summer vacation. The cover art – an antiquated photo of the sort of motor lodge that used to dot the highways of America in the 1950s and ‘60s – is a hint of the familiar sounds you’ll catch from the songs. The EP’s opening track, “Goodbye Jimmy D,” is an ode to the first Hollywood rock star, delivered with an echoey throwback vibe that mixes old-school rockabilly with a cool doo-wop vocal spirit. The breathless “Janeice” is equally engaging, an up-tempo slice of sly power-pop with a big heart and a bigger sound, with enough jangle to the guitarplay to satisfy even the most diehard rocker.
“Room 615” is a mid-tempo twang-banger with an explosive chorus and effective vocals while “Tell Me That You Love Me” is a romantic, ‘60s-styled garage-rock romp with clamorous instrumentation, a busy arrangement, and vocals that vary from a whisper to a shout, with Lough pulling it all together into a single magical performance. EP closer “Truck Drivin’ Man” is, in this scribe’s humble opinion, the finest country song you’ll hear this year…some Nashville type with a big hat and small ambitions could throw some pedal steel on this tune and take it to the top. Lough imbues the song with lovely fretwork and yearning lyrics, providing the performance with reckless country soul.
The Reverend’s Bottom Line
Peterson Motel offers a lo-fi production aesthetic but high-energy delivery, each and every song a real charmer with smart lyrics and carefully-crafted instrumentation. Lough did it all himself this time around, without a band and with only ‘Riley Coyote’ providing backing lyrics. The results speak for themselves – Lough, as ‘Old Town Crier’ – is a fine songwriter and an intuitive musician that brings fresh energy to old sounds on Peterson Motel. (Stinkbug Records, released May 21st, 2025)
It’s cold as a penguin’s patootie outside as I write this – a measly four
degrees with a minus seven wind chill here in WNY – so it’s time to crank up the
Victrola and spin some hot tunes to melt the ice from your eardrums and push
away frostbite for another day. Here’s some of the Reverend’s picks for winter
playlists, every one guaranteed to get rid of yer ‘winter blues’!
The Continental Drifters
were easily a decade ahead of their time, or maybe a decade too late, depending
on your perspective. Featuring a brace of skilled songwriters – Peter Holsapple
(The dB’s), Susan Cowsill (The Cowsills), Vicki Peterson (The Bangles), and Mark
Walton (Dream Syndicate) – and a slew of talented noisemakers, the Drifters were
an ‘80s-era college rock dream band with the jangle to prove it. They released
four albums over a decade (1993-2004), their final album actually recorded as
their first, and they danced at the intersection of pop and rock at a time when
musical culture was dominated by some of the ugliest and most brutal sounds one
could capture on tape.
As shown by
White Noise & Lightning: The Best of the Continental Drifters
(Omnivore Recordings), music this intelligent, creative, and oftentimes
beautiful is timeless, a magical talisman just waiting for an audience to find
it. With this collection – and the band’s recent biography of the same name
penned by Sean Kelly – the door to rediscovery by a younger generation is wide
open. Pulling material from all four of the Drifters’ albums, and including a
previously-unreleased live track in the form of the electrically-charged “Who We
Are, Where We Live,” White Noise & Lightning offers up everything from the
gorgeous pop ballad “Mixed Messages” to the hard-rocking “Don’t So What I Did,”
as well as the band’s folkish ‘theme song’ “Drifters,” beautifully sung by
Cowsill. Dig into the Continental Drifters, the best band you never heard!
Grade: A+
BUY!
[Omnivore]
Old Town Crier
(a/k/a Jim Lough) has received digital ink here before, notably for the 2023 LP
A Night with Old Town Crier, which Lough used to raise money for The Pine Street Inn, a Boston-area
non-profit fighting homelessness. The four-song EP
Motion Blur (self-produced) was recorded in the winter of 2004, the tape
promptly lost, and then rediscovered last year. Keeping with his usual ‘modus
operandi’ Lough has released Motion Blur on Bandcamp, with half the proceeds
going to the Plymouth COPE Center at bamsi.org, a pretty cool and worthwhile
non-profit that is creating “equal opportunities for individuals with
developmental disabilities and mental and behavioral health challenges.”
