Tag Archives: Rolling Stones

DownTown Blog – The DownTown Demos (AmeriKarma Demos & Final Versions)

The AmeriKarma album was released in 2023 and it became something bigger than I ever could have expected. It was a career-defining moment. My streaming numbers jumped 6-fold to over 3 million streams on Spotify! But the stage had been set a few years earlier. At that time the very idea of an AmeriKarma album was non-existent. How did it happen?

At the core of AmeriKarma are 4 songs: Live, Shadow Walk, Fly and When The Angels Sing. Back in 2013 I was working on a Sync Project for TV. I was up in New Hampshire in a private studio for 3 days and recorded 15 tracks. These were all instrumentals for about 2 minutes each. When I finished recording, I came home to listen to the results. There were a few tracks that I thought were very cool and decided to flesh them out a bit more, recording bass guitar and some extra guitars. I did this on my Tascam 8-Track Digital recorder, putting the studio mixes on Tks 1 & 2. This gave me 6 extra tracks to work with. Once I finished overdubbing the extra tracks, I mixed the 8 tracks down to 2-Tk stereo. The last song I recorded was Live and that was the only song not recorded in the studio. I did it all on the 8-Tk.

I found myself listening to these 4 tracks in particular. I could hear the potential of turning them into real songs with melodies and lyrics. I kept coming back to them off and on, trying out melodies and possible arrangements. I could make this a verse and this a chorus. But it wouldn’t be until 2018 that I finally started writing them as songs. I knew I needed to start thinking about a new album. It was already 2 years since my last one Rock’nRoll Romantic. With the competition in streaming, I was behind the eight ball. The days of putting out an album every 2 or 3 years were over. You might as well be starting from scratch every time.

I had this track called The Wish, sitting in the can since 2010. The track was done but I never finished the lyrics for it. So in January 2018 I decided I was finally going to finish it. Generally, what usually happens when I start being creative, ideas for other songs start coming in. While working on The Wish, I began to look at these other 4 tracks and finished 2 of them—Live and Shadow Walk. By October I had booked studio time at The Spa with Stevie DeAcutis. I cut 4 tracks in the 1st week of October and a couple of weeks later went for my annual physical. That did not go as well. My doctor said my blood count had dropped to 7! (This is time for a blood transfusion) He wanted me to come in for a bone marrow test…not fun!

On Halloween 2018 my doctor called to tell me the results of a bone marrow test. The diagnosis was MDS, short for Myelodysplastic Syndrome, a pre-condition of Leukemia. When I met with the Leukemia doctor, he said my body was making irregular cells called Blasts at 12%, which is considered high because at 20% it’s full-blown leukemia. He said I had 3 months to get it under control and then get a Stem Cell Transplant to cure the MDS. He said I was good candidate for a new Drug Trial he was heading up, if I was interested. Of course I’m interested! 3 months later my Blasts fell to 2% and I was ready for the transplant. It literally saved my life.

When I came home to recover, I went back to the music I had started working on before going into the hospital. I decided I wanted to add a 3^rd verse to Live. The strange thing about the song Live was that I thought I wrote the lyrics after my transplant. I had been in such a fog in the hospital that I forgot when I had written it. It wasn’t until I went into my workbook when I was finishing writing the lyrics to Shadow Walk that I saw the date for the lyrics of Live—January 2018! Talk about life imitating art!! They say that truth is stranger than fiction and here’s a case that bears that out. Somehow my subconscious was telling me I needed to have a positive frame of mind for something that was coming my way. I had written a song about wanting to live life to the fullest, 10 months before I was diagnosed with MDS!

It was only 6 months after my transplant that the world was hit with the Covid-19 pandemic. Now everyone would get to experience what I had just gone through—Isolation, Quarantine in their homes. It was crazy. It was also historic. Nothing would ever be the same as we knew it before. It was under these circumstances that AmeriKarma started to take shape. I went to work on my music. Fly came quickly. It was one of the last tracks I recorded in New Hampshire and something about the turn around chords reminded me of Peggy Sue by Buddy Holly, which is what I called it (Buddy Holly) before it became Fly.

