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| this song was my biggest college "HIT". MOV. II got a lot of airplay in 2002 {in rotation at over 250 stations, charting at 37 stations), and ALLAKAHEEZ was the track that definitely got the most attention. the drum loop is from a tape of myself playing the drums at my friend MATT GAUNT's home studio sometime around 1996-97(?). the vocal sounds like it's from some folk song from another land (world?). how did i get it? i'll never tell. i GUARANTEE noone will ever figure it out. i have no idea what language it is in or what she is saying. i broke the vocal up into different pieces, then reconstructed it line by line to create a new melody. i use different pieces of the vocal in many different ways - slightly slowed down, sped way up and repeated on the 1, played percussively on the sequencer pads to create a horn-like sound. these different pieces of the vocal are spread out on several layers, which float in and out of the song. ROCCO from KSOC in Oregon told me that when he would play this song, people would call in and ask about it. the main vocal part has a way a getting STUCK in your head. be careful. |
CD: Movement No. II
Label: 372ARTMUSIC
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| this is a new (as of now - oct. 03) and better take of Welcome, which is quickly becoming my signature song (for this, the Singer-Songwriter Phase of my career). i played this song at a WALK OUT rally in Union Square park a few weeks ago, and then again at the WILLIAMSBURG SONG CONTEST held at the Laila Lounge last week. the place was packed and my performance froze the entire room - everyone stopped what they were doing and watched me perform. you could hear a pin drop. people came up to congratulate me after i was done and the owner of the place said i was a lock to win. yet somehow i did not even advance to the next round. either i went over the 5-MIINUTE LIMIT that was being stricly enforced, or maybe the judges didn’t like it. or maybe the use of profanity and radical subject matter of the song offended them. either way, it's amusing to me that this song didn't make it to the finals of the contest, yet will eventually become one of the most known songs of this century. to read the lyrics of this song click on 'view track info.' |
CD: (avail. on MP3.com only!!!)
Label: 372 ARTMUSIC
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| this is the first song from the 'i am a rock-star' phase, and the full public debut of the new, vocal JOSHUAGABRIEL. recently i had to take a part-time job, and while i would be at work contemplating suicide, one of my basementmates - fellow rock star ZACK ORION - would be at home on my computer in Pro Tools, crafting a new amazing song EVERY DAY in what seemed to be a totally new, original genre. as blown away as i was by this creative output and as happy as i was for my friend, the competitive bastard in me couldn't help but be outraged at this turn of events. here i am sweeping the floor and sitting bored behind a counter while zack was in my room producing a new White Album! to add to this my trip to Miami {with a film crew!} for the WMC got cancelled because the 'producer' turned out be a flake idiot who couldn't handle his part and ended up getting ARRESTED. so i was in a ripe old rage by this point. i had been fired for taking a week of absence from my new job {thank god!}, so on one of the first days back home i decided to show zack what was up and create my own new genre in one day. i laid down a simple, raw beatbox. then recorded a track of me playing a hand drum. on top of that i recorded a live track of electric guitar. i started writing this rhyme to go on top of the whole thing, but while i was practicing it i realized that to get a whole written song really tight and perfect would take a few days. i wasn't really sure where to go from here. later that night i decided to try and off-the-top freestyle over the beat and see what happened. i laid down 3 different freestyles, but i wasn't really thrilled with any of them. It usually takes a little while to get in the loose 'freestyle' zone, and i am not good enough {yet!} to just push record and do a perfect 4:30 of improvised rhyming. i was sitting there kind of bummed and decided to listen to it with 2 of the freestyles playing at once. immediately i was like THAT'S IT! so in this song, there is one freestyle all the way to the left {in the mix}, and one all the way to the right. this song proves that technical ability doesn't really mean much in music. my beatboxing and freestyling are in a very early stage of development, yet this song is like no other you have ever heard. take that Z!!! |
CD: (avail. on MP3.com only!!!)
