#grave dancer's union
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Soul Asylum - Runaway Train (Official HD Video)
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90's Fest Song 🎵 of the day: Runaway Train by Soul Asylum (1993) from Grave Dancer's Union #soulasylum #runawaytrain #gravedancersunion #90s #90sfest #durandurantulsas3rdannual90sfest
#soul asylum#runaway train#grave dancer's union#90s fest#90s#duran duran tulsa's 3rd annual 90s fest#Youtube#Spotify
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“She is free in her wildness, she is a wanderess, a drop of free water. She knows nothing of borders and cares nothing for rules or customs. ‘Time’ for her isn’t something to fight against. Her life flows clean, with passion, like fresh water.”
-Roman Payne, The Wanderess-
There are really only two songs that do it for me when I’ve had a week like the one just gone. And I have promised to stop being so angry because it isn’t who I am—and I know, I know it’s been bad and the menfolk have been all “we need to protect you” and I've been like a rose with just the thorns, or a hand grenade, depending on the degree of my resistance.
But I can’t do that forever, and yesterday I birthed something that I hope will be quite special—and that is what matters. As do the songs referenced here, here and here—and love as I settle back into myself. In terms of the posts to come, I think it’s a case of we shall see. Though to be sure, retreat is not my nature.
#writing#quote#love#life#chaos#meaning#patterns of distraction#all eternal things#love in a time of...#a murmur of fire#stripped and bare#inside of me#underneath it all#what it feels like for a girl#coming out of the dark#soul asylum#april fool#homesick#grave dancers union#songs to love and die by#soundtrack of my life#elisa english#elisaenglish
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Soul Asylum - Grave Dancers Union
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SOUL ASYLUM-99%
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Soul Asylum: Grave Dancers Union (1992)
30th Anniversary edition of #4026/5000 individually numbered copies on black & gold marbled vinyl
180 gram audiophile vinyl
Deluxe heavyweight sleeve with leather laminate finish
Includes insert
Music On Vinyl
Columbia Records
#my vinyl playlist#soul asylum#david pirner#daniel murphy#grant young#karl mueller#music on vinyl#columbia records#alt rock#alternative rock#alternative#classic rock#90’s rock#colored vinyl#record cover#album cover#album art#vinyl records
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HEATHEN DISCO BEST OF 2023 SHOWS
They're in the can, check 'em out.
For those still wondering, the Ryan Davis record is the best release of 2023.
Set 1: Reissues/Archival + 20 Tracks from 2023
Arthur Russell – In the Light of a Miracle
Dorothy Carter – Autumn Song
Laurie Styvers – Imagine the Lights Have Gone Out
PG Six – Unteleported Man
Thinking Fellers Union Local 282 – Flames Up Yours
The Dark – Resurrection
Fury – Circle of Lies
INU – Don’t Eat Food!
Las Mordidas – Surrounded
Spike in Vain – Opus I & II
Africa Corps (Savage Republic) – Real Men (live)
Sonic Youth – I Love Her All the Time (live)
Masayuki Takayanagi – Mass Hysterism Part II
Milford Graves with Hugh Glover – March 11, 1976 III
Les Rallizes Denudes – Eternally Now (live CITTA ’93)
Maxx Traxx – Reachin’ For It
High Rise – Sadducces Faith
Wolf Eyes W/ Spykes – 4
Tolerance – Sacrifice
Shizuka – 6 Gram Star
Rubber Blanket – Gandy Dancer
Khanate – It Wants to Fly (excerpt)
S*GLASS – Sorry About the False Bounce
Föllakzoid – V-III
Monocot – The Voice Came
Daniel Villarreal – Chicali Outpost
Equipment Pointed Ankh – Late Night A.I.