After having written 2 intense kind of songs with Live and Shadow Walk, I looked at Fly as sort of “comic relief”. I kept singing “I just want to fly, I just want to fly’. Let me out of here, you know? It’s simple, why not go with it? So, I did. It came together easily enough. Now I had 3 songs finished. The 4^th track that was my favorite was called Acoustic Heart. I loved the vibe of the track and its simple acoustic lines. But for some reason I could not get a melody for it. I mean I worked on this song off and on for years! I decided that I would turn it into a rocker on piano. I even had a title—Birds of A Feather.

In 2021 we moved from our home of 43 years, 90 miles down the NJ Parkway to Ocean County to be closer to the ocean. When we finally moved into our new home I was unpacking my computer and started listening to my iTunes. Acoustic Heart came up. I hadn’t heard it in quite awhile and I was pleasantly surprised to be hearing it now. And then it happened…as I was listening I suddenly realized why I hadn’t been able to write a song from it. The simple acoustic guitar lines had been in the way all along. I also realized that if I sang those acoustic lines as the melody, I could write the song!

I quickly picked up my guitar and started to try it out. YES!!! It worked!!! This would become When The Angels Sing. If AmeriKarma was going to be about the pandemic, I needed a song about Death. Like many people who lost friends and family to Covid-19, Death was something that touched everyone. I lost my cousin and my engineer of 20 years within 24 hours of each other. No funerals, no paying final respects, NOTHING. I worked with Ben Elliott for 20 years at his Showplace Studios. In his last days, his partner was selling the studio from under him. I can’t imagine the stress it must have placed on him. Ben had recorded everything by DownTown Mystic. Where would I go to record?

Having made the move to Ocean County put me within 30 minutes of Shorefire Studios in W. Long Branch, NJ. I hadn’t worked there in 35 years, when Garry Tallent was a co-owner. Garry sold his share in the 90s. The new owner was a guy named Joe DeMaio, who bought the studio in the mid 90s. I called Joe and asked him if still had that old board, which was one reason I never went back. He said he sold it and replaced it with one of the last Helios boards ever made. This was the board used at Trident Studios in London where The Beatles, Stones and the cream of the English music scene record all those classic albums. I didn’t know it at the time but I had found my new home. 😊

I had been planning to record once the pandemic had passed. I sent the demos to drummer Steve Holley and bassist Paul Page and planned on a session for January 2022. One day Steve calls me and tells me how much he’s knocked out by the songs. This is Steve Holley! He said he was blown away by the demos. He can’t stop listening to them. Now I’m blown away! I’ve never had a conversation like this with the great Steve Holley. The man’s a legend. Something is happening. I feel like I’ve arrived! On January 15, 2022, a week before my birthday, the 1^st sessions for AmeriKarma take place at Shorefire Studios.

For most of 2022 I was in the studio overdubbing and mixing the album that would become AmeriKarma. Actually, the album had no name at this point. Every month I worked with Joe DeMaio, averaging 25-30 mixes on each song. By May I knew I had to release Fly as a single. I had not been that big a fan of the song, but Steve Holley said it was a great song. I had Steve come back to do harmonies and background vocals. He’s so talented. Probably the best all-around musician I’ve ever worked with. Once I put the 12-string Rickenbacker on the track and cut the lead vocal, I could hear that Fly was the lead track for the album. Things started to fall into place as if by magic.

Having had the incredible experience of having my life changed by the transplant to creating the album of my life fills me with gratitude. It’s so hard to put into words because the feeling and emotions go so deep. It is in this spirit that I decided to put out The DownTown Demos for the 2024 Holidays as a thank you to all who listened and streamed AmeriKarma, as a way of giving back to share my story. I’m so grateful to be alive and making the music that I want to make. I want to offer hope to those who might be facing hard times in their own lives. Stay in the moment and be positive. If I could do it, so can you. Peace. 😊

DownTown Blog – Creating A Classic Rock’n’Roll Sound

Leave a reply

Rock and Roll is what made America great. The music that was created in the USA back in the 1950s was the sound heard around the world. It inspired a generation of British teens who would bring it back to new heights in the 1960s and beyond, inspiring a new generation of American teens to rediscover their own roots. I was one of those American teens who heard that sound and never looked back. I started playing guitar and writing songs, while buying and listening to the greatest records ever made. It was a golden age for 20^th Century music, with Rock and Roll front and center.

In 1967 it started to be called “Rock” to give it a more serious image. Sgt Pepper’s Lonely Hearts Club Band transformed the world of popular music. This wasn’t I Want To Hold Your Hand anymore. FM Radio was giving Radio a facelift with hipper DJs and cooler sounds not heard on the AM side. New publications like Rolling Stone and Creem began to cover and give voice to the artists and take them seriously, no longer fodder for the Teen magazines. The term Rock and Roll became a cliché, used to describe the Oldies shows.

