Jason Isbell – Something More Than Free – 2015


With the critical success of Southeastern, Jason Isbell’s freshly sober 2013 album, it was inevitable that close attention would be paid to Something More Than Free. With this release, it’s safe to say that Jason Isbell has ‘made it’. The long-time cult darling became a critical darling, and with appearances on CBS Sunday Morning and Conan the critical darling is soon to become a mainstream one. But how would Isbell approach the magnifying glass that he was now under, the larger stages he was set to take?

Isbell’s approach to Something More Than Free is emblematic of the profound love of life he professed on Southeastern. It is at the same time fresh and carefully crafted: these are not songs for Jason Isbell, or songs for people who have been following Isbell since he was in his early twenties. These songs are for anyone who happens to hear them.

Though the 400 Unit, Isbell’s band, was featured on Southeastern they have a bigger role to play in Something More Than Free. The sound is warmer, fuller- building to crescendos and subtly reinforcing melodies with equal ease. These songs were carefully crafted by the band in the studio, aided by producer David Cobb (who worked on Sturgill Simpson’s Metamodern Sounds in addition to Southeastern), months before they were ever played live. Though there’s plenty of Isbell’s acoustic guitar, when you close your eyes and listen to the music you can almost see Gamble behind his drums nodding along, Hart grinning behind his bass, Vaden soloing with one foot on an amplifier, and Derry DeBorja hunched over his keys. This group of musicians have put in the work, and the craftsmanship of this album sounds effortless.

Most of Something More Than Free could play on the radio, with earnest everyman charm and eminently hummable music. The album opens with the chipper “If It Takes A Lifetime”, about a man who spent much of his life going full-throttle down the wrong path before sobering up and trying to get it together. No, it’s not about Isbell’s rock and roll past, but about a blue collar worker looking philosophically at the kind of man he wants to be, even if it takes him a lifetime to get there. These everyman (and everywoman) themes permeate the album: Isbell takes his talent for turning his insides out and applies it to the human condition at large. Whether you were in a cult-favorite rock band or staying put in your hometown, a crash and burn still feels like a crash and burn and getting your head right feels like waking up from fitful sleep. The glue that holds this record together is grit. Something More Than Free is Americana at its greatest: unifying, earnest, compassionate, and catchy as hell.

Something More Than Free is a collection of stories about people bearing down and doing what they need to do. “Flagship”, a quiet song featuring Amanda Shires singing with her husband, is about love’s desperate need to remain vital and sincere, the constant work needed to avoid stagnation and resentment. “Hudson Commodore” and “Children of Children” are both about the trials and tribulations of motherhood, about as serious and difficult an endeavor as any.

“I was riding on my mother’s hip, she was shorter than the corn

And all the years I took from her, just by being born”

The anchor of the record is the title track, a plainspoken and sincere ballad. “I don’t think on why I’m here or where it hurts/I’m just lucky to have the work” How many men and women have these thoughts or impulses, the knowledge that forward motion and doing their jobs are what they must do, their own personal form of worship to whatever powers may or may not exist? These people are the lifeblood of this country, of every country, and Isbell has written them a song without either patronizing them or pandering to them. Think of what is being glorified, what is being worshipped, on most songs played on the radio. How many of them feature lyrics as concrete s and uplifting as “My back is numb, my hands are freezing/What I’m working for is something more than free”

The record closes with “To A Band That I Loved”, a love letter to Centro-Matic. Centro-Matic was a band’s band who decided to amicably break up last year. They were an inspiration to many artists that we favor here at 9b; Glossary played their Nashville farewell show. Centro-Matic never appeared on network morning shows, was never featured in Rolling Stone. They worked hard, putting out 11 albums. They inspired musicians in general and Isbell specifically; when he was younger he played guitar with the band from time to time. His relationship with the band obviously affected him greatly, and their decision to leave the rock and roll life behind is a stark reminder that everything comes to an end. It’s what you do along the way that matters.

“Somehow I’m still out here burning my days

Your voice makes the miles melt away

I’ll be guarding your place in the lights on the stage in my heart

I guess we’re all still finding our part”

While Southeastern was a declaration of self, Something More Than Free feels like a declaration of purpose. Isbell is no longer an out of control youth, full of talent and wild energy, but this is not “A Study In Sobriety, Part 2”. Now he is a purposeful and determined man, setting about his work with precision and style in equal amounts. He focuses on his own feelings rather than in his own experience and has resolved to write music for people as purposeful and dedicated as himself, regardless of their circumstances or their place on their path. Working for the county, driving a cab, raising children, or singing for a living, we’re all still finding our part.

Something More Than Free is Essential Listening.

Pick it up on iTunes, Amazon, or a physical copy from Jason’s website.


July Talk – July Talk – 2015



Never stop asking friends about bands. When researching my piece on the talented Vanessa Jean Speckman I asked about the inspiration behind one of her pieces, the girl with the popsicle/knife held at her crotch says ‘Don’t lie, you know you wanna lick it’. She told me, “I’m endlessly inspired and sparked and in awe of Leah Fay [of July Talk], and she just personifies this fearless sexuality and control.” That sounds like the kind of energy I want in my rock and roll, so I checked out July Talk as soon as I could. Boy, was Vanessa right.

July Talk is a Canadian rock and roll band with the dual voices of Leah Fay and Peter Dreimanis as its nucleus. The first minute of the first track, “The Garden”, exemplifies their sound. There’s electric guitar and Dreimanis’s tortured voice (Tom Waits’s gravel with Shane Sweeney’s force) all in the first 30 seconds. When the rhythm section kicks in your toes may begin to tap before being frozen in place by the angelic tones of Leah Fay. It’s a powerful voice, maintaining its sweet quality even during shouts.

The self-titled record is a collection of stories, relationships from every side. There’s no one ‘male’ point of view, and no singular ‘female’ outlook. Fay and Dreimanis take turns being the hero, the villain, the victim, the lover, the audience, the obsessive, and every other role possible when two people become interested in each other. Through it all the interplay of their voices draws your focus, the harmonies usually being the climax of each song. In “Paper Heart” a broken man both lashes out at the object of his desire and begs her to stay away from him, a desire which she seems to cheerfully mock. As the voices rise to new heights the rock and roll around them seems to grow more unhinged and wild, and you get the impression that July Talk is a force of nature during a live show.

This guitar and bass-heavy rock draws on plenty of country and blues influences, able to switch from passionate speed and volume to strung-out melancholy with ease. It’s the raw lyrics, however, that put this record over the top to become Essential Listening. There’s abject misery and ephemeral highs aplenty all over July Talk, summed up in what’s right now my favorite track, “Uninvited”:

Nothing wakes me up like you do

Nothing wears me out like you do

I’m thrilled that Vanessa Jean turned me on to these guys, but I had some difficulty picking up the record. July Talk is a Canadian band and there seems to be some localisation issues. There are two versions, one US and one Canadian, with different track listings. I listened to the US version on Spotify, but I have a copy of the Canadian record and I’m excited to have so many new songs to listen to.

Pick the record up on Amazon, their Canadian webstore, homepage, Facebook, and Twitter.

The Garden

Paper Girl


Have Gun, Will Travel – Science From An Easy Chair – 2015


Have Gun, Will Travel is releasing their 5th album this month and in many ways it marks a new direction for the band.

The album tells the story Ernest Shackleton’s ill fated Imperial Trans-Antarctic Expedition as detailed in the book Endurance. Trust me, when I hear the term “concept album” I cringe too. Usually they feel forced or fail miserably at telling the intended story. I am happy to say that Science From An Easy Chair does not suffer from either fate.

The album’s lead single, “True Believers,” was the first song lead singer Matt Burke had written after take a year off from writing and at the time it wasn’t about Shackleton at all. The song was penned as a love song to his band that his wife said reminded her of Shackleton’s struggles in the ice pack a century earlier. Her comment sparked and idea for a 4-5 song concept idea that ultimately turned into the 12 track fully realized LP we have now.

The album is roughly broken into 4 sections all separated by instrumentals that do a good job setting the mood for how their portion of the near 2 year journey feels. The sections are; the jubilation of setting off, getting caught in the pack ice and the ultimate sinking of Endurance, the struggles of living on the pack ice and finally (spoiler alert) rescue.

So. How is this a reboot for the band? Well, gone are the familiar love songs to Florida. Gone are the covers of songs from the first EP that have been a recurring piece on the previous albums. In is outside production from the likes Shawn Kyle and with Shawn came a bigger rock and roll sound that really makes Science From An Easy Chair stand out from the bands previous works. By focusing an entire album on a single subject the band produced an album that they likely could not have ever made otherwise. This album feels tight. Concise. Focused and deliberate. There are no wasted notes, no throw away lyrics much less songs.

