Andy Paley sessions

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Untitled
Andy Paley sessions.jpg
Cover artwork from an unofficial CD bootleg which pictures Paley (left) and Wilson (right)
Studio album (unreleased) by
Brian Wilson & Andy Paley with the Beach Boys
Recorded1992–97 (original sessions)
Studio
  • Your Place or Mine, Glendale, CA
  • Brian's home studio, Malibu, CA
  • Chomsky Ranch, Los Angeles, CA
  • Ocean Way Recording, Los Angeles, CA
Producer

The "Andy Paley sessions" is the unofficial name given to an unfinished recording project by American musicians Brian Wilson and Andy Paley. During the 1990s, the duo planned to record an album that would have comprised original material written and produced by themselves with participation from other members of the Beach Boys. It was the last time Brian worked with his bandmates before Carl Wilson's death in 1998.[1]

Wilson and Paley had previously collaborated on Wilson's solo albums Brian Wilson (1988) and Sweet Insanity (unreleased). In February 1992, California courts issued a restraining order on Wilson's former psychologist Eugene Landy. The next day, Wilson phoned Paley explaining that they were now free to produce whatever they wanted. Without an album or recording contract in mind, the two proceeded to write and record several dozen songs that reflected Wilson's artistic sensibilities more than any work since The Beach Boys Love You (1977). In the meantime, he completed two albums for 1995: I Just Wasn't Made for These Times with Don Was and Orange Crate Art with Van Dyke Parks.

Many personal and legal conflicts prevented the album from being completed. Contemporary reports stated that Wilson was influenced by his wife and advisors to abandon the Paley recordings in favor of more commercial adult contemporary projects with River North Records owner Joe Thomas. Few of the Paley sessions' recordings have seen official release since then, though many tracks circulate on bootlegs.

Background[]

Wilson in the studio, 1990

Andy Paley first met Brian Wilson and the Beach Boys in the late 1970s. His first major project with Wilson was the album Brian Wilson (1988), which Paley later called "a pretty good record ... [but] there were too many cooks and Brian wasn't really calling the shots."[2] Some songs from the album drew from close to 170 rough tape demos kept in briefcases next to Wilson's piano. Paley said: "There's great stuff, but there are also what I call 'hamburger songs'. A lot of those are real junk" (referring to songs Brian composed in exchange for hamburgers from his brother Dennis). After they worked on the material for several months, additional producers and songwriters were called in for Wilson.[3] The duo reteamed for the recording of Sweet Insanity, which Paley called "even less real Brian than the first one". It was left unreleased.[2]

I don't think that anyone really knows where I'm at now. It's funny. People look at me I think as somebody who used to write songs for the Beach Boys, and is sort of inactive

—Brian Wilson, January 1995[4]

In February 1992, on the day after California courts issued a restraining order on therapist Eugene Landy from contacting Wilson, Wilson phoned Paley to work on an assortment of recordings destined for a potential album which could have featured some involvement with the Beach Boys.[5] Paley remembered that Wilson would speak of each song's vocal arrangement in terms of which parts the Beach Boys would sing.[6] Wilson called it "some of the best material I've done in a real long time",[7] adding that he is "baffled" why Smile (whose recordings were still largely unreleased) continued to attract attention, saying: "Things are so different now. The new material just kicks the shit out of Smile."[8]

Sessions coincided with the recording of I Just Wasn't Made for These Times (1995) and the Brian Wilson–Van Dyke Parks collaboration Orange Crate Art (1995)[9] in addition to his brief writing collaboration with power pop band Jellyfish.[10] The band's co-founder Roger Joseph Manning, Jr. told Rocky Mountain News in 1993: "Brian's an amazing guy and still has a lot of musical ideas. Him being one of my musical heroes, it was amazing to sit in a room with him and at a piano and write for a few days. People ask me what he's like, and I've said he's like a really powerful computer with a really bad printer."[10]