Motion Blur
depicts the imaginative rocker in a different light, with a bit of twang in the
grooves and a rockabilly heart. The short, sharp shock of “Back Door” swings on
the hinges of a truly reckless guitar lick that eats at your brain like a
politician’s promise while evincing a cowpunk aesthetic. The toothier “Rebecca”
welds a standard honky-tonk dancefloor rhythm to a slinky Exile-era
Stones soul groove with wiry, madcap fretwork and a joyous spirit while “Country
Boy” is a hillbilly rave-up with clamorous instrumentation and revved-up vocals
that go down like a Mason jar full of ‘shine (smooth, with a finish that kicks
yer ass). Closer “Real Good Friend” injects a ‘60s-era garage-rock vibe into the
mix, like Sky Saxon riding a mechanical bull at Muhlenbrink’s Saloon in West
Nashville, with some mighty fine git pickin’ driving the vox. The EP is a
delightfully lo-fi affair but nevertheless displays plenty of heart and soul
with its performances.
Grade: A
BUY! [Bandcamp]
Any outfit with a name like
The Big Ol’ Nasty Getdown
is certain to get the Reverend’s attention, and the band’s spicy debut,
RepurposE Purpose Vol. 1 (Org Music), lives up to its billing. Masterminded by producer/bassist John Heintz, The
Big Ol’ Nasty Getdown has been bubbling under the public’s consciousness for
better than a decade, but the seven-song RepurposE Purpose Vol. 1 EP
(which delivers all of the energy and cheap thrills of a full-length LP!) should
raise the band’s profile and deserves every dollar you throw out for a copy.
Digging into a long-lost funk goldmine with a veritable ‘who’s who’ of musical
talent, the EP features name players like Jack Irons (The Red Hot Chili
Peppers), Angelo Moore & Norwood Fisher (Fishbone), Jimi Hazel (24-7 Spyz),
Larry LaLonde (Primus), Leo Nocentelli (The Meters), and Ra Diaz (Korn), among
many others. Of course, it don’t mean a thing if it ain’t got the swing, and
superstar studio party times have been known to go awry before, but it’s all
good with The Big Ol’ Nasty Getdown.
Opener “All Together Now” is a
solid musical statement, an energetic instrumental with jazzy horns blasting
above a hardcore funk rhythm and embroidered by the legendary Nocentelli’s
bluesy shards of jagged lead guitar. “Body Magic” offers up P-Funk’s Ronkat
Spearman delivering his silky vox above a spry, space-age funk ensemble that
mixes brass and percussion with a soul undercurrent to booty-shaking effect. The
throwback vibe of the instrumental “420 Ocean Drive” displays echoes of prime
‘70s-era Funkadelic with P-Funk axeman Eric McFadden leading the charge with
imaginative and powerful leads, yet still manages to explore new and exciting
musical territories. Fishbone’s Moore takes the microphone for the low-slung,
raunchy “Spirit Stain” with Jimi Hazel weaving some devastating guitar licks
beneath one of the boldest, nastiest, and entertaining cosmic grooves to ever
tickle your cerebellum.
The avant garde instrumental “Ten Hits” may
be the most intriguing and fascinating cut on the EP; led by Primus
guitar-wrangler Larry LaLonde and featuring Fishbone bassist Norwood Fisher and
Mike Dillon (from Les Claypool’s Fearless Flying Frog Brigade) on vibes and
tabla, the performance definitely digs into exotic turf to deliver a gem of a
lysergic fever dream. Instrumental versions of “Body Magic” and “Spirit Stain”
are as engaging and electric as the vocal versions, but possible with more heft
given the change in focus. Blessed by the almighty Godfather himself, George
Clinton, The Big Ol’ Nasty Getdown is the real deal,
RepurposE Purpose Vol. 1 a stone-cold killer with big funk energy and –
most importantly – the undeniable sound of a bunch of musical brethren making a
joyous noise just for kicks.
Grade: A
BUY! [Bandcamp]
Tommy Castro
has been knocking around the blues world for 30+ years now, but has never gotten
the mainstream recognition his status deserves. Since his 1995 studio debut
Exception to the Rule (and with the Dynatones before that), Castro has
been preserving, yet pushing blues music to new heights. He’s won a slew of
‘Blue Music Awards’ from The Blues Foundation, including the coveted ‘B.B. King
Entertainer of the Year” award an unparalleled four times. He’s an electrifying
performer, an underrated singer and guitarist, and yet he wouldn’t be picked out
of a lineup if he stole a ham sandwich from Carnegie Deli.
