The singer/guitarist who became known as the Queen and/or First Lady of Rockabilly was born this day, October 20, 1937, in Maud, Oklahoma.
What is her name?
This Historic Day In Music: Chuck Berry
Chuck Berry is Rock & Roll.
The music he created, starting with “Maybellene” in May of 1955, established the ground rules, raised the bar and set the stage for all that was to follow.
He was the first musician to combine the essential elements of Blues and Country music and come up with something that went beyond Rockabilly. As Cub Koda writes in The All Music Guide To Rock: “Of all the early breakthrough Rock & Roll artists, none is more important to the development of the music than Chuck Berry.”
In his 1987 book, Chuck Berry: The Autobiography, Chuck describes his music this way: ” The nature and backbone of my beat is boogie and the muscle of my music is melodies that are simple. Call it what you may… it’s still boogie so far as I’m connected with it.”
Another reason that Chuck Berry is seen as one of the founding fathers of Rock & Roll is because he is also one of its greatest guitarists.
When asked how he created his landmark guitar style, Chuck told interviewer Neil Strauss in 2010: “I just feel I got my inspiration, education and all from the others that came before me and I added my… I don’t even know if I added anything. I played what they played, and it sounded different, I guess.” (From “American Visionary,” Rolling Stone Magazine, Sept. 2, 2010.)
In a March 1988 Guitar Player Magazine interview, “Chuck Berry: The Story,” Chuck gave author Tom Wheeler a list of those influential artists who “came before”: Carl Hogan, guitarist with Louis Jordan And His Tympani Five; Blues guitarists T-Bone Walker, Elmore James and Muddy Waters; and the Jazz musicians tenor saxophonist Illinois Jacquet and guitarist Charlie Christian.
Founding father, stylistic alchemist, iconic guitarist – but wait: there’s more! Chuck Berry is Rock & Roll’s greatest songwrtiter.
In the early years of his career, Chuck Berry was a thirty-something, African-American high school dropout writing for an audience of white teenagers and yet he produced hit record after hit record of what Tom Wheeler called: “classic two-and-a-half-minute novellas of churning hormones and rock fever.” Wheeler goes on to describe Chuck Berry, the songwriter, as: “a percussionist of sorts who used syllables instead of drumsticks, he fashioned his lyrics into a sly, jivey poetry that percollated with its own gimme-five lingo.”
In the Rolling Stone piece, Neil Strauss tells of Chuck Berry “discussing the hours he spends working on getting each syllable, word and phrase of a song right” and how he “agonizes over the way his lyrics fit together, their ability to stand on their own, as literature seperate from the music.”
Indeed.
To name a few:
“As I was motivatin’ over the hill, I saw Maybellene in a Coupe deVille.” (“Maybellene” 1955)
“Well I’m a write a little letter, go’n mail it to my local DJ. Yeah it’s a jumpin’ little record I want my jockey to play.” (“Roll Over Beethoven” 1956)
“Way down in Lou’sianna, close to New Orleans, way back up in the woods among the evergreens.” (“Johnny B. Goode” 1957)
As you read those lines, didn’t you feel the rhythm, find yourself falling directly into the cadence of the words? Now: go back. Read them out loud.
Well?
To paraphrase Albert King: “Did you feel it?”
The influence of the guitar playing, recordings and songwriting of Chuck Berry is immeasurable. Every electric guitar player at some time or another plays a Chuck Berry guitar lick. Every Rock band has at least tried to play a Chuck Berry song. The Rolling Stones included Chuck’s “Carol” on their first album and the Beatles recorded their versions of two Chuck Berry songs: “Roll Over Beethoven” and “Rock And Roll Music.”
Would Bob Dylan have written: “Johnny’s in the basement mixing up the medicine” (“Subterranean Homesick Blues” 1965) if there had been no “Maybellene”? Would John Lennon have written “Here come old flat top, he come groovin’ up slowly” (“Come Together” 1969) if Chuck had not written “Here come up flat top, he was movin’ up with me”? (“You Can’t Catch Me” 1955)
Cub Koda says: “Quite simply, without Chuck Berry, there would be no Beatles, Rolling Stones, Beach Boys, Bob Dylan, nor a myriad of others.”
Chuck Berry was born Charles Edward Anderson Berry, on October 18, 1926 in St. Louis, Missouri.
