Rock Bottom | Jerusalem Post
Rock Bottom | Music | Jerusalem Post
In one of my favorite scenes from the life-altering film Fight Club, Tyler Durden and the narrator look at a photo of a model of which Tyler comments, “self-improvement is masturbation, self-destruction on the other hand…” Listening to The Gutter Twins’ first album Saturnalia one thing is certain: they are not a couple of masturbators. The album is dark, depressing, cleansing and totally embodies the sex, drugs and violence so elemental when channeling the true spirit of rock n’ roll.
The Gutter Twins are Greg Dulli and Mark Lanegan, the lead singers of the Afghan Whigs and the Screaming Trees, respectively. Both their bands spent the mid-1980s through the late ’90s on the fringes of grunge and alternative rock, building up loyal followings of those angry at the world and lying on their bed. Lanegan also collaborated with such bands and artists as Queens of the Stone Age, PJ Harvey and Isobelle Campbell from Belle and Sebastian.
Dulli, on his part, after the Whigs broke-up, started The Twilight Singers, who gave two shows when they were in Israel two years ago. That show was considered one of the most riveting to have been had on an Israeli stage. Finally, Dulli, the gutter poet of America, and Lanegan, one of the best composers in the alternative scene, have collaborated to create an album that continues the lines of their separate bands and carries on the search for salvation in this sinful, painful world. And, I like to think, that had Tyler Durden lived to watch his dream fulfilled, he’d probably’ve been listening to The Gutter Twins as he watched the major credit card companies’ offices blow up and fall down.
The Gutter Twins, Komedia, Brighton
The Independent
4/5 Stars
A satanic howl from the Gutters
Reviewed by Fiona Sturges
They could be secondary schoolteachers. If you saw them setting up for an afternoon’s busking you would probably hold on to your change, assuming a dreary MOR rock band. But looks can be deceiving. The two men before us – the ex-Screaming Trees singer and sometime Queens of the Stone Age contributor Mark Lanegan, and Greg Dulli, formerly of the Afghan Whigs – are low-key legends in the realms of American alt-rock.
It is unlikely, of course, that the Seattle grunge rockers Screaming Trees could have been as big as Nirvana, as some have claimed. Yet Lanegan’s solo records, along with his collaborations with Belle & Sebastian’s Isobel Campbell, show a man now operating at the height of his powers. Similarly, Dulli has received extravagant praise for his post-Whigs projects, the Twilight Singers, a psychedelic soul outfit featuring a changing cast of musicians, Lanegan included.
Now both men have reached a third chapter in their careers with The Gutter Twins. It is far from the classic vanity project in which musical has-beens with little in common smirk at each other over microphones and feign wonder at each other’s astonishing talent. No, this is chemistry, born out of darkness, pain and bona fide friendship.
The name archly alludes to their shared history of familial dysfunction and addiction – Lanegan to heroin, Dulli to cocaine. Their bond clearly runs deep – the pair shared a house, a period during which Dulli says Lanegan rescued him from his potentially fatal habit.
It’s no wonder, then, that as double acts go, the Gutter Twins aren’t exactly a barrel of laughs. With their poker faces and awkward gaits they’re less Morecambe and Wise than glum and glummer. Dulli at least manages a hello, mumbling something about not having been in Brighton for 15 years. Lanegan, however, is a baleful presence, resolutely ignoring fellow human beings while clinging to the mic stand like a sailor clutching the mast of a foundering ship. It’s probably safe to say that two decades of critical success hasn’t gone to his head. Yet, even motionless and poker-faced, he is mesmerising, conjuring a heady atmosphere of melancholy and menace through a voice that sounds like Lee Hazlewood in a brawl with Lee Marvin.
Bathed in gloomy vortices of violet and blue light, one can only assume that this is The Gutter Twins’ comfort zone, reduced to mere silhouettes and communicating solely through their art. Their hour-long set draws heavily on their only album, Saturnalia, a dark and elegant work that was five years in the making, opening with “The Stations”, Dulli’s caustic tale of Catholic guilt (”They say he lives within us / They say for me he died/ And now I hear his footsteps almost every night”), replete with orchestral flourishes and layers of organ. They follow it with the mournful “God’s Children”, another propulsive tale of despair with grinding guitars yet with an elegant melody at its heart. Dulli’s voice may rarely attain the gloomy depths of Lanegan’s but he is still in possession of a lacerating howl that delivers a fair punch to the gut.