Like most things retro, Rock and Roll has found its way back into the lexicon. Thanks in part to Americana artists keeping the flame alive and those ageless wonders, The Rolling Stones, Rock and Roll is alive and kicking in the 21^st Century. The late great Tom Petty shared his thoughts on rock’n’roll in his Musicares Person of The Year speech in 2017. Tom said “I was collecting records—Rock and Roll records. Not rock; this was Rock and Roll. The roll designates a swing—there’s a swing in the roll.”

Yes, for those who are serious about their RnR, there’s a “feel” to playing it that differs from Rock. Some might call it a “backbeat” or a “groove” that is not found in modern rock. I’ve been at this for a while now and I’ve been recording and producing music to make my contribution to keeping the sound alive and hopefully, inspire a new generation to play Rock and Roll and make it their own. With that said, here are some tips:

TIP #1: THE PLAYERS

This is where it all starts. For me it’s about finding the right musicians who know how to play Rock and Roll. I’ve had the privilege to record and play with some great musicians like Garry Tallent and Max Weinberg from The E Street Band. (Hey I’m from Joisey!) I’ve done most of my studio work with the great rhythm section of drummer Steve Holley and bassist Paul Page. These guys know how to play RnR! I know that it’s not that simple and it took me years to get to this point. Like most, I started playing RnR by forming a band. I could probably write a book on this subject. Bands by nature are something special. There’s a certain camaraderie and excitement playing in a band. When it’s working it’s as good as it gets. When it’s not…needless to say, there are not too many RnR bands that make it to the “toppermost of the poppermost”. This doesn’t mean you can’t create classic RnR by yourself. Just check out Maybe I’m Amazed by Sir Paul.

TIP #2: KISS (not the band): Keep It Simple Stupid

Rock and Roll is a simple style of music. It’s best played with a band or group of musicians. Don’t overthink it. Let the rhythm be your guide. Try to keep it loose, allowing yourself to feel the beat with the other musicians. You’ll know it when you’re all in sync and when you are, the fun begins. When I’m tracking in the studio I try to keep the number of takes on a song to 3-4 takes at the most. You want it to sound fresh and not rehearsed to death.

TIP #3: RETRO IS WHERE IT’S AT

Rock and Roll is all about the electric guitar and it started in the 1950s when Leo Fender introduced the Telecaster and the Stratocaster, two of the most iconic guitars ever made. Add to that the Gibson Les Paul and ES-335T, along with the Gretsch Duo Jet and 6120 (I can’t forget Rickenbackers), and you have the beginning of the Golden Age of RnR guitars. A new Strat in 1956 cost $175. I have a 1964 Strat that I bought for $150 in 1972…ok, it’s probably worth around $10-20,000 today, but the sound is classic and that’s what you want to hear. I know the prices are crazy now, but you can still buy a good Tele or Strat at a decent price. Also, there are great new guitar makers and modern technology is always improving with plugins and effects pedals that can give you the sound of classic guitars and amps that can be very impressive sounding.

TIP #4: SuSuSTUDIO

Of course, recording on 2” analog tape on a Studer 24-track machine is a sure way to get a classic sound, but Pro Tools has pretty much made that extinct. Nevertheless, if you really want to create a classic Rock and Roll recording, then you owe it to yourself to record in a studio. I feel sorry for the younger generation of musicians today who will not have a chance at recording in the great studios that once dotted the RnR landscape. So many incredible and fabled recording studios have gone the way of the dodo, but there are still some around. Your best bet is to find a studio with a “Lifer” running it. These are the guys that will never quit and are always looking for vintage gear like an archeologist looking for that rarest of finds. They know how to get that classic sound. The early studios like Sun or Chess were primitive compared to what came later, but back in the day, they cut killer tracks. Today, vintage outboard gear like compressors and limiters are highly sought after, along with vintage mics. There’s your classic sound. They don’t make ‘em like that anymore! I’m very lucky to record at Shorefire Studios in Long Branch, NJ. It boasts the last Helios recording console ever made. This was the console used at Trident Studios in London, where all those classic records were made by The Stones, Led Zep and many others. Also, owner and engineer (“Lifer”) Joe DeMaio has all kinds of vintage amps, keyboards, and drums. It’s like working in a RnR museum! lol

