You could spend your time reading end-of-year best-of album lists until the calendar flips over to 2014. So instead of adding another drop to that very full bucket, we asked Portland musicians, bookers, club owners, writers, enthusiasts, and other fine folks in Portland's brimming music scene to share with us their favorite moments in music of the past year. The responses could be a live show, a single song, some favorite albums of the year, a funny story, anything. The results provide a remarkable scrapbook of the year 2013 in music—and as it turns out, a lot of great things happened.
We had tons of wonderful stories, so we'll include lots more in next week's Mercury as well.
This year's Riot Grrrl Karaoke topped any other musical moments of 2013. The karaoke fundraiser for the NotEnough! festival felt uniquely prescient in a year that saw both great releases from bands either inspired by or reminiscent of riot grrrl's ethos (Hysterics, Swearin', Priests, Potty Mouth), and the return of original heavyweights (Kathleen Hanna and Kathi Wilcox's new band, the Julie Ruin). Organizers Jamie Montoya and Sheana Corbridge made this year's event all the more memorable by setting it at the all-ages Slabtown, opening up the night to both original riot grrrls and kids born after All Hands on the Bad One came out. The backing bands slayed (full disclosure: I played in one of the house bands that night) and every singer belted it out like it was Oly '94. Anyone that jumped onstage or shed sweat on that 100-plus degree night knows where they will be next year.
—Mac Pogue (Mercury contributor)
Nine Inch Fucking Nails. All my favorite qualities in a rock band wrapped into one balls-to-the-wall evening. Talent, skill, power, beauty, guts, humility, ingenuity, honesty. NIN showed us how it's done.
—Lisa Molinaro (Talkdemonic, Modest Mouse)
Ural Thomas and the Pain—every show I've seen. Hands down.
—Joshua Spacek (Monarques, Beach Party TV)
Definitely when Harley Flanagan stabbed people at a Cro-Mags gig.
—Nicholas Pell (Mercury contributor)
I got to see Sir Paul McCartney at Safeco Field. He started singing "Hey Jude," and then a stadium full of voices (including mine) joined him and rose into the salty air like some kind of holy offering. I was changed.
—Emily Overstreet (Aladdin Theater, True West Ticketing, Great Wilderness)
In one week I saw Portland's premier boy band and the reunion of the Northwest's best hardcore band. While the oversized Mickey Mouse pajama tees and impossibly catchy love grooves of IBQT were strikingly dissimilar to the unadorned havoc and impossibly tight, one-minute bursts of Behead the Prophet No Lord Shall Live, the combination was oddly perfect and sustained me for the rest of the year.
—Joshua James Amberson (Mercury contributor)
My favorite musical moment of 2013 is the song "Feel Real" by Deptford Goth. We heard it on German radio while on tour and it stopped us all in our tracks. We were all totally transported into its universe. It's so elegant and sensitive—it has carried me and changed me and continues to.
—Carolyn Berk (Lovers)
My musical highlight of the year was, without a doubt, taking my younger sister to see Taylor Swift at the Moda Center in August. Along with countless others, I was briefly at the mercy of Swift's spectacular earworm from the summer prior, "We Are Never Ever Getting Back Together," but after seeing Swift live I made a point to obsessively familiarize myself with her entire oeuvre. The show was obviously choreographed right down to the insufferable inter-song banter—but it didn't matter. Swift, like the Beatles or Michael Fucking Jackson before her, is proof that immense talent and global adoration aren't necessarily incompatible. Just wait. History will prove I'm right.
—Morgan Troper (Mercury contributor, Your Rival)
The nine-piece Veveritse Brass Band from NYC performing to a bunch of us on the wide open beach of Seaview, Washington, near the Sou'wester, late on a foggy September evening, everyone dancing and drinking wine around a bonfire. It was basically one of the most amazing things ever.
—Lisa Schonberg (Secret Drum Band, Revival Drum Shop)
Ural Thomas and the Pain at the Doug Fir on November 6.
—Brent Knopf (Ramona Falls)
For my dad's 65th birthday, I took him to see Camera Obscura at the Crystal Ballroom. As I watched him bounce tentatively on that floating floor, I realized how remarkable it was that we were at a show together for the first time. It was the feeling of finding something you didn't know was lost. When I was a kid, popular music was the thing my old man and I had in common. This connection was rent when I was a teenager in all the usual ways—I still loved the Beatles, he thought Blur and Beck were stupid. Voices were raised, doors were slammed.