Label: 372ARTMUSIC
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| whenever i give a women a complimentary copy of MOV. II (that's my move), the next time I see them they inevitably tell me that I LOVE YOU is their favorite song on the album. I.L.Y. is my (skewed) version of a pop love song. it starts with a simple, driving beat which is punctuated by my own voice saying 'uh' and 'yeah' (my vocal debut!), to which i then added a simple piano loop. the vocals are made up of several layers of the sample played at different speeds. for the change, i played the bass line live in the studio with a guitar i borrowed from my step-brother. when the main theme resolves, i bring in some strings, a harp, and hand claps. the climax of the song is at the end of the 2nd change, when i take out the bass, and something like 10 layers of vocals float above the beat. this song is one of my proudest achievements and shows the softer, more cuddly side of joshuagabriel. JOHN ERICK, the infamous painter and all around artist, told me that he has had sex with this song playing. |
CD: MOVEMENT NO. II
Label: 372ARTMUSIC
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| this is a live, improvised recording with AMB on vocals and me, JG on acoustic guitar. Adrienne and i have a special bond that comes across when we are playing music together. this isn't rehearsed or practiced. we got high, pushed record, and played. sometimes i like to play really simple, slow guitar parts - really get into the groove. Adrienne's vocal performance is truly amazing, especially when you consider that she had no idea what i was going to play. i moved thru a few different, simple guitar themes. the ending is kind of awkward, because adrienne was really hitting a groove but for some reason i was bugging out that the recording was getting too long, so i cut it off. the thing is, joshua is just a channel of the universe (like you), so apparently this is way this recording was s'pposed to end. |
CD: (avail. on MP3.com only!!!)
Label: 372 ARTMUSIC
Credits: vocals: Adrienne maree Brown |
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| i was in a serious rut working on 'REBEL FOR THE NEW NM', the second track from MOV. II. I didn't like the second section, so I started re-working the part using the same sounds/rhythms, trying to make it a little more accessible and, in my mind at least, 'dancey'. this re-working ended up turning into its own song, a sort of remix or reprise of the song it started from. i was going for a hard breakbeat type of rhythm - the beat has many layers, some of which i played on my very small hand-drum that i got at a brooklyn outdoor fair for $15. the other main elements are (as usual) pieces of souful female vocals and a really hard, DEEP bass line. i pictured this track as sort of a 'dancefloor slammer', but in a 4 minute format - like a quick, sharp, big-beat radio 'HIT' {in my own deranged version of the universe}. the ironic (?) part is that i ended up liking the part I was trying to originally fix, so i left it and made that song 'part 1' and the reworked version 'part 2'. looking back, i think the feel of this track was very inspired by the hard breakbeat and drum n bass that was the soundtrack to this period of my life. |
CD: MOVEMENT NO. II
Label: 372ARTMUSIC
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| this is a very raw live recording from a show i did this year in w-burg with the Trashy Cameras and several other acts. i'm performing solo on just beatbox and electric guitar. i don't remember how i came up with the main guitar phrase but it's something i've been playing for quite some time. it kind of reminds me of some of the progresssions i played when i took a year of classical guitar lessons as a teenager. i'm doing a fully produced and layered version R-Paygio for my debut full-length JOSHUAGABRIEL which has several layers of electric and acoustic guitars, drumkit, beatbox, bass, and scratches. i will be putting a working version of that track up here shortly. anywaze, before i launch into r-payg i do a little GUITAR/OFF-THE TOP FREESTYLE because Trashy Camera vocalist/keyboardist and fellow rock star Billy yelled out a line from one of my flyers. i have always loved lo-fi, live recordings like this. 'its got feeling man, FEELING!' |
CD: (avail. on MP3.com only!!!)