Witness K – How Do We Count Your Poses
Coffin Prick – Town Without Pity 2
Olimpia Splendid – Jacksonin Paita
Terry – Jane Roe
Nusidm – Arm Unemployed
Dippers – Encouragement in Brackets
Guardian Singles – Com Trans
Civic – Born in the Heat
Married FM – I’m Gonna Find It
Connections – Bird Has Flown
Son of Dribble – Shed
The Serfs – Club Deuce
Corker – Edge of Teeth
Set 2: 39 Songs from 2023
Stella Kola – November
Wheatie Mattiasch – Not the Angels
Maxine Funke – River Said
Suishou no Fune – A Rainbow Is Floating
Jana Horn – Love in Return
V.I.P.P. – Dancing
Famous Mammals – Like a Shadow
Non Plus Temps – Hide Away
Now – Rattray
Spiral Dub – High as Fuck
Violent Change – Whipping Boy
Disintegration – Time Moves for Me
Home Front – Nation
Lifeguard – Alarm
The Toads – Nationalsville
Ulrika Spacek - Diskbänksrealism
Retirement – No Refund
Mother’s Milk – Xerox Cloak
Glittering Insects – Remote Viewed Orgasm
FACS – Class Spectre
Skull Practitioners – Intruder
Los Mundos – Luz Perversa (en vivo)
Cheater Slicks – Fear
Emily Robb – Solo in A
The Sundae Painters – Thin Air
Animal Piss, It’s Everywhere – Pink Dolphin
Sparks – Nothing Is As Good As They Say It Is
The Clientele – Garden Eye Mantra
Lewsberg – Debbie
Usurabi – Even If It’s a Lie
Luxor Rentals – A Hallway
Drop Nineteens – T
Melenas – K2
Exek – On the Ground Floor
Silicone Prairie – Mirror on the Wall
Feeling Figures – Movement
The Smashing Times – Tuesday, Coming into Time
Colleen – Les parenthèses enchantées (Movement III)
Jaimie Branch – Take Over the World
Set 3: The Last 41 Best of 2023
Chi To Shizuku – Kawaki
The Lewers – O Karina
The Native Cats – Suplex
Cuticles – Know Not What
En Attendant Ana – Wonder
Tirzah – 2 D I C U V
Seekersinternational – Caught Up (Heart Breaks)
Ron Morelli – Gun Smoke
Leda – 2
Zuli – Bussra
Smirk – Polyrhythmic Ticks
The Dissidents – Patronized
Consensus Madness – Animosity
Stress Positions – Flaming Sword
Life Expectancy – Land Worm
Collate – Guilty Collector
Blue Dolphin – Docile Jannette
Flat Worms – Orion’s Belt
Los Llamarada – Waiting For Your Eyes
Dion Lunadon – Diamond Sea
Natural Information Society – Immemorial
Quade – Measure
The Split Bell Chime – You Can Tell Me Anything
Matmos – Why?
GUB – 4
DJ Manny – Ooh Baby
Tyvek – What It’s For
Gaadge – Candy Colored
Surveillance – Obvious
Miss Espana – Lirio Blanco
Axis: Sova – Join a Cult
Al Karpenter & CIA Debutante – Fuck You All to Fade No More
Beau Wanzer – Warm Waterboarding
Thee Retail Simps – Wrong Direction
Wireheads – Persistent Resistance
Adulkt Life – Blackout
Sharp Pins – Bye Bye Basil
The Tubs – Sniveler
Meg Baird – Star Hill Road
Ryan Davis & the Roadhouse Band – Flashes of Orange
Water Damage – FUCK THAT (Reel 13)
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Gore Vidal was an writer, a political pundit and one of the most polarizing figures of the 20th Century. He was also a self described bisexual or pansexual.
Vidal’s lifelong opponent William F Buckley once said to him on National TV:
"Now listen, you queer. Stop calling me a crypto-Nazi, or I'll sock you in the goddamn face, and you'll stay plastered."
Buckley later regretted using “queer” but still disliked that Vidal was an "evangelist for bisexuality”.
Buckley was not his only literary opponent. Vidal famously had feuds with Truman Capote and Norman Mailer as well.
In “The City and the Pillar” (1948), one of Vidal’s earliest novels, he wrote about a young man coming to accept he was homosexual. At the time, some critics were so offended by the subject, they refused to read the book, let alone review it. The book made Vidal an early champion for sexual liberation.
A later satirical novel “Myra Breckenridge” (1968) described the exploits of Myron who undergoes sexual reassignment, and becomes Myra. She tries to take down the macho patriarchy of Hollywood. It was made into the 1970 film starring Raquel Welch and Mae West.
Vidal set a goal to make his life as “promiscuous as I could make it.” He wrote in his diary that by age twenty-five, he had had more than a thousand sexual encounters.
On the straight side of the fence, Vidal had an affair with French author Anaïs Nin. He was also engaged to actress Joanne Woodward before she married Paul Newman. For a time, all three shared a house together in Los Angeles.
Regarding men… he preferred masculine young men and paid them because the cash transaction limited messy emotional entanglements.
Vidal once said:
“The difference between Italian boys and American boys, is Italian boys have dirty feet and clean assholes, while American boys have clean feet and dirty assholes.”