It doesn’t
matter, tho’, because what pop music ignores, blues fans heartily embrace and,
as shown by Castro’s latest effort, Closer To the Bone (Alligator Records), the man still has a lot to say. As usual, Castro’s guitar playing in the
grooves is sharp, clean, and concise, reminding of B.B. King but with a little
toothier bite to his solos. Even after decades of shouting the blues, Castro’s
vox remain strong, soulful, with a touch of grit. “One More Night” is a
swinging, Texas-flavored blues romp a la Stevie Ray, but with less six-string
pyro (but still some…) while “Keep Your Dog Inside,” a duet with the
multi-talented Deanna Bogart, evinces Elvin Bishop’s sense of humor while still
managing to sizzle like a steak on a hot grill (and name checks the jocular
Bishop in the outro).
“Ain’t Worth the Heartache” rides an exotic
backing rhythm and Billy Branch’s harmonica wizardry to nirvana while on
“Freight Train (Let Me Ride),” Castro channels Johnny Winter with his wicked
Resonator play. The old-school, West Coast jump blues of “Bloodshot Eyes” jumps
right out of the speakers and grabs you by the ears and, really, all of
Closer To the Bone is pretty much guaranteed to put a smile on the face
of any blues fan. Castro is more of a traditionalist than, say, Joe Bonamassa or
Walter Trout, but neither is he afraid to mix a little rock or jazz into his
blues sound. Neither is he hesitant to call upon his influences (B.B. King,
Albert Collins, Stax Records) when needed to make a point. As such,
Closer To the Bone is both an amalgam of everything that has come before
in the blues world with Castro still managing to put a contemporary spin and
energy to the sound.
Grade: A
BUY! [Alligator]
Miller Anderson – Bright City (Esoteric Records, U.K.) Scottish guitarist Miller Anderson was part of the British blooze boom of
the late ‘60s and while he’s best known for his tenure with the Keef Hartley
Band (four LPs from 1969-71), he also played with Savoy Brown, Chicken Shack,
and Dog Soldier during the 1970s and ‘80s and recorded with mates like Ian
Hunter, Jon Lord (Deep Purple), and Dave Cousins (Strawbs). Anderson has also
pursued an on-again, off-again solo career that began with this 1971 album,
Bright City. Although ostensibly a bluesman, Anderson displays a deft
hand here at several genres, like the proggy Goth of “Alice Mercy (To Whom It
May Concern),” which carries its Procol Harum influences nicely, and ends with a
folkie vibe that could easily pass for an Incredible String Band jam. The
album’s title track offers a dreamy soundscape in the best British folk
tradition, with a lofty string arrangement and Anderson’s filigree
guitarplay.
Bright City isn’t flawless,
however…“The Age of Progress” is an underproduced trifle with tinny harpsichord
and soulful backing vocals, the song never really picking a lane and sticking
with it. “Grey Broken Morning” is a little too jazzbo for my tastes, crossing
lanes into middle-of-the-road turf with syrupy instrumentation and treacly
backing vox. Much better is the nearly eight-minute, fiercely-rockin’ “Hight
Tide, High Water,” which fits all of its kitchen sink styles together into a
singular, impressive performance that leans prog-rock but masterfully
incorporates elements of blues, funk, and hard rock all fueled by Anderson’s
nimble fretwork and a fluid line. Friends and former bandmates like guitarist
Neil Hubbard (Juicy Lucy), bassist Gary Thain (Uriah Heep), keyboardist Mick
Weaver (Wynder K. Frog), and flautist Lyn Dobson (Soft Machine) contribute to
the album, but Bright City is otherwise a showcase for Anderson’s
often-underrated six-string skills.
Grade: B-
BUY!
The Heartsleeves – So Far, So What EP (self-produced) Nashville’s Scott Feinstein has been kicking around the scene for so long
that it’s easy to take the guy for granted. A member of popular local 1980s-era
rockers Shadow 15, this recently-released five-song EP represents the first new
music from Feinstein in memory. Clocking in at a too-short fifteen minutes, the
tunes on So Far, So What nevertheless smack you in the face with what
feels like an hour of high-octane, ultra-energetic rock ‘n’ roll and power-pop.