TIP #5: EXPERIMENT

Some of the coolest sounds on classic records were created by experimenting. Sometimes trial and error are the way to go. The goal of any classic recording is to create a “Vibe”. That’s a certain feeling a track has that’s just undeniable and undefinable. I like trying to create magic in the studio whenever I can and sometimes that occurs by paying attention to the little things like mistakes I like to call “happy accidents”. You never know when it’s going to happen, but when it does, try to be alert and willing to go with it. Garry Tallent once told me a story that when recording with Bruce Springsteen “mistakes” would occur. Bruce would go home and listen to the recordings, and after much listening, Bruce would not hear the “mistakes” anymore. To him they were now part of the song, and Garry said, the band would have to learn the “mistakes”. 🙂

Rock and Roll has a rich tradition and I’m honored to be part of carrying it on. But this is also the 21^st Century with a new generation that can take all the new technology and information at their fingertips and create something that’s never been heard before. All it takes with Rock and Roll is a little inspiration.

DownTown Blog – 21st Century Rock’n Roll

Leave a reply

I decided to make a statement with the release of 21^st Century Rock’n Roll. I’m releasing it the day before my 70^th Birthday…so how’s that for a statement? Being an artist is not what it used to be, or is it? It’s not like it was in the 20^th Century, that’s for sure. More importantly, I wanted to make a statement with regards to the current state of Rock’n Roll.

Right now, as far as the venerable genre goes, the only thing I can see out there are The Rolling Stones, speaking of venerable. I look at this as a good thing because it helps me make a case for 21^st Century Rock’n Roll. The Stones are really the only band keeping RnR alive. Why 21^st Century Rock’n Roll? Well, despite being compared to classic rock artists like Tom Petty and sometimes being classified as classic rock (really?), I don’t think my music could exist at any other time than now. There might have been a few years in the early 80s for a few of the songs, but on the whole I don’t seem to fit in any other time than the 21^st Century.

The truth is I don’t really sound like anyone out there. My shorthand for my influences is Buffalo Springfield meets Rockpile. These are not 2 bands that sound like each other and were certainly not as big in their day, but both were highly influential. From the 60s, Buffalo Springfield spawned Stephen Stills and Neil Young and led to CSN/CSNY. Richie Furay and Jim Messina left to form Country Rock pioneers Poco. All of these artists and groups had a big influence on my playing and writing. In the 80s, Rockpile, formed by Dave Edmunds and Nick Lowe, were at the forefront of New Wave. It was at a Rockpile show in Asbury Park, NJ that inspired me to create DownTown Mystic, albeit years later.

To make my RnR statement on 21^st Century Rock’n Roll, I chose what I would consider to be my most rocking songs. These are not necessarily all my best songs but they are mainly my most rocking ones. Most are up-tempo. I like to think that I probably put out the most up-tempo tracks out there. Up-tempo tracks are generally considered harder to play and require a certain amount of skill from the musicians. Rockpile was an up-tempo kind of band, with great players, which is probably why I favor them. Of course, The Beatles were also a huge influence and I always looked forward to what new up-tempo songs they would record.

The other thing about this release is my chance to honor the late Ben Elliott, who was my engineer for 20 years. He sadly passed away in April 2020 as did his beloved Showplace Studios. Ben’s as much a part of 21^st Century Rock’n Roll because his sound is on display. Our goal was to make records and I know we succeeded with these tracks. Just ask anyone who has tried to write and record Rock’n Roll. It’s not as easy as it looks. It’s all about great sound and getting that sound. Ben was a master at it. It’s definitely the end of an era for me, which is probably the main reason for releasing 21^st Century Rock’n Roll.

To have these tracks that Ben engineered, at this point in time, is truly a blessing. It’s no surprise that Keith Richards name would also come up now. I mean, why wouldn’t Keith Richards name come up when you’re talking about Rock’n Roll? Keith Richards, the architect of The Rolling Stones brand of RnR and myself, have something in common. That something is actually someone, namely Ben Elliott. Keith met Ben at Showplace when Ben was working on Howling Wolf’s guitar man, Hubert Sumlin’s album About Them Shoes. It was sort of a tribute to the guitarist featuring Keith, Eric Clapton and Levon Helm among others.

