Against Me! – White Crosses (8/10)

A raucous caricature of seasoned punk rock and roll, the follow-up album to 2007’s well-received New Wave is at times generic sounding but always unrelenting and unapologetic in its tone.

Against Me! – White Crosses (8/10)

A raucous caricature of seasoned punk rock and roll, the follow-up album to 2007’s well-received New Wave is at times generic sounding but always unrelenting and unapologetic in its tone.  The album’s eponymous first track White Crosses is a microcosm for whole the album, where the intuitively hostile lyrics “White crosses on the church lawn, I want to smash them all!” are misleadingly played out in the fashion of a jolly Irish drinking song.

Suggested listening environment:  Gym or pub.  If you can find a hybrid between the two, please contact me at b@moetrainstracks.com.

The Tracks’ Thursday at Bonnaroo

Yo!  After some serious internet issues, we’re back up and running!  Thursday and Friday…  Bonnaroo mania is running wild on the farm.  People came to the fest with guns blazin’ and have been going balls to the wall since many had arrived on Wednesday night.  The party started at the Manchester Walmart, then spilled out to the traffic line (yeah, a ton of people party in their cars), then continues through setting up their and throughout the weekend.

The first night at Roo seemed fairly tame in comparison to years in the past.  The early Thursday lineup seemed weak, until Neon Indian at 8:30.  The crowds seemed very excited to be at any set on Thursday night, as their Bonnaroo dreams finally have been realized.

We checked out The Dodos at 9, and they had a great vibe going.  They give off a sense of being European, but they’re a “domestic product” of the good ol’ US of A.  The crowd was packed, and the side stage area was mobbed.  (I think the press and musicians had a bit of Bonnaroo Fever as well!)

The Dodos made us thirsty.  No, it wasn’t the steamy weather of Tennessee, but it made us want to pour some heavy libations.  So we did.  Quite a few.  As Excelsior chilled at our front row spot (again!) in front of the Bonnaroo Arch, we met and hung out with our neighbors and locals of Manchester.  Apparently, they have been camping next to us for the past few years, and one of the fine gentlemen offered us a few drinks of this fine “shine.”  We had a great conversation about the different types of “shine,” and how much it still paralleled the early days of prohibition.   From what I hear, we’ll be having another sampling this weekend!

So quite a few Moe-jitos later, we head off to The xx’s set.  MTT was slated to interview The xx, but unfortunately they had to cancel.  If you haven’t heard their album yet, I highly suggest that you get it immediately.  It’s a bit more chill than the tunes I usually listen to, but the album is top notch.  It’s a very stripped down and simplified sound, but the intimacy of the set was astounding.  They have replicated the sound of their album perfectly, and in the live setting, the sentiment of their music is magnified tenfold.  They are a must see if they swing through your area.

B and I finished up the night with Wale’s hip hop fiesta.  I just got into his music, and that guy can seriously throw down.  Great crowd command and high energy ran through his crew onstage.  His set was proof that you don’t necessarily need to be familiar with someone’s music to thoroughly enjoy their set.  I’ll definitely be adding Wale to my playlist when I get home.

By the end of the night’s music and mayhem, it was time to crash back at our tent.  The vodka induced slumber was poor, but at least we were getting a bit of rest.  If there’s one thing for certain, Bonnaroo is not for the weary or faint of heart.

Bonnaroo is a true test of will and strength.  Plain and simple, if you’re not a fan of the heat, roughing it, or mud, you shouldn’t be here.  It’s been steamy hot since we arrived, and mud is everywhere.  On Wednesday night, a monsoon hit Manchester, so we’re dealing with pretty harsh conditions.  I’m not complaining, but since there are a ton of first timer here this year, I’m just informing people to make the appropriate decisions when choosing festivals.

LCD Soundsystem – This Is Happening (8.5/10)

LCD’s third album is nothing unforeseen, another laser-inscribed lamentation from the reigning analog-meets-digital maestro.  Murphy once again transcends the dance-punk genre, a style in which he is now a perennial figurehead.

LCD Soundsystem – This Is Happening (8.5 out of 10)

LCD’s third album is nothing unforeseen, another laser-inscribed lamentation from the reigning analog-meets-digital maestro.  Murphy once again transcends the dance-punk genre, a style in which he is now a perennial figurehead.

