Severinsen - SNUBBED! by incubus 1993 + Bonus Live

In 1993, Severinsen recorded a couple songs at Miami Street Studio, with the impression that one of them would be included on the incubus 1993 ND campus band compilation. Yet for some reason, the band was eventually excluded from the CD. This EP, affectionately dubbed "SNUBBED! by incubus 1993," represents those studio recordings, as well as a couple extra live tracks we dug up from the show we previously posted.


MIKE:

This was my first time recording with John Nuner at Miami Street. (I'd go on to record at least two other mega sessions with emiLy). Nervous as heck but I'm happy with the way I played and the way we sounded. Nuner was a nice guy and easy to work with.

I'm pretty sure we recorded the basics for 3 songs (another one in addition to "Limber/Sorry" and "My Greatest Fear") but only kept/overdubbed/finished those two.

Singing the backup vocals to "My Greatest Fear" with Colin and Eric was much fun.

"Limber/Sorry" was and still is my favorite Severinsen song to play and to listen to. I'm very happy we have a nice studio version of this.

Somebody (can't remember who) told me later that both of these songs were rejected from the incubus CD because Chris was already represented in Chisel and Colin was already represented in Brian, Colin, and Vince. Which to this day still seems incredibly unfair to Eric and myself, but so it goes. SNUBBED!, indeed.

I'm not sure how we started doing the PJ Harvey cover with Kate Babka, but it was always a blast. And the Kylie song always made me laugh. It is about Kylie Minogue, isn't it? When I would hear her techno stuff years later (1999-2001 or so), anytime I saw her on VH1 on directTV or something, the line "Kylie's got a crush on us" would pop into my head.



ERIC:

I remember Colin having to stand on top of his amp in the studio to prevent the horrible vibration it produced from being recorded. Then I remember actual vocal track takes being produced in the bathroom to produce that "natural reverb"effect. The last minute decision to provide backup vocals on "My Greatest Fear" was just hilarious. Good times.

Then of course there was the incubus snub. I was probably the most affected by it, because I didn't have another band on the compilation, and I was a senior, so there would be no second chance. I remember getting my copy and giving it a chance, listening through all the tracks to hear why our recordings were not included. I was a genuine fan of many of the bands that were included (as a sidebar, I was so impressed with Bother, I asked them to play at our house during Zep Fest. The lead singer, James Kennedy, almost got into a fight with some of the people at the party because the band wanted to play during the NCAA Final Four basketball game on the TV. We eventually had to hide James in the basement to prevent him from getting hurt. So punk!!) When I heard the last forgettable track on the CD - "Punch the Clown" by The Porkchoppers (so forgettable, I had to look it up) I fully realized what a snub it was. The last song was so horrible, it turned into another valuable life lesson that you only get in college - in the music business, it's who you know. As I recall, the Porkchoppers were friends with the producers of the CD.

Our luck seemed to follow us around as we were the only band at the battle of the bands in the top 10 that played on the "student run" stage. All the other bands in the top 10 played on the stage that was engineered by professionals. The student engineers didn't even notice I was singing the last song of the set until halfway through the song when Meghan King of The Sister Chain fame yelled at them to turn up my microphone. The fact that we still got 5th made me wonder how well we could have done on the other stage.

I remember taking a recording studio class the year after graduation and bringing a copy of these recordings we made in for show and tell. I was the only brave soul in the whole class. Everyone commented how they wished they could hear the vocals better and that they were lost in the mix. I lamented at the time that I sort of wished the same, but I also recall that was somewhat intentional.



CHRIS:

I seem to recall that the engineer, John Nuner, had some funny turns of phrase. "Put it in the can," maybe? Something like that? His studio had a strange, fly by night feel to it. I always assumed it was a front for some shady dealings. But Nuner was (and hopefully still is) a good guy.

As for the songs, I love Colin's and cringe at mine. L/S was the beginning of great things for Colin - he wrote in that vein for the next ten years or so, shoegazing with the best of them. The lyrics of MGF are inexplicable. I hope no one thinks they're autobiographical. Thank god for the backup vocals, which add the only levity to an otherwise super creepy song.



COLIN:

Did John Nuner have a palm tree for a logo? I was always confused by the Miami moniker.

