Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
â Live Streamingâ Interactive Chatâ Private Showsâ HD Qualityâ Free Actions
Free to watch âą No registration required âą HD streaming
Voting with our ears: Dusted spends the rent on Bandcamp.comâs Voter Registration day
On September 25, Bandcamp.com held a fundraiser for the Voting Rights Project, seeking to raise both money and awareness around voter registration. For the day, all profits on everything you bought on Bandcamp.com went to this worthy cause. Dusted writers saw the opportunity to a) buy stuff and b) promote democracy and said, âHell yes, weâre in.â Participating writers included Ian Mathers (who is Canadian!!), Justin Cober-Lake, Jennifer Kelly, Bill Meyer, Isaac Olson (who definitely wins) and Ethan Covey. Check out what we bought and then, for the love of god, vote. Weâre depending on you.
Ian Mathers
IDLES
For various reasons I wasnât able to shop quite as avidly as I did last time we got together for one of these, but I managed to make one impulse purchase of a record I hadnât heard yet (but had transfixed me with its singles) and combine that with two long-awaited additions of old favorites to my Bandcamp collection (and my hard drive, after having lost track of the files in one move or another).Â
IDLES â Joy As an Act of ResistanceÂ
Joy as an Act of Resistance. by IDLES
As you might guess from the fact that it just came out at the end of this August, Bristolâs IDLES is the impulse buy of the three, one that so far has worked out just wonderfully. Having been recommended the mockingly anti-Brexit(/xenophobia) âGreatâ on YouTube and being drawn from the immediately bracing, invigorating likes of that to this albumâs more openhearted ode to the greatness of not hating people you donât already know, âDanny Nedelko,â and the more Protomartyr-ish opening track âColossusâ (the latter of which also probably has my favorite music video of 2018), I couldnât imagine any band capable of those three songs would somehow whiff the rest of a reasonably-lengthed LP, and the often political, always heartfelt Joy As an Act of Resistance. proved me right. There are certainly places where it gets darker (particularly âJune,â where singer Joe Talbot relates in heart-wrenching fashion his wife losing a child to a miscarriage), but the overall feel of the album can be summed up by Talbot barking repeatedly at the listener to âlove yourselfâ over a careening, punkish anthem. The album title isnât a piss take, which is a relief in itself. Â
 The Silent League â But You've Always Been the Caretaker...
But You've Always Been The Caretaker... by The Silent League
Back in 2004 I first heard of the Silent League, as I think most people did, because frontman Justin Russo had been in Mercury Rev (for 2001âs All Is Dream, the last Rev record I can say I fully loved), and their debut, The Orchestra, Sadly, Has Refused was interesting, lysergic chamber pop with some proggy and/or post-rock elements. I lost track of them for a bit after that album and was surprised that when I heard about them again it was because of an entirely different musician I was a fan of. Shannon Fields, then of Stars Like Fleas and since of Family Dynamics and Leverage Models (the last of which made my favorite record of 2013 and which is, incidentally, about to return), maker of a ton of records I both love and think have been overlooked, let me know that heâd also been a contributor to the Silent League for quite a while and that with their then-current album, 2010âs But Youâve Always Been the Caretaker⊠he thought theyâd made something that represented a bit of a leap forward for the band. Not only do I agree, but the Silent Leagueâs swan song (to date) now represents one of the most frustratingly overlooked records I know of, 15 sprawling songs in any number of registers, styles and tones tightly packed into less than 49 minutes that, fitting the circular and slightly foreboding title, packs a bunch of richly interwoven thematic and sonic depth into what feels like a whole universe of popular music. Thereâs proggy/ELO overture âWhen Stars Attack!!!,â the sound of a glam rock band practicing a particular soulful jam down the hall and four walls away on âSleeper,â at least one just perfect string-led âperfect popâ song in âResignation Studies,â and literally a dozen other things here. And yet But Youâve Always⊠never feels scattered or showoff-y. Itâs a whole world, dense and rich and worthy of being studied in detail for its brilliance. I was thrilled to see it on Bandcamp, not least because this is exactly the kind of record that could easily slip through the cracks.Â
 Tamas Wells â A Plea en Vendredi
(PB024) Tamas Wells: A Plea En Vendredi by Popboomerang
Itâs been over a decade, but when I was in university I am pretty sure I first heard Australian singer-songwriter Tamas Wells because I saw the song âIâm Sorry That the Kitchen Is on Fireâ somewhere and thought the title was hilarious. To my surprise the song itself was gorgeous, a gently folky little waltz with Wellsâ high, gentle voice, carefully picked acoustic guitar, a lightly hypnotic piano refrain, and sparing hand claps. I fell hard enough for it that even back when the internet wasnât at all what it is now I tracked down Wellsâ 2006 album A Plea en Vendredi and found a shimmering little suite of song, some as gnomic and vaguely unsettling in their implications as âIâm Sorry That the Kitchen is on Fireâ (like âValder Fields,â which is apparently a place where our narrator and others mysteriously regain consciousness, or whatever you can make of âLichen & Beesâ), some much more plainspoken (including the slight political bent running through âThe Opportunity Fair,â âThe Telemarketer Resignation,â and the gorgeous little instrumental âYes, Virginia, There Is a Ruling Classâ), all just as twee-ly beautiful and enrapturing as my initial exposure had been. At the time Wells was working in Burma on a community development project, and from what Iâve been able to find his moving around and focus on non-music work has occasionally kept his album on the back burner, although heâs found an audience at home and in Japan and China (and of course, sometimes as far as Canada where I ran into his work). Heâs kept releasing records since, most recently 2017âs The Plantation on a small Japanese label, but even if A Plea en Vendredi was all Iâd ever been able to find itâd still find a regular place in my rotation; even when things get a bit darker, on âValourâ and the closing âOpen the Blindsâ thereâs something so soothing about Wellsâ music and this particular set of gem-like miniatures has been a go-to album for me during difficult times ever since.