Vidal’s one true love was Jimmie Trimble, who he met in 1937 when they were students. Trimble died during World War II. Vidal dedicated the novel “The City and the Pillar” to Trimble.
Among his sexual conquests Vidal claimed to have slept with Fred Astaire when he first moved to Hollywood; and also with a young Dennis Hopper. One verifiable lover was Harold Lang, a dancer-actor who starred on Broadway in “Kiss Me Kate” and “Pal Joey”. Lang’s muscular butt was also cherished by Leonard Bernstein and Arthur Levante.
Vidal’s life long relationship was with Howard Austen who he met in 1950. He described their Union as “two men who decided to spend their lives together". Furthermore, Vidal said the secret to their long relationship was they did not have sex with each other.
Austen managed the their financial affairs, travel arrangements and housing needs. They were eventually buried together in a joint grave in Washington DC.
#gay icons#gore Vidal#Myra Breckenridge#promiscuous#pansexual#bisexual#William f Buckley#Paul Newman
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‘We found 21 missing kids’: Soul Asylum on making Runaway Train
David Pirner reveals why he wrote his ‘metaphor for depression’, while Tony Kaye recalls what inspired the video – which showed the faces of missing children and became a phenomenon
Interviews by Dave Simpson
Published: 16:02 Monday, 31 October 2022
Dave Pirner, singer, songwriter
We were a garage punk band who recorded for an independent label and travelled in a van. Then I thought I was losing my hearing. I was having a sort of nervous breakdown and needed to get away from the noise. I started playing an acoustic guitar and ended up writing songs on it, one of which was Runaway Train. Initially it went “two souls laughing at the rain, one’s crazy and the other’s insane”. But once I started writing about what was going on with me, the proper words came in one sitting.
The first line, “Call you up in the middle of the night”, refers to a friend in New York who was kind enough to answer the phone whenever I called, no matter what time it was. I’d been fascinated by trains ever since I watched a TV show called Casey Jones when I was a kid, so I used a runaway train as a metaphor for depression that was spinning out of control. When we first played the song live at the University of Minnesota people loved it.
It was so cool having someone of the stature of Booker T from the MGs putting perfect keyboards on it
I took a practice-room tape to various labels in New York, and Columbia Records wanted us the most. We recorded Runaway Train with Michael Beinhorn, a great producer but highly demanding. If the vocal on it sounds world-weary, it’s because he made me sing it 100 times. He still hadn’t got what he wanted so he got Danny Murphy, our guitarist, to oversee the vocal session because he felt, correctly, I’d be more comfortable singing with a friend in there with me.
Replacing our drummer Grant Young during the session was an awful experience, but Sterling Campbell came in and I loved the way he played, so we asked him to play on Runaway Train and some other tracks. Then we went to a studio in LA and Booker T from the MGs put perfect keyboards on it. It was so cool having someone of that stature playing on my songs.
Runaway Train came out as the third single from our album Grave Dancers Union and just grew legs. It overshadowed everything else we did, but I’m pleased that the song has a resonance that is not about partying and screwing. It’s a sad and reflective song that reminds people that it’s not all candy out there, but that they’re not alone.
Tony Kaye, video director
Runaway Train was such a great song I could have filmed a brown paper bag for three minutes and it still would have been a hit, but I’ve always tried to do things that have a social relevance. On the way home from my office in Los Angeles, I saw a poster by the side of the road of a milk carton with a missing kid’s face on it. I thought: “That’s it!” I told Dave that I wanted to make a video featuring the faces of runaway or missing children.
The National Center for Missing and Exploited Children sent us the faces of the kids they wanted in the video. Dave was very easy to film singing the song and at the end we had a message: “If you’ve seen these kids call this number.” The record company were very supportive, although after it was first shown on MTV, they called saying: “No kids have come back. Can we replace the faces with shots of the band?” I said: “No, wait.” Then one came back, and another, and another. And it turned into this miraculous thing.
The first to come home was Elizabeth Wiles, a teenager who’d run away from home with an older guy. She’d been watching TV with friends, seen herself in the Runaway Train video and called her mom. It wasn’t always plain sailing for the families afterwards – kids don’t run away from happy homes – but maybe things had changed when they went back or they were older and able to cope better.