EP-opener “Angie” is a ramshackle rocker with roots in the Replacements and
absolutely no glass ceiling, with delightfully-discordant guitars and bold
drumbeats courtesy of Music City veteran Brad Pemberton. “Things” follows a
similar blueprint, tho’ maybe even rowdier, with a melodic edge partially driven
by Feinstein’s fine vocal performance and stunning Bob Mould-styled six-string
overkill.
The underlying melody of “Understanding Jane” is
carpet-bombed with pulse-pounding, explosive, smothering instrumentation – a
gleefully wicked, groove, indeed! – while “The Warning” swerves a bit, with
ubiquitous local talent Jonathan Bright taking over the drum stool. Bright
brings a different tempo to what is a more considered, but no less powerful
rocker, but the EP closer “Hate” hits the auditory canal like Trent Reznor
dropping acid with Timothy Leary, the performance a virtual chokehold of flexed
muscle and tense sinew with tortured vocals and devastating instrumentation that
lingers. It’s quite a stylistic departure from the previous songs, but also a
showcase for the immense and often-overlooked talents of Scott Feinstein and
fellow travelers. In the wise words of my pal Jeffersün Jëbëdiah Schmützig
Schanchëz, “BUY IT! You can thank me later…”
Grade: A
BUY!
The Nervous Eaters – Monsters + Angels (Wicked Cool Records) Beloved Boston rockers the Nervous Eaters – whose hard melodic sound has
more in common with, say, the Del Lords than with the Sex Pistols – were
‘one-and-done’ with a single 1980 Elektra Records album recorded by an
unsympathetic producer (the better-suited Ric Ocasek was proposed by the band
but rejected by the label); ultimately underpromoted to death by a clueless
label. The band has soldiered on with founder, singer, songwriter, and guitarist
Steve Cataldo carrying the torch through various incarnations and indie LPs like
1986’s Hot Steel and Acid. This 21st century version of the Nervous
Eaters was formed in 2018 by Cataldo and a brace of Boston rock veterans, who
recorded Monsters + Angels during the pandemic year. Released by Little
Steven’s Wicked Cool Records, the foursome cranks through ten red-hot tunes that
are guaranteed to scratch your rock ‘n’ roll itch. If FM radio wasn’t such a
barren landscape of spineless cretin programming, Nervous Eaters tunes like the
hard-rockin’ “Tear Me Up” or the throwback power-pop of “Superman’s Hands” would
be dominating the airwaves. If guitar-happy, harmony-rich, big beat classic rock
is your jam, you owe it to yourself to (re)discover the Nervous Eaters.
Grade: A
BUY!
Old Town Crier – A Night with Old Town Crier (self-produced) Old Town Crier is the solo musical project of Middleborough,
Massachusetts multi-instrumental talent Jim Lough, who has a pair of fine
previous EPs under his belt. I wrote last year about
You, a benefit EP
raising funds for progressive political candidates. The results were so
successful that Lough decided to release a full-length live album,
A Night with Old Town Crier, with half of the proceeds donated to The
Pine Street Inn, a charitable organization located in Boston with the worthy
mission to end homelessness. Joined by talented young musicians like guitarist
Garrett Jones, bassist Alex Bilodeau, keyboardist JennHwan Wong, drummer Avery
Logan, and saxophonist Stephen Byth, Lough and band run through eight rockin’
tunes that could have just as easily been recorded in the early ‘70s as in the
early 2020s.
Old Town Crier pursues a throwback sound that is
famously diverse with a contemporary feel and nary a shred of musical
revisionism. Reminiscent of such genre-blending, melting-pot bands as the
Charlatans and Dan Hicks and His Hot Licks, Old Town Crier mixes rock, classic
R&B, blues, jazz, and Americana in a huge cast iron cauldron and lets it
boil over for our entertainment. For instance, “Before You Came Along” displays
elements of 1950s-styled rock with period R&B, Lough’s soulful vocals
accompanied by honky-tonk piano licks and blasts of icy saxophone. “Come Home
Caroline” offers a more measured performance, cool blue sax providing a jazzy
intro to a heartfelt love song with plaintive vocals and gorgeous
instrumentation while “Della May” reminds of Leon Russell with its bluesy,
jazz-flecked piano, loping bass lines, and mournful sax with Lough’s effective
heartbreak vox the icing on the cake.