Ben & Keith (photo courtesy Arnie Goodman Photography)

Ben must have hit it off with the Stone s legend because soon after, Keith hired Ben to be his personal engineer at his Stamford, CT home studio. Ben’s stories about working at Keith’s were hilarious as well as interesting. I think the other thing I have in common with Keith Richards is our love of all things GUITAR. My recordings are all about GUITARS as are Keith’s. The other thing is the SOUND. You can’t have one without the other when it comes to recording them. Keith knows something about sound, as well as guitars, and that’s why he had Ben as his engineer.

To me, Keith Richards is synonymous with RnR. If there was only one photo to have next to the definition of RnR, it would be of Keith’s face. Even before Chuck Berry and that’s saying something! Keith has doled out far more riffs than anybody I can think of that have any meaning. Yes, Chuck is the Father of RnR but it’s the Son who took it further. Keith took it to another level as an artist, particularly as a Recording Artist. That’s also something Ben Elliott gave me. I became a Recording Artist because of Ben and I will always be grateful to him for that.

DownTown Blog – Soul’d Out: Brian Jones

Leave a reply

In the last blog post I mentioned that the new Rock’n’Roll Romantic album would not be released this fall, as originally planned, but in 2016. This is basically due to the 4 going on 5 months that the DownTown Mystic on E Street EP has taken up. But that doesn’t mean that there won’t be another release before the end of the year. To help bridge the gap, Sha-La Music is releasing the Soul’d Out Single, which includes the legendary Brian Jones.

I’ve always been a Rock’n’Roll Romantic at heart. Love the sound of old recordings and the rhythm…it’s the rhythm of my life. There’s a certain sense of style and flair that goes with the music. When you come right down to it, it’s a love of all things HIP—music, clothes, sex, etc. It’s a certain frame of mind that helps to keep one young on the inside, if you follow. There’s a definite sense of “taste” associated with being a Rock’n’Roll Romantic.

Which brings me to “a man of wealth and taste”, the original Rock’n’Roll Romantic—Brian Jones, the man who formed The Rolling Stones. Brian was the trendsetter for Swinging London in the 1960s. It’s been said that Brian lived the life that Mick and Keith only wrote about. For me, it was Brian Jones who caught my attention when I first saw The Stones, just as it had been John Lennon who I immediately gravitated to when first seeing The Beatles. Now there are 2 Bad Boys to idolize! 🙂

There have been many books written about Brian’s short life and demise. The most recent is Paul Trynka’s excellent book, Brian Jones—The Making of The Rolling Stones. In the UK the book is called Sympathy for the Devil! One of the main points made in the book is that Brian was far more important in not only starting the band, but in the overall British Blues explosion that changed the UK music scene. I found it to be the best account of what it must have felt like being around The Stones in the early days. This was not a bunch of school chums getting together to form a band, but rather a group of individuals who could be very calculating with each other. For Brian, you get the feeling that none of them really had his back. But you also sense that Brian played a big part in setting that in motion.

It feels a bit odd talking about Brian and The Stones as being together because the band has been around for so long as the current entity that it’s hard to picture Brian in this band. When you looked at The Stones, Brian was the odd man out. He was his own brand for sure. Even with Mick Jagger out front singing and bopping around, it was Brian who would catch your eye…by simply standing there! Over the years there’s been a good deal of revisionism in The Stones camp as it pertains to the band’s history, with Brian’s role being minimized to that of a bit player. The truth is something that has gotten, shall we say, muddled.

The real story is an epic tragedy, almost Shakespearean in its unfolding. But as I write in my song Brian Jones, he did not understand his circumstances and certainly never took responsibility for his actions. He was a mojo man who fathered 6 kids with 6 different girls! He had an innate talent for playing musical instruments and he left a distinct imprint on the recordings that he played on. He gave The Stones sound an extra dimension that other bands didn’t have. But he also lived a decadent life, like nobody else around. They had to coin the term sex, drugs & rock’n’roll to describe his lifestyle!! 🙂

There are many who put Brian’s downfall on Mick and Keith. Did Mick and Keith, along with manager Andrew Loog Oldham, deliberately plot against Brian to take the band away from him? Maybe…probably…but the reality was that The Stones wanted to be in the same arena as The Beatles. That meant they needed to write their own songs and become more pop oriented. Oldham’s choice of putting Mick & Keith together as the main writing team has proven to be an inspired one. Given the personalities involved, Brian certainly saw the writing on the wall for himself.