I was in the green room of a TV chatshow when they reintroduced a missing kid and their parents, and they were just overwhelmed. Some cases were very sad – they didn’t come back because they were dead – but each time a kid was found, we’d recut the video with a new missing person. We eventually found 21 of the 36 kids we featured. It worked because the song was perfect for it. I’d argue that it was the single most important thing that happened in the history of MTV, because it saved young people’s lives.
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ON THIS DAY, April 26th, 1994, LIVE released Throwing Copper, their third album (second under the name Live), on Radioactive Records, a subsidiary of MCA Records. Had you cast your net into the sea of alt-rock circa 1991 to 1994, you would have been hard-pressed to find many bands cut from the same cloth. The explosion of alternative rock was a melting pot of styles. Rock music fans were open to diversity, with bands of different persuasions and influences sitting happily in most record collections.
Live were an unlikely success story. They were formed in York, Pennsylvania in 1984 by guitarist Chad Taylor, bassist Patrick Dahlheimer, drummer Chad Gracey and vocalist Ed Kowalczyk. The band went through various names, including Action Front, Paisley Blues, and Club Fungus, before settling on Public Affection in January 1987. After the members graduated from high school, they recorded their first self-released album, The Death of a Dictionary, on cassette in 1989.
In 1990, they released an EP of demos produced by Jay Healy titled “Divided Mind, Divided Planet.” Venturing outside the confines of Pennsylvania, the band began playing regular concerts at CBGB in New York City, which helped earn them a contract with Radioactive Records in 1991. In June of that year, they changed their name to Live and released the album Mental Jewellery. While that album expanded the band’s fanbase, they were far from the dizzying highs they would achieve with the follow-up Throwing Copper.
In July of 1993, the band and producer, Jerry Harrison of Talking Heads fame, made their way to rural Minnesota to begin recording. Pachyderm Studio had become a go-to recording hideout for the alt-rock crowd of the mid-’90s. Nirvana cut In Utero there in 1993, Soul Asylum laid down Grave Dancers Union in 1992, and PJ Harvey’s Rid Of Me was birthed there, also in 1993. Buried deep within a secluded old-growth forest in rural Minnesota, the environment helped quell outside distractions.
If Live’s modus operandi for Throwing Copper was to strive for a more ambitious sound than Mental Jewellery, they succeeded. Opening with the atmospheric, tension-filled “The Dam at Otter Creek”, it’s immediately apparent the band is in no rush to hit the listener with a “hook” and reel them in quickly. The song is a masterclass in tension building, exploding in frenzied chaos at about two-thirds of the way through, providing a euphoric release. A song of this intensity may have alienated the casual listener who first tossed it in a CD deck, but its masterful tension and release perfectly set up the next song.
In tone, “Selling The Drama” is the opposite of “The Dam At Otter Creek”. It’s optimistic and packed with enough jangle to rival REM. The song became a massive hit for the band. It’s clear and direct, filled with hooks pouring from Taylor’s electric guitar, Gracey’s always-powerful drum beats, and Kowalczyk’s melodic and insistent vocals. However, Dahlheimer’s incredibly inventive bass lines give the song an edge. “Selling the Drama” was the first of three singles from this album to reach #1 on Billboard’s Modern Rock Tracks chart.
Throwing Copper coughed up five stellar singles, with three going to number 1. One song that didn’t hit the top spot commercially as a single but certainly hit a high water mark as far as quality goes is “I Alone.” Its arrangement, on paper, is a tried and true trope of 90’s alternative rock writing. By 1994, the Quiet Verse/Loud Chorus shtick was becoming old hat. Yet somehow, with “I Alone”, Live manages to wrangle searing emotional weight out of this dynamic and deliver a thrilling classic.
Opening the song “Iris,” Ed Kowalczyk is backed by a single electric guitar chord, he implores, “I liked the way my hand looked on your head. In the presence of my knuckles. But the beauty of this vision alone, just like yesterday’s sunset. Has been perverted by the sentimental and mistaken for love.” Patrick Dahlheimer’s creeping bass embellishes the song’s eerie atmosphere before Chad Gracey cracks a whip-like snare, introducing the band’s tight, punctuated roar. In the blink of an eye, they return to the spacious atmospherics. This perfectly weighted yin-yang gives way to a cinematic, big-sky chorus that soars.
“Lightning Crashes” became an instant classic. Taylor’s flange-drenched guitar chords complement Kowalczyk’s expressive vocals. It’s a story of life and death in a hospital setting. Musically, the band shows impeccable restraint and is careful not to intrude on Kowalczyk’s vocal delivery and storytelling. The band wrote the song in memory of Barbara Lewis, a classmate who was killed by a drunk driver in 1993.
