DRUMMERS OF STONER ROCK
By Jim DeRogatis
At a point when the pop
mainstream is increasingly dominated by anemic canned dance grooves and alternative rock
has devolved into an endless parade of Cookie Monster rap-rock bands (so-named
for their unintelligible growling vocals), some of the most creative and hardest-rocking
sounds are emanating from deep in the underground, where a promising new wave of artists
is reaching back for inspiration to the psychedelic, proto-metallic jamming of bands like
Cream, Black Sabbath, Deep Purple, and Hawkwind.
Stoner rock, the
sound has come to be called, but its a name that nobody is really happy with,
resonant as it is of cartoonish caricatures like Spicoli from Fast Times at Ridgemont
High. In England, the music is often called doom, but that seems darker
than the exuberantly loud genre deserves.
I really dont
care what anybody calls it any more, says Brant Bjork, the original drummer with
Kyuss, now of Fu Manchu. Ive been in this business long enough to know that
journalists are gonna call it something. Theyre not gonna call it rock n
roll, because thats what they called it in the 50s. Theyre not gonna
call it heavy metal, cause thats what they called it in the 60s and
70s. If its stoner rock nowadays, fine. Its all rock n roll,
and we all smoke pot, so it all makes sense anyway.
Call it what you will, there
is a unifying D.I.Y. spirit and a shared love for unrelenting rhythms, space-bound jams,
and hard-hitting but melodic riffs among these otherwise diverse bands. Mindful of the way
that grunge was co-opted in the early 90s and turned seemingly overnight from music
into a marketing gimmick, some of these artist are unwilling to admit that there even is
a genre here. And indeed, the specific hallmarks of a stoner-rock sound
are hard to pin down.
I would say its
straightforward rock n rollyour basic three instruments rocking away
with a straightforward beat and no distractions, says Eric Lemasters, founder of The
Music Cartel, one of the key independent labels powering this sound. The term stoner
rock is basically just those bands who are playing rock music but everything is a
distorted. Heavy metal was the first music to put a faster beat
with the distortion. Stoner rock has taken all of those elements and slowed them back
down, so youve still got the distortion and the same aggression, but not necessarily
Confused? Maybe the best way
to get a grip on the sound and the movement is with a list of symbols epitomizing both.
Stoner rock is often about huge gongs; massive Marshals; SVTs; vintage Ludwig Vistalite
drum sets; long, greasy hair; tattoos; ear-crunching volume; heavy-duty ride cymbals;
gigantic hum-along riffs; fuzztone, fuzztone, and more fuzztone; tongue-in-cheek
lyrical references to drug manuals and role-playing fantasy games; Russ Meyer movies; a
big underground buzz; beer; black lights, and bongs.
Stoner rock is almost never
about drum machines and synthesizers; hair gel; love songs; rapping (freestyle or
otherwise); unplugged anything, and MTV-level hype.
As you may have gathered,
real musicians playing real instruments are a big part of this scene, and the drummers who
have been rightly or wrongly saddled with the stoner-rock tag are among the most inspired
in rock today. In order to get a handle on the music and the movement, Modern Drummer spoke
to five of musicians who are at various points in their careers and artistic developments:
the much-revered Dale Crover of the Melvins, Brant Bjork of Kyuss and Fu Manchu, Jon
Kleiman of Monster Magnet, Gene Trautmann of the Queens of the Stone Age, and Ren Squires
THE LEGEND: DALE CROVER
Over the course of
the Melvins 17-year career, the influential trio has been considered post-punk,
indie rock, grunge, and now stoner rock. But no one label has ever really fit the
lugubrious sonic lava flow that the group so lovingly exudes.
always been oddballs, because we have elements of heavy metal in our stuff, but weve
always hated the cheesiness of heavy metal, Crover says. Were too nerdy
for the heavy-metal audience, and were too heavy for any kind of alternative
audience, but there are definitely people who like us and all the weird stuff that we do.
Its great that weve managed to exist off this band for so long and not go awayBuzz
and I have been doing this as our day jobs now for 10 years.
guitarist-vocalist Buzz Osborne in 1985 in the rural logging town of Aberdeen, Washington,
the Melvins were early favorites of the young Kurt Cobain and Krist Novoselic, who talked
the group up in interviews once they became successful as members of Nirvana. That led to
a deal for the Melvins with Atlantic Recordsthe band recorded some of its best
albums for the label, including the Cobain-produced Houdini in 1993 and Stag in
1996but it happily returned to the ranks of the indies in1997 once the alternative
moment had waned.