After Beach Boy Mike Love successfully sued Wilson for songwriting credits – which resulted in Wilson losing $5 million – Wilson told MOJO in February 1995: "Mike and I are just cool. There's a lot of shit Andy and I got written for him. I just had to get through that goddamn trial!"[9] Two weeks after the trial, Love invited Wilson to his home in Lake Tahoe for a "serious" songwriting session, in which they wrote one song tentatively slated for the television show Baywatch Nights. Wilson said in March 1995: "I'm trying to get used to our new thing, and I think I will. It's so hard, you know. I feel like I'm on the spot, and I don't like that feeling."[11] Next month in April, it was unclear whether the project would turn into a Wilson solo album, a Beach Boys album, or a combination of the two.[12] Paley told Billboard: "We've got 30 things in various stages of development. Sometimes Brian says 'Yeah, let's put the Beach Boys' voices on this,' and other times he's not so into it, so I don't know how it's going to work out."[12]

On Wilson's birthday in June 1995, Paley brought Wilson to Ocean Way Recording to visit a Phil Spector session, another contemporary who was making a tentative comeback. Wilson was reportedly "overwhelmed".[13] In August 1995, Wilson announced he had "40 incredible songs" and "would be damned if we can only have 10 or 12 of them on one album".[8]

Style and content[]

Brian's new songs bore none of the stamps that had come to define latter-day Beach Boys songs – no references to beaches or surf, no self-conscious attempts to seem younger than the singers' actual years – they did reflect more of Brian's musical, emotional, and intellectual interests than any series of songs he'd recorded since The Beach Boys Love You.

—Peter Ames Carlin, 2006[6]

The material Wilson and Paley wrote ranged from full-blown rockers to delicate ballads.[6] Their writing process involved one or the other convening at each other's house to sketch ideas on a boombox and contribute musical or lyrical ideas until the song was ready to be recorded in a professional studio with session musicians paid for by Wilson.[2] Paley said: "We've just been doing what he [Brian] likes to do — the kind of records he's always liked; I don't try to change anything in any way — his vision of what he wants."[9] Wilson described Paley as a multi-instrumentalist with "a lot of talent for anything you can think of. ... He's the most frighteningly talented person that I've met, and the most serious about music."[14]

Some song titles were "Gettin' in Over My Head", "Slightly American Music", "I'm Broke", "Chain Reaction", "You're Still a Mystery", "It's Not Easy Being Me", "Marketplace", "Soul Searchin'", "Proud Mary", "Desert Drive", "Frankie Avalon", and "Dancin' the Night Away".[17] Musicologist Philip Lambert states: "The songs from this period, most of them still unreleased, follow trends begun a decade earlier, exploring different pop idioms and returning time and again to favorite compositional devices like the repeating stepwise melody (in 'Mary Anne,' reviving melodic archetypes from 'Heroes and Villains,' 'Sweet Mountain,' and ''), and the descending stepwise bass ('Some Sweet Day')."[18] Some songs originate before the 1990s, as evidenced by "Marketplace" and "It's Not Easy Being Me" being copyrighted in 1987.[19]

Elaborating on the origins of "Soul Searchin'", Paley said that he had the track finished before Wilson had heard it, but not its lyrics. "Brian came up with the first line (recites “I was a bum…”) and we worked on it from there. Brian contributed heavily with lyrics on that one. ... The original mix was really good; the way I wanted to sound in my head was like a Philly soul record. A lot of stuff was added to the Beach Boys track, things that I wasn’t nuts about — like acoustic guitars."[16] Solomon Burke later recorded a version for his album Don't Give Up on Me (2002).[16] "You're Still a Mystery", according to Paley, was "a 50/50 collaboration ... except for the bridge, which Brian wrote by himself."[16] "Gettin' In Over My Head" was written for the film Grace of My Heart (1995), a fictionalized account of the 1960s Brill Building era that included a character based on Wilson.[20]

Recording and conflicts[]

The Wilson–Paley recordings span 1987–2008,[21] though the main 1990s sessions commenced in spring 1992 and lasted until fall 1994 at Mark Linett's Your Place or Mine recording studio in Glendale, California.[22] Further recording was produced by Don Was in November 1995[15] and Wilson–Paley sometime in 1997[2] and 1999. Was expressed excitement after sifting through the pile of demo tapes Brian and Paley had provided.[23] By his account, the group "were a little cynical, but they didn't hesitate. ... Everybody got along and it was a lovely couple of days. There wasn't a tense moment and the results were pretty good."[24] Paley remembered: "We had meetings and everything was getting rolling. ... Everyone was so happy to be there ... First I thought: 'Wow, this could really happen.' And when Carl sang 'Soul Searchin',' it was like ... wow this really is going to happen!"[23]

Those guys [the Beach Boys] are assholes. ... I'll work on my own, solo, before I work with a bunch of guys that don’t give a shit about me.

