BandWagon Magazine - July 2022 - The Bones of J.R. Jones by BandWagon Magazine

MUSIC reviews

BandWagon Magazine

mon cher PG. 4 musuji PG. 6 Pathos & Logos pG. 8 People In General PG. 9 single reviews PG. 12

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ELY CORLISS

Editor

KEVIN JOHNSTON

art director

F EATU R ED A RTIS T

BEVIN LUNA

CARTER KERNS

CONTRIBUTORS GABE ALLEN VALERIE VAMPOLA NATE WILDE

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THE BONES OF J.R. JONES DESERT RHYTHMS & DANCING THROUGH THE BLUES 3

mon cher tell me baby

Valerie Vampola

BandWagon Magazine

Denver’s femme trio, mon cher, explore synth-driven dream pop in their new EP tell me baby. It’s meditative and vibey, reminiscent of synth-pop groups like Washed Out (the group that wrote the Portlandia theme) and the Minecraft’s ethereal composer, C418. The album opens up with a bright synth arpeggio in “tell me baby,” which might remind listeners of the Stranger Things main theme without all the spooky

and dark distorted sub basses. It’s dreamy, with frontwoman, founder and producer Meghan Holton’s vocals acting more as an additional effect or synth patch, rather than a spotlighted storyteller. Similarly, the track “better days” applies the same general vocal role, but with a faint acoustic piano. It’s much like the band’s choice to title themselves and their music without capital letters: they are minimalistic and understated. Coupled with the chill wave beats, the C418 influences are so enveloping, it’s hard not to imagine the calm of a fun building project or exploring a virtual forest. Holston’s voice is more forward in “all star,” which can be seen as the antithesis of the popular Smash Mouth hit from back in the day. Continuing with mon cher’s dreamy vibe, the song feels floaty, with cranked reverbs and faint vocal echoes throughout. The higher pitched synth leads and strings call to mind the cosmos, fitting the lyrical references to outer space. The lyrics however discuss

themes of staying out of the spotlight - never achieving fame, but in a way that is more grounding than remorseful.

creepers). It’s beautifully made and deserving of several spins.

Tell me baby is perfect vibey music for listeners to chill out in the comfort of their oversized bean bag, or to listen to while playing their favorite cozy game (with or without zombies and

tell me baby by mon cher is out now. See them live at Lost Lake Lounge in Denver on Saturday, July 23 and visit moncher.us for more.

Musuji

Blanket Statement Nate Wilde

BandWagon Magazine

Attempting to capture the intensity and energy of a live performance, particularly with a reputation of having an especially bombastic one, can be a daunting task for any artist. But with their latest effort, Blanket Statement, Colorado outfit Musuji may have done just that. To say that Musuji’s reputation precedes them would be an understatement. Known for their “wild with madness” moniker, Musuji mash together layer upon layer of sound and energy to create their own blend of funky, intense indie rock that is equally as chill as it is disastrous – and that’s in a good way. Released on June 18 in a kind of joint release show with the delightfully weird and abrasive Colorado punk outfit The Hellgramites, Blanket Statement is a larger-than-life statement of Musuji’s creative brilliance that slaps you in the face one moment and sings you to sleep the next. is

At the forefront of the band vocalist Arnie Blomquist,

whose unique delivery ranges anywhere from a gritty, growly scream to an Isaac Brock (Modest Mouse) type of shout, to a faint whisper – all while maintaining a constant level of brilliance, showcasing an impressive range. The aforementioned layers complimenting Blomquist consist of spacy guitar work and funky saxophone lines from new members Michael Zucker and Ryan Eschenbach, respectively, with Lucas Strickland holding it all together on the drums. The overall funkiness of the album and Musuji in and of itself is largely thanks to bassist Thom Whitney. Whitney’s style is the epitome of “cool,” and shines throughout the record, most notably on pieces such as “Pen Pal” and “The Under.”

Blanket Statement is like an onion, it is full of layers, but not just stacked instrument and vocal tracks. Rather layers of style and individuality. The album, and Musuji’s overall sound, echo elements of Frank Zappa’s funky oddness, the melodic yet unapologetically creative works of Ween, and even some of the more experimental early works of Pink Floyd. With Blanket Statement, Musuji have successfully crammed a delicious concoction of creative genius into one fantastically unorthodox masterpiece.