Elsewhere, we are treated to “Bete Noire”, a slice of Southern soul which raises the tempo while sustaining the portentous atmosphere, and “St James Infirmary”, a bluesy folk standard about a man who visits his dead sweetheart in hospital that has been recorded by the likes of Cab Calloway, Janis Joplin and the White Stripes. A jaundiced cover of Massive Attack’s “Live With Me”, as sung by Lanegan, is stripped of its romantic intent, to enthralling effect. These are songs of psychological torment and murderous intensity, made all the more potent by the damaged souls singing them. Dulli has referred to the pair as the Satanic Everly Brothers. On this evidence it’s not hard to see why.
Jeff Klein and Ani Difranco
Jeff Klein will be Ani Difranco’s special guest on a couple of dates coming up. Sept. 19th at Granada Theater in Dallas Tx & Sept 21st at Stubbs BBQ in Austin TX. Jeff Klein is also a guest performer on Ani’s upcoming 20th studio release Red Letter Year, coming out Sept 30 on Righteous Babe.
Adorata EP Available Sept 2
The Gutter Twins To Release Adorata EP Exclusively Through ITunes - PlugInMusic.com News
Sub Pop veterans Greg Dulli and Mark Lanegan will release a brand new eight-song Gutter Twins EP titled Adorata exclusively through iTunes on September 2nd. Recorded mostly during the original sessions for their debut album Saturnalia, Adorata finds The Gutter Twins drawing material from a wide range of artists and capturing the energy and excitement of their live performances. The eight track EP includes: “Belles,” (Vetiver), ” Down The Line” (Jose Gonzales), “Deep Hit Of Morning Sun,” (Primal Scream), “Flow Like A River,” (Eleven), “St. James Infirmary,” (Traditional) “Duchess,” (Scott Walker), and two previously unreleased original Gutter Twins songs “Spanish Doors,” and “We Have Met Before.”
A portion of the proceeds from the release of Adorata will go to the Natasha Shneider Memorial Fund. Shneider, a long-time friend of the band, was the lead singer for Eleven and a member of Queens of the Stone Age.
Choke Soundtrack Out September 23rd
The soundtrack to the film is a digital-only release and features “There’s Been an Accident” by The Twilight Singers.
Director Clark Gregg had this to say about the track:
One of the producers, Contrafilm’s Beau Flynn, and I have been Greg Dulli fans for years. I listened to The Twilight Singers a lot when I was writing the script. The song is really moving in a haunting, portentous way that really works for the movie.
Gentlemen Outtakes, Part 4
As the band’s first manager Greg Dulli’s best friend, Scotty Haulter has enjoyed his share of memorable moments with the Afghan Whigs. Here, in an amusing story that didn’t make it into the book, he recalls the band’s first tour with Steve Earle. –Bob Gendron
Scotty Haulter: We’re getting ready to do the New Music Seminar up in NYC. It’s our first time out of the region and it’s a big deal. We pile in the van. And we get to the first show and Steve has forgotten his cymbals. Well, Steve is the drummer so you’d think he’d bring his drum kit, correct? But of course he leaves his cymbals behind. Steve has to spend whatever money, the $100 or so he’s going to make on that tour, to get his cymbals FedEx’d to him. He’s in the hole already. We decide that since he lost his cymbals he is going to have to be bellman and carry all of our luggage, pump gas for the whole tour. Basically do whatever we tell him to do. That’s how Steve started out his touring life in the Whigs.
We got great memories four or five guys traveling around the country, getting to see things that none of us ever thought we’d get to see and do things we never thought we’d get to do. Pulling up and playing for five people some nights. Playing for 100 people some nights. Being sober enough to be able to play the show; some nights not. It was awesome. You wouldn’t be surprised at anything I’d tell you. If it could have happened to us it probably did.
A big thanks to Bob for sharing these excerpts at Summer’s Kiss. If you’d like to send Bob your feedback on the series or thoughts on his book, you can reach him at afghanwhigsbook@yahoo.com.