—Brian Wilson, 1995[25]

In an August 1995 MOJO article, friction between Brian and the Beach Boys was reported, and Paley claimed that Love attempted to rewrite some of the material.[9] The magazine Request reported: "When he [Brian] played some of the new tracks for the Beach Boys ... the members were politely supportive, but ultimately declined his invitation."[2] Brian blamed Carl, saying that Carl disliked the song "Soul Searchin'", and didn't want it released. Brian's wife and soon-to-be manager Melinda Ledbetter also blamed Carl, saying that he did not believe the music was commercial enough.[23][nb 1]

During a background vocals session for "Dancin' the Night Away", Carl walked out, according to historian Andrew Doe.[26] Camera crews were present for the song's recording, which was intended to be used for Baywatch Nights. Some vocals for the song's bridge were recorded by Carl, but others including Brian failed to get Love to sing. Shortly after, Paley said that the album was unlikely to become a Beach Boys record: "Brian and I had a meeting with Mike Love and he listened to everything and Brian really stuck up for these songs and told him he didn’t want them changed in any way. I know he’s so anxious for this music to come out, and I know I am too."[25]

Stars and Stripes Vol. 1[]

Music businessman and former wrestler Joe Thomas was enlisted to co-produce the Beach Boys' album Stars and Stripes Vol. 1, an album composed of country music stars covering Beach Boys songs, for which Brian was a participant.[27] It was Thomas who suggested the idea of a country album,[28] and it was released on River North Records, the label he had been running.[29] After the album was recorded, the group discussed finishing Smile; Ledbetter was a strong proponent, but Carl rejected the idea, fearing that it would cause Brian another nervous breakdown.[28] Love said: "I have no idea why that [reunion album] didn't come together. I think everyone was willing to do it. I'm not sure how eager, but certainly willing."[23][nb 2] Don Was reflected that he felt responsible for "stopping the momentum" after suggesting that Brian's songs were not up to his standards: "He said, 'Yeah I agree with you.' And then Carl was sick and it just never happened."[31]

[Joe] wanted Brian to make a big Eighties ballad record, all cavernous snares. He kept referring to Brian's potential as an Adult Contemporary crossover artist. I said, "Don't you realize Brian Wilson is essentially a 20th-century avant-garde pop genius?" And he went, "Avant-garde? Not the Brian Wilson I know."

—Sean O'Hagan, 1998[32]

The High Llamas were brought to the Beach Boys' attention after Bruce Johnston heard their 1996 album Hawaii. Attempts to coordinate a collaboration between Brian and the High Llamas' Sean O'Hagan were unsuccessful.[32] According to biographer Peter Ames Carlin, it was Carl who proposed that Brian work with O'Hagan, but Brian showed little interest.[23] O'Hagan said that Thomas' involvement (specifically the "middle of the road" style he was influencing Wilson toward) was one reason why the High Llamas collaboration never happened.[33][nb 3] By 1997, Wilson and Paley were still recording, but unable to find a record contract.[2] "I don't blame anybody for having their doubts about Brian," said Paley, "Because you look at what's been out there and it doesn't tell you what he's capable of. The Beach Boys' country album? Come on."[2]

Many of the people advising Brian on his career decisions were persuading him to break into the adult contemporary and adult album alternative markets.[36] When Carlin asked Paley why Wilson didn't finish the songs on his own, given that there was so much excitement and enthusiasm over the project, Paley responded: "A lot of people didn't want it to happen. I can't really go into it."[23] Request wrote that Brian was being pressured by his "closest associates" to abandon his meticulously crafted arrangements with Paley and record an album more in the style of Kenny G.[2] Some sources attributed the project's demise specifically to Ledbetter's interference.[32][nb 4]

Imagination[]

Brian moved to St. Charles, Illinois, spurred by a new partnership and friendship with Thomas. Carlin writes that the motivation was largely so that Wilson could use Thomas' connections and "slick" production sound to break into the adult contemporary market.[27] For Wilson's forthcoming solo album, Thomas purposely took it upon himself to ensure that the new work would sound as close to adult contemporary radio as possible.[38] In June 1997, music writer Domenic Priore wrote that Sire Records expressed interest in funding the completion of the Paley tapes and putting it out on the label: "A second meeting with [Seymour] Stein took place where Joe Thomas was brought in, and Thomas offered to deliver newly recorded Brian Wilson tapes from his studio (this offer was thankfully rejected)."[36]