But when my parents' marriage ended two years ago, my dad coped by developing a Pandora addiction and learning to text: "Have you heard of the Shins?? They seem good." Camera Obscura became his new favorite band, and he pored over their mopey lyrics like a Katy Perry-obsessed tween. That level of passion obviously deserves an in-person payoff. Plus, the last show he'd seen was Steppenwolf, 42 years ago.
I have seen many better shows in 2013. Indeed, Camera Obscura did a passable impression of people waiting at the DMV. But I have never seen my dad more exhilarated.
—Rebecca Wilson (Mercury contributor)
My personal favorite musical moment this year was probably the Local Natives show at the Crystal Ballroom in April. One of my favorite bands and they blew me and the rest of the sold-out crowd away.
—Jared Ryan Maldonado (Dresses)
Angel Olsen singing to 50 people at Arcade Theater in Cottage Grove, Oregon. Transcend-ence is the ultimate at any show and Angel is a master of achieving that. After leaving the show, I felt dizzy, and the only thing I could do was sit down in the corner of a dive bar in Cottage Grove and wonder what had just happened.
—Vikesh Kapoor (musician)
Seeing Wooden Indian Burial Ground at PDX Pop Now! fest. It was one of those sets where you feel like the exact stage, crowd, sound system, and general vibe was engineered by the gods to perfectly match the band's energy. WIBG killed it.
—Matt Harmon (There Is No Mountain)
Top Five Albums of 2013:
1. James Blake, Overgrown
2. Cloud Boat, Book of Hours
3. The Knife, Shaking the Habitual
4. Daniel Avery, Drone Logic
5. Forest Swords, Engravings
My favorite musical event is an easy choice: the Disclosure show at Rotture on April 18.
—Andrew Neerman (Beacon Sound)
The emergence of Reignwolf, AKA Jordan Cook. This guy's an incredible guitarist, plus he sings and pounds the kick drum, too. He has that dirty-blues, fuzzed-out, early Black Keys sound. More people need to know about him.
—Jon Banasky (Mike Thrasher Presents)
Jacco Gardner at Mississippi Studios.
—Robbie Augspurger (Ozarks)
Chili Jamboree 2013 at Mississippi Studios with Lucero, Sturgill Simpson, Daniel Romano, Shelby Earl, Mission Spotlight. Nothing better than listening to great country and western music while eating gourmet chili from the city's best chefs.
—Matt King (Mississippi Studios)
The best concert I saw all year was a rehearsal for the Next Waltz, PDX's annual re-creation of the Martin Scorsese/the Band movie. We were down in Lewi Longmire's basement with Paul Brainard's horn section, while Lewi and assorted characters dicked around on a really high level. As Bob Dylan said about recording with the Band themselves, "That's really the way to do a recording—in a peaceful, relaxed setting—in somebody's basement. With the windows open... and a dog lying on the floor." Couldn't believe my luck to be sitting there on a half-empty crate of beer. Also, Lou Reed's Yeezus review was incredible—the god-king of asshole chic passes the torch and then passes away. How perfect.
—David Gluck (The Sorry Devils, CD Baby, PDX Pop Now!)
Jay-Z and JT's bro-hug on their tour moved me to tears.
—Erik Henriksen (Mercury senior editor)
Favorite moment in 2013 was seeing My Bloody Valentine blow out the electricity four times in downtown LA.
—John Rau (sound engineer, Focus Troup, Regular Music)
My favorite show of 2013 was Hayden at Doug Fir. Hayden doesn't release much music and almost never tours (especially in the US). He's pretty big in Canada so he had a total pro band and sound for Doug Fir. The song selection was tops and I couldn't have been happier. Hoping he comes back.
—Matt Allen (AFKA Ice Cream Man)
Favorite live moment of 2013: RP Boo, DJ Manny, and Massacooramaan at YU. Favorite PDX acid: Solenoid, "Frog Acid" 7-inch (Community Library). Favorite fake album of 2013: Jai Paul demo leak (Bandcamp). Favorite real album: Autre Ne Veut, Anxiety (Software). Favorite rapper of 2013: Young Thug.