I think we all generally had a positive experience during the sessions. I think we recorded 2 songs because we couldn't decide whether to use one of Chris' songs or one of mine - and we were not the primary songwriters in the other bands we were in. Our idea was to give the incubus folks both songs and let them pick which one they wanted to use. I don't think it occurred to us at the time that they might go with the third option - neither! Yikes! And yeah, I recall that we were led to believe that we were excluded because of Chris and I already being on there with Chisel and Brian, Colin and Vince - but I didn't have the same problem of not being able to separate the various acts in my mind.

I'm not particularly bitter about it now, but I remember feeling slighted - Severinsen was a really important band to me. I see now that we were still learning what we were even doing, but at the time we were feeling like ND music scene veterans - playing regular gigs on and off campus and such.

When I decided to make my own compilation cassette release, Shameless, on my label Sudden Shame I put BOTH of the Severinsen songs on there -- is that why so many bands got 2 songs each? Ahahaha!

As a studio newbie, I remember trying to make cool sounds and used a cassette case to do amateur slide work up and down the neck.

I'm definitely glad we made these recordings, even though they were snubbed. We knew they we good!

As far as the bonus live material goes, we were playing "Sheila na Gig" because Chris had become a massive PJ Harvey fan on his semester abroad - and he also came back to the states with a cassette that had "Kylie's Got a Crush on Us" as performed by Teenage Fanclub (but written by the BMX Bandits). So we just loved playing those songs. I remember going to see PJ play in Chicago with Chris and waiting outside afterwards to say hi! And last year I got to see both of those bands live at the same festival (Indietracks), but neither one played that song. If they had, it would likely have blown my mind!

Did we start having Kate sing on "Sheila" because we wanted to help her get into Club 23 (underage) or was it just because we thought it would be a fun thing to do? I can't remember. Maybe Chris started feeling weird about singing it (as a boy?) and wanted to get some estrogen injected back into it. I could make up theories all day long, but Kate might be the best person to ask for the real answer! A couple months ago I was playing a show in a bar in Montpelier, VT, and my friends band that we were playing with did a cover of that song, too! Boy did it bring back memories all over again.

"Belly up!" That's another blast from the past! So glad to be reminded that this song ever existed. The recording quality is waaay rough, but I'm just glad to hear enough of it to spark my memories.

listen/download:


see also:
Severinsen on MySpace
incubus 1993 compilation

Trendinista 5000

While many assume that the Trendinista 5000 full-length cassette was recorded at the Record Plant by Bill Laswell or perhaps on a farm in Minnesota with Brian Paulson or Smart Studios with Butch Vig, the tape was actually made in a small cellar of a student house on St. Peter’s Street in downtown South Bend, IN.

The year was, I think, 1992 and we had just gotten back in town but not yet started classes at ND—so I’m guessing August—I’d have to check my old journal from that era. Chisel, a band that housemate Ted Leo and I had been doing off and on for a year or two, was off until we could find a new bassist, but we had a lot of creative energy built up from the summer. We set up our gear in a small, dark, musty space in the basement of our shared house and called up our pal Dennis McNicholas, whom I had done Teenage Dope Slaves with about a year previous.

We let the tape roll for either one day or two—making up songs on the spot, perhaps with one run-through before recording and ultra minimal overdubs. It was my idea of an “instant music” project, almost like automatic writing as a technique for producing a lot of material without filtering or critiquing what you were doing, just fueled by camaraderie and enthusiasm and strong coffee. I was taking the lead only because I had been the one with the guitar in hand when we started taping. There was a lot of switching around, Ted covers the drums (quite masterfully) when I’m playing guitar and singing and usually vice-versa, with Dennis singing and probably playing some guitar, too. I didn’t even own an electric guitar at this point, so I assume the axe was Ted’s old Fender Squire. The kid Mark was our housemate Mason’s girlfriend Mary’s little brother. I believe Dennis came up with the band name, or perhaps we did together—we had the name before we wrote the Trendinista girl tune, I think. 5000 was slang for see ya later—as in Audi 5000 if I recall.

As you can probably hear, all three of us were very familiar with Beat Happening and T5000 is, in some way, a kind of tribute to Calvin Johnson and that band. But you can also hear a bit of Codeine—with whom I was really taken for a year or two, perhaps Buffalo Tom and also some Teenbeat/Unrest vibes in there. The tape is kind of a time capsule of the era. Considering how quickly it was made, I think the songs are pretty phenomenal—still insanely catchy. Dennis and Ted were obviously talented young men—it was fun writing songs together.

