-discovery, a weekend of new music, a weekend of freedom. With this year’s 2011 line-up posted, I thought I’d introduce you to some of the artists that will be bringing in fans from hundreds of miles to gather under the sun in Sherman, New York for culturally rich, musically diverse weekend in the woods.

Slow Mo (featuring Mic Wrecka)

The Philadelphia based, steel guitar pluckin’, rhyme-spinning tag team of Slo-Mo and Mic Wrecka will be lighting up the stage again this year! Somewhere stranded in the void of genre specificity between Robert Randolph, The Roots, Cake, and Big Audio Dynamite, the team of Mike “Slo-Mo” Brenner and his touring band will once again join up with Mic Wrecka to deliver a sound that can only be defined as Rural Hip-Hop with plenty of bop and twang. Every year these guys bring a certain fire to the crowd just as the sun is setting, right about the time when everyone starts jumping up and down.

Slo-Mo – County

The Town Pants

What haven’t I said about these Vancouver Cannucks that bring the drinking songs of a sailor and the raging energy of an Irishman to the rolling hills of Western New York? I’ve gushed about the Town Pants for years because of their raucous stage presence, their electric energy, and their ability to synchronize a crowd in to a common state of party mentality. Fiery fiddle and

loud twangy banjo round out a full spectrum of sound that is sure to light up the festival.

The Town Pants – Come With Me

Donna the Buffalo

This will be Donna’s 20th time playing at the festival, having been headliners since the beginning. Jeb, Tara, and the gang have spent half of a lifetime producing Americana music with zydeco, reggae, and bluegrass roots. They have an easy-going, elemental stage presence that focuses the audience’s attention on the rustic groove of their music. Also, their late-night reconfiguration in to their alter-egos, Buffalo Zydeco, will have the dance tent moving until the wee hours of the morning.

Donna the Buffalo – Family Picture (live)

The Sim Redmond Band

Traveling around the world, and known for collaborating with acts like Moe, the Nevil Brothers and Jimmy Cliff, the Sim Redmond Band plays a unique, distinctive blend of roots rock and Caribbean reggae music that ensnares the listener and gets wedged in to your brain. Hailing from Ithica, New York, the SRB should feel right at home as they play a harmonious blend of deeply American music, infused with a cornucopia of ethnic influences, across the Amish hillsides.

The Sim Redmond Band – Life Is Water

The David Bromberg Quartet

After a 17 year hiatus from recording, David Bromberg returned to recording and is now back to playing his iconic brand of acoustic, traditional blues and folk. Expected to release an album less than two weeks after Heron, the festival will likely be a bit of an album-release party for David and I’m sure you’ll hear a nice mix of classic standards and new material. The guitar virtuoso never disappoints and will have an inspiring showcase of talent under the warm July sun.

David Bromberg Quartet – Last Song for Shelby Jean

The Horse Flies

Acclaimed by Rolling Stone for their ability to “churn out swirling, addictive songs, blending tradition with invention”, the Horse Flies produce of astonishing, complex rhythms, surprisingly rich textures, and showcase limitless energy on stage. To boil the ‘Flies down to an Americana band is simply selling them short – they are a diverse, talented group of musicians that produce music that is humbling and humble simultaneously. Full of spring vigor and summer Zen, these guys are best heard outside, and you’ll get your chance this July.

The Horse Flies – Baghdad Children

These are just a sample of the dozens of acts to catch this year at Heron. Mystery Tricycle will be up there reporting on the new music and new experiences floating through the trees in Sherman, New York, and we hope you are too. Tickets are on sale now!

, ?uestlove, Kamal Gray, and all members of the Roots,

My global contempt for the hip-hop music community has always been deeply ingrained within my taste in music. It’s always been a driving element in my rip-tide repulsion to popular culture. Even during the foundations of the genre, groups like Run D.M.C. and N.W.A set an expectation deep within me that shouting poetry to the beat of music probably wasn’t going to be my thing.

I’ve long condensed hip-hop as simply a sub-culture that represented little more than the glorification the performer, not the performance; acts that were focused on image and dominance in lieu of creativity or musicianship. It felt like every song I heard was banality of synthesized looping beats as the foundation for poorly executed shouting about the thug lifestyle, the virtues of the vagina, and how all it took was confidence, fame, and money to rule the world. I would strive to extract themes I could relate with, or at least identify, but sadly, was lost in the sea of stupidity.

