NYS Music 20​16

Category: Album Reviews

  • Hearing Aide: Bruce Katz Band ‘Out from the Center’

    91o6m87zkl-_sl1500_Bruce Katz Band, the Hammond B3 and piano legend based in Woodstock, released his latest album, Out from the Center, on September 16. The album, released by American Showplace Music, features Katz’s longtime bandmates Ralph Rosen on drums and Chris Vitarella on guitar and vocals. All three members contributed songs to the effort, with Vitarella receiving a special “featuring” mention for his significant presence throughout.

    The aptly named title track literally sits at the midpoint of the album, but is also it’s centerpiece, it’s highlight, and the gravitational center that pulls the rest of the tunes together. The name is apt also for the feeling actual song itself, with its extended deep dive into swirling organ and languid psychedelic guitar jams, it’s certainly moving ‘out from the center’. If the intent wasn’t quite clear, maybe the parenthetical title “Hippie Tune” will drive the point home a little better. This is the blues through the filter of the Allman Brothers, which makes sense given that Katz has served as sideman for Gregg Allman, Jaimoe and Butch Trucks.

    The surrounding tracks, revolving around it’s jamming core (out from the center), hew closer to the traditional blues. Though, what is your traditional blues? Katz explores them all, in a journey across the blues landscape. From Southern rock to Texan boogie-woogie to St Louis style to New Orleans funk, no lonely avenues are left untravelled. Each style is played impeccably across 11 all-original tunes. These blues aren’t really all that blue though, the music is light and joyful, more of an escape from the doldrums than an excuse to stay there. The album cover’s bright purples, yellows and oranges speak perfectly to the product inside.

    Key Tracks: Blues From High Point Mountain, Out from the Center, Dis-Funkshunal

  • Hearing Aide: MC Chris is Dreaming

    mc-chris-is-dreamingIt’s hard to tell what MC Chris took seriously while developing this album MC Chris is Dreaming. There are times where the listener may think, “This is a complete joke, he must have completed this album in a night. For heaven’s sake, the album cover looks like it was drawn with pen on loose leaf paper.” And half way through the album, one may think that was one of the quickest, nerdiest, and wittiest rhymes that’s ever been spat. In other words, the quality of the album is proportionate to how much time is invested to finding all the little hidden lyrical gems.  

    This album, set to drop September 30th, will sound absolutely ridiculous to anyone who has not heard of the genre nerd rap. MC Chris has a nasally and high pitched voice that spits culture driven lyrics driven by straightforward videogame-like beats. Take it as a whole and the album seems childish. But dissect it just a little bit and it becomes a pretty comical album.

    This isn’t necessarily a concept album but there is some inspiration to it. Freddy Krueger haunts the dreams of the former Adult Swim contributor and while most of the songs are utterly ridiculous stories about how awesome he is, like “MC Chris Is The Shit,” or the death of Krueger, “Freddy’s Dead,” the album is pretty rewarding if listened to closely.

    The beats can be very familiar, most likely a mockery of today’s popular rap sounds, and the lyrical content is a poetic version of  literally anything that comes to his mind or dreams. The man must have ADD.mc-chris-animated

    Granted there are some pretty clever lines that can be caught if listened to very closely. His nasally voice can be very distracting though and requires the listener to be completely invested into what he’s saying. Once someone is, they’ll find clever little lines like in “MC Chris is Dreaming.”

    “MC Chris is dreamin’ /  I’m not paying attention /  My head’s in the clouds I’m on another dimension / I’m like a space cadet and a space camp convention.”

    Written down, the lyrics do not seem so special but the relentless speed at which he says it makes it pretty remarkable. He keeps up that quick pace throughout almost all of the tracks and it makes it a fairly impressive run, but once again, the listener needs to be totally invested into the song to catch these lines. This album is similar to watching a Disney movie with loads of adult humor –  the movie can be enjoyed as a whole, but watch it closely and find some pretty raunchy and rewarding cameos and easter eggs. In the album, these lines pop up one after another and can be hard to catch with the beats sometimes overpowering his squeaky voice.

    Many of the tracks have to do with Freddy Krueger invading Chris’ mind which are entertaining but are some of the funniest parts of the album, these little run-on stories and dialogues between Chris and Freddy or Chris and the producers he’s trying to sell the album to. The two characters will go off on seemingly never ending tangents which shows some thought went into the chemistry of the characters but still makes one think, “These guys are  just screwing around.”