Sometime that year, Colin Clary released the cassette on his Sudden Shame label out of Vermont. Dennis did original artwork for the cassette— a woodblock print—or maybe a soap block print, I'm not sure.

--John Dugan

listen/download:


see also:
Trendinista 5000 on MySpace
twitter: @johnedugan, @tedleo, @SBP90s

Obstruction - Live at Clifford

Haha! I didn't even remember that someone had recorded that show! Wow, good times. I guess everyone was just too nice to tell me how bad I sucked on drums those days!

Actually, "Eyesore" was a pretty good rendition, we always played that one well and "Holy Martyr" rocked!

Man, my timing was horrible! I think I was playing in another time zone on "Underscore" at the end there. Haha.

Once again, our best song and crowd favorite "Gunshot" seemed to always stand out from the rest. I especially liked it when I hit my cymbal so hard it flew off the stand towards the end of the song! Now that was some serious hardcore! Who was that trying to put it back on, Doug? Pretty funny.

Those were the good ol' days boys!! When is the reunion show!?

--Andy Yang

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We look so young and shiny, like we have our whole rock and roll futures ahead of us!

I didn't realize that I roll my eyes every time I mess up lyrics, that's hilarious.

Bah, who needs timing when you have hardcore? I love how the verses in "Underscore" feel like we're rushing because we're late for a hanging or something and then the chorus has this laid back almost ska feel to it.

On explaining the songs: I wasn't the most eloquent public speaker. Good thing my job was to bellow our lyrics.

The darkness and dinginess captures the feel of a basement show really nicely.

Yeah, that was Doug futzing with the cymbal. Andy you were rocking it hard! We should have set our instruments on fire (if only we could afford new ones)!

It was such a blast playing in that band with two of my best friends to this day!

--Hardcore Ron

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I'd have to agree with what Chris O always says about too many bands making the mistake of talking too much between songs. But with a set that could be played straight through in only around 10 minutes, I think we were sorta trying to string things out a little. Ah well...

I love seeing Ron rage on the mic, and watching Andy beat the drums into submission. The guitar work here is, as usual, somewhat regrettable. But whatever-- punk rock! Obstruction GO!!!

So cool that this video exists!

--Ted Hennessy


see also:
Obstruction - One Step Closer
Obstruction on MySpace
follow @SBP90s on twitter

Comeuppance - Live at the Pre-Nuptial Bash

Our first show was at Bronwyn and Ted’s engagement party at St. Peter Street. We dressed in our finest and nervously took our places on stage. Justin Mitchell graciously let me use his amp and set it up for me. We played four songs, which went by in a blur but for a moment in “Madeleine” when I had to hit the distortion pedal: the worry of finding the right pedal in the dark, stabbing at it with my toe and half-missing, then relief at hearing the piercing sound – and astonishment and thrill that I was actually playing guitar onstage in a band and not falling to utter pieces.

--Allison Rigo

listen/download:


see also:
Comeuppance on MySpace
Comeuppance - Tally Ho!

Faye, Leslie, and Shelley - Live at Clifford

I am so glad that we were able to participate in the scene and do so with our very own style and sound - without feeling that we had to emulate any of the other bands that were there. I am glad as well that people gave us a listen, and for the most part were respectful of the fact that we were just doing our own thing. How awesome for this suburban housewife to have some video of me hanging around where I am playing in a band at Clifford the Big Red House, with two smart as hell, outspoken, wonderful women - not to mention the times when Zoe played with us as well - another smart as hell wonderful lady.

Thank you to whoever recorded that moment in my life [ed. it was Roger] - and thank you Ted for putting it into the ether forever...

--Leslie



see also:
Faye, Leslie, and Shelley - Demo Recordings
Faye, Leslie, and Shelley on MySpace

twitter: @SBP90s

Ted Leo - "Innocents Abroad" (Chisel) live on WFMU 3/2/2010

Last night, Ted Leo made his latest in a series of recurring appearances on The Best Show on WFMU with Tom Sharpling, during their annual fund drive. Aside from playing a few solo versions of songs from his forthcoming album, The Brutalist Bricks, and a couple goofy covers, Ted whipped out an old Chisel classic... "Innocents Abroad." As Ted explains, he actually had to download the lyrics from the internet, to refresh his memory after not having played the tune in about 13 years!