What to listen for:

-major Talking Heads influences, check out Pow Pow

-Dance Yrself Clean- one of 2010’s best songs to date

-my only caveat- some of the songs drag-on a smidge (the average track is 7 minutes), not something that has worked well with my unrelenting ADD

- B

Pretty Lights

What’s up dance fiends?  In this show, we bring to you one of the hottest acts to rock the late night dance scene:  Derek Vincent Smith, otherwise known as Pretty Lights!

Derek has had one hell of a first year hitting the festival circuit, and blew up the crowds at Bonnaroo, Rothbury, Camp Bisco and more.  His live performances along with his drummer Corey are an absolute must see.

Pretty Lights has been releasing free albums (with option to donate) on PrettyLightsMusic.com, so you definitely need to grab yourself some of his albums.  If you need a great soundtrack to drive around to on a beautiful sunny day, Pretty Lights is the way to go!

Be sure to check out the new MoeTrainsTracks.com for an all new Tracks experience…  So we bring to you… The man who moves the feet…  Derek Vincent Smith, from Pretty Lights.

Derek Vincent Smith (Pretty Lights) Interview on Moe Train’s Tracks

Monty Wiradilaga and Brian Kracyla (MTT)

Moe (MTT):  This is your first festival season right?  How’s it treating you?

Derek (Pretty Lights):  I had no idea what to expect coming into it.  I was very excited about it.  And to be honest, I’ve received nothing but love at all, it’s been really cool.  Even fifteen minutes before the show, when the tent’s empty and I’m feeling kinda nervous about if people are going to come check out the set, they’ve never let me down.  Everyone has been really cool, it’s been packed, lots of energy.  People obviously come to festivals to listen to music and dance and get down and I’m glad that I can help them do that.

M:  You guys run an interesting improv angle with your music, you always have an evolving sound.  How do you work to create an evolving musical journey throughout your set?

PL:  That’s a cool question.  A lot of people look at me behind a table and think that I’m a DJ, and to be honest, I’ve never spun a record in my life.  I could probably match beats with records, but I’ve never even tried it.  All the music is original, using original productions I should say.  I’m using software and different devices to trigger different parts and arrange it on the fly and to affect it and manipulate it and play some of the layers live on top, like melodies and samples and stuff like that.  But back to your question, how do I look at it as a set, as a whole, I try to think of it more as how a DJ would as far as tempos.  I really try to bring the energy up and back down smoothly.  Even if it’s a real hype hip-hop speed track, I don’t like to play it after some more up-tempo electric track because it just doesn’t feel right.

M:  Don’t want to burn people out?

PL:  Yeah.  Also I like to produce a lot of different styles of music, of a lot of electronic kind of music, but they also vary in energy a lot.  But rather than just have my live shows be all high energy dance music, I like to bring in some of the more organic down-tempo, more emotional kind of tracks.  It does take some consideration of where to bring that in and where to play it or not to play it.  Honestly, as I play more and more, I’m getting better at being able to do that. Because I never have a set list, the songs have a level of improvisation, but the sets are always improvised as far as the order.  Like last night, these people had grabbed a set list off the stage and I could see people were kinda arguing over it and I went down and said, ‘That’s not even my set list!  That’s the set list for the band that hasn’t played yet.  You better put that back up there, they’re not gonna know what songs to play.’

M:  Well you and Corey worked together in another band before this, so I guess you guys have a good chemistry going.

PL:  Yeah, we worked together before Pretty Lights in a band and actually when that broke up, when that kinda ceased to exist, that’s when I started writing the first Pretty Lights album.  There was really a period of time for about two years between when that band ended and when the first Pretty Lights show that I actually invited the drummer up to play with me.  I wanted that element live and I feel like it brings a certain kind of hands-on, live energy to the show.  Also, I like to be able to play off another individual.  So that’s when I collaborated with him and started doing the shows with a live kit.

M:  You basically formed a sort of sign language on stage, sort of tipping each other off on what’s going on?

PL:  Yeah.  When we first started playing it pretty much was only two hand signals, like ‘cut out’and ‘come back in’.  But as we played together more and I’ve written more music in a way that it can be performed differently each time, utilizing the different technology like Abelton Live with the different kind of features…

M:  Is that what you use?