My fave performance on
A Night with Old Town Crier is the jubilant “Everybody’s Somebody’s
Baby,” a jaunty rocker with an old-school vibe and shades of jazzy ‘60s R&B.
It’s just a great, up-tempo love song with simple yet brilliant lyrics,
rampaging saxophone, big beat drums, and an overall “feel good” finish to the
album. If you’d like to hear some fun, finely-crafted, and excellently-played
music and support a good cause at the same time, head on over to
Bandcamp
and check out A Night with Old Town Crier.
Grade: A
BUY!
Orang-Utan – Orang-Utan (Sommor Records, Spain) From musical trailblazers like John Mayall’s Bluesbreakers and Cream to
one-shot wonders like Killing Floor and Black Cat Bones, England in the late
‘60s was wall-to-wall with blooze bands grasping at the brass ring. Orang-Utan
(née Hunter) were one such outfit, a talented bunch o’ young punters who got a
raw deal, literally drawn up in a back-alley by a fast-talkin’
producer-cum-label impresario, resulting in this lone self-titled album released
in 1971*. There’s a lot of promise in these tunes, which fall into a psych-blues
groove fueled by Mick Clarke’s imaginative fretwork and drummer Jeff Seopardi’s
ahead-of-his-time songwriting chops. But there’s also a presage of skillful
progginess that suggests a future evolution of the band’s sound that would never
be. R.I.Y.L. Cactus, Mountain, The Groundhogs, et al.
Grade: B+
BUY! * Due to its obscurity and stateside-only release, Orang-Utan, the album, has long been a mid-priced collectible; an original vinyl copy
in good condition will run you $50 or more. This 2022 CD reissue will cost you
much less, and is the only authorized reissue of the album after decades of
dodgy releases that didn’t pay the band a dime in royalties.
Roxercat –
Pearls EP (9 Dog Records, digital release) When I reviewed
The Fortunate Few: The Rock Opera
a couple of years ago, I mentioned that Nashville rock veteran Price Jones left
the singing on the album’s songs to the capable hands of Ryan Greenawalt and
Talisha Holmes. This evidently struck a chord with the talented singer,
songwriter, and guitarist as, for Jones’ latest project with her new band
Roxercat, she’s taken back the microphone with happy results. Collaborating
again with legendary jazz guitarist Stan Lassiter and bassist Bill Francis, with
various guest musicians pitching in, the six-song EP Pearls offers up
gems of shimmering, gorgeous, guitar-driven rock ‘n’ roll.
The title
track is a lovely, poetic song rife with imagery built around Lassister’s fluid
guitar lines and Jones’ yearning vocals. “Crime” adds a bit of funk to the EP’s
rockin’ framework, with Jones’ playful, buoyant vox doing the heavy lifting
alongside a foot-shuffling, booty-shakin’ rhythm. “Baby I Tried” is a more
traditional love song with guitar lines that perfectly capture the song’s
emotions, Jones’ heartbroken lyrics backed by soulful harmony vocals, while “I
Changed Today” highlights Lassiter and Francis’s jazz roots with a complex
soundtrack that includes a few hard rock riffs and some funky Booker T-styled
keyboard flourishes, atop of which ride Jones’ defiant vocals. The
instrumentation is top-notch throughout the six songs on Pearls –
creative, imaginative and, at times, edgy and adventuresome while Jones’ lyrical
chops are as strong as ever.
As they were released digitally rather
than in physical form, it’s hard to actually buy these tracks – only two songs
are available from Amazon – but trippy, too-cool videos for four of the EP’s six
songs are available on the
Roxercat website and
YouTube, and you can stream the entire Pearls EP on services like Spotify
and Apple Music. The Rev sez “check it out!”