In 1999, the
Melvins recorded a series of three albums for IPECACMaggot, The Bootlicker,
and The Crybabyshowcasing the trios considerable diversity and
justifying its long-running position as underground legends. My own style definitely
developed with the band, Crover says. If it wasnt for the Melvins, Id
have been playing a different way, or maybe not at all. One of the reasons I like this
band is because its always a challenge: Throw out any kind of rule book to playing
rock drums and do something completely different and unorthodox. We dont have any
set rules or guidelines about how we should write songs. Well do stuff like, Youd
think Id want to play this drum beat here, but lets no do the obvious; lets
do something completely different. That always keeps it interesting.
Crovers desire to play
the drums was initially fueled as a young teen by the music of KISS and Ted Nugent. I
took lessons for a while, starting on snare drum, but my drum teacher knew that I wanted
to play rock, he says. He was like a jazz drummer, so he went out and got me a
Carmine Appice book. Vanilla Fudge veteran Appice and Black Sabbath drummer Bill
Ward would become major influences on his playing with the Melvins, which may be best
described as a slow-motion train wreck delivered with incredible precision, sans click
hard to play slow, but Ive never really had to use a click unless its for
something where the drums might not start the song, or if its with a drum machine,
Crover says. Usually, if it speeds up a little bit, its no big deal. Were
not worried about it being completely in time for the whole song. Were interested in
Other hallmarks of Crovers
playing include heavy use of a ribbon crasher; heavy crashing on a massive 24- or 26-inch
ride; heavy pounding with heavy sticks on heavy, oversized drums, and heavy heaviness, period.
I got the idea of wearing gardening gloves from Bob Bert of Pussy Galore and
Sonic Youth, he says. Id been using these drummer gloves that cost like 25
bucks a pop and are made of leather died black that bleed all over your hands, but these
gardening gloves are totally cheap and I just go to the hardware store and buy a giant box
to use for the whole tour.
In addition to the Melvins,
Crover sings and plays guitar with a stoner-rock side project called Altamont. Hes
also been branching out into session work, and he performed on several tracks on the debut
album by rising country star Hank Williams III. It was sort of a typical Nashville
situation, and the producer was like, Wow, you play drum fills! I cant get
these other studio drummers to play drum fills, Crover says. Unfortunately, hes
still waiting for a call-back.
Proudest recorded moments: Sometimes some of the simple stuff I think is really
good. Theres a song on this record we did called The Bootlicker called Let
It All Be, and I really like the drum beat to that songits really simple
and kind of minimal. Actually, Buzz wrote that on the drum machine and I just took it and
made it a little bit different and a little more groovy. I guess any of the slow stuff
would also be a good example of a signature sound or whatever, but I think that we can do
so many different things and have no limitations that I dont know if I could
pinpoint a single song. If you want to check out a bunch of different styles that I can
do, listen to Stag. That would probably be the one album that I would pick.
Ive been playing Tama drums for a while. I have an endorsement, and they made
me a drum set five or six years ago with a 26-inch kick, 16-inch rack, 24-inch floor tom,
and a 20-inch gong bass drum. I have a couple of different snare drumsbrass and woodand
theyre all Artstar Customs. I also use an old 1948 Gretsch kit thats smaller24,
13, and 16. I use that a lot for recording because it sounds great. With those three-ply
shells, you hit the rack and the floor at the same time and it sounds like a chord, but if
I play that too long and then go back to the big set, its like driving a tank!
gotten some stuff from PaisteI break a lot of cymbals, a couple per tourand I
dont use crashes per se; everythings a crash. I also have a gong, and I try to
use it as much as possibleat least enough to make it worth taking on the road. Im
on my third gong now; I break those, too. The day after Kurt Cobain died, we had just come
back from Europe and we were in Portland, Maine, and to make myself feel better I went out
and bought a gong. That ones really beat now, but I finally bought a brand new one,
a Paiste 32-inch.
THE MAJOR INFLUENCE: BRANT BJORK
Ward and the Melvins Crover, Bjork is the name most often cited as an influence by
other drummers in the burgeoning genre, based primarily on his groundbreaking playing on
the first few recordings by Kyuss: Wretch, Blues for the Red Sun, and Kyuss
(Welcome to Sky Valley).