Blanket Statement is out now - stream it on the service of you choice and follow Musuji at instagram.com/musuji

Pathos & Logos Cult

Nate Wilde

BandWagon Magazine

When you find yourself on the old familiar quest for heavy, ethereal, instrumental music that takes you on a sonic journey through space and time, look no further than the latest effort from Colorado’s Pathos & Logos, Cult. Pathos & Logos is a two-man operation that sounds like a galaxy of performers smearing a solar system of sounds together. Cult is a four-song EP representing the unit to their fullest. Upon listening, one music student will undoubtedly recognize another in guitarist Kyle Neeley’s playing and composing. He employs a multitude of guitar styles not inherited by amateur players. Neeley demonstrates pure virtuosity of the instrument throughout, with examples of exotic scales, lightning-fast leads, and even some jazz and blues styles over (quite often) nontraditional time signatures. The aforementioned time signatures are delivered

compliments of the second member / top-notch musician of the duo, drummer Paul Christiansen. Christiansen adds sheer power and force to the overall feel of Cult with pounding double bass kicks, blast beats, and even a splash cymbal here and there to perk one’s attention – as if a nasty circle pit was about to form. Saying that Pathos & Logos have a style of their own is an understatement. The four-song EP (released June 24) is a combination of heavy chugging guitars, brutal drums, spacy synths, and, as mentioned above, absolutely stunning musicianship. In addition, the artwork that accompanies Cult is a true representation of the aesthetic. The artwork takes the form of tarot cards with fantasy-themed imagery. If tarot’s not your thing, there’s also album art available in the form of a coffee table book. Though impressive instrumentation is the obvious focus, it should be noted that the EP is not entirely instrumental. “Ivdex” features a distorted vocal scream engaging in call-andresponse chants in what sounds like either demonic Latin or angry Dutch – definitely not English. Needless to say, with Cult, shred fans can consider their quest for the heavy, ethereal, cosmic and fantastic, complete. Pathos & Logos are on tour nationwide, playing Blast N Bowl on July 13 at 830 North in Fort Collins. More at pathosandlogos.com

People in General friends

Kevin Johnston

BandWagon Magazine

People in General are making the leap. Since their first release Piglet in 2019, the trio has grown into a full 8 piece band with horns, extra vocalists and more. The sounds on the new EP friends are more mature, with bigger, fuller arrangements. But the shift isn’t only because the band is suddenly bigger or all grown up. Like it or not, the vocalist is the most identifying element of any band, and People in General have changed that up too. The EP’s rousing opener “Parade” has tasty pizzicato guitar licks and a lush, bright

chorus of “I just wanna be happy with you – not happy for you” – one of the EP’s strongest tunes - but the real head-turner is the usurping of lead vocal duties by guitarist / songwriter Ben Eberle. Particularly noticeable on the new version of the previously released single “ICICIC,” Eberle commands the tunes with a more breathy confidence compared to former member and band founder Abe Dashnaw's pointed vocal delivery. Remarkably, Eberle fills the shoes, or rather, replaces the shoes with cunning. You might not notice the switch amongst the slightly rearranged horn and synth lines, fresh mix, or harmonies by Annalee Knies & Geneva Hein. Further, the climactic gang vocals feel as if fans who’ve heard the tune a thousand times got to join in on the recording. The group certainly outshines the individual. A band is an evolving thing. If it's well maintained, it’s also a safe space. For People in General, that safe space is somewhere between math jazz and indie rock - not a huge community, but they manage to transcend those

borders. “Friends 1” jumps that fence by climaxing to the frenzy of classic rock legends Focus with lyrics like “If I’m losing you then I want that too - did I lose you all the same?” amidst a frantic romp. The second single “Buster,” is a night-time cruiser building to a Broken Social Scene swirl; in the vein of Silver & Gold or The Collection, with the EMO refrain “I love you so much I could die … I don’t wanna die but I don’t wanna be here anymore." The acoustic, narrative-driven closer “Friends 2,” departs from the math rock, focusing on the power of storytelling. No tricks,

e always st r i kes t h r ight not es

no twists, just the most resonant musical tactic there is: honesty. It’s hard to imagine the writing on friends as uninfluenced by the change in the band’s lineup, but it, as all music, is left up to the interpretation of the listener. Regardless of the backstory, People in General have their momentum going and like friendships, the ups and downs are worth it. BandWagon Presents People in General July 30 at the Aggie Theater - the friends EP release party and tour kick off! Visit linktr.ee/peopleingeneralband for more.