My views of Brian are well chronicled so I don’t need to elaborate on them here. But part of the problem is that we always tend to see our idols or heroes in 2 dimensions. We see them live in concert or on TV, and we read what other people write about them. We don’t know them personally and what they’re really like, so we form our opinions based on assumptions based on a 2 dimensional portrait. There’s a whole school of “oh poor Brian” this and “oh poor Brian” that, but in the end we don’t really know him and what he brought on himself.

In his book, Paul Trynka writes that nobody saw much of Brian in the last year of his life. He went on drug binges for longer and longer stretches and was seen nodding out on quite a few occasions, even in the studio when he did show up. Just look at the changes in his physical appearance from 1965 to 1968. He goes from being the trendsetter for the hip and beautiful people of Swinging London to an overweight drugged out mess in just 3 years! Take a look at the photos on Between The Buttons, one of my fave Stones albums. Brian looks totally out of it and disconnected from the rest of the band.

I think the real reason they shelved the Rock’n’Roll Circus TV show in 1968 (Brian’s last public appearance with the band) was because of Brian’s physical condition. He was a train wreck! Mick, Keith and Brian had already been busted by the police for drugs. They were public enemies to the UK Establishment, so the last thing that was needed, was for any of them to show up on BBC TV (the only TV in the UK) looking completely stoned! If you’ve ever been in a band with one of the members always being fucked up, you’ll know what I’m talking about. They’re unreliable and bring everyone down. At any rate, whatever went down between them personally is their business.

I once spent an afternoon talking with David Dalton, a Stones biographer, about Brian. He said an interesting and somewhat telling thing—that Mick and Keith would get very uptight at the mention of Brian’s name. I’m sure, deep down, they harbor some guilt. As for all the conspiracies about murder in Brian’s death, I don’t think he was murdered. However, I do think he died of un-natural causes. Actually, I think 1 of 2 things occurred on the night he joined the 27 Club.

Before I continue, there’s 1 thing that can’t be emphasized enough—DRUGS. Since it was the 60s, there’s a kind of playing down of the amount of DRUGS that were being consumed back then. Like tee-hee (yes I used tee-hee), everybody was getting high back then…NO! The amount of drugs involved with this particular individual was almost inhuman. Brian took more and did more of everything in massive quantities. Eventually, this had a serious impact on him. So contrary to the lore about Brian being in shape and getting ready to form a super group with the likes of Hendrix, he had no interest or ability in forming another band.

Brian was done.

Scenario #1…Brian had abused his body to such extent that all he needed was to have a nightcap and then float in his pool, that was heated at 80-90 degrees, nod off and float away. It’s real easy to fall asleep in a pool like that totally straight. Brian may have shown a bit of wear on the outside, but his inside was worse. The autopsy revealed that his liver was shot and that he had the flabby heart of a 60 year old man despite being only 27. I’d say that qualifies as un-natural! This is something that most people seem to overlook, his actual physical condition. He took drugs by the handful and drank on top of it, and everyone thought he was immortal. He wasn’t. There’s a physical toll to be paid.

Scenario #2, which feels right to me, and again, the 3^rd dimension that most people don’t know…The Stones had been Brian’s band and he hung on as long as he could until they fired him. He was not going to quit and I think it really bothered him more than he might let on. He had to have known that they were going to play a free show in London’s Hyde Park in a couple of days to introduce his replacement—Mick Taylor. This had to have been eating at him. That event would make his firing official to the world. In his fragile frame of mind, I can see Brian thinking he could give Mick & Keith one final F U and steal their thunder by having his death in the headlines. He played his final card…or chord if you find it more poetic. 🙂

Nobody really knows what happened that fateful night, but murder seems unlikely. It’s somewhat ironic that the conspiracy theories have helped to keep Brian’s name alive and create a legend. One thing is known—in his short life, Brian burned bright and then burned out like a comet falling to earth in true Rock’n’Roll Romantic fashion. 🙂

Downtown Mystic

Vintage yet Modern

Tag Archives: Rolling Stones

DownTown Blog – The DownTown Demos (AmeriKarma Demos & Final Versions)

Like this:

DownTown Blog – Creating A Classic Rock’n’Roll Sound

Like this:

DownTown Blog – 21st Century Rock’n Roll

Like this:

DownTown Blog – Soul’d Out: Brian Jones

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this: