08.19.1989 Greek Theatre,
Berkeley, California
Saturday
20th Show of 1989 Summer Tour
48th Show of 1989
The Grateful Dead on 8.19.1989 – the final show at the Greek
Theatre was also one of the finest Greek shows ever
On 4.17.1989 the Band finished the Spring Tour and, except for a
fantastic NFA, the Band sounded listless and rather uninterested. On
8.19.1989 the Band performed the final show of the Summer Tour, and
the Band came to play. Indeed, this was a special night for the
Dead. Not only was the Band performing for the final time at the
Greek Theatre (the location of the most recent Dark Star at that
point in time – a record soon to fall), but this was to be their
seventh exceptional show of 1989 (through 8.19.1989). Luckily, the
first set (through Loser) is available on vcd. The weather must have
been a bit cool. The whole band is wearing long sleeve shirts and
pants. There was daylight at the beginning of the show.
Get In The Groove And Let
The Good Times Roll starts out this final Grateful Dead Greek
Theatre performance. This version does not suffer like the forced
and unconvincing version on 8.6.1989. Instead, this version flows
and provides a very relaxed feel. The vocal finale has extremely
fine screams from Weir. The vcd shows the band looking pretty
serious. Not too many smiles, although when Weir begins his in tune
screams at the end of the song, Jerry creaks his head and smiles.
After the two second gap
following Good Times Roll, the band did not enter Feel Like A
Stranger but rather Jack Straw. Lesh is omnipresent on this version.
The main jam starts with a sprint and reaches a very fine peak, but
what pushes this version beyond above average and into exceptional
are the massive Lesh bombs throughout. Indeed, at the apex of this
jam Lesh delivers a crushing bomb of the kind rarely heard past
1976. The tension delivered by Jerry during this final jam is
desperate in sound. In 1978 the Dead threw out Jack Straws with an
emphasis on all out strumming and excessive passion. The result was
a surrendering of the desperate theme built within the lyrics. On
this version, Jerry’s instrumental captures the desperate feel.
The progressions stab in opposite directions as if he were truly
attempting to escape from an approaching threat. The theme climaxes
with an appropriately placed strumming matched with perfectly timed
slamming from Lesh. This a complicated Jack Straw – and with each
listen it gets more and more interesting. But, that was to be a
recurring theme for the night. The vcd focuses on Jerry for the most
part. During the main jam Jerry has his left side facing the
audience, and his front addressing Weir and Lesh. His head was
lowered and his eyes peering above his glasses. Again, the band
looked very serious.
Next, oddly, was not a
Jerry tune, but was We Can Run (the first Brent before Jerry or Bob
ever). Typically, this tune is difficult to assess because there is
no guitar solo to speak of, and it is pretty Brent heavy. But this
version stands out as being better than most. The rhythm throughout
from Weir is particularly flavored, and harmony from Jerry is
notably in tune. Oddly, this version had me singing the harmony in
my head for a bunch of hours after hearing it. I doubt this tune
could be performed better than the 8.19.1989 version. The vcd
focuses mainly on Brent. As the tune ends, Jerry leans over and
smiles directly in front of Brent’s face. Brent also is smiling.
So far, a great start to
this final Greek Theatre performance. The band was definitely in a
careful yet expansive mood. The personality of Lesh (on this night
– agitated?) and Garcia (inquisitive?) was clearly present. The
Band was at a cross roads here. On many 1989 performances the Band
started strong. Which path would retain them on this path? What
would Jerry pull out of his sleeve?
Jerry next chooses
Tennessee Jed. The choice of Tennessee Jed was a bit peculiar.
Typically this was a tune reserved for the late first set (e.g.,
this was the first time in 1989 that it had appeared as the first
non-intro Jerry tune). Its function seemed to be a bridge between
the middle first set songs (Weir’s bluesy songs such as
Minglewood, Rooster, and Walkin’ Blues; and Jerry’s middle songs
such as Row Jimmy, BEW, Built To Last). I think the placement of Jed
in the beginning of the first set forced the band to break free from
their formulas. Indeed, Jerry’s first post intro tune was almost
always a “structured song” and not a “song with a main jam.”
This placement of Jed (a “song with a main jam”) so early in the
set forced the Band to expose their prowess and limitations earlier
than usual.
Jerry’s gambit paid off.
This was a very laid back Jed. The inbetween verse noodling from
Jerry is flavored, and Weir and Mydland take turns with showey
instrument splashes. The main jam develops carefully and is filled
with very nice Weir smacks. As the jam proceeds, Jerry fluently
starts an ascension that features a series of perfectly nailed high
notes. A closer look at the zenith of the Jed jam shows Jerry slowly
developing a cyclical note progression. Weir slowly drops into this
note spiral and creates his own cyclical web. The result is a
beautifully timed cascade that ends with another appropriately
placed Lesh bomb. This was an example of elegance with age. A
younger Grateful Dead who was feeling the buzz of being in the midst
of a special show likely would have driven this Jed to an
exasperated blitz, but this older, wiser and indeed more elegant
Grateful Dead instead chose to present their ability to dazzle
without speed but with note placement. Brilliant. The vcd suggests
that the band was beginning to loosen up a bit. Inbetween the verses
Jerry is smiling quite a bit. During the main jam, Jerry again has
his head lowered and he appears to be in heavy concentration. As the
song ends, he and Weir raise their guitars in unison.
Added now to the evenings
theme was bold expression – as Jerry’s Jed placement and finale
demonstrated that formulas were to be forgotten.
Next the band entered All
Over Now. Again the band was shying away from exaggerated
expression. In many respects, this seemed to be the August
California intent. Nearly all of the shows were presented in an
overall laid back style. It didn’t always work. In fact, when it
didn’t work, the laid back sound quickly turned into sleepy time
for the listener. But so far, on 8.19.1989, it was working very
well. All Over Now was not the exception. Weir’s singing is not
hysterical or paranoid, but more reflective. Jerry’s harmony is
very well done. The first Jerry solo is in two parts. The first has
low note grumblings that are slowly paced. There isn’t so much of
a layering to this but more twisted and gnarled sounds. Beneath this
first Jerry theme, however, is a phenomenal series of chords from
Weir. The second part is more traditional All Over Now jamming but
again at a reduced and relaxed pace. Jerry’s presentation has much
flavor. Indeed, what Jerry accomplished with this first jam was not
so much of an in your face attack, but an affirmation of the pacing
and display presented by Weir in the singing of the first verse.
The main jam has Mydland
emitting a very bluesy and well done keys solo. Indeed, this solo is
a fantastic example of what he typically provided to the Band – a
seemingly benign keyboard riff that out of nowhere reaches an
unsettling sound that just barely hangs on to the song’s main
riff. Mydland didn’t always achieve such results, but it seemed as
though it was a frequent goal of his. When he did nail achieve this,
the result was that Weir or Jerry would have a starting point not so
much based in the traditional sound of the particular song but a
starting point from a peculiar vantage. Brent’s additions were
both marked and subtle. His subtle additions often go unnoticed –
I recommend the listener to listen to this Brent solo closely for 1)
the unsettling sound it creates, 2) the rise in tension it delivers,
and 3) the effect it has on Jerry’s solo. Jerry’s solo
represents a slight increase in tempo as he shuffles or skips
through progressions. The band’s chord changes are heavily
punched, and Jerry’s spinning around them creates a great sound.
Here the band was truly showing its versatility because this tune
was typically a faster paced song with an emphasis on punching out
the chords. On this version the band delivered an exceptional
reading that seemed more focused on a relaxed bluesy feel. The band
must have been impressed with their abilities thus far into the set.
The vcd panders back and forth among the band members. Again, the
band looked pretty serious with occasional smiles.
Jerry’s next tune was
Loser. His singing and the pacing was so slow that the vocal
delivery nearly sounded like a man on death’s door. This version
is pretty well presented with no flubs, but perhaps was a bit harsh.
Of note is the complex and very intricate Weir licks throughout the
song portion – he was really on during this performance. For
example, listen to Weir’s rhythm as the band heads into the jam
portion. The jam has some nice note extensions from Jerry, and the
main points are securely presented. There are flavored licks from
Jerry similar to the 7.7.1989 version, and the surge back into the
chorus is stomps (but not as intensely as 7.7.1989). Through the
jam, Weir delivers very impressive licks as well include a few
guitar screams. This version should not be discarded as average. As
with the All Over Now and Tennessee Jed, a closer listen reveals
quite a bit. The vocal portion of this version is ugly and ragged as
Jerry’s vocals are dry and forced. The band’s rhythm through the
song matches the haggard delivery with a choppy sound – hence the
amazing Weir licks. But the jam reveals the tenderness of this song.