    Aside from the dialogues, other songs like “Sad Sack,” are a bit more raunchy but pretty funny. It’s a typical trap beat with lyrics about, well, his sack.  It’s clever because usually songs with this kind of tone are more aggressive and hardened. But this is reminiscent of Eminem in terms of lyrics. It’s some pretty X-rated stuff, but the sharpness and speed of it makes it more professional.

    “There’s a bit of a goo / in my fruit of the looms / but that isn’t why I lost a few of my dudes / I don’t need a big crew.”

    It sounds so childish written down, and it is, but it must be compared to the quality of a TV show like South Park. It’s comical because of how narcissistic and sarcastic it is. MC Chris is Dreaming is the same thing.

    If an open mind is kept, the album can be rewarding, but there’s a lot of time and focus to invest if the album is to be fully appreciated. Maybe when a lyrics sheet comes out the songs will need less attention and can be more easily enjoyed.

    Key Tracks: MC Chris is Dreaming, Freddy’s Dead, Sad Sac

  • Hearing Aide: Glens Falls’ Red Shift release debut EP

    Red Shift is a newly emerging alternative rock band from the Glens Falls area. They currently have four singles released: “Around the Sun,” “By Design,” “Heads or Tails,” and “Victorious.” The members consist of Keiran Dupper and Chad Jones on guitars, Andy Frasier on bass, Erich Hobus on drums, and Tim Ortiz on synth while providing the vocals. Named “Best Bets” by the Post Star, the band will release their first album on September 23.

    red shiftRed Shift is a respectable band in the rock genre. Their music is impressive in many ways and, as a brand new band, they have a lot of potential. Ortiz has a very nice voice that fits in well with the rock genre. His voice is equally as impressive in “Heads or Tails,” one of their more rock-out tracks, as it is in “Around the Sun” which is slightly more mellow, giving the group plenty of options for the future.

    One thing that I would like to see improve as the group continues to release albums is the lyrics. I felt in at least two of the four tracks that the lyrics could’ve been significantly better. I found some of the content a little cliche at times and if it wasn’t the lyrics themselves it was just the fact that the songs had vague and generalized subjects/topics. I found them relevant and relatable, but had trouble relating on a deeper level. While they were giving me a message, their songs’ messages weren’t particularly clear.

    Despite these minor issues, I find the instrumentals in this group to be extremely impressive. Dupper and Jones on guitar have pleasantly surprised me with every track. Their guitar lines are fantastic and after every song I hear, I go away wishing I could play guitar like that. Frasier on bass does a fantastic job as well, really filling out that hardcore rock vibe and giving some great lines in the process. Hobus on the drums delivered some fantastic lines as well which helped fill out some of the instrumental breaks that seemed to carry out for a little longer than I would’ve liked them to, particularly in “Heads or Tails.” Personally, I believe the instrumentalists did a fantastic job throughout all of “Around the Sun,” which is my favorite track by far. I also greatly enjoyed the use of synth in their music because not only do I love synths, but it was both surprising and refreshing when I recognized the synth playing as I hadn’t expected one to be a major part in a band like this.

    Overall, Red Shift is a relatively respectable rock band. They are new so there is plenty of time in the future for them to improve, and since they’re starting off in a very good position to begin with through great instrumentals, vocals, and talent, it will be exciting to see where this takes them in the future. On Friday September 23, Red Shift is holding a concert to officially release their first album. From 8pm-11pm Red Shift will be playing at Mean Max Brew Works in Glens Falls with Squanch and other special guests. Having only heard four of their songs, I’m curious to see what else they have up their sleeves for this album release and how it compares to what I’ve heard so far.

    Key Tracks: Around the Sun, By Design, Heads or Tails, Victorious

  • Hearing Aide: TAUK “Sir Nebula”

    On September 16, 2016 Long Island’s very own TAUK will be releasing Sir Nebula. This will be their fourth studio release, fifth along with their live double album, HEADROOM. Sir Nebula is being released by STS9’s record label, 1320 Records and is available at taukband.com.

