Review: Yellow Moon Band, Travels Into Several Remote Nations of the World

The Yellow Moon Band is a quartet that plays . . .  music.  People seem to be having a hard time figuring out just what kind of music they play.  “Entangled”, one of the tracks from Travels Into Several Remote Nations of the World, appears on the  A Monstrous Psychedelic Bubble Exploding in Your Mind compilation which has led some to categorize their music as psychedelic prog.  However, “Entangled” also appears on Fred Deakin’s (one half of the electronic music duo Lemon Jelly) Nu Balearica collection which has led allmusic.com to label the Yellow Moon Band as an electronica group.  Others have labeled them as folk, funky or groovy.

Ok, so the listeners are having a hard time figuring it out.  What does the CD say?  Nothing.  The disk I received came in a fold-over cardboard holder with a sleeve for the CD in one side and a sleeve for the pamphlet in the other.  Got the CD but didn’t get a pamphlet and the cardboard sleeve has no info about the band or the music whatsoever other than that the band wrote the music.

So what kind of music do they play?  For starters, Travels Into Several Remote Nations of the World is almost entirely instrumental.  There are a couple of vocals but they are not what the music is about.  The band sounds like two guitars, bass and drums (allmusic is completely off the mark labeling this as electronica).

As I listened to Travels Into Several Remote Nations of the World again and again I was overwhelmed with the feeling that it was really reminding me of something but I couldn’t quite place it.  Then I had it.  The Yellow Moon Band reminds me of the original Allman Brothers without Duane Allman, without the orientation toward blues rock, and without the jamming.  wtf?  You take all that away and what’s left?

A lot when you think about it.  Duane Allman was such a brilliant and unique guitar player (when he was on) that no one, not even the Allmans without him, sound like the Allmans with him so the Yellow Moon Band is like every other band in the world in this regard.

What about the blues rock thing?  The Allmans often used blues rock structures to bookend their jams but once they cut loose the music went where it went without regard to genre conventions or limitations.  Remember these were the guys who turned Donovan’s “There is a Mountain” into a 20 minute masterwork.  Losing the blues rock increases the similarity between the Yellow Moon Band and the Allmans as often as not.

Losing the jamming may be a problem.  The Allmans’  improvisational jams were often superb.  The Yellow Moon Band may be able to jam like that as well but the evidence isn’t on Travels Into Several Remote Nations of the World. Instead what we have are tight, focused full band work outs that sound like they may have begun as jams which were then then practiced, tightened up, and refined. Pure meat, no fat.

The end result is a CD filled with tight, muscular guitar led instrumentals.  There is a clear influence of late ’60s – early ’70s psychedelic music but the Yellow Moon Band never come across as imitating someone else.  They are their own band and they’re outstanding.  Travels Into Several Remote Nations of the World is one of the best CDs I’ve heard this year and is very strongly recommended if you like first-rate guitar-driven rock.

Review: Glasvegas, Glasvegas

Scotland again.  I know I’ve wondered about this before, but really . . . wtf is going on in Scotland?  Glasvegas is a four piece (James Allan, singer/songwrite; Rab Allan, guitars; Paul Donoghue, bass; Caroline McKay, drums) out of Scotland.  They were first brought to widespread attention by music impressario and fellow Scot Allan McGee who also introduced the world to Primal Scream, The Jesus and Mary Chain, Teenage Fanclub, My Bloody Valentine and Oasis.  The tenuous Oasis connection and the knowledge that Glasvegas has been ecstatically proclaimed as The Next Big Thing by some of the more hysterical elements of the UK music press might lead some US listeners to ignore the band.  This would be a big mistake.

The first thing you notice about Glasvegas is the reverb which is laid on so thick it turns the air in the room into soup when the CD is playing.  Heavy reverb can be used to mask inadequacies in the musicians playing the music.  Whether this is the case with Glasvegas awaits an opportunity to hear the band in the clear.  The second thing you notice  is that the band, its producers and its engineers are deeply infatuated with both Phil Spector’s wall-of-sound production technique and the style of music he promoted with groups like the Crystals.  This is the likely source of the heavy-handed reverb as Spector employed the same approach.  The third thing you notice is how extraordinarily good much of this music is.