After Weir’s intro, Jerry’s instrumental springs into a driving
force. He hits the high notes with abandon but also with tenderness.
This is not the typically harsh and cutthroat Loser, but more of an
understanding and even empathetic Loser. In many respects, I’ve
always found the best Losers to be such double imaged personas –
where the song portion is ugly, mean and at times disgusting, but
the jam portion is insecure, raw, and dripping with passion. Indeed,
it the bridge out of the jam, “Last fair deal…” that presents
the combination of both parts. The vcd perhaps catches this contrast
a bit better because Jerry’s labored face is captured during the
song.
Unfortunately, the vcd cuts
off at this point.
Weir pulls out Stuck Inside
of Memphis next. This is one of the finest versions of Stuck Inside
that I’ve heard – certainly from 1989 (it easily rivals 4.15).
Weir’s singing from verse to verse develops and deranged and even
sinister sound. Jerry matches this as his rhythmic notes transfer
from a nurturing feel to an agitated pain. Jerry’s solo and Brent’s
solo, as well, are exceptional. Weir really carries this song with
his vocals. There are so many verses, and he manages to truly make
it interesting verse to verse. Clearly, this is accomplished with a
gradual ascension in tension and desperation as the song proceeds.
Indeed, the first verse of this version is barely sung by Weir with
a marked disinterest. In contrast, the final version is nearly all
vocal wail. Based upon other versions of this song in 1989, this
task was easier explained than accomplished. The Band was truly on
fire.
This very impressive final
first set ever at the Greek ends with a chanting of “we want phil”
followed by Box Of Rain. After listening to this version about 20
times in a row, I am left thinking that it is inbetween average and
above average. The big problem with this version was a clash in the
overall pacing. While Lesh and the drummers presented at a brisk
pace, Garcia and Weir returned to the relaxed pacing. While no major
flubs develop, the song sounds a bit out of place.
Despite the Box, this first
set, in my opinion, earned an exceptional ranking of 8.118. This was
best first set since July 15, 1989 which had a first set rating of
8.118.
In comparison to the
previous 47 Grateful Dead Shows of 1989...
2.10.1989 had a first set rating of 8.9
7.07.1989 had a first set rating of 8.8
4.28.1989 had a first set rating of 8.7
4.03.1989 had a first set rating of 8.55
4.15.1989 had a first set rating of 8.4
6.21.1989 had a first set rating of 8.22
7.15.1989 had a first set rating of 8.118
8.19.1989 had a first set rating of 8.118
6.19.1989 had a first set rating of 8.08
3.30.1989 had a first set rating of 8.0
Interestingly, if Box of
Rain had achieved an exceptional rating of 8.0, the first set as a
whole would only jump to 8.2, if it achieved a ranking of 8.5 the
first set ranking would have been 8.26, if it had been the finest
Box of Rain ever and no other version could even think of matching
it (a 10 ranking which I’ve never administered), the first set
ranking would have been 8.45. This suggests two things – 1) that
the flat Box of Rain at the end of the set did not tarnish the first
set as a whole; and 2) that 2.10, 7.7, 4.28, and 4.3.1989 first sets
were truly ephemeral.
Also of interest, there was
no first set jam tune (e.g., Let it Grow, Bird Song, Deal, etc.).
The final second set of the
summer tour and the Greek Theatre starts with China Cat. The summer
tour of 1989 produced some great China Cat Riders (most notably
7.17.1989). This China Cat is extremely well done. A very nice
groove is developed out of the final verse wherein Jerry carefully
establishes a moderately fast pace. He emits traditional China Cat
progressions but in a very interesting way with spinning and
dashing. At that point, though, the feeling was not hysterical and
agitated, but comfortably careful. Lesh and Weir, in particular, add
fantastic rhythm licks during this 60 second stretch. Lesh and Weir
were all over the place. Jerry fluently switched this calming pace
to one of more stress and faster pacing with a highly expressive
note spattering. At this point he starts climbing up and down his fret board
leaning ever closer to the China Cat finale. Eventually he
reaches a point wherein progressions are flying left and right and
are filled with quick dashes and methodic reclimbs. Lesh and Weir
seemingly were playing in desperation with Jerry as Jerry was
teasing quite a bit. The sound began to get a bit delirious, and
just at the right moment the band slammed into the China Cat
instrumental finale. Weir deserves honorable mention due to the very
colorful rhythm he was providing. While perhaps not as well done as
the 7.17.1989 China Cat (not many are, and in my opinion 7.17.1989
was one of the finest China Cats ever), this version is easily
exceptional. The band created a lot of energy during the climb to
the China Cat instrumental finale and it bursted in a very
impressive manner.