Label: 372ARTMUSIC
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| my biggest problem is that everyday i think of 50 different albums i want to make. about 8-10 months ago i got on this kick where i was going to make a hip-hop double album, where every song is completely 'Off-the-Top' freestyling. 'Off -the-Top' freestyling means that you are completely improvising the rhymes you say, as opposed to saying rhymes which you've written beforehand. of course even when you are improvising you will say certain rhyme schemes that you always say, the way any musician will mostly rely on techniques that they practice all the time. anyway, this double album had a set of rules to it, like a DOGMA film. every song was to have just a drum beat (that i create), one non-percussive noise or sample, and then an improvised live vocal performance on top of the beat. not only that but each song was supposed to be completed in one-night, and the album would be created in exact sequential order. meaning the first song on the album would be the first song i recorded, the second song on the album the second song i recorded {and so on and so forth}. are you getting all this? believe me, this might seem over the top in terms of a description but people will mull over every aspect of every thing that i create someday so this stuff is important. so anywayz, the album was going to be called 'the 1 Beat, 1 Sample, 1 Off-the-Top Flow Album'. so i recorded i think 4 regular tracks this way, plus a comedy skit (made with the same rules) and a weird little DJ piece called 'skatonabeatjuggle' (made with same rules). the second disc of this double album (which was going to be the first album with any vocals by me on it at all, everything prior having been instrumental]; this second disc was going to be one long giant song called 'The Big One' made up of a bunch of different short songs {ala beastie boys 'B-Boy Bouillabase'}. each beat of this song was to be in a completely diffrent genre. so i made 7 i think beats, put them all next to eachother, and then recorded a 25-minute off-the top freestyle over the entire piece. 'W-Burg Coffehouse Girls' is one of those parts. the beat for this one was designed to be kind of like a radio hit, but my style and with only drums and one sound. the one sound on this one is actually a real simple scratch of a 'stab' sound. i am sick of writing this description so i'm cutting this short - this is all improvised, though i did know that i wanted to rhyme about this subject for this beat. this one is funny. i never ended up putting out this album - it was too sloppy for a vocal debut, i had only been rhyming for like 5 months when i recorded it - put 'The Big One' turned out pretty amazing, and i give it out to some people and plan to release it (on my own of course) as it's own CD. note: there are no effects or reverb on anything here. the beat was made on the ASR- and the vocals were recorded straight from a mic into the DAT. i'm like punk and shit. |
CD: The Big One
Label: 372 ARTMUSIC
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| this is the first "digital" track i ever created. it was around 1998, i was working in a cubicle and hating my life. i had thoughts of trying to produce some tracks, ala TRICKY, MOBY, the RZA (my biggest influences at the time), but i couldn't seem to get up the nerve and actually start DOING something. then I saw a flyer in the window of this "hip" clothing store on Broadway (called ANTIQUE BOUTIQUE or some s___t) asking for demos for a label they were starting. I decided to make 2 tracks in this basic program ROBERT HENRY had given me called SoundEdit (naively fantasizing that they would hear how great I am, give me a record deal, get me out of the regular 9-5 world, etc.) the track was assembled cut-and-paste style, using 2 of the nicest drum breaks of all-time, and several different snippets of vocals and misc. sounds. i had never created a 'digital' song before, {i had always made songs with a 4-track, playing all the parts live} and I was amazed at what was possible - even in this very basic music program. i created BEATS and one other song, then went thru the ordeal of figuring out how to get them from my computer to an actual CD {i knew nothing about TOAST or anything like that at the time, so I had to get the job done for me at some place in the city i can't remember}. when i finally got the songs on a CD i designed a cover, put together my little "demo package", and dropped it off at the store. i never heard anything from them (of course), but that's not the point. the point IS: that flyer in the window of ANTIQUE BOUTIQUE was the trigger that finally got me started on making my own tracks and was the crucial first step in moving towards a solo career and becoming the JOSHUAGABRIEL we all know and love today. |
CD: (avail. on MP3.COM only!!!)
Label: 372ARTMUSIC
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| as it stands right now (6.19.03, 3:47 AM) i am sort of an underground legend. a lot of people who know about music have heard of me, or have heard about me, or have seen a JOSHUAGABRIEL flyer or sticker. i am known for many different things: defeating a robot DJ in a human vs. machine DJ Battle; drawing tiny hieroglyphicesque drawings on pictures of Victoria's Secret models; having a big, messy JEWFRO; designing all of my own flyers; freestyling about great i am; being the only producer, drummer, guitarist, drummer, beatboxer, DJ, visual artist, graphic designer, filmmaker ever. BUT(!), right now i am probably best known as being the guy who plays the turntables and bongos at the same time. as far as i know i have invented this technique (someone somewhere is probably doing the same). i have heard of other DJs who play percussion over their beats, but none that use the crossfader to take the beat in and out while simultaneously hitting the drums. i started doing this about 3 years ago (i think). other musicians/DJs/music heads usually look they are going to faint when they see me do this. the rest of the people have no idea what i am doing - just some jew with big hair moving his hands real fast. this is a piece performed live in my room in one take. on the left turntable i have a track from a record called BATTLE WEAPONS (a french battle record presented by La Fondation & Tha All Tek Snatcha’s}. on the right turntable i have a live Ravi Shankar record that i have used about 10 trillion different ways so far. i have both records going, then i will take the crossfader hard right, taking out the beat record, and finishing the measure on just bongos and the sitar; then occasionally going back and forth between scratching and playing the bongos. do ya understanz???! you really need to see it to understand how it works. but it sounds like a total and complete new track. i will be putting up video of this technique soon on MP4.com, or you could come see me play at one of my turntable shows ya damn punk! |
CD: (avail. on MP3.com only!!!)