PL:  That’s what I use live, yeah, in conjunction of a device called a monomer.  We use signals like, I have different hand signals to switch drum beats, or switch high-hat speeds, or switch to ride signals, or we’ve got one for switching to an off-beat snare pattern, or losing the snare and keeping the kick and high-hat, or different things for bringing the energy up or bringing the energy back down, and things like that.  It’s definitely evolved, the way in which we communicate on-stage.

M:  So how do you think the live performance brings your audience a different experience than what’s on your albums?

PL:  It’s all about the energy, about hearing the music in a different sort of setting.  It’s good car music, I think it’s good bedroom music but a lot of…

M:  Bedroom music, huh!  Getting the beds rockin’?

PL:  That’s what I’m saying, man! People have told me that I’ve gotten them laid.

M:  There you go, to your credit…  Put that on your resume, ‘Getting People Laid!’

PL:  (Laughing)  Back to that question, what I was trying to say was that it’s not all me, or us, the people on-stage, creating that live experience.  It has so much to do with everyone coming together and experiencing the difference of the live show energy but also within a congregation of people.  And it also has a lot to do with, nowadays, the light show and bringing the visual medium.  Which has evolved, but I’m looking to take it a lot further.

M:  Just an all encompassing experience.

PL:  Exactly, a multi-media experience.  A lot of people think that when I named it Pretty Lights that I named it exactly for that, some crazy laser light show, but that definitely wasn’t in my mind at all when that name kinda came to be.  It was more about personal experiences of pretty lights, I’m always on the look at for that kind of thing.  But I’m definitely trying to bring the whole live light/video aspect of the show to a whole ‘nother level, and just keep pushing that, keep pushing the production so that people can really have a cool experience that’s far different than listening to the record.

M:  We are doing a show on Michael Jackson.  How did he affect you, if at all?  With his passing, it hit us all in the music industry in one way or another.  Did he affect you at all?

PL:  Yeah, he did.  Not maybe at the same time that other people, especially at my age, might have been exposed to it or hit by it because, honestly, I grew up in a family that, when I was a kid, I wasn’t really exposed to a lot of music.  Being born in the eighties, I think a lot of people my age heard a lot of Michael Jackson growing up but it was a different experience for me because it didn’t get into to it until I was able to find it myself as a late teenager.  In junior high I was like ‘Oh, I know who Michael Jackson is, he’s the King of Pop’ but I wasn’t really exposed to his music.  When I really started getting into music, and getting into production, and really going back and listening to it with fresh ears, a lot of it is just unbelievable.  It’s just incredible music.  The records he did specifically with Quincy Jones, who’s one of my icons as a producer, have been very inspirational, not only in how I create music but also in a personal way.  That combination of artists was really able to create some pieces of music that made you feel.  And that’s what music has always been about for me, creating emotion and always having people be able to feel something from the music, inside.

M:  Where do you see Pretty Lights evolving to in the near future?

PL:  I have a lot of ideas that I want to manifest and to make happen in my career, wherever it goes.  Right now, and in the recent past, I’ve been doing a lot of collage sample producing, where I’m taking different snippets from vinyl and bringing them together to create pieces of music.

M:  Like Girl Talk style?

PL:  Not like Girl Talk at all.  Actually, nothing like that.  More like DJ Shadow, a big influence for me.  The whole idea is more obscure pieces of music and just little pieces of it.  So you can still really implement melodic creativity and create feelings and emotions that didn’t exist in the song that the sample was taken from because you’re getting pieces from all these different not only artist but different decades.  As far as pushing the project and the show and the music in general, I feel like the sampling phase of my career is kind of dwindling because I have the means to create that stuff on my own.  Before, in that two year period I mentioned between the prior band and Pretty Lights, I worked as an audio engineer in a professional recording studio and did a lot of records with, not only local bands, but some bigger artists.  I did some work with Lyrics Born and Greyboy Allstars and stuff like that.  I want to be able to capitalize on my experience as an audio engineer and working in the studio producing other musicians, just how we were talking about Quincy Jones.  I’m actually already looking into getting my own vinyl press and buying analog tape machines, so I can really create the sound that I want, which right now I’m getting by taking it from vinyl from other decades.  But I want to be able to create that in the present day.  As far as future records, I’m looking to work with networks of musicians and really utilizing recording techniques to hang on to that golden age of music where everything sounded so warm and awesome.  As far as my records, that’s where I’m looking to take things, but also I’m looking to make it very multi-media.  I do a lot of video editing and stuff on the side and haven’t been able to really bring that to the show yet.  So one thing that I’m looking to work on in the near future is also realizing audio/video compilation things, not just records but records and video accompaniments and the same time.  But, anyway, you’re letting me babble on, which I appreciate.