I am proud to play this album for people here in Tennessee and tell them I know the guys who made this. I am proud that these guys are from Florida and own it. Boys, don’t call what you’re wearing an outfit and don’t tell people you’re from New Orleans. I am glad that they managed to make a concept album Essential Listening.

Have Gun, Will Travel’s Official Site, Have Gun, Will Travel on Facebook, Buy Science From An Easy Chair

Darrell Scott – 10 Songs Of Ben Bullington – 2015


Every now and then an album you had little to know expectations about explodes out of your speakers and completly blows your mind. Such was the case with Darrell Scott’s latest album, 10 Songs of Ben Bullington and I. The first song title on the album to catch my attention was “Country Music, I’m Talking To You” so I played it first. It’s a cute song kind of clowning on modern country music. Truthfully, it’s better than most songs of that ilk but for me, they’re much like protest songs and as such, have very little staying power. It was when I got to the third song (second if you listen to the album in proper order) that I had to stop what I was doing and really think about what was coming out of the headphones. The song is called, “Born In ’55” and some might call it a nostalgia song but for me it’s completely a song about the death of innocence. I had to listen to it 4 times before I could even move on with the rest of the album. Needless to say, Darrell had my attention at that point and “Born In ’55” was not the last song I was gonna play two or more times in a row on that first pass.

10 Songs Of Ben Bullington is a tribute album to an unknown Montana doctor who liked writing songs in his spare time. Darrell and Ben met as divorced fathers on a camping trip and over time a friendship blossomed. In 2012 Ben was diagnosed with pancreatic cancer and it was then that he started sharing his songs with Darrell. Darrell saw something in the songs and in Ben’s closing months he started fleshing out demos for Ben to critique. One of those initial takes made it all the way to this album unaltered in the heartbreakingly loving piano ballad that doubles as a goodbye to Ben’s children, “I’ve Got To Leave You Now.”

At times this can, admittedly, be a difficult album to listen to. Especially if someone close to you has died soon enough that the wounds are not completely healed but the listen is worth it. They pay-off is there. In these sparse arrangements of an unknown songwriter’s songs performed by one of the most respected songwriters in the Americana scene in a manner that let’s the songs be the star we are reminded that with great talent does not always come great (any) recognition.

Thank you Darrell Scott for making me know the name Ben Bullington. I can only hope to expose him to one more person by posting about this album here and calling it Essential Listening.

Ben Bullington’s Official Site, Ben Bullington on Facebook, Buy Ben Bullington’s Albums

Darrell Scott’s Official Site, Darrell Scott on Facebook, Buy 10 Songs Of Ben Bullington

Eilen Jewell – Sundown Over Ghost Town – 2015


It’s hard to believe it’s been 4 years since Eilen’s last studio album, Queen Of The Minor Key, but when you hear about all the changes in her personal life you totally understand why. Since Queen of The Minor Key was released Eilen packed up her van and moved back to her hometown of Boise (Idaho that is) and gave birth to a baby daughter. Both of which you can hear in these new songs.

For much of Eilen’s career I have described her music as a “50′s rock meets surf rock-Americana” type sound but that’s no longer the case with Sundown Over Ghost Town. No, seems the move from the hustle and bustle of Boston to Boise has manifested itself in a much more laid back, deliberate and patient sound. She still has one of the best backing bands in Americana in Jerry Miller (guitars), Jason Beek (drums) and Johnny Sciascia (upright). She still has her melancholy and casual vocal delivery and she still shows that wry humor from time to time. It’s just all put together in a slightly more deliberate and mature manner this time around.

The result is amazing and I stand by something I wrote back about 4 years ago; “At this point I feel she’s deserving of being mentioned in the same company of some of the female singers getting fuckloads more press, despite being nowhere near as consistent.

Sundown Over Ghost Town (and everything else Eilen has released) is Essential Listening and I present it as yet another piece of evidence in the argument that Eilen Jewell may very well be more than just the Queen of The Minor Key. She very well might be the Queen of Americana music.