Well, it sounded as good as ever, and was certainly a special treat for all the old-school Chisel fans out there. We've procured an MP3 of the cut for you, so check it out!

Ted Leo (solo) - "Innocents Abroad"

Additionally, you can stream the entire show by clicking here.

UPDATE! Video footage of the performance has popped up on YouTube:



follow Ted: @tedleo
follow us! @SBP90s

Severinsen - Live at Dalloway's 4/24/1993

Eric:
I can claim "Girl of Confusion" and "Call to Arms" as the two tracks I contributed to the group and sang. That's Mike yowling with me in the latter song.

Some highlights I can recall from my Severinsen career...

I remember the gigs at that coffeehouse on St. Mary's campus. Those were well attended, high energy shows. Back before they had energy drinks, I fueled those gigs with 2 liters of Dr. Pepper.



I remember playing a triple bill in my living room at the Zep Fest house on Portage Ave. with Brian, Colin and Vince, Severinsen and Chisel. I'm sure we were using the PA equipment owned by Palace Laundry. At least two of the musicians playing there that night went on to successful music careers (see Colin Clary and Ted Leo).

I remember practicing in the basement of that same house in my room next to the community showers in the house. My roommates used to tell me they liked attending concerts in the shower.

I remember how tight we were towards the end that we didn't even need practices... we would just show up for gigs.

I remember booking the biggest gig near the end of senior year playing outside at the big barbecue on St. Mary's campus during spirit week, only to have the gig cancelled completely because of the THREAT of rain (it never actually did rain that day). Naturally they had no back up plan for us to play indoors.



Chris:
I only vaguely recall why we went with the name Severinsen (not -son!). I think my friend Robert and I had a running joke about Doc Severinsen. I'm sure it was hilarious. This band was a carryover of sorts from Richard Scarry, a group Colin and I had in Vermont over the summer of '92. A lot of the songs made the trip back to school with us. We hooked up with Mike and Eric, two awesome musicians, much better than us, and played a few shows. Eric kicked in a couple songs. All was well. Improbably, we played Zep Fest. I'm virtually certain we didn't try any Page/Plant numbers, though nowadays I do enjoy rocking a rousing "Immigrant Song" with my kids.



Colin:
I remember we practiced in the downstairs of the house Eric lived in. And also that we almost had a keyboard player - for some reason at that time I had the notion that rock bands shouldn't have keyboards in them so we decided to not have the keyboard player join the band, but we let his amp be in the band because Mike used it for his bass! I kinda feel bad about it now, but what did we know then - it's also kind of funny...

I remember the bit Chris mentions about the Doc Severinsen comedic riffing with Robert -"he was cooking!" - it was at least funny enough that we thought it would make a cool band name.

I don't remember how the band came together, but I am so glad it did - Mike and Eric and Chris were awesome to play with - Chris and I were living together at that time and we each had other bands as well - with him in Chisel and me in Brian, Colin and Vince - for me it was just the beginning of having multiple musical outlets. I had been in the London program with Mike's sister. Maybe Eric remembers how we met - I used to play pool in the Gorch gameroom when he was working, but I'm fuzzy on how the band came together - It definitely started with Chris and I and our batch of songs held over from the summer previous.



At that time, the ND music scene was so much fun to be a part of - so many bands and friends playing all the time - I actually didn't have any recordings of some of these songs, so thanks to whomever taped this show and saved it! I never thought I'd get to hear "Daydream Nathan!"

Sometimes I felt like Severinsen was overlooked or under appreciated - speaking here about us not being included on the Incubus comp! I felt we should have been on there, but my impression was that we weren't because Chris and I were already on the disc in our two other bands. Fair enough, but I am sure I was ticked at the time. Severinsen was a solid contributor to the local scene on it's own. It wasn't the last time I felt like that, because I seem to have kept up since then with having multiple bands going at the same time. That said, the ND scene was extra awesome as a place where anyone who believed they could be in a band could start one and have one - lots of us dared to and made a whole scene out of whatever we wanted to do.

As far as those photos go, I can tell the tux shirt one was from the 40 ounce formal we held at our house! I really feel lucky to have gotten to play with folks who were willing to try each others' ideas - Chris and I and Eric each wrote different types of songs, but we all did our best to make them work.