M:  That’s cool.  I asked the question.  Hey man, thanks a lot for being with us.  I appreciate it.  We look forward to your set tonight.

PL:  Yeah, me too!  It’s been a pleasure.   Thank you so much.

LMFAO – Party Rock (7.5/10)

Music isn’t and shouldn’t always be mind-blowing, nor should it always be ground breaking or poetic. At times, even the most discriminant listener needs to let their guard down and enjoy certain albums for what they are: A good time. Party Rock by LMFAO is one of those rock/rap/old school/club albums.

Music isn’t and shouldn’t always be mind-blowing, nor should it always be ground breaking or poetic. At times, even the most discriminant listener needs to let their guard down and enjoy certain albums for what they are: A good time. Party Rock by LMFAO is one of those rock/rap/old school/club albums.

Party Rock, produced by The Black Eyed Peas’ Will.i.am is a party wrapped into an album. True, it may be filled with tracks like “I Am Not A Whore” (which has got a killer beat), and “Shots (with Lil’ Jon.. Yyyeaaah!!)”, but this album is loaded with ridiculous and fun songs that will get the asses movin.

Is this album extremely niche-y? Sure.

Is it very well produced and catchy? Hell yeah…

So take this album at face value, pour a few shots of Patron, and have a good time.

- The Train

Related articles:

• LMFAO’s Sky Blu, Redfoo Talk Work And Play On The Road (mtv.com)
• LMFAO “Party on the Rock” returns to St John’s, Nfld, live April 13th 2010 (newswire.ca)

Hole – Nobody’s Daughter (1.3/10)

I’ve heard some shitty albums lately, but nothing as absolutely horrendous as this “Hole album.”  I put it quotes because this piece of crap sounds as though Courtney Love (not Love-Cobain anymore) sat in her living room, downed a bottle of pills, clicked on Skype and hit record.  There was a minute possibility that Courtney could have redeemed herself musically with a killer album, but she all but killed any chance to prove she still has it.

Hole – Nobody’s Daughter (1.3 out of 10)

I’ve heard some shitty albums lately, but nothing as absolutely horrendous as this “Hole album.”  I put it in quotes because this piece of crap sounds as though Courtney Michelle (not Love-Cobain anymore) sat in her living room, downed a bottle of pills, clicked on Skype and recorded the audio through her webcam mic.  There was a minute possibility that Courtney could have redeemed herself musically with a killer album, but she all but killed any chance to prove she still has it.

Sure, she’s a mess.  Physically and emotionally, Courtney’s gone through a lot.  There was potential for a very revealing and cathartic album, but she bombed.  Did she even have the same band at all?

As you can tell, I was disappointed.  I guess I shouldn’t have had such high hopes!  Have a listen, then recycle.

Related articles:

• Courtney is Love no more – call her Courtney Michelle (pbpulse.com)
• Love It Or Hate It: Courtney Love (imnotobsessed.com)
• Courtney Scolds Frances On Twitter (perezhilton.com)

Giant Panda Guerilla Dub Squad

We’re headed back to the vaults for an interview with Matthew O’Brian, the former lead vocals and guitars for the roots reggae and dub outfit called Giant Panda Guerilla Dub Squad. Although Matthew and the band have parted ways, this interview gives a great insight into the mind of one who has created a thriving and perpetually touring band

A big welcome to all you rastas and reggae heads.  We’re headed back to the vaults for an interview with Matthew O’Brian, the former lead vocals and guitars for the roots reggae and dub outfit called Giant Panda Guerilla Dub Squad.

Although Matthew and the band have parted ways, this interview gives a great insight into the mind of one who has created a thriving and perpetually touring band.  Have a listen as we discuss the vibe of their band, brushes with the great Toots of Toots and the Maytals, and their green stance.  We wish both Matthew and Giant Panda the best in the future, so be sure to check them both out when they hit your area!  So from the vaults, the Tracks bring to you… Matthew O’Brian, former vocals and guitars for Giant Panda Guerilla Dub Squad (giantpandadub.com).