Happy Birthday, Chuck. Thank you for everything.
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Highly Recommended
I have used this phrase often in my posts, in reference to an artist or a song or a book.
But this is the first time, dear readers, that I have used it in reference to your comments.
My most recent post, On This Day In Music History: John Lennon, elicited some fabulous comments, each containing at least a choice of favorite song/s or album. Some share thoughtful explanations and heartfelt memories about how the music of John Lennon and Paul McCartney influenced their lives, past and present.
Please: scroll down to the end of the John Lennon post and click on “9 comments.” (This is the most I’ve ever gotten on a single post!) They will appear in the order that I received them and I encourage you to take a few minutes and read them all. They are all worth you time.
Many, many thanks to all who have visited this blog in the past months and especially to all of you who have sent a comment.
Most appreciated.
Highly recommended.
P.S.: I’m still waiting/hoping to hear from “tps” – the only person I know who actually saw the Beatles perform live.
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On This Day In Music History: John Lennon
The room where I teach is high ceilinged, so there is plenty of room for the large, framed picture of the Beatles that hangs on the wall over the blackboard.
The picture is actually a print of a black & white photograph taken by Rowland Scherman. It captures the Beatles on-stage and mid-song (my guess is: “All My Loving”) at the Washington Colliseum in Washington, DC, on Tuesday, February 11, 1964. In the picture, John Lennon stands on the right, playing his black Rickenbacker.
On an adjacent wall, there is a larger, also-framed, full-color poster that features the cover images from all 12 British-release Beatles albums. (This poster was produced in 1987 by Apple Corps, LTD.)
Given these two art works and the fact that I use several Beatles songs in my teaching, my guitar students are pretty quick to get the idea that I like the Beatles. So, inevitably, I am asked what my favorite Beatles’ song is.
For a good number of years, my answer was not a song, but an album (bands put out albums in those days, I point out), and I would name Rubber Soul. But lately, given some careful analysis of my listening habits and my performance repertoire (both solo and with the band, Merseyside, back in the early ’90’s), I’m going with the album A Hard Day’s Night.
This was the first album I bought on CD, the one I most often grab to play in the car or at home when I need guaranteed sing-along tunes. It is the album that contains the most Beatles songs that I’ve learned how to play.
It also contains a high percentage of “John” songs.
As you know, John Lennon and Paul McCartney were a songwriting team and all songs that they published as members of the Beatles bore the authorship line: Lennon & McCartney. But that doesn’t mean that they each paticipated equally in the creation of every song.
Early on, they wrote, as John put it: “nose to nose.” But as their career progressed, they would write individually and bring what they had to the other for comments and contributions. It was this inevitable auditioning of each writer’s songs to the other that made each of them want to have the best possible song or song idea ready when they made their “presentation” to their respective and respected bandmate.
I have a book: Beatlesongs (1989) by William J. Dowlding. The first part of its subtitle tells what it’s about: “Firsthand quotes, little-known facts and details about the production of each song/album, including: where song ideas came from; who contributed how much to each song… and much more.”
The author gives extensive details on each Beatles song and actually rates each song on a percentage system under “authorship,” giving full to partial song writing credit to John and/or Paul. For instance: “Eight Days A Week” is listed as: McCartney (.7) and Lennon (.3). “In My Life” is Lennon (.65) and McCartney (.35).
The album A Hard Day’s Night has 13 songs. Mr. Dowlding gives 10 of them completely (1.00) to John. Only one, “Things We Said Today” is given completely to Paul.
I cannot imagine my life or our world without the music of the Beatles. There would have been no Beatles without John Lennon, or to be fair, without Paul McCartney.
But today is the 70th anniversary of the birth of John Lennon.
He was born John Winston Lennon on October 9, 1940 in Liverpool, England. He was the first and only child of Julia Stanley Lennon and Freddy Lennon. He was raised by his mother’s sister, Mimi, who bought him his first guitar when he was 16 years old.
He met Paul McCartney on July 6, 1957. (See my post from July 6, 2010.)
As I’ve done in past posts, I invite you to share your favorite Lennon & McCartney song or Beatles album (or memory or thought). Is you favorite a “John” song? Do you have a favorite song or album from John’s post-Beatle solo work? All you have to do is click on “Leave a comment” below and send it off.