Chris is one of my favorite people to sing with ever - I just liked the way our voices sounded together.

As far as the "Immigrant Song"... I'm pretty sure we covered that one in a medley with "The Joker" and another song when we were in Ice Nine a couple years before... Hope this helps with the blog post - I have been enjoying these trips down memory lane you keep preserving for us!

best,
colin
yow!

ps- I seem to remember playing a trainwreck version of "Hey Joe" at a party at Eric's - was that Zep fest? I know that we took a set break and the second half was more chaotic - I think we were lucky to have such a solid and talented rhythm section holding us together.



Mike:
I credit my sister for helping get this band together; she met Colin (and Chris?) the prior year on the London Program. They told her they needed a bassist for their new band, and she arranged for us to meet. At first, I thought she meant her friends from the band Chisel needed a new bassist. So, during the last few months of high school, I spent some time listening to The Jericho Sessions CD, memorizing the bass part to "Swamp Fox/Spike." Silly Mike.

I arrived on campus that August, and instead of going to any Freshman Orientation stuff, I spent my first weekend in South Bend practicing with Severinsen. I did not realize at the time how lucky I was. Turns out Chisel did need a new bassist, and that new bassist was Chris. Which was nice, because we got to open for Chisel more than a few times that year. I got to say "yeah, I'm in that band, Severinsen... you know... with that one guy from Chisel, and that other guy from Brian, Colin and Vince." Almost famous. The shows we played with BC&V and Chisel still rank among my personal favorites of all time.



I was amazed by these two guys (Chris and Colin) and their seemingly effortless hooks and harmonies, their ease at writing and blending songs together. I was still in full-on prog-rock mode, so it was quite a shock to play this kind of lush pop punk. Eric and I hit it right off, with similar music tastes and interests, and we worked diligently to create a locked-down rhythm section to back up the Glee Club power duo.

I really enjoyed this Introduction to Notre Dame Campus Bands 101, getting to jump right in the scene as a freshman, go to all these great shows and play with great bands, right off the bat. It ended too soon, as the other guys graduated that spring. I'm so happy that we have a record of these songs, especially "Limber/Sorry," a song that, even after all these years, I could still sing to myself, even though I had not heard it played in almost 15 years, until now. Thanks.

listen/download:


see also:
Severinsen on MySpace

emiLy - RTO 1.5329

In the fall of 1993, emiLy went to Miami Street Studios for our first professional recording experience. We recorded and mixed four songs in the space of two days or so, and the first three were released as a seven-inch EP called Finer Time. While waiting for the records to be pressed, we decided to make some quick copies of the recording session on cassette that we could send out to labels and venues we found in Book Your Own Fuckin' Life, the massive punk/DIY resource guide put out by Maximum Rock and Roll. (BYOFL started in 1992 and was a big bound newsprint magazine up until 2003 or 2004, when it turned into an online resource at www.byofl.org.) We sent the tape out with a simple insert that asked people to "Write us if you can help us find places to play, people to play to, vinyl(or tape(or CD)) to be on, or good Indian food in the MidWest." The tape did help us in the first two enterprises, but not so much in the latter.

The tape features the same four songs on both sides. The first three are the same tracks from Finer Time ("Cartoon Sex", "Finer Time", and "5(Frialator)"), and the fourth is a studio version of "Fortune 13", which appears in a different form on engineering means i Like you. Aside from the hundred or so people who got to hear this tape in person, this is the first opportunity for most people to hear "Fortune 13" in all its Miami Street glory. (I have no idea what the significance of the .5329 is, aside from indicating that it was not meant to be a regular RTO release.)

Not too long after this demo came out, we played a show at Dalloway's with Comeuppance. We called it our birthday show, as it was roughly a year to the date from the first emiLy show. The flyer advertised free cake in honor of the occasion, and we delivered on that promise. I bought a bunch of Little Debbie snack cakes and gave them to James K. to distribute at the beginning of our set. James jumped up and ran around the room, yelling "I'VE GOT CAKE! WHO WANTS CAKE?" and handing cakes to all who asked.

listen/download:



see also:
emiLy on MySpace
emiLy on last.fm

Comeuppance - Tally Ho!