—Eric W. Mast (E*Rock, Regular Music, $kull$, Audio Dregs Recordings)
I'm probably a bit biased, but Typhoon, Wild Ones, and Lake playing an almost sold-out show at Crystal Ballroom three weeks ago was pretty much tops. Amazing to see these bands I've been in love with for so long getting such monumental props at long last. Helps that they're all making the best music of their lives.
Runners-up: Divers completely owning it at every show I've seen them play (five or six in the last few months). Slimkid3 with DooDoo Funk tearing apart PDX Pop Now! Gazzookabazookaz's run of three amazing shows at tiny venues. Pure Bathing Culture at Pickathon.
—Ben Hubbird (Party Damage Records, CD Baby)
Five favorite local albums from 2013 (but not REALLY in a particular order):
1. Freedom Club, Starting a War EP
2. The Ghost Ease, The Ghost Ease
3. The Body, Compilation
4. Hot Victory, Nexus
5. The Woolen Men, The Woolen Men
—Robert Comitz (Foggy Notion, Habesha, Marriage + Cancer, Frawg Pound Studio)
Tie between seeing Janelle Monáe perform "PrimeTime" at the Roseland and watching the We Shared Milk, Animal Eyes, and Tango Alpha Tango cover songs from Arrested Development at Holocene.
—Aaron Colter (Banana Stand)
I wasn't really feeling 2013.
—Billy Jeans (Mean Jeans)
Taking a reprieve from the madness that is SXSW to see Shovels and Rope on Willie Nelson's ranch, whilst drinking free Lagunitas IPA. Yup, that's it! Also, hearing the Courtney Barnett record for the first time was pretty special, too.
—Matthew McLean (Monqui Presents)
SXSW 2013 was by far the most insane, amazing, magical, and most disgusting time I've ever had. Burgerama 2 was a blast. Summer Kate Nash tour was next level. Getting flown to Hawaii to play shows. So sick! Drank Kool-Aid with Sinbad and Lady Gaga. 2013 was CRAY OMG YOLO CALL DA BOMB SQUAD!
—Chris Michael (Boom!, Guantanamo Baywatch)
1. The Sonics at Hawthorne Theatre
2. Robert Plant at Bluesfest
3. The Needful Longings playing "Transmission" at the Record Room (RIP)
4. Patti Fucking Smith at the Crystal
5. The Relatives at the Galaxy Barn (Pickathon)
—Peter Vaughan Shaver, Esq. (Sound Advice)
Easy: John Tejada live at Refuge during Closer Electronic Music Festival. His was the most anticipated performance at the festival and this was one of those magic moments where a headliner delivers above and beyond all expectations. John's refined sounds, subtle rhythms, and luscious synth-laden melodies had the entire crowd smiling, moving, and grooving during the entire set. It was fabulous.
—Jack Coleman (Closer Electronic Music Festival)
Big Ass Boombox Festival was a pretty good indicator of how rad of a year Portland would have in music. Four venues, 40 bands, two nights, all free—so many great up-and-coming bands putting on sets for a room full of new fans. There's something special about BAB, probably because everyone at the fest knows everyone else... or it at least feels like that. I especially enjoyed watching Colin McArthur play a packed Backspace with Animal Eyes, then immediately sprint over to Someday Lounge for an at-capacity crowd for Fanno Creek. Dude is something of a hero.
—Chandler Strutz (Just Lions)
For the metal scene, Bolt Thrower's first PDX show since '91 was THE event of 2013. The war metal gods sold out Star Theater in advance and no one who made it in was left wanting. It was death metal perfection.
—Nathan Carson (Nanotear Booking, Witch Mountain)
Seeing Lake Street Dive open for Josh Ritter at the Crystal Ballroom. The venue put their jazz-pop on steroids—it was one of the coolest musical surprises I've ever been witness to.
My top five albums: Vampire Weekend, Modern Vampires of the City; Josh Ritter, The Beast in Its Tracks; Foxygen, We Are the 21st Century Ambassadors of Peace and Magic; Phosphorescent, Muchacho; Queens of the Stone Age, ...Like Clockwork.
—Slater Smith (The Weather Machine)
My year, nay, my life was changed when I saw Beyoncé's performance at Super Bowl XLVII. Never before had I witnessed such pure, raw entertainment extract. Her absolute power and total control emanated from every strut in a fashion akin to world leaders. One could see the fire in her eyes as she commanded two million viewers with nothing but a smile—she knew exactly what she was doing. And when she brought out Destiny's Child, I wept. I have often revisited that performance in times when I need to be lifted up. She has since become my inspiration, my power animal, and my queen.