Label: 372 ARTMUSIC
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| for my debut double album MOVEMENT NO. III there is going to be a 30 minute song with 7 different parts called 'Best Song Ever?'. this is a version of one of those parts, which i have made into it's own song for MP3.com. i am the kind of bastard who can't help but try to re-invent every genre of music ever created, so this song is kind of the joshuagabriel version of House and Trance. the vocals are by activist/singer/artist (and my platonic wife) ADRIENNE BROWN. i recorded her doing very short vocal parts ('ooh', 'yeah', 'huh', etc.) and assigned each of these different vocal sounds onto a pad on my ASR-X. over the beat i then tapped out several layers of vocals, essentially playing her voice as a percussive instrument (one of my trademarks). this part will probably change a lot by the time the album is done, so burn this version to a CD and bury it in a time capsule. i'm drunk right now. |
CD: (avail. on MP3.com only!!!)
Label: 372ARTMUSIC
Credits: vocals - ADRIENNE BROWN |
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| this is a little instrumental ditty i do on guitar and beatbox. it's a nice little jangliy tune, nothin major, ya know. |
CD: (avail. on MP3.com only!!!)
Label: 372ARTMUSIC
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| i met Taylor McFerrin i think around early 2003, and we play together often, especially at my weekly gig the BEATDOWN, in Williamsburg, Brooklyn. the first time i saw him beatbox i was like 'whoa!' Taylor sounds like a fully produced track, with a complete drum track, several different sounds, effects, filters, and more; but he makes all the sounds with just his mouth (all while looking very chill and relaxed). his drum n bass beatboxing is the best i've ever heard and so far as i know he's the only beatboxer who can also perfectly create a house music track (with his mouth). besides his technical virtuosity, Taylor is also a soulful, tasteful player, with great ideas and an amazing natural musicality. Taylor also emcees, produces, plays keyboards, sequencers, and a probably does a whole bunch of other incredible stuff i don't even know about. taylor is so good that even i, joshuagabriel - the world's biggest egomaniac - feel humbled by his talent. taylor is going places and will probably be very famous one day, as he has appeal that can cross beyond just music heads (ask the ladies). as you can probably tell, i hate Taylor McFerrin. ANYWAZE, this is a live jam we recorded on a rainy saturday afternoon before we went to do an in-store performance at the tr5soul store in Soho. taylor is beatboxing and i am going back and forth between the turntables and the bongos. all improvised of course. |
CD: (avail. on MP3.com only!!!)
Label: 372 ARTMUSIC
Credits: : Beatbox - Taylor McFerrin |
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| even though i am taking the focus off of the turntables at this point in my musical career, i am still very interested in the art of the turntable as an instrument and i will still always practice and perform on the turntables. this is a little improvised jam i did on a saturday afternoon. the records used are a DRUM LIBRARY record of raw beats, an old album i found by AL CAIOLA called 'Guitars Italian Style' and the DIRTSTYLE record with the black cover (from this i used the long bass sound). my scratching can't {technically speaking} touch the likes of Q-bert, A-Trak, and all those (yet), but i have invented a completely new and different style of turntablism that will probably be given a name by some writer/critic/musicologist someday. i also believe i may be the best improviser out there. i am like the Beethoven of the turntables and i can GUARANTEE that the compositions i end up making on the 1's and 2's will far outlast those of any of the big turntablist's out there right now. and you can put that in writing b*tch. there are no overdubs or studio tricks used in this recording. i pushed record and played. |
CD: (avail. on MP3.com only!!!)