Perhaps it was a racial thing, and I’m man enough to admit it. Hip-hop was still in the process of self-identification when I was growing up as a white kid from a Catholic elementary school in the rolling mountains of Western Maryland. I would be hard-pressed to find a way that my ‘roots’ were not the antithesis of the hip-hop culture. The ‘projects’ were just a mythical land to me.

So I kept growing up, and kept listening to the cultural pulse, and kept diving deeper in to a pretentious fog of valuing music from Julliard more than from the streets. I wanted to be stimulated musically. I wanted to feel like music was valuable because it was a recording of people doing things I couldn’t do. Far from virtuosity in any instrument, music was the sum of it’s parts for me; a deeply-seeded exposition of human talent – the human brain in tangible motion. This isn’t to say that I was enamored with Mozart or Tchaikovsky, I was far too enthralled by drums and guitar, but when asked if I liked classical music, I always had a quick answer.

Yes. But yes is simply the simplified answer to dismiss the question. The truth is that I’m not obsessed with the bulk of music I heard from the 17th century. The fact was, I had immense, immeasurable respect for any man that could arrange a score for a room full of instruments and make something with structure, melody, texture, and harmony. And this is probably the source of all my music pretentiousness and my aversion to hip-hop. But I just didn’t find myself listening to it for pleasure.

There was music I respected, and then there was music that I enjoyed. But, I could only find myself ‘liking’ tracks in the middle of the Venn Diagram.

Hip-hop was always hard to respect. It wasn’t the vulgarity, or the objectification of women, or any of the other tropes that are so commonly associated with the genre. For me, it was the violation of the rules.

It was how ‘uh’ is used as a syllable. It was how ‘erbody’ could stand in for ‘everybody’ without reproach. It was how every lyric of every live show that I’ve ever seen was shouted at the top of the lungs with complete disregard to balance and control. But mainly, it was how it was received. I didn’t want to live in a world where shouting of improper English about hedonism and violence, all on top of a synthesized repeating beat, was met with adoration.

But then the Roots were born. And it all started with drums.

I probably need to thank ?uestlove for my acceptance of hip-hop more than any other soul in human history. My first experience with the Roots was a few tracks of their album, The Tipping Point that I heard on a car trip to Boston with my friend Chris, another archetypical white boy like

myself. I liked them, but they had yet to break through my steel curtain of aversion for ‘rap’.

But by this time in my career of listening to music, I was starting to explore black music before “black music”. I was already beginning to explore the domains of funk and soul – and during this individual renaissance, I felt intrepid – like I was the first white guy to ever hear the Isley Brothers. My audacious attitude, combined with the acoustic, gritty drums on the Root’s disc, made me give them another listen.

Then I heard the Roots. I mean, heard them.

A few days later, I was listening to the lyrics and heard Black Thought talk about things like South African Apartheid and people like Langston Hughes. I found myself listening at my computer, pausing the track, and Googling terms I heard. And then there was this singular moment – I realized that I’m learning from the Roots. I’m learning history and culture, I’m shattering racial barriers in my brain, and in an instant, I respected the Roots. I get them. I nod my head and believe in the music. I understood the message; I felt the pulse.

The eclectic brand of funky guitars, gritty drums, and non-sampled music is the perfect entry point for someone in a pretentious indie-music shadow. Powerful lyrics, thoughtful messages, expert musicianship, and true soul in every note, make the Roots the first hip-hop band that I didn’t just tolerate, but loved. They opened a door, via the Soulquarians, to new frontiers of music for me.

The Roots have made a career on this funk-a-fied brand of neo-soul hip-hop, and their entire catalog is damn good. Obviously, if you read MT, you know that I’m enthralled with their newest work, a collaboration with John Legend, but every one of their albums is an arrangement of eclectic instruments, groovy beats, and a signature approach to hip-hop lyricism that defies boundaries and converts non-believers.

So, Roots, I just wanted to say thanks for shattering stereotypes. Thank you for keeping your sound acoustic and live. Thank you for writing compelling, flowing lyrics. Thank you for keeping your sound the way it should be, even during this pop-hop transience that we are going through. And mostly, thank you for ‘keeping it real’. I never knew what that meant until I had you in my life.