Gentlemen Outtakes, Part 3
In talking with the band, it soon became apparent that none of the members had actively listened to Gentlemen in some time. Here, drummer Steve Earle talks about his feelings for the record, and divulges a few surprising preferences. –Bob Gendron
Steve Earle: I’m extremely proud of Gentlemen. But if I am going to listen to a Whigs record, I’d prefer to listen to Congregation. I prefer the mix more. I feel like the drums and toms are more where they should be. My only regret with Gentlemen–and I didn’t have anything to do with this and it’s a good-sounding record–I wish the toms would have been a little louder. There’s a lot of stuff where I can’t hear what I’m doing. That’s just how it goes. What are you going to do? Congregation, I remember there was a little bit of an issue where the engineer wanted to have the toms louder. His theory was to have them as loud as the snare. I think that he got his way. I prefer the sound of Congregation over Gentlemen. As far as the songs? I think they are about equal. I really love both of those records. I have some Paris CD recording [most likely the soundboard "Debonair Gentlemen" bootleg from 6/10/93]. I can’t recall if Gentlemen was out yet. I think it was. And it’s a bunch of those songs, and they sound better than they ever have. It sounds better than the record.
Stream selections from the ‘93 Paris Bootleg:
Night & Day: In search of transcendence
The Prague Post Online
By Darrell Jónsson
In 2007, when Greg Dulli and Mark Lanegan’s long-awaited collaboration Saturnalia was released (on Sub Pop records), expectations were extremely high — and no one was disappointed. Following Lanegan’s Screaming Trees and Dulli’s Afghan Whigs, critics and fans alike were primed for their collaboration as the Gutter Twins.
After their former groups disbanded in the late ’90s, both artists pursued musical choices and projects that served their musical evolution well. For Lanegan, this included a stint with California Palm Desert power rockers Queens of the Stone Age, balanced by Americana-tinged solo work like his 2001 Field Songs (on Beggars Banquet) and his country-pop styled 2006 collaboration with Isobel Campbell, Ballad of the Broken Seas (on V2 Records). In the meantime, with his project the Twilight Singers, Dulli has continued to expand on many impulses he first explored in the Afghan Whigs.
When Sub Pop signed the Cincinnati, Ohio-based Afghan Whigs in 1990, it was the first expansionist move of the Seattle label bent on world conquest. Even though they were not from the Pacific Northwest, the Whigs shared the aching vocal signature of the ’80s and ’90s youthful angst associated with grunge. There was an essential musical difference, though. Dulli and his band did not share the same inspiration that Seattle-based bands had for British proto-metal filtered through the Northwest amp stacks of proto-grunge pioneers like Napalm Beach. Afghan Whigs drew from a slightly different wellspring, as Dulli tells The Prague Post: “R&B from anywhere was the sort of music I gravitated toward as a listener — Southern R&B, Chicago R&B and Philly soul.”
On Saturnalia, Dulli and Lanegan meet in a dark alley to combine all the above, with a mix of whiskey-soaked Everly Brothers harmonies and rock ’n’ roll production that approaches the finesse of George Martin. Dulli’s mellotron stabs and sweeps add symphonic rock elements to several of the tracks, while swirling guitar riffs persistently lead the listener on a ghostly haul from the gutter to redemption. Most of the songs also carry an echo of the oceanic pomp and desire for light at the end of a drunken tunnel expressed in Dennis Wilson’s Pacific Ocean Blue — minus the drowning. As Dulli told Spin magazine in 2007, “I couldn’t tell you what Saturnalia’s theme is, but there’s a seeking of transcendence that’s new. I have never written songs like this before — it’s a different temple I’m visiting.”
The seamless result raises the question of whether Saturnalia is some sort of concept album, a notion Dulli denies in saying, “The cohesion came from sheer force of will.” A good part of the smoothness can also be attributed to a functional working familiarity built by nearly a decade of shorter-term collaborations, ranging from cameo appearances on each other’s recording projects to a 2006 Twilight Singers tour that included Lanegan. Credit also goes to the studio genius behind the Gutter Twins, Mathias Schneeberger, whom Dulli describes as “one of the best producer/engineers I’ve ever worked with.”
In chasing America’s late ’80s/’90s musical legacy, it’s hard to find a better realization of its current rock ’n’ roll promise than Lanegan and Dulli. When they come together as the Gutter Twins, hard country meets hard rock in an ongoing search for musical soul.