In June 1998, four months after the death of Carl Wilson, Brian released his fourth solo album, Imagination, containing only one song written with Paley: "Where Has Love Been?". The next month, Rolling Stone journalist Jason Fine reported Brian's upcoming work:

Melinda plans to release a live Wilson album and then return to St. Charles in the fall so Brian can record a second album with [Joe] Thomas. Though Wilson seems more eager to finish the material he's done with Andy Paley than to return to St. Charles, Melinda says he's obligated to do another record with Thomas. She calls the Paley–Wilson material "great therapy" but says his vocals are not up to par and believes the production isn't good enough to be released commercially. As is often the case with Brian's career, Brian doesn't seem to be the one calling the shots. "I'd like to stay here in L.A., but we built the studio, so I guess I have to go," he says simply.[7]

Wilson said that he "sort of flipped out" around this time.[39] On August 23, 1999, he filed a suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas.[40] Thomas reciprocated with his own suit, citing that Melinda Ledbetter "schemed against and manipulated" him and Wilson. The case was settled out of court.[41]

Availability and reception[]

The material from the sessions is widely bootlegged.[42] Some of the recordings circulate under the name Landylocked.[43] In 2017, Paley told Rolling Stone: "I believe that all the stuff he [Brian] and I wrote together will see the light of day. I know he loves it and I love it." The article mentioned that most of the recordings remain unreleased "due in part to the legal quagmire that resulted when Wilson extricated himself from his tyrannical therapist, Eugene Landy."[42]

In 1995, Vox's John Mulvey called it "quite simply the most consistent and inspiring music Brian has made for at least 25 years. For any elder statesman of rock, they would be shockingly good. For a man allegedly a gibbering wreck, they’re nothing short of revelatory."[25] Retrospectively, The Washington Post called the material "worthy of release".[44] Peter Ames Carlin wrote that the songs "set a new standard for Brian's solo work".[6] On July 16, 2015, Brian performed the unreleased "I'm Broke" live for the first time, with Seattle Music Insider describing it a "bluesy rarity".[45]

Officially released tracks[]

Song Year Appearance Orig. record. Note(s)
"Sweets for My Sweet" 1995 Till the Night Is Gone: A Tribute to Doc Pomus Yes
[46][47]
"This Could Be the Night" For the Love of Harry: Everybody Sings Nilsson Yes
[47]
"In My Moondreams" Pulp Surfin' Yes
[48][49]
"This Song Wants to Sleep with You Tonight" "Do It Again" B-side Yes
[50]
"Where Has Love Been?"
1998
 Imagination No
[50]
"Gettin' In over My Head" 2004 Gettin' In over My Head No
[51]
"Soul Searchin'" Partial
[18]
"Saturday Morning in the City" Partial
[51]
"Desert Drive" No
[51]
"Soul Searchin'" 2013 Made in California Yes
[16][52]
"You're Still a Mystery" Partial
[16][52]
"Some Sweet Day"
2017
 Playback: The Brian Wilson Anthology Yes
[53]
"Desert Drive" 2021 brianwilson.com Yes
[54]
"Gettin' In Over My Head" Yes
"I'm Broke" Yes
"Saturday Morning in the City" Yes
"You're Still a Mystery" Yes

Personnel[]

This is a partial list of musicians and production staff involved with the recordings.

  • Andy Paley – producer,[52] Steinway grand piano and 6-string bass on "You’re Still A Mystery",[16] backing vocals on "Some Sweet Day",[55] piano on "Some Sweet Day"[55]
  • Brian Wilson – producer,[52] vocal track producer,[15] piano on "Some Sweet Day"[55]
Guests and session musicians

See also[]

Notes[]