—Andrew Sloan (Tender Loving Empire)
Staying up late with everyone else on the internet to buy the new My Bloody Valentine album.
—Jason Leivian (Floating World Comics)
The completely dissociative properties of Steve Aoki's live performance was a spectacle for the masses, PLUR idolatry imbued with ritual cake tossing as a rite of initiation for underage hordes and yours truly as emergent bro. Subjectivity of the crowd was effaced into one homogenized entity via torrential blasts of fog machine emitted by two giant robots and the coercion of subsonic wobble bass as superfluous stimulus. Waka Flocka Flame, relegated to opening, alone justified the ticket price. Earlier this year, Ariel Pink's manic display and three-encore set at Wonder Ballroom coupled with Dâm-Funk's boogie-funk keytar shreds amounted to another kind of carnivalesque atmosphere, surprisingly devoid of P4K pretension. Locally, Hot Victory is the band in Portland I witness time and again as the perfect electronic übermensch of man and machine fused by cryptic MIDI sequences and riveting live performance from dueling drums.
—Wyatt Schaffner (Mercury contributor)
The best 2013 had to offer was my first Rush experience. I rode to the show with three other music writers: Mark Lore (Mercury), Bob Ham (Oregonian), and my lovely wife Meredith Wales (1859 Magazine). If the ride over wasn't nerdy enough, there was a special moment during "Tom Sawyer" that summed up the evening perfectly. Glancing over at my wife during an epic air drum solo, I noticed she was laughing hysterically. Thinking I alone triggered her giggle fit, I looked to my right and realized I wasn't the sole catalyst. Mark, Bob, and I were all air drumming at the same time. We may not be as hip as Lester Bangs or as insightful as Kurt Loder, but we're still music journalists.
—Aris Wales (Mercury contributor)
My favorite moment in music in 2013 was getting to see Jason Lowenstein sing all the best Sebadoh songs. I abandoned Lou over the years, ya know? Stopped wearing a sweater with a scarf. Sported a chipped front tooth for a while. There's classicism in wanting all the pain and sorrow in pop but it resonates more with a cheeky dark side.
—Matt Brown (Bunk Bar)
After doing a fabulous show at the Doug Fir, Alejandro Escovedo, one of my all-time favorite artists, did an acoustic house concert the next day with his band. It was a magic interaction between artist and hardcore fans. And he did three great covers: Mott the Hoople's "All the Young Dudes," the Stooges' "I Wanna Be Your Dog," and a tribute to the legendary Lou Reed with "Sweet Jane." Can't beat that!
—Terry Currier (Music Millennium)
It was a Paper/Upper/Cuts show at the now-defunct Record Room on November 2. Grammies opened up the show and I made sure to tell all my homies to show up early for them because they are SO. FUCKING. GOOD! And closing the night was Like a Villain, and she inadvertently made everyone sit down on the floor surrounding her and the soon-to-be-closed-forever room. I was in tears by the end of her set and so were most cats around me. She is so inspiring and personal. The best show I've been a part of or seen this year. It was straight magical.
—Papi Fimbres (Revival Drum Shop, Sun Angle, Orquestra Pacifico Tropical, Gallons, Paper/Upper/Cuts)
My favorite local releases of 2013: Bubble Cats, Hiss/Mews/Purr; Just Lions, Monsters; WL, Hold; Wampire, Curiosity; Tender Age, Tender Age.
My favorite moment in music of 2013: Watching Nine Inch Nails live at the Rose Garden. Easily the trippiest stage show I've ever seen. It's hard to overstate how wonderfully insane the lights were—holographic, magical, Matrix-esque psychedelia that outdid acts like Radiohead or the Flaming Lips. It was like being a kid at a magic show. I'm not embarrassed to say I've been a fan of NIN since high school, and this show solidified all the reasons why. The concert equivalent of Gravity 3D.
My favorite local moments of 2013: Big Ass Boombox; Kelly's 111th anniversary; Dandy Warhols performing 13 Tales in its entirety; any show involving Thomas Mudrick, the Shivas, or Miracle Falls.