Named for the
sons of Kyuss, monsters in the Dungeons & Dragons role-playing game,
Kyuss first came together around guitarist Josh Homme and vocalist John Garcia in the
small Southern California town of Palm Desert in the late 80s. The band members
moved to Los Angeles in 1990 and signed to Chameleon Records after 13 performances in the
big city. All of their dreams seemed to be coming true, but after two years of non-stop
touring, Bjork abruptly quit and ceded the drum throne to his friend and fellow desert
rat, Alfredo Hernandez.
I just burned
out, Bjork says. I was drinking too much and smoking too muchI was an
18-year-old kid who was playing in this crazy rock band and I had no idea of what I was
doing. I was just lucky that I was smart enough to realize that I had to stop before it
The aspect of Bjorks
playing that other drummers love most is the huge wash of a massive ride cymbal that
hovers over a heavy riff like an ominous storm cloud. It probably comes from growing
up in the garage, he says. It was loud, and I was never the best drummer. I
was never technically very goodI taught myself how to playand I just wanted to
be heard and to make noise. I didnt know what the difference was between a ride and
a crash. When youre playing punk rock and heavy rock as a kid with loud guitars,
there were a lot of areas where in between riffs where the music would breathe, and I didnt
want to hear that little ping-y sound. When you ping on the ride, its almost like
playing a note on the guitar, and when you crash on the ride, its like playing a
power chord on the guitar. So I just kind of filled up some space.
Bjork has always filled a
bigger role than just playing drums; he also plays guitar and bass, and he wrote some of
Kyusss most memorable songs, including the anthemic Green Machine. He
continues to contribute to the songwriting for Fu Manchu; he produced the bands
first album, 1994s No One Rides for Free, and he joined on drums in time for
1997s Action Is Go. He has also recorded a psychedelic and soulful solo
album, Jalamanta, credited to Brant Bjork and the Operators and released on Mans
Ruin in 1999.
Ive never said,
I wanna be the drummer. I just loved music and I wanted to make records,
Bjork says. As a kid, I was almost listening as a producer, before I even knew what
that word meant. Punk rock allowed a kid like me with low self-confidence to get involved
in music and start performing. I chose drums simply because they looked like the most
exciting instrument, but I was equally compelled to play guitar and bass and create music
as a whole. It was sort of a challenge, because I was caught in this stereotypical role of
being the drummerthe guy with the backbeat who sits in the back and holds the rhythmbut
I also wanted to take on some responsibilities as far as creating and art and writing
songs. I had things I wanted to express.
As for how
his drumming has developed, Bjork is self-deprecating to a fault. I was never a
studious drummer; I was interested in playing great songs, he says. Lets
face it: It begins and ends with songs. If you dont write great songs, big deal. In
Kyuss, I never even thought like, Im the beat guy and Im gonna lock in
with the bassist to play a tight rhythm. I was like, Im gonna lock in
with Josh and watch the way he strums and the way we move from chord to chord and the
progressions and Im just gonna roll with him. It was just kind of a natural
recorded moments: Theres a song on Welcome to Sky Valley (Elektra
Records) called Demon Cleaner; it was a first take, and there was a roll that
was kind of my version of Ginger Baker. It probably sounds nothing like Ginger Baker, but
thats kind of where my head was at at the timethis rhythmic roll thing on the
toms. And I really liked the drumming on the first track of the last Fu Manchu record [King
of the Road, Mammoth Records], Hell On Wheels. I thought that was a good
one; it just had a lot of energy and it kind of flowed nicely. I always like to hear flow.
I dont really have any endorsements; Im not real good in that
department. Ive played Ludwig drums my whole life. Ironically, Ive just
ordered and received today a new kit that Im gonna try out for the new Fu Manchu
record, and if I like it, Ill tour with it. Its a clear Fibes. I bought some
Ludwig Vistalites a few years ago, and I used them on the Brant Bjork and the Operators
record. Theyre beautiful, and I love the Vistalite sound. But my Ludwigs are 75,
and I didnt want to take them on the road.