James Kennedy, bass:
Comeuppance is the first band in which I ever played an instrument. I learned how to play the bass by practicing along with a Teenage Dope Slaves tape in my room at Sorin, and thus will always have a fondness for "Death Spa.” I was such an amateur I remember Chris had to literally push my fingers down on the fret board where they needed to go. Chris is from South Bend, so we practiced at his parents' house, in his boyhood bedroom. You can’t get much twee-er than that.




Chris Norborg, drums:
Comeuppance came about because Allison wrote beautiful poems and turned one into a song. Then I wrote a few quickies and cobbled together a drum kit. (The same kit featured in another obscure combo, Ely Parker & the CIAs, that I hope to get Ted to document someday on this site.) I knew Kate could sing from our hours driving around singing Morrissey songs together. James contributed his (criminally underrated) bass technique and "Freak Cathode Accident." A precious few shows, then Tim Schaffler (of the infamous Tennessee Schafflers) recorded essentially our entire repertoire - save a couple clunkers best forgotten - on his big ol' reel-to-reel four-track. And that was that.



Allison Rigo, guitar:
Comeuppance was the fun of being in a band compressed into four brief months: we practiced, we learned songs, we made flyers and T-shirts and stickers, we played a few shows, we recorded, we made a cassette tape – and then it was over. Its novelty and its compactness made it feel like a gift.

The songs were sweet and sometimes melancholy, and that was perfect for who we were – college kids finding their inner fourth-graders through Beverly Cleary motifs, Ludwig Bemelmans references, and the newspaper funnies.




Kate Connell, vocals:
How to succinctly sum up my days in Comeuppance you ask? Well, as my good pal Chuck Dickens once said, "It was the good times, it was the poo times" (I'm paraphrasing here, people). It was my sophomore year at St. Mary's College, a school I never actually chose to attend but was chosen for me. By the time I hit second year there, I was thoroughly depressed. However, there was this gleaming, fleeting light of hope. And that hope had a name... no, not Obama, but rather Comeuppance. Chris, Allison, and James were very much my saving grace(s) that year. Not only did we get to play music together, we also became a family. I know, corny but true. We would practice at Chris' parents' house which to me was the best part. Usually a delicious dinner was prepared and shared with fantastic company. In fact, the first time I ever saw someone have apple pie with a slice of cheese on top happened right there in their kitchen after practice. As for the shows, they're kind of a blur to me. But I still love the songs. Sometimes I find myself these days playing guitar alone in my room I strum and hum "Non Issue" or "Clock" or "Falter." Looking back on our short-lived career, I feel given just a little more time, we could've conquered the world!! Or, at the very least, played another show or two...

listen/download:


see also:
Comeuppance on MySpace

Hace Frio - The New Beat

What I remember most about The New Beat was Jim scrambling to get back to South Bend mid-Hace Frio/emiLy tour to pick up the tapes.  What struck me most about the recordings was that the first six songs or so were OK.  I was very pleased with the addition of the violin, and Rose's playing in general because it gave some depth to some of the songs, and added layers to the band's sound.  "Welcome to Semblance" and "Gray Shades" were always so much fun to perform.  We had just started to mature as a band I think, when this tape came out, and unlike the sweat-drenched summer of unbearable heat inspired songs of our first recording, The New Beat was crisper, and the recording quality better.  Most importantly, as Doug has pointed out repeatedly, we had fun.




We had played a few shows in Chicago and Michigan before we took off for the tour, and we had been lucky enough to open for some great acts, including several U. of Chicago bands such as Streganona and Toulouse, and the Chisel show at 702 W. Angela.  We even did a Michigan spot with Streg that was memorable for all the faces in the basement who had never heard us, but were into it, and the prodigious booze quaffed by both bands.

Hawking that tape on tour also was fun, I remember in Ohio hitting up every person in the club to buy them, lord knows where they are now. We seemed to keep running into straightedge folk on the tour, who Doug and Mike L. horrified by setting records for chicken wing consumption, and who Jim and I horrified by staggering around with 40s mid-day.  By the end of the Carolina leg of the tour, some of them liked us well enough to try and hitch a ride back to the Bend.  Amazing what a tour can do.



Back to the tape, Jim deserves mucho credit for his technical skill in recording this and the development of his bass lines. In listening to it 13 years later, I can recall the tour and waning days in the Bend, and also all the idealism and fun we had that year.

--Dave McMahon

listen/download:


see also:
Hace Frio on MySpace
Hace Frio - The College Years (1995-1996)