—Nate Wey (Souvenir Driver)
I've been pretty hermity this year (finishing up an album) and I don't get out much in the best of times. So my favorite musical moment of 2013 came via the internet, and that was hearing "Swampy Seconds" by the excellent Magic Mouth. I got real excited and listened to it several times in a row, which hardly ever happens with me! Great recording, great band. It's the first time I ever heard them and just talking about it makes me want to go listen to that song again right now.
—Rachel Taylor Brown (musician)
My favorite musical moment of the year took place on January 28 at a Monday evening Oregon Symphony concert, when the band's special guest was soprano Amber Wagner—a native Oregonian who has gone on to perform opera internationally. Maestro Carlos [Kalmar] was atop the podium with an ingenious program of back-to-back gems from Richard Strauss: Death and Transfiguration followed seamlessly, without applause, by the composer's posthumously published Four Last Songs. Rather than dutifully note the orchestral and vocal proficiency on full display that night, it's probably best to skip any futile attempts at explaining the sublimely ineffable. After the final Last Song was sung and the delicate strings, hushed winds, and muted brass slowly left this world forever, somehow the sound of an intensely precious voice remained, offering hope that in the end—in the very end—everything would be okay.
—Angry Symphony Guy (Mercury contributor)
So, not sure if you've heard it, but there's this song by Daft Punk called "Get Lucky"? (I kid, I kid...) I'd have to say my favorite musical memory of the year was catching Typhoon at Bunk Bar as "Heavy Handles" on Cinco de Mayo. The show was before the release of their great new album White Lighter, so they introduced a lot (if not all) of the new songs that night and it was great to be able to hear it in that intimate setting.
—Ryan T. Jacobs (Melville)
Without a doubt, seeing Blur at the Primavera Festival in Barcelona was the highlight for me. I've been a Blur fanatic since their '90s heyday—they're possibly my favorite band of the last 20 years—but I was just a bit too young to be able to go and see them back then. When they broke up in 2003 I was heartbroken. When they announced their reunion a few years ago I was overjoyed. And here we were, improbably, playing the very same festival. In Spain. I spent hours waiting at the foot of the stage. During their set, a full moon rose over the Mediterranean, which was only a few hundred feet away. They played every song a Blur fan could possibly want to hear. I was close enough to get splashed by Damon Albarn's water bottle. They looked like they were having the time of their lives. I laughed and cried and moshed like a teenager. It was perfect.
—Dave Depper (musician)
Patti Smith's entire performance at the Crystal Ballroom back in February. She and her band sounded as if they traveled straight in from 1975 to play the classics to what was probably the most random group of people I have ever seen. If you're ever lucky enough to attend "the Church of Patti," she'll teach you how to honor your planet, turn around and spit, and then respectfully drop a few N bombs like a true natural woman. Let's all hope we're this bold when we reach our mid-60s.
—David Klein (Billygoat)
It was the final night of Treefort Music Fest, and Wooden Indian Burial Ground was closing out the Red Room in Boise. It was snowing and icy outside and sweaty inside, which led the crowd to start throwing their clothes on stage. The energy coming from the band was literally melting faces (or maybe it was the drugs), and the entire crowd was a mosh pit. It felt like everyone I'd met the entire weekend was cramped in this tiny venue. I don't know how or why, but a bottle of whiskey was being passed around, and everyone was in love... and I'm pretty sure there was baby-making going on in the front row.
—Rachel Milbauer (Mercury contributor)
In very precise, statistically exact, I Ching-predicted order:
1. Playing a few songs to "open" for Amanda Palmer at a private party way out in the country was cool, but mostly because it was the first time that Melissa (the other main member of the Harvey Girls) was able to play a show in about three years.
2. Finally liking the Knife with Shaking the Habitual.
3. Playing shows with Seattle's Levator, Olympia's Little Red Car Wreck (RIP?), and PDX's own Cherimoya; awesome bands all. There were many other great bands, but these were the "holy shit" bands I can remember.
4. Seeing the Bats at wherever I saw them. I frickin' love the Bats. Love!
5. Juana Molina's new album Wed 21. She obviously bought a ring modulator in the four years since her last one and it doesn't quite cohere as well as Segundo, but it's pretty righteous.