Glasvegas are a startingly ambitious band.  Many of their songs are anthemic and sung with deeply felt conviction.  “Daddy’s Gone”, ranked at #2 in NME’s list of best tracks of 2007, is a cry of pain from a boy whose father abandoned his family.  In the hands of a sensitive singer/songwriter this would come out as the kind treacly pap that makes the muscle and meat crowd laugh.  Allan makes it an arresting recognition of an opportunity that once lost is lost forever.  “Stabbed” is a spoken word piece about a thug on the losing end of a gang fight set to Beethoven’s “Moonlight” piano sonata.  It’s chilling.

“Flowers and Football Tops” is one of the stronger tracks on the album.  It’s sung from the point of view of a father who learns that his son is dead from the police who come to his house to give notice.  It channels Spector and the Crystals until it ends with a massively reverbed wall of guitar chords that accompanies James Allan singing the chorus of “You are my sunshine”.  After the final line – “How can they take my sunshine away” -  Rab Allan strums a fast chord accompanied by feedback, the ever-present reverb and, buried very deep in mix, roaring cries of pain and loss.  It’s searing and utterly convincing.  Bands with dreams of being more than run-of-the-mill rock stars might try something this ambitious on their their third or fourth album well after they have established themselves and built an audience.  Glasvegas brings it on as the first track on their debut album.

Glasvegas is one of the most striking debut albums I’ve heard in a while.  The band deals with emotional material without being sappy.  They’re big, they’re confident and they play with conviction.  Glasvegas sounds like an album where the band thought they had one chance and decided to lay it all on the line and go for broke.  They won.  So did we.

Review: Lila Downs, Shake Away

Shake Away is a pretty remarkable album, but then that isn’t really surprising when you take into account that Lila Downs is a pretty remarkable woman.  Her mother, a singer, is a Mixteca Indian from Mexico; her father, a professor of cinematography and art, is an American of Scottish/English descent from Minnesota.  She lived in Mexico and California as a child, spent two years in college studying opera and classical music, dropped out and became a Deadhead following the band around the country while making jewelry to support herself, dropped out of that and returned to college eventually graduating with degrees in anthropology and voice.  And that leaves out the immersion in jazz and learning to weave among other things.

Shake Away reflects the convoluted path of Downs’ life.  Tracks range from rock  to heavily Mesoamerican influenced pop with many stops and detours along the way.  She does both original compositions and covers including an amazing version of Santana’s “Black Magic Woman”.  Her deep and husky voice and spooky delivery turns the tune from one about the woman to one sung by the woman.  She sings in both English and Spanish and one song, Lucinda Williams’ “I Envy the Wind”, is presented in both Spanish and English versions.

Her core band includes drums, bass, percussion, guitars, brass, accordian and a varity of latin instruments.  Almost every track on the album is supplemented with additional musicians that fill out the horn section, provide more guitars and sing.  Among the more notable are jazz clarinetist Anat Cohen who plays on five tracks, Cafe Tacvba’s lead vocalist (calling himself Ixaya Mazatzin Tleytol this time around) who sings on “Perro Negro”, and La Mari de Chambao who does an outstanding duet with Downs on “Ojo de Culebra”.

In an excellent essay in Faking It: The Quest for Authenticity in Popular Music Hugh Barker and Yuval Taylor write about how the divisions that are typically imposed on popular music like rock, pop, country, blues and R&B are usually derived from the marketing concerns of the record industry and do not reflect the way musicians who are categorized with one of these labels often listen to or play music.  Downs work on Shake Away is an almost perfect example of this.  The album sounds like she ignored all convention and combined the many types of music she knows and enjoys sometimes across different tracks and sometimes within a single song.  Shake Away is a rich and rewarding album that is recommended for listeners with open ears, especially those who enjoy latin music.

Review: Girl Talk, Night Ripper

Girl Talk is DJ and remix artist Gregg Gillis.  Gillis garnered a good deal of popular media attention a year or so ago for his blatant use of clearly recognizable samples without regard to copyright in his remixes, his frenetic club shows which often involved him stripping to his underwear, and his obvious talent as a sample-based remixer.

Night Ripper unfolds as a nonstop combination of hip-hop and rap vocal samples combined with a wide variety of muscial underpinnings.  It’s a markedly mixed bag.  On the one hand is Gillis’ musical talent.  He is a masterful mash-up artist who is familiar with a fairly wide range of music.  The mix on Night Ripper is terrific.  Gillis uses samples that are long enough to be clearly recognizable and it’s not only fun hearing segments and riffs you know in unexpected places and combinations, but also enjoyable appreciating how well he puts it all together.