John Lennon died on December 8, 1980 in New York City.
On This Day In Music History: ???
Greetings, Readers. It’s quiz time again!
What Rock trio featuring an American singer/guitarist, a British drummer and a British guitarist-turned-bass-guitarist/singer was formed on this day, October 6, in 1966, in London, England?
Click on “leave a comment” below to post your answer.
Have fun!
Bonus question: what was the name of their first album?
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Better Late Than Not At All
As attentive and long-time readers of this blog will know, I’ve been reading a book: Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionized American Music (2008) by Ted Gioia. I’ve referenced it in several posts, starting with Blues, Women & Guitar back on June 24.
Well, I’m still reading it.
Yes, I am a bit embarrassed to admit that here it is October 3rd, and I have yet to finish this book. Not exactly high praise. But please do believe me when I say that it is an excellent book, very well written, full of fascinating detail and absorbing stories. It’s just not a book like, let’s say, one of Robert B. Parker’s Spenser novels (and I’ve read them all) that never failed to draw me in on page one and not let me put it down for too long until I’d read every word. Delta Blues is not a detective/mystery book, but it is very easy to keep within reach and dip into when time allows.
So, the other day I read the chapter entitled “Smokestack Lightnin'” about Howlin’ Wolf. I learned that he was born Chester Arthur Burnett on June 10, 1910 in White Station, Mississippi. I learned that he didn’t cut his first recordings until he was 40 years old and he did them for Sam Phillips at his Memphis Recording Service studios in Memphis, TN. I learned about his move to Chicago and his work for Chess Records. I learned much, much more in those 35 pages.
Most of all, I learned that, up till then, I’d really known very little about Howlin’ Wolf.
I had known that he was a legendary and influential Blues singer with a very gravelly voice befitting his name. I had known that he did the song “Spoonful,” covered in the 1960’s by Cream, and I had known he did a fine version of “Sitting On Top Of The World,” the 1930 Mississippi Sheiks song that has been covered by a startlingly wide variety of artists.
That was about it. Even more sadly, beyond those two songs, I didn’t know his music.
I set about to rectify the situation.
I went immediately to my standard reference source for Blues recordings: The All Music Guide to The Blues. In the entry for Howlin’ Wolf on pg.258, Cub Koda writes: “In the history of the Blues, there has never been anyone quite like the Howlin’ Wolf. No one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of their wits.”
In the reviews of 25 Howlin’ Wolf albums, the one called His Best (Chess 50th Anniversary Collection) got the nod as the best single-disc collection available. But a visit to Amazon revealed that Chess had updated that 1997 CD in 2007 with: Howlin’ Wolf: The Definitive Collection and all the reviewers there gave this disc 5-stars. This was the one I wanted.
After dinner Saturday night, I headed off to Portsmouth, NH and soon arrived at my favorite music store on the planet: Bullmoose Records. I walked directly to the large, well-stocked Blues section, found the Howlin’ Wolf CDs and… they didn’t have it. I checked again: nope. They had five CDs but not the one I was looking for. Bummer.
I had no choice. I was on a mission. Bullmoose had let me down. Next stop: Best Buy.
And there it was. In their paltry, pathetic Blues section, right there in the front of one of the racks, like it was waiting for me, sat one copy of Howlin’ Wolf: The Definitive Collection. $12.99 on the credit card later and we were going home. Mission accomplished.
This is an incredible CD. It contains 20 songs starting with “Moanin’ At Midnight” from 1951, ending with “Killing Floor” from 1964 and includes “Smokestack Lightnin’,” “Wang Dang Doodle,” “Back Door Man,” “Spoonful” and “I Ain’t Superstitious.” (Wasn’t that one on 1968’s Truth, the first album by Jeff Beck? Wasn’t “Back Door Man” covered by the Doors on their first album in 1967?)
The track listings give writing credits to Chester Burnett for eight songs and to Blues songwriting giant Willie Dixon for ten. Band members include pianist Otis Spann, guitarists Willie Johnson, Hubert Sumlin, Jimmy Rogers and Buddy Guy, Willie Dixon on bass and Sam Lay on drums. (Hey – that’s the drummer who played in the band behind Bob Dylan when Dylan went electric at the Newport Folk Festival in July of 1965.)