Music lovers will find plenty of chances to tap their toes in Greeley this summer, beginning with the Friday Fests, every Friday now through September 16. The party kicks into another gear with the Greeley Stampede’s concert lineup. Classical lovers can look forward to a new season from the Greeley Philharmonic Orchestra. And local venues like the Moxi Theater have a full calendar of acts to get out and see. No matter your musical sensibilities, Greeley has every reason for you to keep tuning in throughout the summer and beyond.

Stay Tuned to MyGreeley.com for what’s coming soon.

& 9

Featured ARTIST

OF THE MONTH

BY KEVIN JOHNSTON

evin Luna calls Colorado her home but the Memphis shoreline of the Mississippi River runs through her veins, "shining like a national guitar," if you will, in her music.

BEVIN LUNA

Born to a military family in Hawaii, Luna moved around a lot, but spent her formative years in Memphis, TN. Arguably American music’s most sacred place, the city remains a huge influence. Luna herself calls it “the birth land of rock and roll,” but the Delta shoreline is winding and more diverse than just that. So, in fact, is Luna’s history, and subsequently the genres in her musical catalog. “Being a multiracial person with roots in Dominican Republic and Memphis, my influences vary significantly from garage rock to bachata, blues to country, industrial to rap and grunge to pop,” Luna tells BandWagon. And you can hear that diversity in her releases. From the fullband rock aggression of 2015’s Attack Of The Killer Redheads to the lo-fi, solo porch twang of 2021’s Buchanan, Luna is always fishing for new sounds and inspirations. “For me, music is an exploratory process,” Luna says. “I don’t see recording different styles of music as a flip-flop. I see it as an experimentation with a variety of sounds and emotions.” On Madison & Angelus, the EP she released late last month, Luna says she recorded songs that represented Colorado, but also took influence from the places of her past, as she claims she will always do. The contents of the songs come from “all of the other places that I’ve lived being a military brat,” Luna says, pinpointing the record’s genre as garage rock this time, due once again to influence of location. “Madison & Angelus is a garage rock EP because it’s rock and roll. And it was

photo by backstage flash

literally recorded in a garage in LaPorte, Colorado,” she says. True to the garage band ethos, the 5 tracks mesh originals, covers and cowrites with big, fuzzy guitars, overdriven vocals and bashing drums. But the garage has a heart and some depth behind its door. Much of the writing discusses the turmoil of being a musician in the digital age, and as Luna puts it: “In the middle of a pandemic sandwich: never knowing where to begin or if it’s ever going to end – constantly trying to reassure ourselves that everything was gonna be OK.” The raucous collection of tunes on Madison & Angelus include covers of the former, beloved Colorado band Matson Jones, a co-write with Justin Maul of A.M. Pleasure Assassins and The Great Aerodrome, and “Mary Lou” written by

the 1950’s blues/jazz musician Young Jessie, famously covered by Frank Zappa and several others. “The last track is a collaboration with the Music District in Fort Collins,” Luna says. “Through a program called Song Lotto, we were paired with local songwriter Jeff Finlin. He signed up to write a song for us. We met with him to discuss his writing process and our writing process. The end result was a super cool retro-pop-rock tune titled ‘Summer’ - just in time for the season!” “Summer,” and the EP on the whole, is a representation of Luna’s process. It reflects a confluence; a meshing of elements. It also celebrates the simple joy of rocking out, processing your feelings and making collaborative music. It’s a process which reflects her life. It flows, embracing versatility and

diversity, and ultimately, simply seeking to connect. For Luna, the best place for that confluence of rock n roll is Colorado. She says she’s had wonderful opportunities here over the years, the Music District collaboration to name just one. “I love the natural beauty of Colorado,” she says, “and I’ve been fortunate enough to find a very supportive music community.” But a river doesn’t stay in one place. It stems from a source, carrying pieces of the places it passes along the way. “Even though I call Colorado home and it very much sways my musical process, my influences will always come from all of the places I’ve lived,” Luna says “and the new lands I will continue to visit. It’s an evolution - and it’s so much fun.”

photo by chromatic alchemy

LISTEN TO BEVIN LUNA ON 105.5 THE COLORADO SOUND! SEE HER LIVE IN FORT COLLINS AT BLACK FRET COLORADO AUGUST 6 IN OLD TOWN SQUARE AND AT THE EP RELEASE SHOW FOR MADISON & ANGELUS, AUGUST 12 AT THE LYRIC CINEMA WITH WEST SIDE JOE AND THE MEN OF SOUL. MORE AT BEVINLUNA.COM