On the other hand is Night Ripper’s simplistic and often crass vocal content.  Many of the vocal samples feature the kind of crude sexual proclamations that are typical of a segment of hip hop but have come to stereotype and stigmatize the genre among people who don’t listen to very much of it.  The excuse that will be given is that this is party music so the emphasis on crass sex is appropriate.  If your idea of a party is getting down with some guys who chant “Head down, ass up, that’s the way we like to fuck” , you’ll be right at home here.  If you’re not still fourteen, it’s likely to come across as unrelentingly juvenile.

If Girl Talk had anything interesting to say, Night Ripper would be a great album.  As it is, you have terrific music combined with empty vocals that some listeners will find offensive.

Review: Kaiser Chiefs, “Off With Their Heads”

I finished my review of Kaiser Chiefs’ second album, Your Truly, Angry Mob, by writing that I was looking forward to their next CD.  Well, here it is and I’m finding that I’m enjoying “Off With Their Heads” even more than its predecessor.  The Chiefs are putting out state-of-the-art power-pop, new-new wave influenced rock.

Your Truly led off with mega-track “Ruby” which was not only the best thing on the album but  brought Kaiser Chiefs a host of new fans when it showed up on the original version of Guitar Hero.  “Ruby” sounded like a hit the first time it played and nothing on “Off With Their Heads” has this immediate impact.  However, the new album has a characteristic that is arguably even more important than an obvious hit single.  It sounds good the first time through and it’s a grower.  The more we listen to “Off With Their Heads” the more want to hear it.

Part of the reason Kaiser Chiefs music is so compelling is that they are masters of vocal hooks combined with driving, propulsive rhythms and good songwriting.  “Good Days Bad Days” with its loping bass-driven rhythm is a good example.  Out of nowhere I find myself singing “‘Cause you are / Descended from animals / And you are / Constructed of chemicals” from “Like It All Too Much” at odd times throughout the day.  And “Always Happens Like That” is so catchy it out to come with a warning label.

Another reason the Chiefs rock is that everyone in the band can play and Ricky Wilson (vocals), Andrew White (guitar), Nick Baines (keyboards), Simon Rix (bass) and Nick Hodgson (drums)  work very well together as a band.  If there are super-sized egos in the group, they are doing a good job of not letting them dominate the music.  They are also very well recorded.  Producers and engineers Mark Ronson and Eliot James give the band a sharp, clean sound with well defined and beautifully integated instruments and vocals.  “Off With Their Heads” sounds terrific on a quality sound system

“Off With Their Heads” is Kaiser Chiefs third album and each one has been better than the last.  I don’t know how long this can go on but where I was looking forward to their next album after Yours Truly, the one after “Off With Their Heads” will be an automatic purchase.  The Chiefs are on a roll (a Kaiser roll? . . .  lol).  Get ‘em while they’re hot.

Review: The Heavy, Great Vengeance and Furious Fire

The Heavy’s Great Vengeance and Furious Fire sounds like it creeped out of a twisted and demented alternate reality of blues, soul and R&B.  It’s a very strange – and very good – CD.  Album opener “Brukpocket’s Lament” is a slow, almost glacial, blues built on a simple two-note descending bass riff with a vocal from another planet.  When the vocalist sings “I’m startin’ to talk like I’m mentally ill” you believe him.  It’s a dark and disturbing way to start an album and it works brilliantly.  The very first song knocks the listener askew, demolishes preconceptions and sets you up perfectly for the set of music that follows.

The Heavy are a five-piece out of Bath, England composed of Dan Taylor (guitars), Kelvin Swaby (vocals), Hannah Collins (keyboards), Chris Ellul (drums) and Spencer Page (bass).  Their music is hard to describe.  Clearly based in the blues, R&B and soul of times past they often use dirty guitars and clattering percussion and have an uncanny ability to make compelling music based on viscous rhythms that would sound like tedious sludge in the hands of almost any other band.  Great Vengeance and Furious Fire is shot through with the static and sound snippets of AM radio stations beamed from no town you’ve ever visited, the scratch and pop of old vinyl LPs and vocals that sometimes sound like they were recorded through a busted amp.  It feels like you put the CD in the player and opened a portal to a time and place that sounds like America of the 50’s through the 70’s except much more dangerous.  The last song, “Who Needs the Sunshine”, ends with several seconds of vinyl rotation scratch from which a twinkling, skipping piano slowly emerges and a vocal ballader from the late ’50s early ’60s sings “Forever my darling . . .” the first half of a couplet that never completes as the record goes silent.  It’s exquisitely creepy.