Interview with Matthew O’Brian (Formerly of Giant Panda Guerilla Dub Squad)

Brian Kracyla and Monty Wiradilaga (Moe Train’s Tracks)

Moe (MTT):  We’re sitting back here with Matt from Giant Panda.  What’s going on, man?!  How are ya?

Matt:  Very well.  Nice to see ya, Monty!

MTT:  Awesome, great set today.

M:  Thanks.

MTT:  How is the Rothbury experience compared to your other festival experiences?

M:  We’ve gotten to experience it since Thursday night, we had a whole day and a half of anticipation for our own set.  Everything has been super-exceptional, super-clean, and the vibe is real strong.  The experience with the set was great.  We played first so we got an excellent soundcheck full.  We were ready to go, all dialed in before we hit the stage.  That’s better than most festivals where you’re rushed to get on.

MTT:  Your music draws from the roots, dub, but you guys also mix in improvisation.  How important is it for the band to take the listeners on a musical journey?

M:  It fulfills our own musical desires and our own creative desires to be able to take those risks in the live setting and really feel like we are pushing our selves and challenging ourselves.  For very many people, it’s apparently one of their favorite things they get to experience at the Giant Panda shows as well, the improvisation.  It’s been openly confirmed recently that we really want to bring that to every show.  We really want to have that experience of not knowing what’s going to happen next, no plan.

MTT:  So, you feel that your live show is really the bread and butter of your music?  Or do you feel it’s your recordings?

M:  We tour and do 180 shows a year.  Our live shows are our bread and butter.  The history of reggae is a studio history.  A lot of the sweet reggae we have heard over the years is all produced in the studio and rarer live.  We’ve sought to bring true roots-sound and that real vibration to the live scene as much as we can, that’s our contribution.

MTT:  Speaking of which, you’ve shared the stage with some legends.  How have they really influenced your sound?  Do you have any stories with the classics?

M:  Their sound influenced us for our whole upbringing.  Lee Scratch Perry was influencing our sound before we knew what recordings he had influenced so much.  You listen to the old Bob Marley and that was all black art, that was the finest Lee Perry productions.  Toots sets a wonderful example because Toots’ music is some of the most uplifting and positive of that roots era.  His voice is so rich, but he also is so positive and so giving of his own energy to his audiences.  He’s very, very musically disciplined and his band is one of the sharpest.  He really lives up to his reputation.

MTT:  Do you have any stories with him?

M:  We lived down on State Street in Rochester, NY and he was staying at the Crowne Plaza, directly across the street from our apartment.  We played with Toots at one of the biggest shows we’d ever done at the time, in Rochester, at a big outdoors jazz-fest thing.  Toots headlined and at the end of the festival blew it out in the street, and we got to open for him and then we were heading to Bonnaroo that night, the minute we were done with the set.  We were running late, running around, and we found ourselves back at our house getting our last things together as Toots was pulling into his hotel.  Dylan, our guitar player who’s met Toots before, ran over and said “Hey man, nice to play with you.  It was a great honor.”  And he turned to us with both of his hands in the air and just like (pumping both hand in the air), all the way as we were driving away he was pounding two hands in the air!  He gave us the best energy we could get to hit the road with.  We were just proud to be there with him, let alone the fact that he acknowledged us like that.

MTT:  Speaking about legends, we’re doing a show on Michael Jackson.  How has Michael Jackson influenced you personally or musically?

M:  Michael, to me, means quality, top quality from the time the public was aware of him.  He was five years old and making untouchable high quality music and it never wasn’t untouchable, high quality.  I have nothing but the utmost respect for Michael’s music.  I think that with somebody like Michael Jackson, the influence is so thick, so ingrained in everything, it gets taken for granted as a part of reality.  It’s a culture of his own.

MTT:  It was definitely a shock.  It felt like a part of our childhood was taken away, well not just childhood but our whole life.

M:  It is, its part of everybody.  He’d been there 45 years of his 50 years!

MTT:  The band (GPGDS) takes a very green stance.  Are you guys are participating in the (Rothbury) think-tank?

M:  We are participating in the think-tank.  They asked us to do that, I guess they picked up on the green stance.  We’re not too preachy about it or anything but we, in our own lives and travels, have made choices and changes.  The Sprinter runs on diesel and we’ve converted it to run on waste veggie oil.  It’s been a process getting to know the whole scene but we put a lot of thought and a lot of money into getting it real right.  This is the first summer, so we’re just getting it under way.