The transition to Rider is
brief. The Rider itself is surprisingly not exceptional. The first
Jerry solo stumbled from the start and didn’t quite develop a
theme. The main jam is a bit more directed by Jerry but doesn’t
quite amass into an above average jam. Interestingly, as Jerry and
Lesh were crunching out the finale to the Rider, one can hear marked
Playin’ In The Band notes. While not making up for the average
Rider, the transitory conclusion to Rider is sweet to the ears.
Indeed, PITB is next. The
song portion is about as slick as it gets. During the inbetween
verse instrumental, the band slams through the chord changes and
exude a very forceful sound. The first theme begins with a thick wah
wah sound above the familiar PITB initial space generated by Lesh
Weir and Mydland. Quickly, though, Jerry started a flavor ridden
series of notes the band rushed toward and mimicked. Hearing the
whole band all play the same note cycle was rather interesting.
Jerry exited this, and entered the second theme. This was a deeper
sound with Jerry nailing high notes and holding them, followed by
mid range note grinding. Of note, Weir’s rhythm through this was
very impressive as he was leaping and diving around Jerry’s
progressions. Jerry was really flying here. He was holding high
notes with long bends and quick dashes before holding new notes. It
was a tension filled jam, as it seemed Jerry was pushing the edge of
the PITB frontier. It was one of those Grateful Dead moments where
Jerry was hitting high notes, and the band underneath him was
playing calmly – as if lending the stage to him. Note the moment
captured by Jerry at the 6:10 to 6:40 time break. Eventually this
bliss ended, and Weir and Jerry started odd timings of their note
progressions suggesting a transition path. Jerry presents a few odd
notes here, but the transition was brief before Jerry started
strumming the chords to UJB. This PITB space was rather fast
clocking in at four minutes and fifty-two seconds, but Jerry did
reach some fine moments. Yet another classic PITB, albeit a bit
short.
Uncle John’s Band rolls
in with a nice gallop. The opening jam has Jerry sidestepping the
main progression and almost teasing the opening of the song. It was
very well done. The song itself is flawless in classic 1989 style.
Indeed, Playin’ Uncle
Johns Playin’ had become one of the finer aspects of 1989. Through
August 19, 1989, the Band had performed four versions of PITB >
UJB > PITB:
4.28.1989 had a PITB > UJB > PITB ranking of 8.25
7.10.1989 had a PITB > UJB > PITB ranking of 7.95
7.17.1989 had a PITB > UJB > * of 8.325 (* was not PITB but
SOTM)
8.19.1989 had a PITB > UJB > PITB ranking of 8.0
Summed Average Through 8.19.1989: 8.13
As such, this sandwich of
songs was astonishingly successful for the Grateful Dead in 1989.
The first inbetween verse
lead from Jerry on the 8.19.1989 version of UJB is filled with very
fine rhythm from Bobby and has Jerry floating above the massive gush
of the rhythm and decorating it with flavor filled sprinkles of
delight. The band had a calm yet determined sound. The final jam
reaches a nice attack phase from Jerry stretching the band in an
agitated manner. Jerry presents a series of high note blasts that
seemingly are struggling for life. This version had an exasperated
feel of desperation. Jerry’s ability to transform a simple song
into the surreal was well intact. After the vocal finale, the
transition to PITB is flawless and seamless (similar to, e.g.,
11.17.1973).
The PITB reentry has little
intense jamming and is more of a calm drift into the drums segment.
But, this drift is well done, and is quite relaxing to hear. While
not technically impressive, the band’s ability to even make a
drift interesting is impressive.
It was at this point that I
realized this performance had evolved into the kind of Grateful Dead
performance that is timeless. The songs blend into each other
despite tuning breaks, the jams explain the meaning of the songs,
and overall feel is that the entire set list comprises but one song.
This PUJBP may not have
been the best of the year (see, e.g., 7.17.1989), but the band
certainly sounded tight and relaxed. The jams didn’t necessarily
develop into exceptional moments, but overall the jam was above
average – which marks the overall Summer Tour, and distinguishes
it from the Spring Tour.