    TAUK "Sir Nebula"Captivating the knowable instrumental fusion that is TAUK, the four piece has again proven they have earned their right to be performing on a professional level with bands such as Umphrey’s McGee, Lettuce, Thievery Corporation, and more. Since their lineup completion in 2012 TAUK has been working harder than most to show music appreciators their brand. Constantly spreading the name TAUK with tours of 30 plus shows, always writing new material, and producing albums on their ‘time off.’ Bassist Charlie Dolan says when the band is in the studio it is “a time where we can really try to expand what we do, try new things and rediscover who we are.”

    Listening back to tracks such as “Side Project” from Pull Factors, you can really understand Dolan’s statement. TAUK’s use of melody and creating a singular sound with four people cohesively creating music is a consistency they will always have. As they have progressed and grown you will notice in this new album their use of effects and technology followed by true musicianship.

    The first single “Horizon”  follows the TAUK path but with a major punch. With a really interesting intro of each member coming in piece by piece into all four members melodically arpeggiating notes into a break. Following this path throughout the song with each member touching back at the their root tag but staying extremely progressive.  A fully captivating tune.  The track playing in the beginning of the video preview of the album (below), “Program Select,” will also give you further taste of what’s to come. At any giving moment this track can take you in a surprisingly new direction with trap into another explosive well section.  The entire album follows this theme and keeps you interested. Individually each track ‘TAUK’s’ for itself but I would suggest sitting back and listening to it as a whole, keeping you interested and on a path of excitement of what’s to come next.

    Watch TAUK talk about Sir Nebula:

    Whether you’re at a show or festival with the desire to get down, driving all 119 miles from Montauk to NYC, or just feel like listening to music Sir Nebula is a perfect choice.

    Key tracks: Horizon, Program Select, Time’s Up

  • Hearing Aide: Dinowalrus “Fairweather”

    Dinowalrus - Fairweather - coverAn album created by a band with a, simply put, different name like Dinowalrus, is sure to hold something different musically. Their soon to be released album, Fairweather, set to drop September 23rd 2016, is definitely one of a kind. The band congregates loads of influences into one, light and airy yet powerful tone that skillfully uses contradicting sounds to create a psychedelic, electronic rock, punk dance voice. It pulls from a mouthful of influences and the album shows it, but it’s not distractingly busy in terms of instrumentals. One might even call it easy listening. Others will call it party music. And the fact that it’s not easily defined makes the album pretty special.

    The group of eclectic musicians from Brooklyn started to dabble with their sound in 2008, releasing several albums and touring with a number of groups including Real Estate, Screaming Females and A Place to Bury Strangers. When asked what inspires their song writing process, they said, “Songs always start with a beat and bass line that moves us in a new and different way than anything we’ve done before, then layers of synths and guitars expand intuitively on top of that, finally vocal hooks and lyrics drop into our heads when we least expect it, usually while lulled into a trance by riding the subway around our hometown of NYC.”

    A big part of their tone is the contradicting  instruments. Their drums and bass lines are driving and pushing through measures non-stop. They’re tight, driving and consistent while almost all other aspects of their tracks are at first, unexpected. The synthesizers are legato; long and flowing. Same goes for their vocals. Visually, this album is a gargantuan wall of bass and beats with wisps of melodies and harmonies seeping through the cracks.Ben Kulo Dinowalrus-0207 (7)

    The first track, “Tides”, is quite different than the remaining songs, maybe to ease the listener into more intense sounds. It’s a feel-good song with a major tonality but the bass and drum tracks make it a bit more energetic. The sound of the track stays pretty consistent throughout, but pulls out some unexpected stops, like a fairly distorted guitar solo that keeps things interesting. But the formula seems to be repeated throughout the album.

    This is not to say each song sounds the same. Each beat is different as well as the key and tempo, among other things,  but the direction of the song is always locked in. In other words, one gets a sense of what the rest of the song will be like within the first 30 seconds of listening to it.

    “Falling Into the Periphery” and “Plain Sight” are similar as well. The vocal hooks are what differentiates the songs if the listener isn’t fully invested in the track. Sometimes a synth or guitar lick will mark the different songs, but the beats themselves, although very important to the unique tone they make, lie dormant and simple in the recording.

    “Guilty” is where things start to get a little more interesting. There’s a few subtle things like a few key changes and momentary deletes in the bass track to give the sound more perspective. One of the most unexpected parts of any of the tracks, is an incredible shredding guitar solo that comes from nowhere but is unbelievably fitting for this sound. There is also a very prominent vocal addition that simply sounds awesome all together.