REASONS TO LISTEN TO THE COLORADO SOUND • MORE COLORADO ARTISTS • KNOWLEDGEABLE DJS WHO LIVE HERE • NO COMMERCIALS • • UNIQUE PROGRAMMING YOU DON’T GET ANYWHERE ELSE FROM BEASTIE BOYS TO BILLIE HOLIDAY •

105.5FM & ONLINE AT COLORADOSOUND.ORG 11

SINGLE REVIEWS BY VALERIE VAMPOLA

Eufórquestra "Arizona to Georgia"

Hutty

“Broke Bank”

Connor Terrones

Eufórquestra’s recent single, “Arizona to Georgia,” leans into groovy funk-rock, with jammy vibes and a big sound, reminiscent of early Steely Dan or Steve Miller’s “Fly Like an Eagle.” The song maintains a basic lyrical message about listening louder than speaking. The modal structure pulls the focus to the percussion and atmospheric textures provided by the band, like the ethereal e-piano and organ, or the horns swelling in and out of the jam breaks. While coming in at just under 4 minutes, this song has a lot of potential to extend to a full jam, pushing audiences to have a “little less talk, a little more listen” as the lyrics demand. The band also just dropped another single - “Show Me the Way,” both for the upcoming LP While We Still Got Time, due out this summer.

Hutty (or Hutty the Kid) released his newest single, “Broke Bank,” a rap and hip-hop track reminiscent of trap artists like Jack Harlow and 21 Savage. The Boulder artist coupled this release with a music video featuring clichés like dancing strippers, ski-masks and raining dollar bills. Still, it's a good look. Since making his mark with his 2021 album and over 1.5 million streams on Spotify for his hit “Body Low,” Hutty has been exploring different genres and influences, using hip-hop as his foundation. “Broke Bank” incorporates less fusion of other styles like his 2021 album had, staying within strict hip-hop, incorporating some old school vibes emphasized by a sax riff. The song is dancy, to the point that listeners could imagine themselves bopping along to it on TikTok.

Guitarist Connor Terrones debuts his solo project with his first single, “What Can I Do?” giving listeners a peek into the lofi tastes of the long-time Colorado soul and R&B sideman. Featuring previous Denver residents Julian Cary and Roy Matz, the track is immersed in jazz-harmony practices heard in artists like Thundercat and Michael Mayo. Cary’s cool vocals complement the spacy synth, creating some exciting moments when he breaks into harmony. The track leans heavily into the hiphop aesthetic, complete with a rap verse by Matz. Terrones leads with a strong foot and establishes a clear aesthetic to get listeners excited for the rest of his upcoming album.

Catch Eufórquestra live at City Park in Denver on Saturday, July 10 at noon. More at euforquestra.com

“Broke Bank” was released June 2. Links to Hutty’s content at beacons.ai/hutty

“What Can I Do?”

“What Can I Do” is out July 1. Catch Terrones’ Album release show at Lost Lake in Denver on September 2nd with Ghost Tapes, Dead Eye Dojo and The White Moms. Visit instagram. com/connorterrones for more.

14 14

THE BONES OF J.R. JONES DESERT RHYTHMS & DANCING THROUGH THE BLUES

BY GABE ALLEN

o Jonathon Robert Linaberry, AKA The Bones of J.R. Jones, “Dance Yrself Clean” is more than the cryptic title of an LCD Soundsystem hit. It is an instruction. One that he followed, with both excitement and some trepidation, while filming the music video for “Stay Wild,” the lead song on his 2021 EP A Celebration. In the video, JR skids his truck to a halt on the side of a country road. Leaving a bottle of whiskey behind on the dash, J.R. basks in the glow of headlights and dances like no one is watching. “The movement that I was trying to capture is, like, having a knot in your stomach that needs to be released,” J.R. tells BandWagon. “I love to dance, even though I’m not any good at it. To me, it’s the purest form of expression because it’s just your body and you can let everything out.” The song comes even further to life at J.R.’s live shows. He hits play on a hooky drum machine and bass loop, jangles a lazy slide guitar riff over top and starts singing. His shoulders heave forward and back as the melody slips between his lips like a branch in a river. In June, J.R. will traverse Colorado from South to North starting with a July 19 show in Telluride and ending with shows at the Moxi in Greeley on July 22 and Schmiggity’s in Steamboat on the 23. Though the bluesman has spent nearly his entire life in New York state, he has a soulful connection to the West. He wrote A Celebration (his latest release)