As the longtime
drummer in Red Bank, New Jerseys Monster Magnet, Kleiman is all about devoting
himself to the song and playing exactly whats right for bandleader Dave Wyndorffs
hard-hitting but ultra-melodic tunes.
self-taught, no formal educationI never learned how to do a paradiddle or whatever,
and my left hand is basically like having a dead herring strapped to my shoulder,
Kleiman says, laughing. Im not as good, of course, but I consider myself to be
in the Ringo school of things, where your style is your main selling point. In the
beginning, I knew that I wasnt great, and I couldnt do the things that I
heard. I was listening to a lot of Mitch Mitchell at that point, and I was like, God
damn! I cant do any of this, so Im just gonna make up for it by doing a fill
every other measure!
Kleiman started playing the
drums as a teenager in punk bands gigging around South Jersey. He joined Monster Magnet
after its first single and has played with the group ever since, progressing with it from
the Hawkwind-inspired psychedelic sludge of early albums like Spine of God and Dopes
to Infinity, through the more tuneful and focused efforts of Powertrip (a
gold-selling hit for A&M Records) and the new album, God Says No. The latter is
a veritable tour of different stoner-rock styles, from the straightforward stomp of Melt
to the organ-driven garage-band rave-up of Heads Explode, and from the twisted
Robert Johnson-on-mushrooms blues of Gravity Well to the Middle Eastern drone
I was never
too into the stoner-rock thing, Kleiman says. I just thought it was an excuse
to rip off Black Sabbath and not be able to write songs. Its fun to jam on stuff
some times, and certainly weve done itthat song Tab was like 30
minutes longbut I didnt ever really consider us stoner rock. Were more
creative than that. Daves songshe tends to arrange in pretty odd ways
sometimes. It isnt like, This song is really easy; its
verse/chorus/verse/chorus/verse/chorus/bridge/out. Its like, This song
starts on a bridge, then theres a pre-chorus, then theres a verse into a
. Thats the only thing thats a major obstacle or me; I just
have to make really detailed notes if I dont know the song absolutely by heart.
stoner-rock bands which emphasize the importance of group dynamics in the studio, Monster
Magnet does all of its jamming in intense rehearsals long before entering the studio. When
it came time to record God Says No, Kleiman played alone. I think I played
better that way, he says. There were no distractions, and by then I knew how
the song went in my head so well that I could hear other peoples parts.
Like many of his
stoner-rock peers, Kleiman also has a side project, rockabilly/garage band the Ribeye
Brothers. Original Monster Magnet vocalist Tim Cronin sings and plays banjo, while Kleiman
does everything else; he says the group serves as a healthy outlet for doing all of the
things that he cant do in Monster Magnet.
recorded moments: I think I overplayed a lot in the beginning, especially on Superjudge.
Spine of God was more psych, so I didnt have to do that so much. As Ive
progressed, I think my style has gotten a lot simpler; my drumming has gotten simpler as Ive
gotten to be a better player. God Says No is all about the grooves.
His gear: I
used to have two of those piece of shit Vistalite setsmine sounded like crap because
the bearing edges were all fucked-up. Now I play out on the road on this really nice
Slingerland set. I have a deal with them, and I love the sound and really like the look. I
love that wide-open 60s sound, but the drum sound that I like unfortunately doesnt
always fit into Monster Magnet. When I play at home in my home studio, theres some
changes I have to make for when I go out on the road. Im using Aquarian heads now,
and theyve been really accommodating. Ill use their American Vintage heads in
the studio, and theyre really great for that 60s sound.
UP-AND-COMER NO. 1: GENE
After Bjork left
Kyuss, Trautmann got the call from bandleader Josh Homme to come to the desert for an
audition. He played with the group for two weeks, but the gig eventually went to Alfredo
Hernandez, and Trautmann was heartbroken. Homme didnt forget him, though; he called
Trautmann again to play on half of 2000s Rated R (Interscope), the second
album by his new band, the Queens of the Stone Age. Trautmann is now a member of the
touring group as well.
Born and raised in Portland,
Oregon, Trautmann started playing along to records when he was 11 or 12. The KISS
Halloween special was sort of like that moment of clarity that told me I wanted to be
involved and I had to do this for living, he says. He began playing in punk bands in
high school and eventually joined a group called the Miracle Workers, who were dedicated
to reviving the first-generation punk of mid-60s garage bands like the Standells and
the Count Five. He followed the band to Los Angeles and played with it on several albums,
in addition to touring the U.S. and Europe.
has always had wide-ranging tastes as a listener, Trautmann is particularly inspired as a
musician by some of his stoner-rock forebears. To be honest, I listen a lot to what
Brant Bjork has done, and also to what Alfredo Hernandez has done, he says. Part
of that is due to the fact that they worked with Josh, and what they did was really great.