Soul has its musical roots in gospel, a genre where troubled minds seek a happier day, which it seems Lanegan and Dulli have found as the Gutter Twins. “Outside of being one of my best friends, Mark is truly one of the best lead singers ever,” Dulli says. “His voice is remarkable; he’s a good songwriter and a good dude. That alone is a joy. To travel around and sing with your friends … I’ve got a dream job.”
Bob Gendron Q & A
While reading your book, it’s obvious that you’re coming from the point of view as a fan, as well as a journalist. How were you first exposed to the Afghan Whigs? Did you ever have the opportunity to see them live?
BG: I first heard the Afghan Whigs at an indie record store that I worked at while I was in high school. We had a promo copy of Congregation that I put on the store’s stereo, and from that point on, was enthralled. It’s quite possible that I’d heard Up In It before this time (we stocked all Sub Pop records before alt-rock broke), but if I had, it didn’t make a lasting impression, perhaps because my favorite Sub Pop artists from the late 80s were Mudhoney, Nirvana, and Tad. And yes, I’m grateful for the many times I saw the Whigs live. I attended every Chicago area show they played from 1992 through 1996, including the two 1995 Double Door gigs the band used to test Black Love material. I also saw the fateful Austin show at Liberty Lunch after which Greg Dulli was attacked. Having been there, and having visited Greg in the hospital, allowed me an inside perspective that I used to construct the book’s opening chapter. I don’t think most people understand how serious the situation actually was.
One of the key elements of the Afghan Whigs was their live show. How do you think their touring and road ethic shaped the band’s overall sound during the period between Congregation and Gentlemen?
BG: The live show definitely played a large role in shaping the sound. Rather than go into detail here, I’ll note that I address this issue in-depth in the book in the third and fourth chapters. In addition to forcing the band to get better and evolve, the shows also provided a platform to flesh out new pre-Gentlemen material in front of live crowds. The Whigs were never afraid to try something out even if it wasn’t yet completed or perfected.
Many of our reader-submitted questions were concerned with why the Whigs didn’t break through to a larger mainstream audience. What do you think was the main reason for this? Was it simply a marketing dilemma or was it something bigger?
BG: When writing the book, this was a question I really wanted to explore as it’s usually at the forefront of every fan’s mind. And as a fan myself, it always struck me that the band should’ve at least had a gold record and been a presence on the radio. Alas, it wasn’t to be. The tricky part of trying to address this issue is that any possible explanation might sound like a case of sour grapes or whining. And in most instances, a band’s lack of success is because it simply wasn’t good enough or didn’t play accessible music that could catch on with the mainstream. Of course, those reasons didn’t apply to the Whigs, particularly during the alt-rock era. I devoted the sixth chapter of the book to present a case for why the Whigs didn’t break to a larger audience. In addition to presenting the record’s standing among critics, record charts, and media outlets, I also got the band members and label representatives to talk about what they think happened, and why. One of the highlights in writing the book was digging for reasons to intelligently answer this question and coming up with hard data and surprising revelations. This led to an exploration of larger issues such as race, taste, bias, budgets, character, and marketing, as well as black (or black-sounding) music’s place in the rock world. Without giving too much away, the Whigs were also the victims of an internal conspiracy. All of these tangents are discussed in the book.
The soul, R&B and funk influences exuded by the Whigs are a common theme when critics describe their work. Do you feel this is a general statement to cover the band’s sonic vibe and swagger, or are their specific artists or records that directly influenced Gentlemen? In your book you mention the Supremes songs the band was covering as well as (of course) “I Keep Coming Back.” Are there any others that deserve special mention?
BG: As a band, the Whigs were definitely four unique personalities that came from somewhat related albeit very different backgrounds. That’s why I felt it important to provide mini-biographies on each member, and talk about their individual musical tastes and influences. In addition the Supremes, you can add most of the Motown catalog, Prince, and a whole host of other musicians ranging from Stax artists like Big Star (Gentlemen was recorded at Ardent for a reason) to Al Green to more obvious bands such as the Stones. None of the band members named any specific records as literal influences, but, as discussed in the book, Greg Dulli was listening to some classic break-up music at the time, not the least important of which was Tyrone Davis’ “Turn Back the Hands of Time” 45rpm single.
The Afghan Whigs were truly in a class of their own during the Alternative-90s era. That being said, who do you feel are their contemporaries? Are there other bands from that period (or before, or now) that can stand beside the Whigs and claim the same territory?