B:  How do you get the oil for it?  Do you go to restaurants and try to get what they let go of?

M:  More and more you can buy filtered waste veggie oil.  You can get waste veggie oil from places that preferably don’t use any fat.  Some places just fry tortilla chips or just fry potato chips.  You want as much of the clean stuff as you can get in the first place because then you have to filter it, let it settle out through all these filters, and then you put it in your van.  It goes through a little bit of a filter putting it in, but you put it in and then you burn it like diesel fuel.

MTT:  HOW MANY MILES TO THE GALLON DO YOU GET?

M:  I can’t say a specific number but to give you an example, Rochester, NY to Burlington, VT, one forty gallon tank of waste veggie oil.  That’s like a 8 hour drive sometimes.

MTT:  Where do you see the evolution of your band, where do you see your future?

M:  We see ourselves asserting our right to, you say we take a “green stance”, we take an “everything stance”.  We feel a responsibility to bring the highest that we can bring.  We feel the responsibility to give the audience, and give people that take the time to enjoy and experience music, the best of what we can give them.  We treat our lives that way and we try to keep ourselves in good shape, we make good choices with our bodies and with our lives, in our actions and with the way that we speak to people.  I hope that our band can keep reflecting that and keep getting more gigs like at Rothbury to reflect that and stay true to our roots.  We always want to be able to be who we are and maintain creative integrity and to talk to more people like you.

MTT:  Thanks very much for being with us.  We appreciate it.

M:  Yeah, thanks Monty!

———————

Matthew and Rachel (also a former member of Giant Panda) have started a new band called Thunder Body.  Check them out on Facebook at: http://www.facebook.com/pages/THUNDER-BODY/111078485595149?ref=ts

NEW MIA Track: XXXO (Listen Here!)

MIA is slowing getting tracks out for her new album, and Tracks brings you her latest… XXXO!  She’s got 2 great albums to follow up on, and it sounds like she’s bound to put out another club banga!  If you haven’t seen her live yet, she’s a must see. Her dancing is a bit suspect, but she puts out incredibly danceable tunes!

Pop Montreal Announces 9th Year and Headliners

POP Montreal, the fun and lovable independent music festival is pleased to announce it’s 9th edition taking place September 29th to October 3rd 2010 with a sneak peak at some of its headliners. POP MONTREAL ANNOUNCES 9th YEAR AND HEADLINERS POP Montreal, the fun and lovable independent music festival is pleased to announce it’s 9th edition taking place September 29th to October 3rd 2010 with a sneak peak at some of its headliners. Some of the highlights include the return to the stage after 14 years of the legendary post-punk band SWANS; the mysterious Canadian cult singer MARY MARGARET O’HARA; the producer/composer/musician VAN DYKE PARKS who has worked wih everyone from the Beach Boys to Grace Kelly and Joanna Newsom; perhaps the greatest gypsy marching band on earth, Romania‘s MAHALA RAI BANDA and the unpredictable and awesome DEERHOOF. Other artists joining the party include: LIARS, DANIELSON, MARNIE STERN, FOL CHEN, BEAR IN HEAVEN, NAOMI SHELTON & THE GOSPEL QUEENS, SHONEN KNIFE, KARKWA, THE LUYAS, BABY DEE, TWIN SISTER and CLARE & THE REASONS. In the coming months POP will announce more of its line-up, plus their always fantastic onslaught of film, late-night after-parties, panels and workshops, art shows and indie craft fair. So stay tuned! For early bird passes check: http://ow.ly/1HW9Q For individual show tickets please check: http://ow.ly/1IUlx More info: http://popmontreal.com

Toots & The Maytals New Record and 4/20 Limited Edition Pkg (COOL SHIT!)

Reggae legends Toots & The Maytals are happy to announce the release of the band’s latest record, Flip & Twist in stores May 18. In honor of the recent holiday, Toots released a special 4/20-themed limited edition package (via TootsAndTheMaytals.com) including: a joint-shaped USB drive loaded with Flip & Twist, a Toots Stash Box, a physical copy of the album, & various other surprises! For a taste of what the full album holds, download a FREE MP3 of the song “Perfect Lover” HERE. Keep an eye out for the band’s upcoming videos and make sure you don’t miss Toots & The Maytals as they tour the US this summer!

A reggae legend not to be missed.  Look for Moe Train’s Tracks interview with Toots on MoeTrainsTracks.com soon!

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