    “Light Rain”; Once again the guitar solo’s are the highlight of the track. They stand out the most, almost more than the synth and vocal hooks and it’s because the timbre doesn’t fit the electric and spacey sound that’s prominent throughout every song.

    “Scarcity” is unique to the album right from the get-go. It’s direction is more unpredictable as compared to other tracks which is very refreshing. The harmony, being lead mainly by the guitar, is a very nice change of pace, giving the song more of a not so traditional rock band feel, while still having traces of electronic dance to it.

    “Final Wave” is definitely an attention grabber because of how different it is from the synthesizer focused tracks. The vocals are also a tad less spacey but still sound flowing and the tone is more instrumentally organic. The sound isn’t as busy as previous tracks, which are a result of layers and layers of instrument recordings. “Compass Rose” is the same way. It’s more streamlined and simplified, a bit less intense, but still has the same effect of energizing the listener in a grounded way. The guitar solos are still  one of the most grabbing parts of the track and the songs wouldn’t be as energizing without them.

    “Silent Earth” reverts back to the timbre at the beginning of the album, soft sounds but powerful grooves. It doesn’t move in any direction and is fairly predictable but definitely puts the listener in a trance. The consistent sound is very encompassing and is best appreciated with a set of good headphones on because the sound circles around the listener’s head making for a not so energetic but interestingly deep track.

    “The Painted Desert” offers an acoustic guitar based intro that is a nice change of pace for the electronically centered band. The intensity of the bass and drums cuts in and out to give some perspective  which makes the chorus’s that much more appreciated because there’s an obvious peak rather than one long one.

    The album is truly one of a kind with such  a wide array of instrumental color and genre influence, but there are several songs that aren’t as engaging and energizing as the band may have hoped for. Granted, very few artists can achieve a perfect album. But the songs that find that perfect combination are definitely something worth listening to.

    Key Tracks: Tides, Scarcity, Final Wave

  • Hearing Aide: The Devyl Nellys ‘Delicious Business’

    devyl-nellys-delicious-businessNew York City-based funk-pop band, The Devyl Nellys, recently released their newest album, Delicious Business in August. The band formed in 2011 and released their major label debut in 2014. They are constantly touring and have a handful of dates in Pennsylvania and Virginia in November and December.

    Delicious Business kicks off with the title track. “Delicious Business” is full of a slow funk groove, reminiscent of Parliament Funkadelic, that sets the tone for the album. It’s followed up by “Rodeo Qween,” which features KC & the Sunshine Band on the track. Impromptu dance parties are bound to pop up wherever this ’70s-sounding funky disco tune is played.

    “Hustle” and “Baad Seed” stray from the funk with their straight-up rock roots, both with a southern vibe. “Baad Seed” could be straight out of Texas both with the sound and the bad girl vibe to the lyrics. The band returns to the funk with “Love Suckaa,” which features Yo Mama’s Big Fat Booty Band. More slow funk groove, similar to the first track, backs lyrics about a bad love.

    The album ends with a quick upbeat funky rock song, “Bloody Merry.” It’s short and sweet and a perfect ending to an overall fun album.

    Delicious Business is a fun, funky album that has a little something for everyone, from rock to funk to disco, listeners will be bopping around wherever it’s playing. The album can be streamed on the Devyl Nellys’ Soundcloud page. Keep updated on their tour on their website and Facebook page.

    Key Tracks: Delicious Business, Rodeo Qween, Baad Seed

    [embedyt] http://www.youtube.com/watch?v=Gal42b11Qm0[/embedyt]

  • Hearing Aide: Tender Glue “Steady Light”

    0007865279_10Tom Gluewicki is the one-man force behind the Brooklyn based music project, Tender Glue. His debut EP, Wait For Steady Light, came out in September 2015 and now, one year later, after acquiring more live performance, song writing and recording experience, Tender Glue is set to release its anticipated follow up album, fittingly entitled, Steady Light.