BG: You said it best: The Whigs were truly in a class of their own, and I’ve yet to come across a band that can stand alongside them in their field or claim the same territory. That said, there are other artists that were/are great in similar stylistic veins: the Replacements, American Music Club, Screaming Trees, Mudhoney, some Nick Cave. And I think that Liz Phair’s Exile in Guyville is worthy as a deserving contemporary of Gentlemen, not for the sound, but for the groundbreaking content and naked candor. But as far as the Whigs’ soulful and R&B sound, and especially their music’s sexual nature and intelligence, no one comes close. The uniqueness was both an advantage and a curse. It’s also one of the key reasons, I think, that people are still drawn to the band.
Many fans cite Black Love as their favorite album from the Whigs canon. In your book, Dulli mentions that he felt it was perhaps too self-indulgent of a record and that it should have been reigned in. What’s your personal take on Black Love? While it was an expansion on the themes in Congregation and Gentlemen, it’s arguably much darker and the music is more ambitious. Did it cross a threshold that limited its potential for wider appeal? If 1965 would have been the follow up to Gentlemen could that have provided their breakthrough?
BG: I’ve heard some of the Black Love demos and prefer them to the finished record. The album contains some undeniably genius songs: “Faded,” “Bulletproof,” “Summer’s Kiss” among them. Yet I think the songs tend to drown in overly complex arrangements which, at times, kill the sense of melody. To me, there are also a few tracks that haven’t held up as well (“Honky’s Ladder,” “My Enemy”) as most Whigs material. I also think the writing, both lyrically and musically, isn’t as focused or consistent. But I do like the record. And I agree that in many ways, it’s a darker album to the degree that it’s joyless in spots. It was also meant to be tied into a film Greg was working on, and I think that played a role in its construction, which in hindsight might not have been the best approach—it seems to cut looseness out of the music. And as Greg discusses in the book, he wasn’t exactly in the best mental state when making the record. Then there are all of the issues with Elektra that played a part in further limiting the record’s potential exposure and reach. Put in proper context, I see Black Love as an album the Whigs had to make in the wake of Gentlemen before being able to do something like 1965. It actually still stuns me that 1965 didn’t do better, either, but that’s another story. For the Whigs, no matter what they did, it seems that major mainstream success just wasn’t in the cards. While frustrating, I think it’s a condition that’s only added to the Whigs’ mystique, uniqueness, and importance as time has passed.
The distinct talents and abilities of the Afghan Whigs as musicians has always been something that appeals to me as a guitarist. While it’s ultimately that combination that creates any band dynamic, the sound of the Whigs is the sound of four different trains coming from different stations traveling along the same track. Curley’s only basis for comparison is Entwistle from The Who (which you rightfully note in the book). However, I’ve always had a problem finding a touchstone for McCollum. His style, phrasing and taste in riffs is completely unique in my experience. From your conversation with Rick, did you get a feel for his direct influences or the method to his playing?
BG: Talking with Rick is a trip; there’s a reason he’s nicknamed Moon Maan. He’s a really nice guy, his thoughts often drift, and while he’s opening up more now than in the past, he remains shy and a bit withdrawn. I think Greg Dulli said it best when he called Rick a savant. I asked Rick directly about his guitar influences and methods, and he basically says that he just does what he does. I’m not even sure he knows how or why he plays a certain way. I think his comments in the book regarding 70s R&B provide a window into where he comes from on the guitar: he fixates on the grooves where most guitarists favor the rhythm or riff. Again, like the Whigs as a whole, McCollum has few contemporaries that sound like him. I think that you’re right in saying his phrasing and style is completely unique.
During your research for the book, did you stumble across any particularly great live performances? Did any shows or songs single themselves out as being among what you consider the band’s finest moments?
A few favorites that come to mind: 5/15/92 in Chicago, 6/10/93 in France (Steve Earle told me he actually prefers the sound of this bootleg to the production on Gentlemen!), 11/3/93 in Champaign (that 20-minute-plus covers medley is one of the band’s finest moments and epitomizes its onstage abilities), 4/5/94 in Boston (the Dulli-sung “My Curse” is savage), 4/9/94 in New Jersey (a very weird vibe hovers over the show due to Cobain’s death and what was happening in and to the band), 5/11/96 in Seattle (a great Black Love-era performance complete with a ton of cover-song snippets), 11/27/97 in New Orleans (the Whigs get reborn), and 11/22/98 in DC and 2/24/99 in Baltimore (phenomenal revue-style shows). That said, there are a few concerts out there I don’t have and would love to hear. It’s hard to go wrong, really. Even when the band was off (and this was rare), there was something interesting happening.