Eilen Jewell’s Official Site, Eilen Jewell on Facebok, Buy Sundown Over Ghost Town

Whitey Morgan & The 78’s – Sonic Ranch – 2015


I’ve had the pleasure of writing about Whitey Morgan since 2008 when he was just a wet behind the ears unsigned artist out of Flint, Michigan. Since then he has been picked up by Bloodshot Records who rereleased his debut album, Honky Tonks and Cheap Hotels, as well as it’s self-titled follow-up. Well, Bloodshot might be gone but Whitey has pumped out a new album on his own imprint and it is, unquestionably, the best material he has released to date (read: Bloodshot; you done fucked up).

Sonic Ranch is 40 minutes of pure late 70’s/early 80’s country bliss. The album opens with a Whitey original called “Me And The Whiskey” a honky tonking cautionary tale of failed love and finding comfort in booze. A song that, ultimately, sets the tone for the entire album. A tone any Whitey fan is familiar with but it’s nice to hear that little has changed right out of the gate. From there the album heads into some covers. Townes Van Zandt struck gold on the first song he ever wrote when he penned “Waiting Around To Die” and on the third track Whitey gives us his spin on it. The result is probably the best version of the song ever. He gives it a fitting vocal performance and a musical accompaniment that adds 4 shades of black to an already light bending dark song.

“Waiting Around To Die” is immediately followed by a cover of our man Scott H. Biram‘s “Still Drunk, Still Crazy, Still Blue.” While the song was one of the most country sounding songs in Scott’s catalog Whitey turns it into an instant honky tonk classic while keeping that Biram edge on it.

One of the most fun songs on the album is a Whitey original called “Ain’t Gonna Take It No More,” A song about a man who is having a seriously bad night. You could say the song is a modern take on Skynyrd’s “Gimmie Three Steps” and I mean that in the best way possible.

I read an interview where Whitey was talking about how much his singing has improved over the years and how proud he was of the vocals on Sonic Ranch. In the interview he cited “Leavin’ Again” as his proudest moment on the album and “Leavin’ Again” is about as good as classic country gets. Big instrumentation. Slide guitars. That orchestra like vocal production. It’s all there in spades and leaves you wondering if this is a song from 1980 or 2015. While I agree with Whitey that “Leavin’ Again” is a great song I think his best performance is saved for the final track; a cover of Tom T. Hall’s “That’s How I Got To Memphis.” A cover that falls nothing short of beautiful and might be the best song on the entire album.

Needless to say Sonic Ranch is Essential Listening and undoubtedly one of my Top 10 albums of the year.

Whitey Morgan & The 78’s Official Site, Whitey Morgan & The 78’s on Facebook, Buy Sonic Ranch

Benchmarks – American Night – 2015


It starts out with distortion, guitar, and a voice. The voice is one you’ve heard before, been hearing for years. The always-ethereal vocal tones of Kelly Smith (nee Kneiser) of Glossary. Then a new voice, one you may have heard before but certainly not like this. The Dirty Birds have come home to roost, or maybe they’ve flown the coop. The members are the same, but the name and dedication are both newly minted. In Todd Farrell’s words: ” …[W]e are a BAND and not just me and some guys.” This EP, the first under the name Benchmarks, is their attempt to do things the right way.

Part of the genesis of the band (though they’ve been playing together long enough for it to perhaps be the Deuteronomy of the band) is undoubtedly Farrell’s semi-official status as Two Cow Garage’s lead guitar. There must be an undeniable hunger for life on the road once you’ve put in two tours with the greatest rock and roll band in America.

Farrell has drawn on the connections he’s made over the years, and the heft they bring to the EP is considerable. Smith’s harmonies bring the same heartbreaking sweetness to “April Fire” as they did to “Your Heart To Haunt”; the song explores a past that seems somehow more distant and closer with each passing day, and does so with impressive depth and driving instrumentation. The drummer, Jack Whitis, provides keys that give a melodic counterpoint to the complex guitar work. This band is too good to be named The Dirty Birds.

Micah Schnabel, of Two Cow Garage if the name isn’t familiar to you already, contributes a verse to the title track, “American Night”, and his almost-manic vulnerability brings clarity to Farrell’s songwriting, their duet more Butch and Sundance than Frankie and Dino. It wouldn’t be a Farrell record without another shot at a previously-released song. The melancholy “Liner Notes” of All Our Heroes Live In Vans is supplanted by a new version, chock full of crashing symbols and heavy metal guitar riffs. Whereas the acoustic arrangement of the song seemed to be asking a question, the full-band version makes a definite statement.