6. Honorable Mention: Watching former bandmate Shawn Hampton take off his shirt while dancing to this horrible band we were playing with, where a few of the fratty dudes had taken their shirts off and said, "It gets hot up here playing for you ladies," or something equally as vomit-inducing. Shawn waved the shirt above his head like a Chippendales reject as the whole band stared at him, and then Shawn ended up half naked on the floor writhing around and—well, maybe you just had to be there in Eugene that night, but it was truly, fully hilarious.
—Hiram Lucke (The Harvey Girls)
I never thought I would enjoy a sit-down concert, let alone in the rickety chairs of the Aladdin, until I saw Hugh Masekela. In between recounting stories of playing with everybody from Hendrix to Miles Davis, Masekela and Larry Willis played a set of songs that have defined Masekela's career and life, which in turn left a very quiet, dewy-eyed audience. It's so rare to find musicians with integrity and humility these days, it was lovely to be reminded that not every well-known musician plays dumb or naked or drunk.
Also: Getting Spotify this year was like waking up and realizing it's Christmas every day, except without the drunk uncle trying to sing "Frosty the Snowman" like Frank Sinatra in the rocking chair. To suddenly have access to all of the world's music made me feel like Dracula getting the key to the world's blood supply. Now I never need to buy another album ever again! Wait a minute...
—Rose Finn (Mercury contributor)
May 11, Las Vegas. Mick Taylor, just offstage, is smoking a cigarette and rocking out as the Rolling Stones, the group he is touring with for the first time in more than 40 years, play "Jumpin' Jack Flash."
—Arya Imig (OPBmusic, Valentine's, Faces on the Radio)
Favorite music: Litanic Mask, Litanic Mask; Deerhunter, Monomania; Anika, Anika EP.
—Arian Jalali (Blouse, Concrete Floor)
"No Need for a Leader" by Unknown Mortal Orchestra. Those guys are mind-blowing. It's like music that aliens would make if someone only described to them what pop music is. I'd be way into these guys no matter where they were from, but the fact that they call Portland home is a super extra bonus.
—Alex Arrowsmith (Spookies)
In heartbreak and existential dismay I left, motorcycling east toward nowhere. Two hundred miles in 100-degree heat that morning, not a cloud in sight, across Colorado's High Plains. Then word came: a ticket to the sold-out Charles Bradley show with my name on it. I looped back. Four hundred searing miles to end up where I began. But, thanks to Charles, I got somewhere. He woke me up. Carried me from spiritual bankruptcy. Made me rich in faith and love. The next day I rode off in the opposite direction—toward the mountains, my heart once again a healthy blaze.
—Andrew R Tonry (Mercury contributor)
Tie: Watching Action Bronson's masterful trailer for Blue Chips 2, and hearing Angel Haze transform "Same Love" into a heartbreakingly relatable song.
Witnessing the band Jeri-Jeri from Senegal live, being taken by hand by the lead singer and brought up on stage to dance.
—Peter Broderick (musician)
The most important musical event of 2013 was the October 16 screening of the Satyricon documentary at Cinema 21. Chris Newman's 60th birthday at Star Theater was a quite impressive representation of Portland legendry as well. XRAY Fest was a blast, especially the Mission Theater shows. MGMT at Crystal Ballroom, Man or Astro-man? at Doug Fir, Metz at Holocene, Fist Fite or Vaz at the Know, X and Fireballs of Freedom at Dante's... It's tough to pick only one favorite musical moment of 2013, but when given such a mandate I like to choose one that's not so well known, so I'm going with the relatively under-attended July 17 live appearance of Columbus, Ohio's Hookers Made Out of Cocaine at Slabtown. Actually they were the most amazing band I saw all year. And also the good times that ensued with them afterward when I took them to Riverside Corral and then a small house party until around 4 am, and they had to hit the road again at 8 am! In fact I don't think they slept at all.
—Kenric L. Ashe (dBMonkey)
By far my favorite musical moment of 2013 was Fist Fite's last show. The Know was packed with friends, family, foes, and former band members. Fist Fite was drunk and sloppy as hell, the bass was out for whole songs, and at one point Jonnie got off the stage to ask how it was going. It ended with much more drinking, a broken van window, and Jonnie blacked out, cut off, and kicked out, only to wake up on the concrete floor of the drunk tank the next morning not remembering any of it. The perfect ending to one of Portland's most perfect rock 'n' roll bands.
—Josh Hughes (Rabbits)