during his honeymoon. Eschewing an archetypal tropical vacation, J.R. and his wife, writer Lisa Przystup, embarked on an unhurried romp through the desert. The opening loop of “Stay Wild” is both the first thing a listener hears on A Celebration and the first fragment of music that J.R. created for the album. One night, in a lone house in the desert near Joshua Tree National Park, the riff bubbled up from J.R.’s subconscious.

“There was nothing around for miles. You opened up the sliding door and it was just desert — not even a fence,” he remembered. “It struck a chord with me. I’m still trying to figure out why.” The rest of the album followed suit. When J.R. returned home from his honeymoon, he set about organizing a collection of half-written songs, synthetic drum and bass loops and acoustic riffs into a cohesive collection. The result is an album that mixes programmed downtempo beats with soulful acoustic blues compositions. It’s just the right blend of tradition and the unexpected. J.R.’s life as a touring bluesman came later than some. In his late 20’s, he was living in Brooklyn, bartending and teaching at a pre-school. He had a masters degree in printmaking, but the medium was quickly being usurped by

digital alternatives. Still, he needed a creative outlet. A few years before, J.R.’s college roommate had introduced him to a song that made him fall in love with the blues. It was Blind Lemon Jefferson, a 1920’s singer and guitarist who is sometimes credited as the “Father of the Texas Blues.”

“I had never heard that raw, gritty passion in anything else,” he said. “It just kind of leveled me.” From then on, J.R. spent his in-between-time — in between work, school, relationships and everything else — playing the blues. By the early 2010’s, he was a regular at Brooklyn open mics and bar gigs.

“There were a lot of DIY venues that popped up in loft spaces or garages. They were perfect for the type of music I was playing,” he explained. “All you needed was a condenser microphone, a picnic table and a cooler of PBR.”

tending or teaching at any moment,” he said. “Sometimes I struggle to accept it, but this is what I love. It’s going to make me happy even though it’s going to be 1,000 times harder and may not even work out in the end.”

Music as a career felt like a far off dream, but a local recording engineer took an interest in the backroom troubadour and produced his first album. Word began to spread, and soon he was touring all over the country.

Penniless or prosperous, J.R. will play the blues. And he’ll keep dancing too. That’s what “Stay Wild” is really about. It’s easy to dance when you’re happy, but just as important to dance when you’re struggling with life’s most irksome questions.

A decade later, J.R.’s career in music still feels precarious at times. His lead songs may have millions of streams on Spotify, but gone is the album era when artists could make good money off of records. For now, J.R. is thankful to have enough financial backing to tour with a drummer this summer. “You never know when the bottom is gonna drop out. I could be back to bar-

“It’s about being open to what is happening in the world around you, even the shitty or terrifying things,” J.R. said. “Just don’t overthink it.”

BANDWAGON PRESENTS THE BONES OF J.R. JONES WEDNESDAY, JULY 20 AT LULU’S DOWNSTAIRS IN MANITOU SPRINGS, THURSDAY JULY 21 AT THE BLACK BUZZARD IN DENVER AND FRIDAY, JULY 22 AT THE MOXI THEATER IN GREELEY. TICKETS ON SALE NOW AT BANDWAGONPRESENTS.COM 17

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MICHAL MENERT THINGS BURN DOWN BY GABE ALLEN Michal Menert has been thinking about fire. The fires that have burned vast tracts of land near his childhood home in Colorado and not far from his former home in California. The fire that burned a warehouse full of his merch in Detroit last December. A fire that burned down the house in Fort Collins where he used to live with his bandmates in 2004. And all of the other metaphorical fires that have raged through his life over the years. “Things burn down and then you watch the flowers grow back out of the cracks,” Menert reflected in an interview with BandWagon. The theme has permeated the Pretty Lights cofounder’s music in recent months. While Menert’s last release was a chilledout downtempo salve for the loneliness and dread of pandemic lockdowns, his upcoming album is energetic, chaotic and regenerative. It’s a return to form. And, fittingly, Menert has also returned home. In 2016, he left Colorado to work as a producer and sound engineer for Mickey Hart of the Grateful Dead. He and his wife settled into the small, coastal town of Gualala, California. But the couple returned to the front range in October of last year in order to take care of his mother, who is confronting health issues. The return was bittersweet, but Menert is glad to be back. “We lived on the coast in a remote and very beautiful place. But, especially during COVID, it was hard to see the people that we cared about,” Menert said. “I missed having a scene of friends and musicians and feeling like I was a part of something.” After a five-year hiatus, Menert is once again a mainstay of the Northern Colorado music scene. He now lives in Denver and hosts a Vinyl DJ night at Rosetta Hall in Boulder every Monday. He has also begun to host a “quarterly” show at the Lyric in Fort