“Just Fine” seems to be wrapping up loose ends from older albums, and feels like the true end of the record. The book is being closed on old flames and old grudges and it’s time for new beginnings. Of course, it wouldn’t be Farrell without a sobering look at what the future could bring…or the desire to stride towards that future, regardless. The coda is “Paper Napkins”, a somber reflection on non-traditional adulthood and how taxing constant motion can be.

Though I seem to be paying special attention to Farrell’s songwriting, both musically and technically this is the band’s most impressive work to date. You can tell that the pieces were arranged, were collaborations, and not just several musicians trying to follow the instructions of a peer. Each of these men are skilled musicians and, at this point, Nashville old hands. Eli Rhodes (an impressive songsmith in his own right) mastered the album, Farrell and Whitis produced and engineered it. ‘Goose’ Rewinski, in addition to energetic bass playing, undoubtedly provided apt sports metaphors throughout the recording process (you can find some of his talented sportswriting here).

When four guys sit down and talk about starting a band, it’s guys like this who have the best odds. They’ve been around the block, played for pay and played for love, and they are certainly no longer any spring chickens. But that’s alright; summer’s just around the corner. This truly is a debut effort, and it’s Essential Listening.

Pick up a physical or digital copy of “American Night” by Benchmarks over at Bandcamp, but if you insist on using iTunes or Amazon that’s your right as a citizen of rock and roll.

The Honeycutters – Me Oh My – 2015


It’s only a song / so, for heaven’s sake, won’t you sing along

Here are some questions to help you figure out whether you’re in a Honeycutters song or not:

  • Are you taking the easy way out?
  • Has it turned out not to be so easy?
  • Can you take care of yourself?
  • Are you one defeat away from collapse?
  • Do people know too much of your business?
  • Are there any secrets left between you and your partner?
  • Would you be doing better if you could?
  • Is “not doing better” one of those easy ways out?

If you answered Yes to any of those questions, or if you could tell that you were lying to yourself, then your kind has been chronicled by Amanda Platt, singer/songwriter of Asheville’s Honeycutters. Her songs catch her characters at these crucial moments–deciding what they can and can’t live with, who they are and aren’t able to love, what lies can stick around until tomorrow, and maybe, finally, that moment when you can envision a future for the first time in a long time.

Platt is a great lyricist–her stories are clear and uplifting and real and devestating. I haven’t found much of a difference living in a Honeycutters song vs. living in real life. So I’ll let their songs speak for their selves. If there’s still any question to whether you’ll dig this, you can ask yourself one more, in Platt’s words:

  • “You gotta make your own mistake / it’s up to you what kind you make / You gonna put your heart on a shelf or let it break?”

All you Lucero-loving softies will love it. It’s Essential Listening and an early contender for 2015’s best country/folk-type thing.

Me Oh My

Wedding Song

I’ll Be Loving You

Buy it all the ways from Organic Records. Get their previous 2 amazing albums on digital from the bandcamp. Visit their website to catch them on a big east coast tour. Follow the Facebook.

Yazan -Howlin' (EP) – 2015


Last year I sprinted home (took a few trains and walked a few miles) from a show and straight to the internets to tell y’all about a guitarist I’d just seen named Yazan. His live show was an electric psych-blues thunderstorm, whereas his last album turned out to be an equally restorative, world-resetting series of acoustic showers. This new effort, The Howling EP, hones in on the flash flood fallout of his live shows. Torrential Listening.

Yazan is joined on these numbers by drummer Kris Kuss of the best band ever, Pile. Yazan has been touring with Pile as a guitarist for a good many months, and it’s a thrill to have this record of that collaboration.

This is some sticky, loud shit. It’s got beats. It’s got licks. Every song has a derivation of “babe” or “baby.” It’s so loud! It’s a perfect spike of rusty iron blues to nail the coffin shut on this winter.

Tell Me Baby

I Get High

I don’t think Benjamin Booker or Jack White have anything on Yazan. Please give it a shot–stream Howling at his bandcamp and name your price for a download. Or get the 10″ for only FIVE DOLLARS.

The Howling EP is Essential Listening.