  1. ^ David Leaf was Brian's manager at this time.[25]
  2. ^ He wrote in his 2016 autobiography that Brian "entered a new phase" after marrying Ledbetter in 1995. She became Brian's conservator, and in November, her lawyer sent a letter to Love's with a list of financial demands to compensate for Love's recent litigation.[30]
  3. ^ In 2000, O'Hagan said about the subject: "I didn't go out of my way to meet Brian, and I wouldn't have wanted to. I'm happy enough to have been influenced by Brian Wilson and to still listen to and enjoy the music he made. Plus, Mike Love was pretty much an asshole to me."[34] He also stated: "The thing is, [Brian's] not really responsible for his day-to-day life, he's totally dependent on other people. He wouldn't be able to live life on his own. He's not mad, but he's got a kinda weird adult autism. I asked him what sort of record he wanted to make and told him he could have strings and brass, and I was witness to him running around his house shouting 'Too much!' and 'You're blowing my mind!' over and over. You try to tell him that he wrote the best records of all time, but his attention span goes and he's not aware of what he's done. He'll never make a good record again."[35]
  4. ^ Some "observers", according to the magazine Uncut, said that Ledbetter "coerced" Wilson toward Joe Thomas and away from Paley. O'Hagan intimated: "Melinda likes [Thomas], and [Brian's] dependent on Melinda. ... I don't think Brian really wanted to work with him — but he had no choice, he was being pulled in that direction. ... He just wants to feel safe and comfortable."[32] Asked why Wilson worked with Thomas and not Paley, an anonymous insider told journalist Paul Lester, "Melinda! Why? Because it [the Paley-Wilson stuff] didn't sound like Garth Brooks! Think about that for a second – she really doesn't get it. She wants it to sound like this schlocky piece of MOR shit."[37]

References[]