The Afghan Whigs were masters at creating myth. In your book, you set the record straight on two of the biggest mysteries (how the band met and the origin of the band name). How important was legend-building to the overall concept of The Afghan Whigs? Is it simply something that fell on the band, or did they actively promote these ambiguities to emulate the cults of Zeppelin and Sabbath?
BG: I think the band was smart in knowing that people love mystique and great stories. Does it get much better than telling journalists you met in a jail cell? It’s brilliant and hilarious. I also think it’s safe to say that Greg Dulli seemingly delighted in playfully bullshitting people and getting a kick out of it. While this is one question I didn’t ask him, it’s possible that he used myth-making to deflect from what was going on in his head and in his life at the time. But I think a more likely explanation is that these guys just wanted to have fun and stave off boredom. Greg’s a very intelligent guy, and his outgoing persona is such that he can easily persuade and convince. If he wasn’t a musician, he’d make a great con man. He’s a natural storyteller and narrator. And the band is obviously going to get further if they can attract attention via outlandish tales, true or not. And if you look back, Sub Pop used this tact while promoting most of its roster. The label’s press materials from the time all made wide-eyed boasts about these small bands. It was noticeably tongue-in-cheek, but also savvy, enjoyable and charming. And it worked. I think the Whigs picked up on this idea and ran with it.
What would you consider to be your personal favorite Whigs song and why? Which song would you consider to be the ultimate representation of the band?
BG: Tough questions. I can’t name just one favorite or a single song that is the ultimate representation. Yes, I’d be a failure if I had to make the ubiquitous desert island list. But I will call attention to a few live performances currently on YouTube that illustrate the band’s spirit:
“My Curse” http://www.youtube.com/watch?v=JQ1oCw8ROlo
“Gentlemen” http://www.youtube.com/watch?v=fapabgWEqyU
“When We Two Parted” http://www.youtube.com/watch?v=WYC4HjDla6U
“Faded” http://www.youtube.com/watch?v=eq9Dq1I1yM4
“My World Is Empty Without You” http://www.youtube.com/watch?v=bYa3nZ5UYRY
“Miles Iz Ded” http://www.youtube.com/watch?v=PJbYhRp-evM
“Beast of Burden” http://www.youtube.com/watch?v=pwGoW8QSvm0
Gentlemen Outtakes (Part 2)
Metro owner Joe Shanahan was one of the Afghan Whigs’ earliest supporters. His club (metrochicago.com) remains a must-play space for emerging bands and has hosted more legendary shows in Chicago than any other local space. Over the past 25 years, Shanahan has been sent countless demo tapes and CDs by artists trying to get his attention. Here, he talks about why the Whigs’ “Jugula” demos did just that. –Bob Gendron
Joe Shanahan: There was a certain gritty sound that was sort of working-class. It wasn’t real polished. In the same way the early Replacements stuff was coming to me–crunchy, good rock. Because [in] the Midwest back in those days, bands got gigs and went out and played in front of people that had regular jobs. This is how they spent their weekends: going to see good rock bands.
[There was] an alternative side of it; it was unique. There was a solid, gritty Midwestern vibe to it. New York was trying too hard. LA was already dressed up. When you think about 1989, you’re thinking Jane’s Addiction out there doing their psych Led Zep version of the grunge thing. And New York was way cool with Sonic Youth and all of that. And there was nothing wrong with that. That’s the juxtaposition. In the middle of the country, the Smashing Pumpkins were doing something that was very rooted in a hard-rock thing. Of course, then there’s the idea of Sub Pop. They were the total hip label. I think that had something to do with it. My attraction to it is that [the Whigs] were a no-bullshit band. It wasn’t window dressing. It was guys who played really great rock music.
The Gutter Twins: Adorata The iTunes-exclusive EP of covers and two original songs from The Gutter Twins
Gentlemen The new book on the classic Afghan Whigs album written by Bob Gendron on the 33 1/3 imprint
Order Book at Amazon.com
The Gutter Twins: Saturnalia The long awaited debut from Greg Dulli and Mark Lanegan
Order CD at Amazon.com