Sincerely,

Nick, A Newly Reformed Hip-Hop Man

The Roots – Guns Are Drawn

overed Cello Fury. I wasn’t in the room when they started to play, but their infectious sound quickly drew my attention away from the molten glass being shaped into a vase (no mean feat, I can assure you). Being a classically trained violinist I first thought that the cellos being played were electric since the sound was so smooth; there was no change of tonal quality in the higher registers and very little auditory evidence of bow changes or string

changes.

Turns out this smoothness is due in small part to the minimal electric attachments to the cellos (for musical balance with the drum kit), but mostly to the impressive skill of the musicians. Through this combination of slight electronic modification and skill Cello Fury has obtained the smooth singing quality of a higher pitched instrument (think a violin or viola) mixed with the inherent solid depth of tone that cellos possess, to create a sound that simultaneously soars through the upper atmosphere and roots deep into your bones. This juxtaposition between depth and movement is really lovely both in person and on the CD.

But more importantly, Cello Fury is not your grandmother’s quartet. There is not a single Vivaldi, Mozart, or Beethoven lick to be had, and they are unlikely to be playing at a pretentious outdoor country wedding whose guest list comprises only those who make 7 figures a year. Not because their music is not worth the five figure appearance fee undoubtedly paid to those sorts of musicians, but because their music demands attention. It is not music which will flit unconsciously in the background whilst guests sip on champagne and nibble hor d’oeuvres. It won’t sit peacefully and allow someone else the glory and spoils of attention. The music reaches deep into the souls of the audience and compels either movement or enraptured attention; demanding and pushing with each note and phrase.

As a live show, the group is impressive. They have such fun when they play and this rapport is clearly communicated with the audience. They are also just as good (if not better) in person as on their CD. Some bands disappoint live, but I’m happy to report that Cello Fury is not one of them. In fact, I enjoyed their live show slightly better than the CD because they are true entertainers. Their passion for music comes through with every body movement that they do onstage, and some of that is necessarily lost on CD tracks which aren’t accompanied by visual representation. I was simultaneously impressed and amused by the headbanging; impressed because not a note was out of place amongst the gyrations of the skull, and amused because, well, there are three cellists headbanging to their music. You don’t see that every day. (Imagine if the cello section of your favorite philharmonic started headbanging like Megadeth without missing a beat. Somewhat comical)

This sort of musical style is a bit more popular currently in Europe, with Escala (an entirely electric string quartet) becoming finalists in Britain’s Got Talent. However they mainly do “covers” (tough to really say covers since the music was all originally classical and the composers have been dead for ages) whereas Cello Fury writes their own music. Another skilled band is Bond who claims to be the “original electric string quartet”; their style is a bit more pop/dance, similar to Escala.

This disc is a great classy alternative to the Billboard 100 hits to play at adventurous parties to get people moving on the dance floor. Even slightly less energetic events would undoubtedly benefit from an infusion of Fury.

The Good: Sometimes mixtures of styles lead to mediocre outputs. Cello Fury’s melding of rock and classical takes the best of both worlds and outputs something even better.

The Bad: Tough to say. The CD is all done in a very specific style although tempo and mood vary quite a bit, to the point where I personally find large differences in songs. However it does take more than one cursory listen to extract those quirks, so this CD isn’t for those who listen once and then never come back.

The Verdict: Live or on CD, this is a group worth listening to.

Cello Fury – Odyssey

Then Cosmic Genesis was released in 2000.  This album and the two to follow were mostly in English and moved more and more away from the folk influenced metal into more and more progressive metal until The Focusing Blur, which was completely in English and almost all experimental.  Needless to say I was not pleased.  Solens rötter saw a return to all Swedish lyrics and more folk-inspired themes and sounds but was still too progressive for my taste.  Thus, Vintersorg is my favourite metal band (for Till fjälls especially, but also Hedniskhjärtad and Ödemarkens son), but for the last 10 years or so I’ve been unimpressed and disappointed.

My first listen through to Jordpuls I didn’t like it.  It was

much more folk-heavy than anything since Ödemarkens son, but not up to snuff with Till fjälls.  But you can’t just listen to an album once and make a proper decision.  Every time I hear it now (going on 15-20) I like the album more and more.  There is a much higher abundance of growled lyrics than the first three albums I think, which was a turn off at first.  See, part of the reason I like Vintersorg so much is Mr. V’s voice.  It’s just so.. well, I’ll put it this way.  If there was a way to have sex with a voice and it not be gay I would totally pick his.  Actually, I might even if it is kind of gay, that’s how amazing his voice is.  The problem is that that doesn’t come across as well when he’s not singing clean lyrics.  The growled lyrics just don’t shine like his clean vocals do.