  1. ^ Himes, Geoffrey (October 1, 2004). "Brian Wilson Remembers How To Smile". Paste.
  2. ^ Jump up to: a b c d e f g h i j Crisafulli, Chuck (June 1997). "Why Can't Brian Wilson Get a Record Deal?" (PDF). Request. Archived from the original (PDF) on June 30, 1998.
  3. ^ Goldberg, Michael (August 11, 1988). "God Only Knows". Rolling Stone. Archived (PDF) from the original on June 30, 1998.
  4. ^ Hochman, Steve (January 17, 1995). "Brian Wilson: Out of His Room, Maybe for Good : A Documentary About the Beach Boys Founder Strives to Reacquaint Public". Los Angeles Times.
  5. ^ Carlin 2006, pp. 273, 281.
  6. ^ Jump up to: a b c d Carlin 2006, p. 281.
  7. ^ Jump up to: a b Fine, Jason (July 8, 1999). "Brian Wilson's Summer Plans". Rolling Stone.
  8. ^ Jump up to: a b Atwood, Brett (August 12, 1995). "Parks, Wilson's WB 'Crate' Completes a 30-Year Wait". Billboard. Nielsen Business Media, Inc. 107 (32): 88. ISSN 0006-2510.
  9. ^ Jump up to: a b c d Holdship, Bill (August 1995). "Lost in Music" (PDF). MOJO. Archived from the original (PDF) on June 30, 1998.
  10. ^ Jump up to: a b Mitchell, Justin (July 9, 1993). "Rocky Mountain News". Rocky Mountain News. Retrieved June 30, 2013.
  11. ^ EW Staff (March 31, 1995). "Back to the Beach". Entertainment Weekly.
  12. ^ Jump up to: a b Verna, Paul (April 22, 1995). "From Brian Wilson to Jerry Lee Lewis, Andy Paley's Career Defies Description". Billboard. Nielsen Business Media, Inc. 107 (16): 88–89. ISSN 0006-2510.
  13. ^ Brown 2008, p. 347.
  14. ^ Bonzai (1996). "Brian Wilson interview". The Mix. Mix Publications. 20 (20).
  15. ^ Jump up to: a b c d Doe, Andrew G. "Tours & Sessions - 1995". Bellagio 10452. Endless Summer Quarterly. Archived from the original on May 1, 2015. Retrieved August 6, 2015.
  16. ^ Jump up to: a b c d e f g h i j k l Sharp, Ken (September 4, 2013). "Q&As with Beach Boys Collaborators Stephen Kalinich & Andy Paley". . Archived from the original on July 22, 2015. Retrieved August 6, 2015.
  17. ^ Carlin 2006, pp. 282–283.
  18. ^ Jump up to: a b Lambert 2007, p. 324.
  19. ^ Carlin 2006, p. 328.
  20. ^ Wilson & Greenman 2016, p. 272.
  21. ^ Beard, David, ed. (2015). "BRIAN WILSON - THE ANDY PALEY sessions". . 4 (112).
  22. ^ Doe, Andrew G. "Tours & Sessions - 1992". Bellagio 10452. Endless Summer Quarterly. Retrieved August 6, 2015.
  23. ^ Jump up to: a b c d e f Carlin 2006, p. 284.
  24. ^ Dillon 2012, p. 273.
  25. ^ Jump up to: a b c d Mulvey, John (1995). ""The Beach Boys are trying to destroy me!"". Vox.
  26. ^ Doe, Andrew G. "Timeline - 1995". Bellagio 10452. Endless Summer Quarterly. Archived from the original on October 18, 2015. Retrieved August 6, 2015.
  27. ^ Jump up to: a b Carlin 2006, p. 291.
  28. ^ Jump up to: a b Love 2016, p. 384.
  29. ^ Giles, Jeff (August 15, 2013). "Mike Love Wasn't Happy With the Beach Boys Reunion".
  30. ^ Love 2016, p. 383.
  31. ^ Dillon 2012, p. 274.
  32. ^ Jump up to: a b c d Lester, Paul (June 1998). "The High Llamas: Hump Up the Volume". Uncut.
  33. ^ Dillon 2012, p. 106.
  34. ^ Stratton, Jeff (October 26, 2000). "Bandwidth". New Times Broward-Palm Beach.
  35. ^ "Arranging Strings". . September 17, 2001.
  36. ^ Jump up to: a b Priore, Domenic (1997). "The Brian Wilson Productions, Mid 90s Style". In Abbott, Kingsley (ed.). Back to the Beach: A Brian Wilson and the Beach Boys Reader (1st ed.). Helter Skelter. pp. 233–234. ISBN 978-1900924023.
  37. ^ Lester, Paul (June 1998). "Brain Wilson: Endless Bummer". Uncut.
  38. ^ Carlin 2006, p. 292.
  39. ^ Valania, Jonathon (August–September 1999). "Bittersweet Symphony". Magnet.
  40. ^ "Bad Vibrations: Brian Wilson Sues Collaborator". Rolling Stone. August 24, 1999.
  41. ^ "Brian Wilson Settles Suit With Former Partner". Rolling Stone. July 18, 2000.
  42. ^ Jump up to: a b Runtagh, Jordan (December 7, 2017). "Pop Virtuoso Andy Paley on His 'SpongeBob' Showstopper 'The Best Day Ever'". Rolling Stone.
  43. ^ Hooper, Mark (January 23, 2008). "Catch of the day: The Paley Brothers". The Guardian.
  44. ^ Edgers, Geoff (December 9, 2014). "The Bob Dylan masterpiece you don't need". The Washington Post.
  45. ^ Kaplan-Woolner, Isaac (July 16, 2015). "Legendary Pop Rock Icon Brian Wilson Closes US Tour with Rodriguez in Seattle". .
  46. ^ Erlewine, Stephen Thomas. "Till the Night is Gone: A Tribute to Doc Pomus". AllMusic.
  47. ^ Jump up to: a b Doe, Andrew G. "Timeline 1995". Bellagio 10452. Endless Summer Quarterly. Archived from the original on October 18, 2015. Retrieved August 9, 2015.
  48. ^ Unterberger, Richie. "Pulp Surfin'". AllMusic.
  49. ^ Greenwald, Matthew. "In My Moondreams". AllMusic.
  50. ^ Jump up to: a b Leaf, David (2000). Brian Wilson (Liner notes). Brian Wilson. Rhino/Atlantic.
  51. ^ Jump up to: a b c Lambert 2007, p. 327.
  52. ^ Jump up to: a b c d e Marchese, Joe (August 27, 2013). "Review: The Beach Boys, "Made in California"". .
  53. ^ Blistein, Jon (June 20, 2017). "Brian Wilson Plots Career-Spanning Solo Anthology 'Playback'". Rolling Stone.
  54. ^ "1990s". Brian Wilson. July 20, 2021.
  55. ^ Jump up to: a b c d e Leight, Elias (September 6, 2017). "Hear Brian Wilson's Retro Nineties Rarity 'Some Sweet Day'". Rolling Stone.

Bibliography[]

External links[]

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