    Tender Glue is known for his acoustic, indie-rock style meshed with a post-punk stripped down sound, all of which comes across in Steady Light. “West” the first single, is a slow, guitar-driven ballad that evokes Gluewicki’s heart felt intentionality, pouring through his music. Each guitar chord seems to drag, emphasizing his clear emotion and meaningfulness, and right when the listener would expect the track to come to a close, a beautiful moment of clarity opens up with the freeing simplicity of Gluewicki’s airy guitar work. This sort of nifty composure is heard throughout much of Steady Light and it appears that Gluewicki’s knack for not only song structure but skill in both the acoustic and electric guitar world has significantly improved over the year. It’s heard elsewhere in his music too with “Hope Street,” where acoustic chords are contrasted by the eerie drone of electric rambling. With its moments of dismay this song can definitely come across as somber, and maybe a little too dreary at points, but this also seems to be a part of what Tender Glue strives for in his music. It’s the longing for something that might no longer be there. Or it’s leaving a place you’ve come to know well, as with “Goodbye Bushwick,” yet recognizing to always carry home. Whatever it is, Gluewicki is quick to transmit that emotion into music.

    Tender Glue’s somber, acoustically spacious and slight 90s grunge influence is what makes this one-man band such an honest delight to dive into. Steady Light is sure to be a must-listen throughout the upcoming autumn nights and straight through into the winter. And be sure to look out for Tender Glue’s album release show set for August 26th at City Reliquary in Brooklyn.

    Key Tracks: West, Goodbye Bushwick, Hope Street

  • Hearing Aide: Ampevene ‘Rometheu’

    12 minutes and 30 seconds. That’s how long it takes to listen to Ampevene’s new EP, Rometheu. But that’s not the total sum of each of the songs; it’s just one extended track!

    Ampevene RometheuAmpevene is a band that stemmed from Gabe Stallman’s solo project as a guitarist.  Now the full band consists of Gabe Stallman on guitar and vocals, Mack Hogan on bass, Bob Morris on drums, and Ava Smith on keys, and Jeff Nania on saxophone.  The progressive rock group is based in Albany, so it wasn’t too far to the studio, The Recording Company, in Esperance, NY.

    It’s not clear by the song why it’s called “Rometheu,” but it is the word “Prometheus” without the first and last letter… Perhaps the song was inspired by Greek mythology?

    Rometheu starts out with a rock blues that’s very guitar and bass ostinato heavy. The beginning is not in standard 4/4 time, but rather it’s written with a 6/8 feel – where the first and fourth beat are emphasized in each measure. This helps give the track a flowing groove. At around 2:47, the mode shifts into a fast 4/4, really driving the piece forward.

    The lyrics are posted to accompany the track on Bandcamp, which is immensely helpful. The lines don’t seem to relate directly to one another in a story; the emphasis and poetry are behind each individual line. There are only vocals in the first quarter and very end of the song; it’s clear the music drives this track.

    The crazy guitar riffs and multi-instrument improvisation are awesome and the instruments sound flawless showcasing their melodic riffs.  There’s a point where there is a lack of a clear tonal center, and the band just creates a powerful wall of sound.  At around 6:07, a slower groove is established without saxophone at first to allow the audience to breathe after the more intense section.  It is here where the piano is high in the mix complementing the haunting guitar melodies. The experimentation with the guitar distortion, some organ sounds, and smooth saxophone is quite soothing and fun to listen to.

    The coolest part of this track is the juxtaposition between musical ideas/styles. It makes the piece dynamic and engaging throughout.  The slow section is immediately followed by a short, quicker ending featuring a quick line of lyrics. Rometheu is very impressive from a compositional standpoint as well as a musicianship standpoint.  It’s a track you can’t help but jam along to.

    Listen to it on bandcamp here.

  • Hearing Aide: Earphorik “The Boondock Sessions”

    earphorikalbumMidwestern quartet Earphorik delivers their sophomore album, The Boondock Sessions with a recognizable “live show” sound. Their signature smorgasbord of musical influences are brought to life throughout the one-take recording which was mixed and produced by none other than Jake Cinninger (Umphrey’s McGee) and Jim Leep at Boondock Studios.

    From the earliest notes of the album, “The Great Break” creates a slow build reminiscent of Pink Floyd’s “Speak to Me/Breathe” which greets the listener with intrigue and excitement for what’s to come. The opening track teeters on the edge of twelve minutes of genre explorations and highlights everything from funk to jam with a touch of ska. In the second track “Root One,” Austin Robinson (guitar/vocals) and Chris Treesh (guitar/vocals) sing the lyrics “Love it ’til you want it some more” and where the first ‘root’ song of the album ends another begins with “Root Too.” As the first instrumental track of the album, “Root Too” initially focuses on Nolan Opper (bass) and Ryan Moreno (drums) and their tag team bass-drum introduction. Earphorik fans new and old will dive right into this track as Jake Cinninger, normally melting faces with his stellar guitar magic, takes to the organ and adds that extra “umph” that the song needed.