Label: 372 ARTMUSIC
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| this is a working version of what is going to be the 2nd song on my debut full-length {which is going to be a double album}. the beat started with a small snippet of a jazz drum solo, to which i added several layers of rhythms i had created on the ASR-X PRO. on top of that is a layer of my favorite sounding instrument of all-time: the SITAR! this song is my first song using a live vocalist, and features an amazing vocal performance by SUN SINGLETON. we {smoked} and then Sun laid down 3 different layers of freestyle vocals: 1 being rhythmic sounds ("uh'/"yeah"); 2 being soft to medium singing; 3 being all-out shouting vocals. my favorite thing about the vocals is the loose, confident way she sings - not afraid to be funny and do off-the-cuff s___t. i played the bass part live with an electric bass guitar until i got the perfect line, then looped it. there's still a lot more i want to do this song: add some more drum fills and beat-drops, put some effects and filters on the drums, mix and master, etc. but it's still hot in this working form. |
CD: (avail. on MP3.COM only!!!)
Label: 327ARTMUSIC
Credits: vocals: SUN SINGLETON |
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| i recently started a live collaboraton with producer/singer/web icon Jillian Ann, where i act as the band - moving between turntables, drums, guitar, beatbox, etc. - while Jillian does improvised vocals. to give folks a recorded example of what we do we recorded a bunch of snippets of us playing live with all of the different combinations. this piece is kind of a slow ballad, with just me on electric guitar and Jillian singing, which i think is a very striking and effective combination. this is not a song that was worked on or even ever practiced. the lyrics/melody are completly improvised. i had a 2 chord progression, we pushed record and just did it. consequently it is very raw, but i think it is better this way - mistakes and all. near the end i accidently hit a G chord instead of a C, Jillian adjusted and this became the change, and the climax of the song. |
CD: (avail. on MP3.com only!!!)
Label: 372ARTMUSIC
Credits: vocals - Jillian Ann |
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| this is another piece from the quick live recordings i did with Jillian Ann one day for our 'eventual' press kit. on this one the drum track is on vinyl (a record of beats played by Billy Martin ), i am playing electric guitar, and JA is singing. Jillian and i have a nice easy feel when we play and even though these are just live jams, i think they really have a strong personality to them. namean? |
CD: (avail. on MP3.com only!!!)
Label: 372 ARTMUSIC
Credits: : vocals - Jillian Ann • drums - illy B |
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| this is my great SECRET. everyone that likes my work always pays attention to MOV. II, and always manages to miss this song, the 3rd track on my first EP. but every time i listen to this one, i can't help but think, "damn, i think this is my BEST SONG so far." it starts with a singing phone message left to me by my girl-friend at the time, LA LA (now known in some circles as Lamira). this was in the beginning of our relationship and you can hear how into me she was (that would change drastically in the months to come). then i bring in a hard/sparse beat made up of a beatbox sample and a really loud snare sound. i then add an acoustic guitar sample, some turntable scratches, and some echoing 16th note hi-hats. my favorite part is the last part of section one, which is comprised of 3 very basic rock samples. for the second section, i sampled myself beatboxing and doing basic drum scratches, over which i added several layers of a Noam Chomsky speech. |
CD: MOVEMENT NO. I
Label: 372ARTMUSIC
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| lately (mid-2003) i have become very disillusioned with the turntables. not the wonderful things you can do with them, but the realization that when most people see turntables they think 'background music for my idiot conversation.' or 'now it's time to go up and request 50 Cent.' so i've been going back to my roots of playing guitar, and have started to teach myself to freestyle, sing, and beatbox while playing guitar. when a person is standing there with just a guitar and a mic, the masses understand that this is a musical performance and not a 'person playing records'. i started beatboxing from playing with Jase Mason and Taylor McFerrin, both very accomplished beatboxers. this made me want to beatbox as well and add that to my 'arsenal' and 'one-man-band' type show. i guess i started to play guitar and beatbox at the same time in an attempt have my own personal 'thing' with beatboxing, since there is no way i can compete (yet) with people who have been beatboxing for years. the beatboxing while playing guitar is pretty unique, and i think it is one of the things i will become associated with. i really love the sound: it creates this simple sort of beat. what will they call this? FOLK-HOP? who the hell knows? anyway, this piece here is an improvised jam in E (i always seem to end up in E). i set up one mic on the acoustic guitar and one mic for the beatbox, recording them live into Pro Tools, where i then added some slight reverb and EQing. as i practice more and more, this technique will get tighter and tighter. i would say that in a year or so, i will be a virtuoso at the guitar/beatbox combo, but even in this raw, early form i think this has a feeling and personality that can't be denied. |
CD: (avail. on MP3.com only!!!)