“Top” opens with a succession of single-strummed guitar chords and heavy, exclamation point downbeats over which Kowalczyk does his best, Michael Stipe wails. Soon, the song’s verse locks into a gripping dark funk followed by a gorgeously vast chorus. “All Over You” is a sparkling barnburner packed with rollercoaster dynamics. A live favourite, the band tear through the songs fluctuating crescendos.
Songwriters have long written about dead-end towns and their interpersonal dynamics. “Shite Towne” is a worthy addition to that canon. Kowalczyk poetically lays out, in beautifully descriptive passages, the mundane psychodrama of ordinary life. “The Weavers live up the street from me. The crackheads, they live down the street from me. The tall grass makes it hard to see beyond my property. Hey man, this is criminal; it’s hardline symmetry of people and pets.”
“T.B.D.”, which stands for Tibetan Book of the Dead, is based on Aldous Huxley’s slow descent into death, aided by heroin. Kowalczyk was never one to shy away from the deeper side of things. On the band’s previous album, Mental Jewerley, the writings of Indian philosopher Jiddu Krishnamurti became a powerful inspiration, so too; on Throwing Copper, he delves deep into philosophy, spirituality and the harrowing beauty of everyday life.
Another standout is the Kurt Cobain/Courtney Love-inspired “Stage.” It’s a caustic ripper. Kowalczyk wails, “We are, by and large, the same. But words are too feeble; they cannot contain. He was a rock and roll messiah; she was known for her childcare.” “Waitress,” like many songs on Throwing Copper, offers far more depth than a cursory glance might provide. In this case, the humble art of tipping a waitress opens a dialogue around the hopes and dreams of everyone despite their social standing. “The girl’s got family. She needs cash to buy aspirin for her pain; everybody’s good enough for some change, some fucking change.” One suspects the “change” Kowalczyk is referring to isn’t monetary.
The mournful bass of Patrick Dahlheimer opens “Pillar Of Davidson.” The song was written about the plight of poorly compensated factory workers who were treated like machines. Their life purpose slowly eroded to make money for others. Growing up in York, Pennsylvania, a working-class town home to the Harley Davidson motorcycle factory and other industrial plants inspired the song. Kowalczyk credits the band with helping him escape a similar fate.
“Most of the kids in our situation don’t get fair shots because of the sheltered quality of life in a small town like York,” he said in 1995. “Thank God for this band; it was our ticket to see the world.”
The apocalyptic “White, Discussion” is a scathing and cynical look at political correctness. The line, “All of this discussion, though politically correct. Is dead beyond destruction, though it leaves me quite erect.” Kowalczyk’s weariness over “disenchanting discourse” found a new layer of meaning in the age of social media – a fact that wasn’t lost on the singer as he performed the song ahead of the album’s 25th anniversary.
“I was thinking that the other night onstage. We were playing it, and lyrically, it could have come out yesterday and made a lot of sense to people,” he said in 2019. “Twenty-five years ago, I was singing about these things, and twenty-five years later, they still have these themes. They’re perennial. They don’t change that much.”
Throwing Copper is a beautifully constructed, written and performed masterpiece. In 1994, nobody knew it yet, but this album marked a tipping point for alternative rock. Many attribute Live with the beginnings of the dreaded “post-grunge” era. But Throwing Copper doesn’t bear any of the hallmarks of that movement. This is an album of genuine passion, depth, and gilt-edged songwriting.
Live were alt-rock titans for a very short time in the mid-90s. The album sold over eight million copies. Fans from all corners of the alternative rock spectrum loved it. Unfortunately, they couldn’t match the honest immediacy of Throwing Copper on subsequent releases (although the follow-up certainly had its moments).
Anyone keeping abreast of the current state of the band’s interpersonal dramas and dysfunction (which would make even Fleetwood Mac blush) knows an album of this quality is probably not on the cards any time soon. Throwing Copper was a perfect companion piece for that time—a palate cleanser after the brooding, dark brilliance of the early part of the decade.
Essential…!
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"That" album the one you pull out once every year or two and listen to for a week.
"That" album, the one you pull out once every year or two and listen to for a week.
I guess I have a few but the one that defines "That Album" to me is:"Grave Dancer's Union" by Soul Asylum. It was huge in it's day, over played in many people's opinion. But it is loaded with great songs, opens on a killer riff and just rocks. After a couple times of listening straight through, it goes back on the shelf for a year or two. What is your "That Album"?