    “Flush” clocks in as the longest song of the album and delivers a gritty, dark and raging jam that could lead to some serious head banging and onstage instrument dismantling during a live performance. Walls have oddly become an important topic for a certain politician party over the past several months, and “Over the Walls” reminds us that, “We just can’t seem to get this under control.” Cinninger reprises his role on keys for this track, making it one of the more sought after pieces on the album for a first time Earphorik listener. “Drift” which is heavily reggae influenced unexpectedly leads to “Kerputley,” which sounds like an entirely different genre, but spares no quality of talent.

    The instrumental conclusion to The Boondock Sessions, “Ashrob I” and “II” delivers the sonic exclamation point that many jam rock albums attempt to achieve. Each member of the band gets their time to shine during the closing tracks as they once again showcase their diversity and bring something to the table for everyone. This album is as eclectic as Forrest Gump’s work resume and similar to a box of chocolates, you never know what you’re gonna get.

    Key Tracks: The Great Break, Drift, Root Too

  • Hearing Aide: Pete Pidgeon and Arcoda ‘All the Little Things’

    Pete Pidgeon and Arcoda’s latest album All the Little Things, recorded at Applehead Studios in Woodstock, NY, is one of the most diverse albums to hit the record stores in some time. Covering styles ranging from ‘80s rock, to bluegrass, to jazz, to Broadway musical, to Bing Crosby/Frank Sinatra era music, listening to this album is a bit like listening to a playlist on shuffle. Able to switch effectively from its dreamy start with “I Stayed Home,” to the big band brass sounds on “Tonight I’ll Be Staying Here With You,” to the traditional folk style of “But It Don’t Worry Me,” the band showcases its brilliant versatility.

    Made up of a core group of extremely talented and hard-working Colorado-based musicians, including Pete Pidgeon himself on lead vocals and guitar, Glenn Patcha on a variety of keyboards and the accordion, Justin Guip on drums, Catherine Popper on upright and electric bass, these musicians are brilliant enough to have been able to attract and collaborate with some pretty impressive guests on their latest effort. In fact, on the album’s third track “Tonight I’ll Be Staying Here With You,” none other than Levon Helm is featured during one of his last studio performances! (You have to be darn good to be able to put that on your resumé!) On the tracks featuring guest musicians, the band really allowed the influences from their guests’ respective bands to come through, with “Tonight I’ll Be Staying With You” sounding particularly reminiscent of The Band, “The Ways We Change” featuring a more twangy sound most likely influenced by Chris Pandolfi of The Infamous Stringdusters, and the funkier style present on “The Wind and the Lover” in great part due to the help of Ryan Zoidis from Lettuce.

    Pete Pidgeon has an amazing vocal range, both in terms of notes he can hit and styles he covers. His voice sounds like a cross between Ryan Adams, Jackie Greene, and Toy Caldwell, lead singer of Marshall Tucker Band, if you can imagine that.  Joined by his bandmates’ singing on several of the tunes, as well as guest female vocalist Sarah Perrotta (who hails from right here in the Hudson Valley), the harmonies are uncomplicated yet gorgeous. Glenn Patcha deserves a round of applause for the incredible range of sounds and styles that come out of his keyboards, taking the listener on a musical journey effectively changing the mood from song to song during its constant changes of style, providing a solid foundation for the rest of the band to build upon. To top it all off, Pete Pidgeon and Arcoda were joined by the incredible brass sounds of The Two Dolla Crack Horns.

    On Pete Pidgeon and Arcoda’s latest album All the Little Things, no two songs sounded at all the same, yet they all seemed to fit together extremely well. It will appeal to people from across the musical spectrum, and give listeners the chance to effortlessly give other genres a chance. And you wouldn’t want to miss out on the opportunity to hear Levon Helm during one of his last studio performances now, would you?!

    Key Tracks: Tonight I’ll Be Staying Here With You, But It Don’t Worry Me, Wasted Child