Grade: A
Bob Weir – Ace [50th anniversary edition] (Rhino Records) Although Grateful Dead singer, songwriter, and guitarist Bob Weir wasn’t
the first of the band’s members to release a solo album (Jerry Garcia’s
Garcia beat him to the punch by a few months), Weir’s 1972 debut
Ace was nevertheless the better-received of the initial Dead bandmember’s
solo efforts, establishing Weir’s status as a standalone talent and Garcia’s
creative equal. Although the core members of the band (Garcia, bassist Phil
Lesh, drummer Bill Kreutzmann, and keyboardist Keith Godchaux) contribute in the
studio, Ace is undeniably Weir’s show, the guitarist singing and
co-writing all eight of the album’s songs (five of ‘em with hippie lyricist and
Dead friend John Perry Barlow), several of which would subsequently become
enduring staples of the full band’s nightly set list.
Nor is it a
major surprise that a lot of the songs on Ace follow a similar
roots-rock, country, and blues blueprint as the Dead’s 1970
American Beauty LP, Weir seemingly expanding on musical ideas he
originally had for songs like “Sugar Magnolia.” There are a lot of great songs
on Ace, from familiar tunes like “Mexicali Blues,” “One More Saturday
Night,” and “Playing In the Band” (all also performed by the Dead) to overlooked
gems like “Black-Throated Wind” and “Looks Like Rain.” This 50th anniversary
reissue has been expanded to two discs, the second comprised of a 2022 live
performance of Ace by Weir & Wolf Brothers with guests like Tyler
Childers and Brittney Spencer. While the second disc is entertaining, revisiting
the songs with younger albeit equally-talented musicians, there’s no denying the
magic and immediacy of the original Ace, which launched Weir’s solo
career and remains the best album the Grateful Dead never released.
Grade: A
BUY!
“Rock is dead!” is the tortured cry of dopey pundits and clueless label executives, proffered as an excuse for their own tone deafness, disregardful of the legions of loyal rockers roaming the American countryside with six-strings set on “stun.” Rock ‘n’ roll has lost its way, however, or at least lost the edge it once had as a medium for political commentary and reform. Although a few old-school survivors of the ‘60s like Neil Young and “Little Steven” Van Zandt still buzz and hum with righteous fury on vinyl from time to time, younger bands are afraid to take a political stance.
A lot of contemporary bands are looking for big dollar, “Big Rock Candy Mountain” levels of success, but a few are using their art as a catalyst for social change. “You”, a five-song digital EP and the second recording by Massachusetts outfit Old Town Crier, is a great example of rock ‘n’ roll being used to further a progressive political agenda that would benefit society. The EP’s title track is an infectious slab of guitar-driven power-pop with an energetic melody, cool vocal harmonies, and a stinging guitar solo that conceal some deceptively pointed lyrics. “Thin Blue Line” uses a throwback 1960s sound and Spector-esque production with chiming keyboards and crashing drumbeats to support its message whereas “Dawnland” is slower, more nuanced, evincing a shimmering psychedelic vibe with colorful guitars and gorgeous keyboards.
“Coal River Mountain” is an Americana-styled romp with wiry fretwork and a rhythmic sense of urgency (like a locomotive teetering down the track), a story-song set in the wilds of West Virginia with imaginative lyrics. The EP’s fast-paced five closes with “Radio On”, a clever, lofty pop-rock construct with hints of the Beatles, Big Star, and Harry Nilsson. Old Town Crier is the solo musical project of Massachusetts multi-instrumentalist Jim Lough, whose previous release was 2021’s five-song EP I’m Longing For You Honey In Middleboro, Mass. Recorded at The Fallout Shelter in Norwood, Massachusetts, You features Lough on vocals, guitarist Garrett Jones, bassist Alex Bilodeau, keyboardist Jenn Hwan Wong, drummer Avery Logan, and saxophonist Stephen Byth, who blows up a storm on a bonus live recording of “You”.
A mere five simoleons for five rockin’ tunes is a better deal than you’re gonna get on anything you’ll find at Dollar General or Wal-Mart, so what are you waiting for? Buy it! All proceeds from the sale of the album will be donated to progressive Democrats running in key races, namely Christine Olivo (FL-26), Jason Call (WA-02), and Melanie D’Arrigo (NY-03), and if you have anything left after buying this Old Town Crier digital EP, consider throwing a few shekels to the progressive candidates in your area.