Submitted April 26, 2024 at 07:39AM by SXTY82 https://ift.tt/xaJrGnP
via /r/Music
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Conversación ficticia pero con realidad de fondo..De una MARTA SANCHEZ enpoyada digo enjoyada y JUAN TARADO digo TARODO el malogrado batería de OLE_OLE que le dio la oportunidad para sustituir a VICTORIA LARRAZ y haciéndose su NOVIA:
Juan: Pero como me puedes hacer esto..como me vas a dejar x el BATERIA NEGRO de DURAN DURAN y de SOUL ASYLUM [entro en cd GRAVE DANCERS UNION]..Stearling CAMPBELL y lanzarte en solitario con cd MUJER incluso en el mercado ANGLOSAJON cuando todo iba según lo planeado como cantar por la NAVIDAD de 1991 en la fragata NUMANCIA durante la GUERRA DEL GOLFO la canción SOLDADOS DEL AMOR calentando a Marineros de REEMPLAZO como DAVID TORNOS FARRELY al que enfocaron fijamente y que conocía a CRISTO por su vecino y amigo JOSE MANUEL ALMARCHA ALCOLEA cuyos padres eran SOCIOS en el concesionario de AUTOCARAVANAS y de FIAT_ALFAROMEO_LANCIA "BOOS" a los pies de PARA_CUELLOS q les expropiaron cuando hicieron la TERMINAL IV.
Marta: Ya,..pero tampoco estaba planeado que cobrara un DINERAL por SALIR desnuda en INTERVIU q sorteo un coche entre los MARINEROS y le tocó a DAVID TORNOS FARRELY que luego fundo con su padre GLORIA CARS de coches de epoca y el cual se hizo con el Cadillac ametrallado que CEACEASCU regalo al Comunista CARRILLO que lo guardaba en la calle SANTISIMA TRINIDAD donde pusieron la sede del Partido Comunista de España que legalizo JUAN CARLOS I el SABADO SANTO de 1977 y que puso junto a DOLORES IBARRURI la PASIONARIA ..Y Cadillac con el q se caso con su ex marido piloto militar reconvertido en civil GEMA ALMARCHA ALCOLEA en la IGLESIA del CRISTO DEL PARDO donde fue CRISTO O IVAN como invitado y donde tenia FRANCO su PALACIO aunque el convite fue en la otra punta de Madrid u hotel PALACE donde MADONNA BESO a BANDERAS para su documental TRUTH OR DARE [=VERDAD O DESAFIO] q en ESPAÑA fue EN LA CAMA CON MADONNA.
JUAN: eres la MUJER DE MI VIDA..la que mejor me JODIA dentro de la CAMA y ahora también lo seguirás siendo por ser la que más me va a joder fuera de la cama..esto no solo lo voy a pagar yo..seguro q trae mucha desgracia [luego murió de cancer su hermana PAZ cuando MARTA estaba casada cn su 2do ex_marido JESUS]
Marta: lo siento mucho..pero la mujer es una PUTA desde el PECADO ORIGINAL y yo no soy ni Maria magdalena ni tu jesus
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What's your all-time favorite album? #WPDP
What’s your all-time favorite album?
This is so hard to choose just one. Mary Chapin Carpenter’s Stones in the Road and Taylor Swift’s Fearless TV is a tie. I also like Mary Chapin’s Come on, Come On album as second.
Pearl Jam Ten and VS, Soul Asylum Grave Dancer’s Union. Are all my top favorites as well as Linkin Park’s Meteora.
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Soul Asylum - Somebody to Shove
From the album Grave Dancers Union
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Soul Asylum -"Grave Dancers Union", "Let Your Dim Light Shine", "Candy From A Stranger"
ソウル・アサイラム全盛期の名作3枚！
ボーカルのデイヴ・パーナーがまだウィノナ・ライダーと付き合ってた時代⁉︎
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Thursday, July 27, 2023 10pm ET: Feature LP: Soul Asylum - Grave Dancers Union (1992)
Grave Dancers Union is the sixth studio album by the American alternative rock band Soul Asylum, released October 6, 1992. The album spent 76 weeks on the Billboard music charts and was certified triple-platinum in 1993, establishing Soul Asylum as one of the most successful rock groups of the first half of the 1990s.
“Somebody to Shove” 3:15
“Black Gold” 3:57
“Runaway Train” 4:26
“Keep It…
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