After a pretty dark drums
segment, one of the years finest Space segments begins. At first the
stage only has Weir and Jerry. A bizarre and baron landscape theme
emerges with a lot of Weir feedback and splashing water sounds.
Mostly this is just chaos, but in the background one can (maybe?)
hear faint Other One themes from Jerry. Jerry starts a second theme
with a switch to a flute sound. It creates a bright sounding noise.
Jerry provides quick repeating progression dashes. Weir still
provides feedback rhythm. Next Jerry switched to the horn sound,
with Weir still providing weird feedback. Behind a non Jerry
waterfall sound, Jerry enters his tinny bell sound. The progressions
from Jerry eventually became longer, but still absent was a layering
sound. Of note though, this truly was interesting to the ear. An
unsettling and nervous sound was slowly growing as if an impending
storm was on the horizon. Jerry next switched to the grumbling angry
sound. This agitated grumbling meandered into a definite Other One
theme (very brief, but present). This was easily one of the finer
Space segments of the year as Jerry mixed in various midi tones and
Weir provided very interesting and unsettling rhythm.
The Other One truly starts
out as a space-hybrid. Jerry switches to traditional guitar sound
here and dives into a deep Other One theme. The pacing is timid and
slow as if to formally announce the entrance, and the contrast with
Weir’s bizarre feedback--sleet sound is very interesting. Jerry
switches to high horn sound. Weir next begins a spacey note driven
sound that is eerily similar to the 9.17.1982 space. The band
collapses around this and evolves into a massive feedback laced
exploding eruption. Jerry matches this with zig zagging
progressions, and Mydland as well – tough to say if Lesh present.
A jaw dropping moment as the band created yet another gigantic
moment.
Out of this crater, the
traditional Other One escapes. Jerry does a brief Other One dance
before Lesh delivers a slamming Other One bass roll. The crowd goes
crazy. The ensuing jam has Jerry doing traditional Other One march,
but in a bit of a shy timid manner. Following this is an impressive
variation on the Other One march as Jerry blends his notes into a
blurring sound. Very complicated and impressive. As Jerry’s theme
ends, Lesh pounces with another Other One bass roll. Could this show
get any better?
Out of this the band enters
the first verse of the Other One, complete with the distorted Weir
vocals sound.
The post first verse jam
has Jerry entering a classic Other One sprint jam. This version is
truly exaggerated and frantic. The theme has the band chasing Jerry
through his various and fast direction changes. What makes this
version so special is that Jerry truly sounds exasperated in his
approach. It sounds like he was escaping or avoiding an impending
doom. Eventually this dies down and Jerry dives into a dramatic pace
change that lands into the second verse. Yes, the show got better.
After the second verse, the
band enters what seemingly was the late 80s transition to a new
song, but Jerry was not quite finished with the Other One. Indeed,
the band had two more massive moments left. Jerry starts down a path
that was not frantic but more angry. Lesh matches his theme with
perfectly timed bombs. Mydland increase the tension with a pace ascension, and the jam develops into an all out sprint. Eventually
the sound collapses around itself.
In the aftermath, somehow,
Jerry develops another Other One attack. The band quickly follows
and ___another___ all out sprint ensues. Lesh ends it with well
timed bombs. This easily was one of the finest Other Ones I’ve
heard.
In the aftermath, the crowd
goes crazy. The band deserved applause. They deserved to take a bow.
Jerry wanders the band into
Wharf Rat at this point. The first thought upon hearing Wharf Rat
after the monumental Other One that had just finished is nausea.
Adjusting the gears of ones mind from utter chaos to pure chord
strumming is difficult to digest. The band splendidly captured such
contrasts throughout their history (see, e.g., 9.28.1972 with the
Other One Bobby McGee). Despite taking a few seconds to adjust, the
Wharf Rat sneaks in and deserves attention.
The Wharf is slowly
presented and sung carefully by Jerry. The harmonies during the “I’ll
get up and fly away” are poignant. Throughout the song Weir throws
in very impressive rhythm licks that add a lot of flavor. The main
jam permits Jerry to finally return to expansive progressions, and
he takes advantage. Behind a driving rhythm Jerry meanders up and
down his scale progressions in a reflective manner. There was no
anger or pent up jam enthusiasm during this main jam, but rather
more pondering. As such, no 2.10.1989-esque sizzling moments occur.