All of this could sound like a one-off novelty record if The Heavy didn’t do it so well.  Their vision is warped but they have a solid grasp of the music they mine for inspiration.  Great Vengeance and Furious Fire is very strange but it’s also very good music.  I don’t know if it’s the sort of thing everyone will enjoy but I’ll be standing in line at the CD store the day they release their next album.

Review: Bob Mould, District Line

Bob Mould has had a long, varied and rich musical career.  He broke out with the influential post-punk band Husker Du that was one of the defining alt rock bands of the ’80s.  When Husker Du split up he released solo albums in the guises of both a sensitive singer/songwriter and a guitar rocker.  He then disappeared for awhile before returning with a new interest in electronic music.  He has been DJing in my town of Washington DC for awhile and has released at least one dance-oriented album.  With District Line he returns to guitar-based rock and shows no signs whatsoever of coming anywhere close to creative stagnation. 

With the exception of drummer Brendan Canty and cellist Amy Domingues, Mould plays all the instruments on District Line along with writing all the songs.  The CD falls into the small category of albums that addresses human relationships from an adult perspective (Mould is in his mid-40s) without coming across like a twenty-something trying to sound all grown up or a middle-aged loser straining to hold on to his youth.  Mould is simply a talented musician and songwriter who continues to make vital music.

The music on District Line is driven primarily by Mould’s strong guitar and Canty’s muscular and varied drumming.  Electronics are used to nice effect as accents and flavoring (as on “Shelter Me” for one example) without being prominently featured.  On the evidence provided here, Mould’s personal life has not been so good lately as many of these songs are concerned with the difficulties of maintaining – and ending – long term relationships.  “Again and Again” is a particularly good example.  Over a rolling melodic hook Mould sings “I never found the trust I needed from you / Everything you did was making me wonder / My biggest mistake was taking you back / Again and again.”  If you’ve been there, you can hear that he has too.  It’s like a dagger in the heart.

District Line is adult rock of the best kind, sung from an adult perspective without attempting to fit into the musical straightjacket of what the record company suits think adults want to hear.  It’s just a good rock record and that’s just fine.

Review: Various Artists, Summer of Love, The Hits of 1967

The Summer of Love, The Hits of 1967 is a two CD +  one DVD collection released by Time-Life to comemorate what was an extraordinary year in music.  The DVD is entitled “My Generation” which is Part 6 of Time-Life’s 10 DVD The History of Rock ‘N’ Roll set.  The CDs are labeled AM and FM and are supposed to capture the different types of music being played on the two radio formats at the time.  The collection comes with a booklet that contains an introduction by Jorma Kaukonen the lead guitar player for Jefferson Airplane and fluff paragraphs on each of the songs included on the two CDs.  As a set devoted to the music of 1967, there’s good news and bad news here.

The good news is that the collection contains a lot of good music that people who were into rock and pop music at the time will remember and enjoy.  Although the set is called “The Summer of Love”, it doesn’t focus on either the San Francisco music scene or tracks released in the summer.    Anything released in 1967 is fair game.  (See the Tuned In To Music podcasts on 1960’s San Francisco Part 1, Part 2, and Part 3 for a more thorough coverage of the SF music scene.)  The AM set includes often collected songs such as “San Francisco (Be Sure to Wear Flowers in Your Hair)” (Scott McKenzie), “A Whiter Shade of Pale” (Procol Harem), and “Happy Together” (The Turtles) along with some less common, and therfore more enjoyable to hear again tunes like “Talk Talk” (The Music Machine), “Sunday Will Never Be the Same” (Spanky and Our Gang), and “Little Bit o’ Soul” (The Music Explosion).  Other tracks on the AM disc include “Darling Be Home Soon” (The Lovin’ Spoonful, a personal favorite), “Creeque Alley” (The Mamas and the Papas), “Gimme Some Lovin’” (The Spencer Davis Group) and “Let’s Live for Today” (The Grass Roots). 

Splitting the collection into AM and FM discs was a good idea in that it was around this time that FM radio became a home for exciting music programming that featured album cuts and few if any ads.  As you would expect, the FM disc is more varied but it’s also more hit or miss.  Among the hits are “I Feel Free” (Cream), “Friday on My Mind” (The Easybeats), “(We Ain’t Got) Nothin’ Yet” (The Blues Magoos) and “So You Want to Be a Rock ‘n’ Roll Star” (The Byrds).  Among the misses are “It’s a Happening Thing” (The Peanut Butter Conspiracy) and ”Paper Sun” (Traffic, a miss considering the great ”Dear Mr. Fantasy” is on the same album).  In general, the FM disc is a disappointment as many of the tracks such as “Somebody To Love” (Jefferson Airplane’s biggest selling single) and “Brown Eyed Girl” (Van Morrison) should have been on the AM disc or that cuts like “You Keep Me Hangin’ On” (Vanilla Fudge) are presented in the sub 3 minute radio version rather than the 7+ minute version that was regularly played on FM stations at the time.

The bad news comes when you realize the extraordinary music that was released in 1967 that is not included in the collection.  It is almost certainly the case that legal barriers prevented the inclusion of almost all of this music.  Still, when you take into account what is missing, The Summer of Love, The Hits of 1967  looks weak indeed.

Soul music and R&B are particularly poorly represented.  We get “Reflections” (Diana Ross and the Supremes) and “I Was Made to Love Her” (Stevie Wonder).  Which sound fine until you realize that Aretha Franklin released “Respect”, “(You Make Me Feel) Like a Natural Woman”, “I Never Loved a Man the Way I Love You”, and “Chain of Fools” all in 1967.  In addition, “I Heard it Through the Grapevine” (Gladys Knight and the Pips), “Funky Broadway ” (Wilson Pickett), “I Second That Emotion” (Smokey Robinson and the Miracles), “Soul Man” (Sam & Dave), “Tramp” (Otis Redding and Carla Thomas) and “Ain’t No Mountain High Enough (Marvin Gaye and Tammi Terrell) all came out in 1967.

Other genres of music don’t fare any better.  On the AM side of the equation 1967 saw the release of a number of important singles that are not in the set including “Ode to Billie Joe” (Bobbie Gentry), “The Beat Goes On” (Sonny & Cher), and “Groovin’” (The Young Rascals) among many, many others.  And, of course, there’s that 800 lb gorilla we haven’t mentioned.  The Beatles released “Penny Lane”, “Strawberry Fields Forever”, “All You Need is Love” and “Hello, Goodbye” as singles in 1967.  Yikes!

When you look at albums, the omissions in The Summer of Love, The Hits of 1967 become even more apparent.  1967 saw the release of debut albums from The Grateful Dead, Moby Grape, Buffalo Springfield (“For What It’s Worth”), David Bowie and The Doors (“Light My Fire”).  The Doors and Buffalo Springfield also released their second albums in 1967.  Other important and unrepresented 1967 albums include Disraeli Gears (Cream), Forever Changes (Love), and Days of Future Passed (The Moody Blues).

All of this pales into insignificance , however, when you realize that three of the most influential albums of the modern era were released in 1967 and none of them are represented on The Summer of Love, The Hits of 1967 .  In 1967 we were treated to Jimi Hendrix’s debut album Are You Experienced? (as well as his second, Axis Bold as Love), the Velvet Underground and Nico’s self-titled debut album and perhaps the most important of them all, The Beatles’ Sergeant Pepper’s Lonely Hearts Club Band.  All those iconic singles and Sgt. Pepper’s?  The Beatles alone made 1967 a watershed year.

We found the DVD mildly interesting.  It focuses more on the American counterculture symbolized by the term “Summer of Love” than the CDs and, although shallow, it attempts to provide some social and political context for the music.  There is some brief but great footage of Jimi Hendrix.  You can also watch Keith Richards throw a TV off of a hotel balcony as a stunt for the camera and Pete Townsend be a belligerent whiny asshole if that’s the kind of thing that turns you on.  I don’t expect I’ll watch it a second time.

1967 may well have been the most extraordinary year for recorded music of all time and it’s hard to fault The Summer of Love, The Hits of 1967  for not doing it justice.  Even if you were able to get all of the necessary releases, there’s no way this unbelievable year could be effectively surveyed on a two disc collection.  The Time-Life set is likely to have the most appeal to listeners who were listening to AM and FM radio at the time and who will find almost every track in the collection familiar.  Listeners who were not there and want to hear what was current in 1967 would do better to seek out the material that isn’t in the set.  I’m not an “oldies” listener who is mired in the music that was current when I was young, there’s too much good music coming out every year for that.  However, to this day, I return to many of the songs and albums of 1967 on a semi-regular basis.  But almost all of the ones I return to are the ones left out of The Summer of Love, The Hits of 1967 .

Review: Ghostland Observatory, Robotique Majestique

The worlds of rock and dance music have been coming together of late.  Dance has led the way and releases from Daft Punk, Justice, Digitalism and the groups heard on the Rock the Disco collections (Vol.1 and Vol. 2) rocketed 2007 into the dance stratosphere.  Movement has been slower on the rock side but it’s happening with !!! being a notable practitioner.  Ghostland Observatory are another band that approach the dance-rock fusion from the rock side.  They’re a duo out of Austin Texas composed of Aaron Behrens (vocals and guitar) and Thomas Ross Turner (drums, keyboards).  Robotique Majestique is their third album.

With one notable exception, Robotique Majestique welds most of the trappings of dance music to a fundamentally rock base.  Digitally constructed beats, layered production, synth effects and keyboards zooming in and out, it’s all there.  So far so good.  However the exception is a pretty important one.  Robotique Majestique is notably lacking in groove.  The rhythms are dull and plodding and the tempos are off.  Turner bashes away in monotonous, clunky tempos that bludgeon the listener.  This is a major problem because dance music is first and last about groove.  Dance music has to make you want to get up and move, Robotique Majestique makes you want to get up and put something else on the CD player.  Ghostland Observatory took the sound of dance music but left out the dance. 

Behrens’ vocal style doesn’t help matters.  He adopts the screeching falsetto that was popular among the hair-do bands of old.  This style is popular with some listeners who won’t mind it.  To me he too often sounds like a shrill 12 year old girl having a temper tantrum.

Listening to Robotique Majestique over and over again trying to find something good to say about it leads to the conclusion that this is dance-oriented music made by people who can’t dance.

Review: Lyrics Born, Everywhere at Once

Lyrics Born is a Japanese-American MC out of San Francisco who has made a modest career out of going his own way in the face of hip-hop convention.  Rather than team up with a producer who creates beats in the studio, Lyrics Born plays with a band.  His tunes also place a heavy emphasis on singing and most of his guest artists are singers rather than rappers.

In some respects Everywhere at Once is the polar opposite of the Roots’ Rising Down reviewed in the previous post.  Lyrics Born is deeply into funk and R&B and in terms of musicianship his band is leagues beyond the members of Roots.  Everywhere at Once is also better recorded than Rising Down which makes listening to it a more pleasant experience at the basic sonic level.  On the other hand, the Roots challenge their listeners with thoughtful observations on American social, political and economic life while Lyrics Born doesn’t have much of interest to say.  Most of his raps are about his latest infatuation or how proud he is of overcoming whatever he thinks he’s overcme to be as wonderful as he thinks he is.   Everywhere at Once also includes two tedious skits and if you’re really out of shape you can burn some extra calories racing to the CD changer to skip past them whenever they come on. 

Everywhere at Once shines musically.  First song “Don’t Change” rides on a funk groove that is so solid that it’s almost imposible to sit still while it plays.  Lyrics Born also has a deep feel for this music so the rhythm of his rap is tight with the groove.  It’s a an outstanding track.  The rest of the album presents a survey of ’80s and late ’70s funk and R&B.   “Cakewalk” combines a Cameo bassline with an Off the Wall-era Michael Jackson chorus.  Another good track and those are only two of many.  Lyrics Born has a first-rate funk band with Uriah Duffy a standout on bass. 

If you like funk and R&B melded with hip-hop Everywhere at Once is more than worth a listen.  In fact, it’s a good album to use to introduce people to hip-hop who don’t know very much about it and say they don’t like it, but who enjoy funk.  If you want challenging and thoughful lyrical content you’ll have to look elsewhere but if you want to dance and have a good time, it’s here.