My main thing that I listen to in what Brant Bjork does and what I aspire to is his right
hand and the 16th notes on the ride cymbalfilling up the empty spaces
with a shimmering cymbal sound. Conversely, stylistically, I really love the English rock
drummers from the 70s, like John Bonham and Mitch Mitchell. They were like
jazz-trained guys playing in a rock medium with a lot of more finesse in their chops and
the ability to do more subtle things. I guess thats where my own path is more
divergent from the straight-ahead thing.
To me, drumming is
about complementing the song, and different drummers approach jams or open-ended songs in
different ways, Trautmann adds. I think ultimately with rock music, the style
thats demanded is the ability to be really solid and simple, so I think the
challenge in longer jam-like songs is to not overplay and to keep things interesting. You
cant give it away all at once. When I hear some recordings, I bum out when the
drummer is just all over the place all the time, trying to fill in the spaces without
respect to the song structure.
The Queens are more melodic,
more psychedelic, and more drone-oriented than Kyuss, and Homme drives his musicians hard
to hit the limits of their creativity. I like that, Trautmann says. I
dont want to be in a band where we get to rest on our laurels or where it becomes a
formula, because then it becomes boring and my playing ultimately becomes boring.
Basically, this is the best gig Ive ever had. I love what I do with them, we travel
extensively, and we tend to have a pretty grueling tour schedulewe play almost every
day. Its what Ive always strived to do, and I get to do that now, and being
involved in the recording process with them is better than anything Ive done in the
Proudest recorded moments:
I like Feel Good Hit of the Summer because I feel like I had a lot to do
with the way the song ended up sounding. Its all based on the beat, a very
drum-driven thing. Josh just gave me the song and said, What would you do with this?
I did that pounding rhythm and he said, Wow, thats perfect! I also like
Monster in the Parasol. I didnt do it to a click track and its
really tight and disco-y, and I like that. Theres a song thats not actually on
the record, its a European B-side called Ode to Clarissa, and thats
really awesome; its got a great Bow-wow-wow/Bo-Diddley tom-tom thing in the middle
of it. Its really punk rock and very much like me.
His gear: Ive
got a vintage 69 Camco set; 26x14 kick, 10x14 rack, and 16x18 and 18x20 floor toms.
Ive got a 1940s WFL 6x14 snare drum, and I play Zildjian cymbalsI have
an endorsement with them. Ive got a 24-inch ride, 19- and 20-inch crashes, and a
20-inch ride as a crash, and theyre all As. I also have a set of bongos and a
cowbell and a tambourine, and thats basically the set-up.
UP-AND-COMER NO. 2: REN
The English branch of the
stoner-rock movement tends to be darker than the American; not for nothing do they call
the music doom on the other side of the Atlantic. Sitting somewhere in the
middlegeographically and sonicallyis sHEAVY (pronounced Chevy,
like the car), a band that first came together in St. Johns, Newfoundland, Canada in
We were called Green
Machine in the beginning because we couldnt think of a name and because we played
Green Machine by Kyuss, Ren Squires says. Not surprisingly, Bjorks
playing was a major influence on sHEAVYs drummer, along with punk-rock groups like
the Misfits and classic stoner-rock influences like Black Sabbath. In fact, singer Steve
Hennesseys vocal resemblance to Ozzy Osbourne has garnered countless Sabbath
comparisons, even though the pummeling but melodic sound of songs like Quincy the
Pig Boy and Alcofuel embraces other influences as diverse as the
Melvins, Deep Purple, and mid-70s Pink Floyd.
musician, Squires graduated from playing along with records on a rubber practice-pad kit
in his bedroom to drumming for punk-rock garage bands. I was in four or five
punk-rock bands before I started to realize what I wanted to play, he says. I
started off fast and realized that playing slow was a lot more fun. Then I started getting
into music that was slowed down, the kind of psychedelic stuff from the 70s.
playing in sHEAVY, I like to picture myself as the guy in Deep Purple, Ian Paice. Hes
just so smooth, and hes doing really complicated stuff which I cant even
touch. Its amazingthe smoothness, and when hes solid, hes so
solid; especially with the last record, thats what I really tried to do. Other than
that, I dont really think about playing drums, I just kind of do it. I dont
have any real training, and I dont know any technical terms. I cant read music
or anything like that. I just sit there and go bangity-bang. I should be embarrassed to
tell you this, but between Electric Sleep and Celestial Hi-Fi, I literally
didnt pick up my drum sticks. Playing drums for me just kind of happens. Ive
got no interest to play drums unless theres other music going on.