Label: 372 ARTMUSIC
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| the second song on my debut EP of originals, BUST? is almost like an early blueprint of the 'joshuagabriel sound'. it starts with a pattern made just from tiny snippets of voice. for the main beat i was envisioning a house-like rhythm, but built with only organic drum sounds, creating a sort of 'ancient dance music' feel. the main melody was played on the ASR with the vibraphone sound, probably it's only built-in sound that i like because it sounds old. this track is an opus of sorts, and goes thru many different parts and themes. there are hundreds of pieces of vocals - words, sounds, and full lines - which i play on the pads as if they were an instrument. this song also features a 'scratch solo' and some really odd instrumentation. BUST? is a few years old now but it's one of my favorites and i've always looked at it as a very important song in my development as a producer. the 3 tracks on MOVEMENT NO. I (my first independent release) all received a lot of college radio airplay, i think because of the originality of their sound. this music has no genre, it is its own genre. |
CD: MOVEMENT NO. I
Label: 372ARTMUSIC
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| DID YOU KNOW that when i was a sophomore in college i recorded an 8 song cassette on a four-track where i played all the instruments and sang? i named the project CANDY CORN and the album was titled 'Lauged At,' because back then i was really, really dorky and people used to make fun of me a lot. this song was my solo recording of a song that my first band CHOKE used to play. Choke was formed in high school and i played guitar and wrote most of the music. my main influences at the time were U2 and punk rock. our singer Joe Zabara couldn't really sing, but he wrote some darn good lyrics for a high schooler. this song was about acid rain. the Candy Corn project was recorded on my friend Dave Sylvester's four-track using all of his instruments (drums, bass, guitar) in our dorm room and my mom's house. this was my first atttempt at singing and the vocals are pretty off-key, but they have a certain 'he's trying' charm to them. i put this track up here not only because it shows the beginning embers of my development as a multi-instrumental producer, but also because it gives great insight into the ugly, pimply, painfully awkward virgin i was when i was 19. |
CD: (avail. on MP3.com only!!!)
Label: 372ARTMUSIC
Credits: lyrics - Joe Zabara |
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| 2 weeks ago (6.07.03) i played at an AMNESTY INTERNATIONAL BENEFIT CONCERT held in WIllamsburg, Brooklyn (where I live). since this was a big show for me and an important 'cause-related' event put on by a great and important organization, i decided i wanted to start my set with a political type of 'rant'-like song; on just guitar and vocals - straight BOB DYLAN style. lately i had been practicing rhyming over just the electric guitar and i liked the sound. fellow 14B'er ZACKORION coined the term PUNK ACOUSTIC to describe it. so a week before the show i started to write out lyrics that would sort of encompass what i see as going on in the world right now. i don't watch the news or stay up on current events because i believe that actually keeps you from understanding what is really going on around you. i can see what's going on by looking around at my environment and hearing the conversations that go on around me. anywaze, i was kind of nervous about starting my set this way, as i am just learning to play guitar while vocalizing, and i've always relied on my prowess at the turntables and bongos in my live shows; but when it came time to perform, i turned into JOSHUAGABRIEL and the song seemed to flow right out of me. i acted like 'hey, i always play guitar and sing,' and my confidence made the song flow naturally. this is a totally new direction for me, the political guitar song - but hey - my obsession with Bob Dylan was bound to lead me this way eventually. this is the first recording of 'WELCOME...' recorded live in one take in my room. i plan to re-record 'Welcome to the End of the World' several times as i improve at the guitar-vocals thing. to read the lyrics of this song click on 'view track info.' |
CD: WELCOME to the END OF THE WORLD
Label: 372 ARTMUSIC
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| lately i realized that i can do anything, so i've been goofing around with trying to off-the-top freestyle while playing different instruments. this was recorded live in my room on some random afternoon in early 2003. future famous artist JOHNERICK was over and we were indulging in a bit of the green if ya know what i mean. i was playing the drums, we were being silly, JE pushed record on my computer, and i started to do a ridiculous little rhyme while playing the drums. this was the second time i ever tried to freestyle while drumming, and you can hear JE chiming in at certain points. this wasn't a planned recording - there is just one area mike picking up the whole room. just what is johnerick? angel? devil? it's hard to tell, but this little piece of audio clowning will be very famous some day. |
CD: (avail. on MP3.com only!!!)
Label: 372ARTMUSIC
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