John Moreland – High On Tulsa Heat – 2015


Inside John Moreland’s High On Tulsa Heat he writes “This is a record about home. Whatever that is.” and if he had written a similar inscription for 2013’s In The Throes I believe it would have said “This is a record about faith. Whatever that is.” and that is the only comparison I plan to make of those two records in this review. Gone are most of the biblical and religious references and undertones, here they are replaced with elements from the natural world and of people. The ache is there, hung both in Moreland’s voice and in his subtle guitar playing, but so is the beauty.

I’ve been accused of writing too intellectually about music on several occasions and I understand where that criticism comes from. I believe that Moreland’s songwriting belongs in the conversations about the highest examples of the art form and that his craftsmanship and selection of detail have his work on the way to being regarded with masters with names like Van Zandt and Kristofferson. Work like he’s creating is worthy of being written about in intellectual terms and I hope I’m the person to write that story when the time comes. But today I just want to talk about why these songs matter.

I’ve known sadness in the past and know I’ll be visited by it again someday. Chances are that if you’ve latched on to Moreland’s music in the last few years that sadness has also been a companion in your life. The beauty that Moreland is able to express through his saddest songs is the idea that we aren’t alone in these moments. The songs, Moreland’s and the other greats, are there even when we don’t need them just to remind us that they will be when our midnights are too dark to handle.

The longing jumps out of the speakers in the opening “Hang Me In The Tulsa County Stars” and it’s clear that Moreland has truly found his voice as a writer. He gets to the point quickly with the line “My heart is growing heavy from the ever endless hurt” and later “make you homesick for a home you never had/ burning out the good with all the bad.” But an important shift happens when it becomes clear that the song is really about being there for someone else in their trying time not about dwelling on yourself. There are many lines in the second half of the song that talk about being there, being there for that one other person that matters most. I don’t understand every lyric but I want to keep listening while I hope the meaning presents itself. There’s hope in “Hang Me In The Tulsa County Stars,” you have to listen for it but when you hear it you can feel what I like to call Moreland Beauty.

Following on the heels of such a weighty opener, Moreland eases up a bit with “Heart’s Too Heavy.” A full band song that’s catchy as hell, “Heart’s Too Heavy” proves that Moreland isn’t stuck making a follow up and is willing to balance the power his songs wield on both electric and acoustic guitars.

As with any Moreland album there’s line after line in song after song that warrants a mention in a review but there are just too many here and I’m trying my best to not be an intellectual. Instead, I think it’s important to mention the vulnerability expressed in these ten songs. Though probably frightening and nerve-racking to write and perform, the vulnerability most likely leads to a sense of power for Moreland and gives us listeners a sense of calm. Along with the craftsmanship, the vulnerability is what draws people so intensely to Moreland’s songs. You don’t have to try to explain things to yourself when Moreland has already expressed it for you.

By the time the album reaches the landmark “You Don’t Care For Me Enough To Cry,” the balance of band and solo songs on High On Tulsa Heat allows for casual and intense listening. But “You Don’t Care For Me Enough To Cry” is the type of song that demands full attention. Every element of High On Tulsa Heat and John Moreland as a songwriter is wrapped up in four minutes and fourteen seconds. There’s the natural world, longing for home and someone else. There’s the admission of mistakes made and a willingness to try to be better for the sake of someone else. There’s hope and despair in the same breath with equal parts self-loathing and frankness about limitations. Even if this was the only song on High On Tulsa Heat the album would be ESSENTIAL LISTENING but there truly are ten exceptional songs here.

As I was listening and thinking about writing this review a quote from one of my favorite fiction writers got stuck in my mind. Harry Crews writes some of the most brutal fiction I’ve ever read. He puts his character’s vulnerability on full display and at the same time shows us our own. It’s a quote that I carried in my wallet for years and I think it helps explain what it’s like to be a writer and why people respond so passionately to Moreland’s music. He seems to do it to himself in song so we don’t have to.

You continually pick at yourself, the little sores that you have. They scab over and you pick them open again. Other people not only let them scab over, they let them scar over. They leave it alone. Writers don’t do that. They can’t keep their fingers out of the sore. They’ve got to keep it bleeding. And it’s off that blood that they make their stuff.”

Hang Me in the Tulsa County Stars

Heart’s Too Heavy

You Don’t Care For Me Enough to Cry

Official Site, On Facebook, Buy High On Tulsa Heat