Wharf Rat could always a wide range of interpretations from Jerry.
On 2.10.1989 the band sizzled the jam, on 9.23.1972 the jam was all
about mourning, and on 8.19.1989, the jam waxed a pondering stance.
Each type has its place, and after the dramatically passionate Other
One, the 8.19.1989 Wharf Rat fit perfectly.
As the final Wharf Rat
notes evaporate, Weir starts NFA. Indeed, this long show was
destined to come to a conclusion and this was to be the exit. Jerry
pauses before diving into the jam, giving Weir the center stage for
a few moments. The first jam after verse one has quick fanning from
Jerry but little exploration. The main jam after verse two features
a rapid increase in tension and pace from Jerry as the band creates
a surging jam. The rise up the path is filled with dashes and
sprints from Jerry that sizzle. Weir, of note, also delivered a very
nice rhythmic display during this. While not as long as the
4.17.1989 version, this version of NFA sans Throwin’ Stones was
well done.
After an extended crowd
singing of NFA the band finally returned to the stage for the year’s
first Foolish Heart encore. The song portion is rather rough. The
rhythm has timing clashes, and Jerry forgets some of the lyrics.
Still, the band holds it together. The roughness, however, blends
into beauty with the first Jerry solo. Jerry’s progressions are
complicated and the meandering transforms nicely to the structured
finale. After some heartfelt “foolish heaaaart” bellows from
Jerry, Brent provides a very well done key solo. Jerry steps up for
the final 1989 Summer Tour lead. This transitions quickly to a
marked pace decrease before the final verse. The sound slowly drops,
and the crowd cheers the final Grateful Dead notes at the Greek
Theatre.
This was a very complicated
show. Off the top of my head, here are a few of the highlights:
Jack Straw – Jerry zig zags and Lesh bombs
Jed – Choice of Jed
Jed – finale jam with Jerry and Bob
All Over Now – Brent solo and effect it had on Jerry’s solo
Loser – Weir licks throughout
Loser – contrast of the ugly song presentation and the tender jam
portion
Memphis – Weir’s deranged vocals
Ccat – the Jerry led jam
PITB – the depth of the space
UJB – main jerry jam
Space – the plethora of different themes
Space – the Weir feedback presence nearly throughout
Other One – the explosion at the transition of Space and the Other
One
Other One – the first Lesh Bass roll
Other One – the second Lesh bass roll
Other One – the post first verse desperation jam from Jerry
Other One – the post second verse all out sprint jam
Other One – the post second verse all out explosion
Other One Wharf – the seamless transition to Wharf
Wharf – the reflective but complicated main jam from Jerry
Overall though, if I had to
pick one tune that truly stood out, of course it would be the Space
Other One. It easily was the most aggressive and colorful version of
the year, and perhaps of the late 80s. Indeed, it was 19 minutes of
some of the finest Dead jamming around.
Of note, the streak of
non-exceptional shows occurring with Let The Good Times Roll came to
an end on 8.19.1989.
Mostly though, what really
grabs me about 8.19.1989 is its timelessness. It is the kind of show
that proceeds song to song and the listener barely knows the song
has changed. It is as if the entire show was one song with numerous
components. This is rather difficult to describe. It is one of the
great things about exceptional Dead shows. Each song is not just an
element in the whole picture, but rather a necessary and vital
organ. Perhaps as I have more time to reflect on this show (I’ve
been reviewing it for the last 5 weeks) I’ll be able to describe
my rather ineffable feelings.
Bravo to the band for the
special farewell to the Greek Theatre. Next was the JGB tour with
Weir/Wasserman as opening act.
After that was the 1989
Fall Tour – and all its raging glory.
Set 1: 8.118
Set 2.1: 7.91
Set 2.2: 8.1
Set 2sum: 8.005
Show Sum: 8.06
Let The Good Times Roll 8
Jack Straw 8.25
We Can Run 8
Jed 8.5
All Over Now 8.3
Loser 8.1
Memphis 8.5
Box 7.3
Ccat 8.3
Rider 7.25
PITB 8.1
UJB 8.15
PITB 7.75
Space 8.1
Other One 9.25
Wharf 8.15
NFA 7.75
Foolish Heart 7.25
Rob
Goetz ©