Another complaint about the album is that most of  it feels  too layered, too busy.  One thing I really liked about the early albums was that there was a diversity of feeling to the music.  Some of the songs would be more laid back than others.  The driving drums and guitar are still there in those songs, but there is also an element that’s rather lofty and slower.  Most of the time it’s Mr. V’s vocals, but, other times it’s the piano in “Till fjälls” (the song, not the entire album) or Cia Hedmark’s vocals in “Isjungfrun”.  Don’t get me wrong, there are parts of songs on Jordpuls that manage to capture this feel: the album closer, Eld Och Lågor, is probably the best example.  But it’s all kind of buried and feels like an after thought.

Still, for all of that I’ve definitely changed my opinion on the album now that I’ve heard it more.  It’s worth listening to, especially if you’ve been waiting for Vintersorg to return to their folk roots.  While it may never be as good as the first three albums it’s still pretty good.  I hope it’s an indication of the future direction Mr. V is going to take.  If it is I’m more than willing to wait another four years for the next album.

The Good. Vintersorg has returned more to their folk roots than with any album since Ödemarkens son.  I think this is a huge plus.  Mr. V’s voice is still great and a pleasure to listen to.

The Bad. It’s better than mediocre, but still not great.  There’s just something missing.

The Verdict. Not Vintersorg’s best album, but it’s worth listening to, especially if you’ve been waiting for 10 years for them to return to a more folk-influenced sound.

Klippor Och Skär

PS.  It’s a longer song (6+ min), so I had to compress it in order to put it up here.  Sorry if there’s any loss in quality, but it should still give you a good idea of what the song sounds like.

Hipsters, we need to talk.

I don’t know how to

tell you this, but I think we need to break up.

It’s not you, it’s me.

We had our good times. You introduced to me to vintage music and showed me what quality craftsmenship looks like. I can’t thank you enough for that; and you know Fleetwood Mac will always be our thing.

But I need to move on. I guess I just wanted to tell you about me, the Foo Fighters, and Wasting Light before you heard it from someone else.

Before you start getting upset, know that I’m only here because you always taught me to follow the music.

Don’t worry; I’m in good hands. You two would probably be very good friends if it wasn’t so awkward. I mean, you both like Nirvana and Butch Vig. Did I tell you about the garage recording? That’s right, the enter record was made in a garage on analog equipment. You can hear the imperfections. Doesn’t that get you excited?

Here’s the thing: Dave and the boys can give me something you never could. Airplay.

I mean, there was that one time with Mumsford and Sons, but you said they were too maintstream after Taylor Swift covered “White Blank Page“. You know I love spending time with you; I just wish you would make an effort to come to me. I’m tired of always coming to you. Wasting Light’s ‘Rope’ launched at #1 on Billboard’s Rock Songs. I didn’t have to go pillaging through records stores and cans of PBR at a some $10 cover show just to find good music. You know where we met? Top 40 radio. Yeah, I said it. I sometimes listen to Top 40.

Please don’t even act surprised. You know me and Foo have been friends since ‘97. And I’ve heard you sing “My Hero” before, so don’t try to hid it.

Try to be happy for us. This is what I want. It’s not like we won’t see each other anymore. I won’t even be mad if you stalk them online.

Now if you’ll excuse me, Dave is calling.

The Foo Fighters are back with their seventh studio album, Wasting Light, after spending the last three and a half years touring and collecting Grammy Awards from Echos, Silence, Patience, and Grace. Proving again what a talented band they are, Foo unleashes an unadultered album that pleases lifetime fans and newcomers alike. From his blues crooning on ‘I Should Have Known’, to his screaming vocals on ‘White Limo’, Dave Grohl covers a breadth of ranges most vocalists dream of.

Like a family reunion, Krist Novoselic and Butch Vig join with Grohl to help fashion an album the way Nirvana would have:

badass. Not only does the music deliver, it was all done without computers. Recording in his garage, Grohl wanted to get back to raw feel of the music. In case you don’t believe him, Grohl shredded the master tapes after recording and included a piece in every CD.