Collins where he collaborates with visual effects wizard Baxter Long. On July 16, he will be joined by a cast of danceable Colorado acts for his third show at the Lyric entitled phasingfade:summer.

The customer told him that a few of his friends wanted to buy a half pound. The customers were also in a rap group. Menert should bring his laptop to the meetup so that he could show them some beats.

In keeping with the theme, Menert’s set will trace a narrative of fire and regrowth.

“It turned out he was buying meth from these guys and probably owed them money,” Menert said. “So, he brought in someone who was worth the money.”

“It’s about watching things burn, but realizing that they’re just things,” he said. “And realizing that the pain of losing them actually creates space.” This is a lesson that Menert has had to learn more than once. The most catastrophic fire, figuratively, happened early on in his music career. In 2006, Menert and Pretty Lights cofounder Derek Vincent Smith regularly hosted DIY parties, played shows and toured with a rotating cast of friends and collaborators. They were playing enough shows that they couldn’t work regular jobs. Still Menert wasn’t yet making quite enough money to live, in part because of a worsening opiate addiction. So, like many entrepreneurial aspiring artists before and after him, he got a side hustle: growing and selling weed. One day, while sitting in the studio with Smith, Menert got a call from a customer that he hadn’t heard from in a while. “This kid used to regularly buy weed from me, but he had disappeared for a few months,” Menert remembered.

When Menert got to the deal in Loveland, the three phony buyers pulled out knives. But they were spooked by his six-foot-three hulking frame. Before Menert could fully process what was happening, he was laying on the ground with lacerations on his hands and a deep stab wound in his chest. He was rushed to McKee Medical Center, where doctors saved his life. The ensuing months planted the seeds for flowers to grow. But, at the time, Menert still felt like he was in the fire. Once he could walk again, he started tinkering. But playing

music like he had been was off the table — he could barely move his right hand. Then his father, a librarian at the same detention facility that Menert’s assailants were locked in, fell ill. Menert became his caretaker as he battled cancer. Meanwhile Menert and Smith’s pet project, Pretty Lights, was taking off online. Smith left Menert behind and began touring the international festival circuit. “At the time I couldn’t understand why this had happened to me and why I wasn’t a part of a group that I had started,” Menert said. Now he looks back on that time fondly. He spent lots of time with his father during his last years of life, kicked opiates for good and developed a wicked crush on a Walmart coworker who was putting herself through nursing school. Fifteen years later, they’re still married. When Menert was finally able to return to music fully, he immersed himself. Over the past 12 years, he has released 12 albums — thirteen if you include the one that he produced for Mickey Hart. His passion for music is so great that he regularly juggles a multitude of projects with different collaborators. In late July, he will release his next album. For now, Menert embodies the flowers growing from charred earth. One day the flames might come for him again. “I don’t think I’m ready for my happy ending yet. I’m still rising out of the ashes and I still might burn down a few times,” he told BandWagon. “But I’m ready for it.”

MICHAEL MENERT WILL PERFORM SATURDAY, JULY 16 AT THE LYRIC IN FORT COLLINS ALONGSIDE SEVERAL OTHER ACTS FOR THE PHASINGFADE:SUMMER EVENT. HIS NEW ALBUM IS DUE OUT LATER THIS MONTH. FOR MORE, VISIT MENERTMUSIC.COM 21

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BANDWAGON PHOTO OF THE MONTH | RED SHAHAN BANDWAGON PRESENTS RED SHAHAN THURSDAY, JULY 7 AT VULTURES IN COLORADO SPRINGS, & SATURDAY, JULY 9 AT THE MOXI IN GREELEY

BandWagon Magazine - July 2022 - The Bones of J.R. Jones

Articles inside

mon cher

People In General

single reviews

Pathos & Logos

musuji