In addition to
drumming for sHEAVY, Squires manages the band and runs an Internet-only stoner-rock record
store, Dallas Tarr, which can be found through the bands web site, www.sheavy.com.
Because of the distance and the expense, sHEAVY has yet to do a major tour of the U.S.,
and things are further complicated for the group by the fact that Hennessy has relocated
to Texas for his day job. Still, the band continues to come together for recordings like
the recent Celestial Hi-Fi (The Music Cartel), and its albums are favorites with
Squires has fewer
problems being linked to the genre than some of his fellow musicians, though he is
dismayed by some bands lack of creativity. I always think, Man, if theyre
lumping us into a category with like 20 other bands that I like equally as much as my own
band, thats just dandy, he says. On the other hand, I hate to thing of
things in terms of scenes, and it is kind of getting redundant. There are a
lot of good bands that are still doing what they always didwhich is changing over
timeand then there are all these other young bands that are popping up doing what
was already done five or six years ago: big fuzz and a little psychedelic breakdown middle
part and then back into something heavy with a scream. And thats just terrible.
Proudest recorded moments: I think its Strange Gods, Strange Altars
or Solarsphere from Celestial Hi-Fi; I forget which. It starts off with
a drum roll. Those two songs, when we recorded them, they appeared on the album the same
way we recorded them, like back to back immediately one after the other in the studio, so
I get them confused. My next one would probably be Tales from the Afterburner,
just because its slow and I actually kept in time. I cant see how Dale Crover
does itthat guy, he hits weird chimes and stuff instead of keeping a beat, and it
sounds like hes playing with two-by-fours!
His gear: The drums themselves are a Canadian kit called Canwood made in
British Columbia. I got them used; all my kit is low-budget stuff that I stumbled across.
The cymbals are mishmash of everything; Ive got a big Paiste ride that Ive
been using for years and years, and some Sabian Fusion hi-hats, and whatever crash I can
find at the time. Theyre small; the kick drum is 20-inch, but its long, so its
like a little cannon. But otherwise, no fancy stuff here; Im a low-budget drummer!
In fact, when my friend heard that I was going to be in Modern Drummer, he was
like, But you dont even have good drums! Im the one with all the fancy
SUBJECTS FOR FURTHER
RESEARCH: The key independent labels in stoner rock all have sites on the web: Englands
Rise Above is at www.riseaboverecords.com,
The Music Cartel is www.music-cartel.com, and
Mans Ruin is at www.mansruin.com. The Web is
also home to several fine fanzines, including Roadburn
and Stoner Rock Rules (http://www.freeweb.org/freeweb/StonerRockRules/),
as well as a spirited newsgroup (http://www.egroups.com/community/stonerrock).
albums that are well worth investigating include Orange Goblin, Time Traveling Blues (The
Music Cartel); Nebula, To the Center (Sub Pop); Scissorfight, WonderdrugUp
the Dosage (Wonderdrug); Cathedral, Soul Sacrifice/Statik Majik (Earache); The
Men of Porn, Porn American Style (Mans Ruin); Acid King, Busse Woods (Mans
Ruin); Terra Firma, Terra Firma (The Music Cartel); Atomic Bitchwax, The Atomic
Bitchwax (Tee Pee/MIA), and Electric Wizard, Dopethrone (The Music Cartel).
The roots and inspirations of
these soundsas well as some of the best drumming in the history of hard-rockcan
be heard on albums like Black Sabbaths Master of Reality (Warner Bros.),
Hawkwinds 25 Years On 1973-1977 box set (Griffin Music), Blue Cheers Vincebus
Eruptum (Mercury), Deep Purples Machinehead (Warner Bros.), and Blue
Öyster Cults Workshop of the Telescopes best-of compilation (Sony).
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