The Good: Talking with a friend about which bands our generation will remember 30 years from now, I mentioned Foo Fighters. This album only solidifies that belief.

The Bad: For fans of the lighter side of Foo Fighters (read: In Your Honor: Disc Two), about the closest thing you’ll get to an slow song is ‘These Days’.

The Veridct: Forgo the digital download and buy the physical album. You’re gonna rip it anyway; might as well get some master tape out of it.

P.S. For audiophile’s who respect the notion of physical music, be sure to check out Medium Rare on April 16 available only on 12-inch, 120-gram vinyl.

Foo Fighters – Rope

s-Let_It_Go_3-300×300.jpg” alt=”" width=”300″ height=”300″ />The Clarks are a Pittsburgh-based rock band that seem to have been on the edge of breaking out onto the national scene for years now. Formed in 1986 they cut their teeth playing at fraternities and bars. They’ve released 12 studio and live albums since forming, which have collectively sold nearly a quarter million copies. Their music has been featured in the Warner Bros. Summer Catch and the closing credits of The Anna Nicole Show. Admittedly Summer Catch is only rated at 4.6/10 on IMDB and 7% on Rotten Tomatoes and it’s Anna Nicole, but still, that should generate some interest. In addition they’ve played on the Late Show with David Letterman. They’ve toured all across the East, Southwest, and Pacific US, but for all of that are still most popular around Pittsburgh and Western Pennsylvania. While they might draw a few thousand attendees to shows in other areas around the ‘Burgh The Clarks can bring in a crowd of over ten thousand. This is probably in part because people in Pittsburgh often have great taste in music, but also because two local radio stations, WDVE and The X (WXDX), often play their songs.

Let It Go is probably The Clarks most successful album to date. Most of the songs on the album, such as the popular “Chasin’ Girls” and “Better Off Without You”, are energetic tracks. You find yourself tapping your foot or bouncing a knee or whatever it is you do to keep a subconscious beat. Even the more ballady songs are energetic, like they know they could just rock if they wanted to, but chose not to and if you don’t like that tough. So yes, energetic, that’s how I’d have to sum up this album if forced to pick a vague term that you can’t properly quantify (and that’s what this music review business is all about, isn’t it?). Actually, sometimes you swear you’re listening to a band that you’d hear at a college bar, only they’ve polished their material, written a lot of original songs, and gone professional. Which is exactly what The Clarks have done, so that makes perfect sense.

Now getting into some specifics just for fun: “Snowman” is the album opener. While the lyrics are intentionally vague it’s fun to

listen to with some great guitar riffs and a driving drum beat. It definitely sets the tone for the rest of the album.

“Better Off Without You” is anthemic, especially to anyone that’s broken off a terrible relationship though I think most of us can relate to that experience. It’s kind of angry, but driven and glad to be done with that stupid bitch at the same time. Take for instance the last couple lines:

“Late at night you pick up the telephone
Call me up and cry ’cause you’re all alone I don’t care
Apologize for taking my cigarettes
Now it’s time to feel all the side effects
Missing the life you had”.

“Born Too Late” is a perennial favourite. This is often one of the songs that gets people hooked on The Clarks. Released as a single it’s a retrospective song that references famous artists and figures throughout history. I know that doesn’t sound like the outline of a song that should have become a national/international hit, but once you hear it I’m sure you’ll agree.

“Chasin’ Girls” opens with lyrics I’m sure a lot of us can relate to:

“I’ve been chasin’ girls
I’ve been drinkin’ beer
I’ve been getting stoned right here”

If you’re reading this blog and are male (and sometimes female) then you’ve done that. As for the song it self, it’s basically saying “Yeah, I could be successful if I tried”. Again, been there and though that, right?

The Good: Pretty much every song on this album is well thought out and well done. There is a range of intensity from driven rock to ballads and lyrics anyone can relate too. Plus the songs are catchy.

The Bad: Some serious Clarks fans like their earlier stuff better. Might be that if you like this album you should check it out as well. Let this album springboard you into their discography.

The Verdict: Listen to the album, you’ll like it. If you don’t trust me look at the ratings on Amazon: 24 5-stars, 7 4-stars, and 1 2-star. Pretty good indication I should think. Also, if you’re outside of Pittsburgh, you can thank me for introducing you to The Clarks after they blast off onto the national stage. If you’re from Pittsburgh you can share the smugness of knowing they started here and they’ve great for years.