(Sidetrack: As I wrote that last sentence the 2010 season of the Boston Red Sox came to an unfortunately early end with an 8-4 victory over the playoff-bound New York Yankees.)
The music is not easy to describe. Yes, there is that voice that Mark Humphrey describes in the CD’s liner notes as: “like shattered glass being dragged over hot asphalt.” Yes, some of these songs are not based on the standard 12-bar Blues progression; they are instead musically built around a single, repeated guitar riff, harmonically going for three minutes on one chord. But track after track, this music sets the mood, lays down a groove, puts feet to tapping and hips to swinging, and when it fades out after those three minute are up, leaves you wanting more.
This is, simply, exceptionally good music. And, returning to Mr. Humphrey, it is the Blues: “as disturbing and joyful and real as any ever recorded.”
So, here I am: a brand new Howlin’ Wolf fan, spreading the news. Check it out. Highly Recommended.
Better late than not at all.
On This Day In Music History: Gillian Welch
Today is Gillian Welch’s birthday.
Born in New York City, October 2, 1967, she grew up in Los Angeles, CA, thanks to her adoptive parents, Ken and Mitzie Welch. Thanks to an elementary school music teacher, she heard the music of Woody Guthrie and the Carter Family as a young child. At age 8, she started playing guitar and the first songs she learned to play were traditional Folk songs. (Ah, those music teachers.)
She continued playing and singing through high school, but while attending the University of California, Santa Cruz, she heard, for the first time, an original recording by the old-time Bluegrass group the Stanley Brothers. At that moment she discovered “what I wanted to do for the rest of my life.”
After graduation, she went to the Berklee School of Music in Boston, MA, where she studied songwriting. She also met and started playing with her musical partner, guitarist and singer David Rawlings.
In 1992, she moved to Nashville, TN. Gillian worked as a full-time staff writer for Almo Irving, a music publishing company, and the duo of Welch and Rawlings honed their performing chops in the Nashville music clubs. In 1996 with producer T-Bone Burnett behind the glass, they recorded their first album, Revival, and released it under the name Gillian Welch.
I first heard Gillian Welch in concert in August, 2004, at the Meadowbrook Pavillion in Gilford, NH, where they performed with Emmylou Harris, Buddy Miller and Patty Griffin under the title of The Sweet Harmony Travelling Revue. In an evening filled with fantastic songs and breathtaking performances, her mini-set still stands out in my mind. Hearing her again in August, 2009, at George Wein’s Folk Festival 50 in Newport, RI, I was again treated to a superb hour of stunningly gorgeous acoustic music.
When Gillian and David perform, they take to the stage with two acoustic guitars (miced, not plugged in), a banjo and harmonica (both played by Gillian), their two voices and a set list of finely-crafted original songs and carefully-selected covers. The sound they create is, simply, perfect. Their voices weave around each other and blend together seamlessly. Their instrumental parts are brilliantly arranged to compliment each other and support the whole, painting a musical landscape that is rich and detailed in tonality, harmonically inventive and virtually orchestral in its completeness.
Yes, they are that good.
So, buy her CDs, download her songs. If Gillian Welch is performing anywhere near where you live: go.
But if you only have time to listen to one song by Gillian Welch, it has to be “Revelator” from the 2001 CD Time (The Revelator). (You can also see a live performance of this song on the DVD The Revelator Collection.) Take the time – it lasts 6:20 – you won’t be disappointed. Very Highly Recommended.
Happy Birthday, Gillian Welch. Thank you for everything.
Information for this post was gathered from Wikipedia and the article “High On A Mountain” by Simone Solondz in the April 1999 issue of Acoustic Guitar magazine.
Odds & Ends, Vol.1
Hello.
I’m sorry to have been away so long. Life’s been busy. No excuse, just an explanation.
Looking back over my more recent posts, I’ve realized that there are a few things I wish I’d mentioned in a few of them. So, assuming that this will happen again, I give you…
Odds & Ends, Vol.1.
As Alan and Elizabeth Lomax continued their song collecting journey through Kentucky in 1937, they recorded two more versions of “Rising Sun Blues” after they met Georgia Turner on September 15.
On October 9, they stopped in Horse Creek and recorded a man named Bert Martin (not Morton). Bert’s version, with banjo accompaniment, is about “many a poor boy” and includes three verses not in the Turner version: “If I’d a listened to what Mama said,” “Fills his glasses to the brim” and “I’m goin’ back to New Orleans, my race is almost run.” Lomax elected to include these three verses in the “Our Singing Country” songbook transcription of Georgia’s version as “other stanzas” credited to Bert.
On October 13, in a corner of Clay County known as Billy’s Branch, the Lomaxs met Daw Henson and recorded his four verse version of the song. Daw’s four verses were nearly identical to the ones in Georgia Turner’s version.
Before all of this, but after the first commercial recording of “Rising Sun Blues” by Ashley & Foster in 1933, the North Carolina duo known as the Callahan Brothers did a recording session for the American Record Corporation in their New York City studios in January, 1934. The song that brother Homer sang and brother Walter played guitar on they called “House of the Rising Sun.” But for some reason, and without asking the performers, ARC records released the song under the title “Rounder’s Luck.”
As far as I know, you have to go to the Library of Congress in Washington, DC, to be able to hear the Bert Martin and Daw Henson recordings. The Callahan Brothers recording is available on CD from Old Homestead Records in Brighton, Michigan. (The CD is called The Callahan Brothers and is labeled OHCD-4031.)
September 15 (see the post: On This Day In Music History: “Rising Sun Blues” Again)was also the anniversary of the first recordings by Jelly Roll Morton’s Red Hot Peppers.
On that date in 1926, composer Morton assembled a seven piece band: George Mitchell, cornet; Kid Ory, trombone; Omer Simeon, clarinet; Johnny St. Cyr, banjo; John Lindsay, upright bass; Andrew Hilaire, drums; and Morton himself on piano. The recording session was held in the Webster Hotel in Chicago, IL for Victor Records. Three tunes were cut, with three takes made of each tune, all recorded in a four hour session.
“Black Bottom Stomp” was the first and my, oh my, does this tune swing. From the first notes to the last, it’s easy to hear why these three minutes and ten seconds of red hot Jazz are considered to be among “the finest performances in the New Orleans ensemble style.” (From Lawrence Gushee’s liner notes to the RCA/Bluebird CD Jelly Roll Morton: Birth of the Hot.) If you’ve never heard early New Orleans Jazz, this is the place to start. Jelly Roll Morton’s compositions and arrangements are brilliant, the playing is spectacular and the recordings on this compilation are superb. You wouldn’t know they were from 1926-1927. Highly recommended.
And finally, I have to add another recording to my choice for Bruce Springsteen favorite. This one is both an excellent song and a haunting and gorgeous recording. It is also on my top 10 list of most-memorable concert performances ever.
The song: “Racing In The Streets.”
So, there you are. Odds & Ends, Vol.1.
I’m back.
“Lost time is not found again.”
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On This Day In Music History: Bruce Springsteen
Today is Bruce Springsteen’s birthday.
He was born on September 23, 1949 in Freehold, NJ, the first child and only son of Douglas and Adele Springsteen. At the age of 13, he bought his first guitar at a pawnshop for $18.00. Years later he told author Dave Marsh: “The first day I can remember looking in a mirror and being able to stand what I was seeing was the day I had a guitar in my hand.”
When Bruce released his first album, Greetings From Asbury Park, N.J. in 1973, he was hailed as the next “New Dylan.” So, I thought that I’d pattern this post a bit after my post from May 24, 2010, celebrating Bob Dylan’s birthday.
In the vast ocean of all that has been said and written about Bruce Springsteen, including all that he has said about himself, it seems to me that the most important thing is his music: his songs, his records and his performances. But where at this point in the Dylan post, I ask you, the reader, to name your favorite Dylan song, I am instead going to ask you: what is your favorite Bruce Springsteen record? (This can be a recording of a single song or an entire album.)
Why the difference?
To me, Bruce writes great songs, but what he does best is make timeless, amazing records and give incredible live performances of the songs from those records.
In the recording studio, Bruce is famous for laboring over instrumentation, arrangements and the sound of his records. He has spent countless hours over days and weeks and months, getting his recordings to sound the way he hears them in his head. Dylan is famous for going into the studio with a group of musicians, quickly showing them the chord changes and outline of a new song and then launching into it, leaving the session players to catch up, follow along and hopefully, in the immediacy and inspiration of the moment, create something magical. Maybe he’ll try a second or third take, but if nothing seems to be working, he’ll often just move on to another song. So it seems that for Bruce, it’s the records (as well as his live performances) that matter the most.
Now, my answer to my question is: the album The Wild, The Innocent & The E Street Shuffle. To narrow it down even further: on side 2, “Rosalita (Come Out Tonight).”
I love this record. Every time, every single time in all the hundreds of times I’ve put the vinyl on the turntable or the cassette tape in the car tape deck or the CD in the CD player, this record makes me sing along at the top of my lungs, dance around the room (or in that car seat) and smile my biggest smiles. It never fails, never lets me down. It always rock and rolls me right down to the core.
“Spread out now, Rosie, doctor come cut loose her Mama’s reins…”
And off it goes. Whew! What a ride it is.
So now it’s your turn: what is your favorite Bruce Springsteen record?
Click on “leave a comment” below and share you answer
P.S.: In my post of May 18, 2010, I ask the question: “How do you calculate the influence of a song in your life?” In it, I write about the influence Bruce Springsteen and his music have had on my life.
Check it out.
Happy 61st Birthday, Bruce Springsteen. Thank you for everything.
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One That Got Away
B.B.King and I go way back.
In 1969, I bought my first B.B.King album: “Live And Well.” Downbeat magazine, which I subscribed to and read religiously at the time, had praised it as “the most important Blues recording in many years.”
I saw him in concert in February, 1969 at the 4th Annual Boston Globe Jazz Festival and, I’m pretty sure, the following summer at the Carousel Ballroom in Framingham, MA. Since then I’ve had the good fortune to see him two other times, once at the Hampton Beach (N.H.) Casino Ballroom (on a double bill with Roomful of Blues) and once at the Capitol Center for the Arts in Concord, NH.
Among the other B.B.King record albums and CDs in my collection are “Completely Well” (1969), “The Best of B.B.King: Blues On Top of Blues” (a short-but-fabulous collection of his hits from the 1950s), “Riding With The King” (2000) and “One Kind Favor” (2008).
B.B.King was born Riley B. King on September 16, 1925 in a house on the shores of Blue Lake, midway between Itta Bena and Indianola, Mississippi.
In 1947, he and a friend hitchhiked to Memphis, TN where Riley looked up his cousin, Blues musician Bukka White. With the additional assistance of Memphis singer/harmonica player Rice Miller (aka Sonny Boy Williamson), King got a job as a disc jockey at radio station WDIA. The station billed him as “The Boy from Beale Street,” then “The Beale Street Blues Boy.” His listeners shortened it to “B.B.”
B.B. made his first recordings in 1949 for soon-to-be-out-of-business Bullet Records. His first hit record was “Three O’Clock Blues” on the RPM label. It reached #1 on the R&B charts in 1951 and stayed at #1 for 18 weeks. Between then and 1985, B.B. King put 74 recordings on the Billboard magazine R&B charts.
Pretty good for a singer/guitarist who admittedly cannot play and sing at the same time.
B.B.King went on to become known as “The King of the Blues.”
Writing in the September 1980 issue of Guitar Player magazine, Tom Wheeler states: “Riley B. King is the world’s preeminent Blues guitarist.” Bill Dahl wrote in The All Music Guide to the Blues that: “the legendary B.B.King is without a doubt the single most important electric guitarist of the last half century.”
My favorite tribute to B.B.King came on May 11, 1995 at an Austin, Texas concert held in tribute to the late, great Stevie Ray Vaughn. Singer/guitarist Jimmie Vaughn, Stevie’s brother, introduced B.B.King like this: “Without this next guy, there wouldn’t be any electric Blues as we know it. Today, it wouldn’t even be close, because we’re all trying to sound like him and still are, everyone of us.”
Those words were spoken from a stage that, besides Jimmie, also contained guitarists Bonnie Raitt, Eric Clapton, Buddy Guy and Robert Cray.
A belated but no-less-enthusiastic Happy 85th Birthday to you, B.B.King. Thank you for everything.
P.S.: A Tribute to Stevie Ray Vaughn is available on CD and DVD. Both versions end with the song “SRV Shuffle,” an absolutely remarkable performance that features all of the guitarists above trading guitar solos in a virtual masterclass of electric Blues guitar. A “Must See” and Very Highly Recommended.
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sixstr stories 