One last thing. Everything I’ve heard and read says The Clarks live show is even better than any album they’ve put out, and in fact the best part about the band. Unfortunately I’ve never been to one of their shows. I’d really like to someday. They play around 150 shows a year so it shouldn’t be too hard getting to one. If you can see them, my only suggestion is to do it and see what happens.

The Clarks – Born Too Late

The Clarks – Chasin’ Girls

y as Adam himself probably is. Though I’ve never met the man, I can safely guess that he is a complex, layered individual. My first clue in to that insight is No Poet, his newest release.

No Poet exists an enormous juxtaposition. It’s a short (20 min EP) arrangement of brief, compartmentalized folk-pop-rock musings, but within a relatively bubbly exterior lies some complex themes and messages. The disc is focused around human conflicts like the fears of leaving home, questioning of religion, and the frustrations of sexuality. All very deep thoughts requiring pointed introspection and deep considerations. Not bad for 3 minute pop songs, eh?

The opener, ‘Oliver’ is about a long distance relationship, and explores the concerns of fear of abandonment and resisting the temptation of infidelity. It’s a battle between love and lost, and presents some very deep concerns for a 2minute, 12 second song. At the end of the song, the listener realizes what Adam calls “the redemptive power of trust.” This is just an example of the tangibly important themes that are buried at the foundations of the music. You can see that these are tracks centered around the story, and lyrics are definitely of paramount importance for ‘getting’ this album.

Musically, it’s evident that backing tracks are there as foundation of the stories only, and not voices themselves. There are no real solos or notable performances –

not necessarily a bad thing, but as the name contradicts, this is a poetry album and music exists superfluously. Back tracks are the standard fare of acoustic guitar and poppy drums. I rather prefer it that way, as it gives ample room for the listener to extract some meaning from the lyrics.

This is a good disc for a quick listen, and I recommend it provided that folk pop is your thing. It’s not breaking any boundaries, but it’s comfortably riding in the sweet spot that bands like Stereo Fuse and REM have cut out for them.

The

Good: Quality songwriting, important and relevant lyrics, in a nice, succinct package.

The Bad: Maybe a little too succinct, EP’s don’t always cut it for me in length.

Verdict: This is a quality disc worth listening too, but I’d probably prefer to see the man live.

Adam Taylor – Oliver

defies all attempts at pretentiousness; it’s just straight up cool. Even if you’re not a classical music fan (though if you read MysteryTricycle you must enjoy the occasional Bach partita or Chopin waltz), you’re going to enjoy this.

Enter and the virtual choir. Eric started life in Nevada, wanting to be a pop star. “[I wanted to be] the 5th member of Durand Durand” (from his speech at Ted talks). However after going to college he realized that there’s really no degree for that, and he was strong-armed by a friend into joining the university’s choir (with the promise of hot soprano girls and a trip to Mexico).

It was in this choir that Eric had an epiphany of sorts, which would shape the rest of his life. He abandoned the idea of becoming a pop star to instead become a classical music composer and conductor. Since then, he has written many works including pieces for choir, wind symphonies, and even a musical.

But what we here at MysteryTricycle are most impressed by is his idea of a “virtual choir.” A few years ago he got the idea to try to put together a choral rendition of his song Lux Aurumque by requesting that users submit YouTube videos of themselves singing the piece.

To have a shot at making this work, he videotaped himself conducting the piece, and had a background track of piano so that people could listen to something while they sang. This way everyone would sing at approximately the same tempo and approximately the same pitch.

The submissions came in, were edited all together, and Lux Aurumque was released via YouTube in 2009. In the end, there were 185 people singing this song together representing 12 countries around the world.

We not only appreciate the uniqueness of the idea, but the production that went into this. Scrubbing the sound (YouTube videos and home recordings aren’t usually known for their HD quality), splicing 243 tracks and rendering them into the inspirational and deceptively simple concept of the video took some masterful engineering and creativity.

We doff our caps to producer Scott Haines and the visual treat he created for our ocular enjoyment. This entire project could have easily been much less significant had Scott decided to cheese up the buy viagra without prescription post production. Instead, he leaves it as much to the singers as possible, and humanizes the song. We can each pick out someone like us in montage,