Justin Cober-LakeÂ
David Ramirez
Ashley Walters â Sweet Anxiety (Populist)
Ashley Walters // Sweet Anxiety by Ashley Walters
Iâd been wanting to hear this one for a while. I first noticed cellist Ashley Walters on Wadada Leo Smith's America's National Parks, a remarkable album that I spent considerable time with while writing a couple features on it and Smith (including interviewing Walters). I was even more impressed after understanding what went into the work and seeing that ensemble perform it live. Walters writes of this album, âI seek to challenge your perception of what the cello, a stereotypically gentle instrument, is capable of,â and it's fair to say she succeeds. It's a demanding listen, more aggressive than expected, but Walters and her composers blend technical challenges with theoretical ones. At times, Walters cuts loose, and at times she works with tonality, often using nonstandard tuning to odd effect. Smith composed one of the brightest numbers here, making a nice shift in sound without lowering the difficulty level. Luciano Berio's âSequenza XIVâ provides the most interesting piece, not only for the actual performance but for the reconstruction work on the score that Walters highlights in the liner notes. This one's well worth a focused listen, and I'll need to give it quite a few more to properly process it. Â
 The Beths â Warm Blood (Carpark)
Warm Blood by The Beths
In August, the Beths released one of my favorite albums of the year, Future Me Hates Me, a blast of pop-rock easily good enough to warrant going back, more or less, to the beginning, with 2016's Warm Blood EP. Both lyrically and musically, the group hasn't quite found its footing, but that says more about the focused energy of the full-length than it does about these five songs (including âWhatever,â which reappears on the album). The hooks are there now; the guitar on âIdea/Intentâ represents the band as well as anything. The vitriol of that track fits in less well with the attitude the band generally puts forward, one that's self-reflective and confident without claiming to know all the answers. Some of the joy of the music is in Elizabeth Stokes' searching, but that's turned around on a track like âRush Hour 3,â a comedic bit of come-on (and the rare track not written by Stokes). Warm Blood works as a nice look back at a band, but it's not just a history lesson â it's an enjoyable set that adds to the playlist of a group with only one album out.Â
 David Ramirez â The Rooster (Sweetworld)
The Rooster EP by David Ramirez
I've been working my way backwards with David Ramirez, too, starting with last year's We're Not Going Anywhere (which didn't adhere to his previous folk-ish sound but did make me wonder why I hadn't found my way to the songwriter earlier). After spending time with the fantastic Fables, there was the live show that utterly sold me on him, in part because he has a bigger voice than you might notice at first, even in his sparser productions. The Rooster EP, a fitting complement to that album, feels like an ascent. His vocals are assured, even as he searches for clarity, or at least anchor points amid turbulence. Tracks like âThe Bad Daysâ and âGloryâ offer unrequested hope, and âThe Forgivenâ provides a meditation on performance, art, and faith that's central to his work. The five cuts on this EP have the gravitas of something bigger and strengthen my sense that Ramirez should be a songwriter that everyone listens to.
 Grand Banks â Live 8-25-2018
Grand Banks live 8-25-2018 by Grand Banks
Any sort of bonus shopping day provides a good excuse to support local music. This time I went with the latest release (such as it is) from Grand Banks, their live recording from August 25. The duo don't shy away from volume, but their focus on minimalist ideas and sonic experimentation makes for unusual experiences. Over this single 30-minute track, the pair builds with patience, even when developing a haunted-house sort of melody on the keys. The second half of the piece increases the challenge, with guitarist Davis Salisbury pulling an odd series of sounds out of his instrument (for the curious, you can try it at home with an electric guitar, a tuning fork, and a fuzz pedal, and probably some sort of sonic laboratory). The effects build on Tyler Magill's creepy keyboard work â maybe this one's an unintended seasonal release. The study in space and harmonics gives way to a chirpy conversation and surprisingly (in this context) guitar-like guitar moment before placidly drifting away, an apt conclusion for the performance.
Jennifer Kelly
The ScientistsÂ
I bought five different records this time, mostly, but not all, falling somewhere in the punk/garage continuum. I liked them all in different ways, but the one that absolutely killed me wasâŠ
IDLESâJoy as an Act of Resistance (Partisan)
Joy as an Act of Resistance. by IDLES
This is Ianâs fault, really. He talked me into it. Plus, it turned up on the Bandcamp recommendation engine. Which, by the way, is just so much better than Amazonâs recommendation engine. (I see you like the Pixies. Wanna buy every Pixies album ever?) But turns out, theyâre both dead on. Idles is vitriolic and literate like the Sleaford Mods but backed by a ripped-to-the-teeth full band a la Protomartyr. Yes, two of my favorite current bands in one, plus a whole other thing of jagged, jitter-drunk percussion and wind tunnel howl. There is a song called âNever Fight a Man with a Perm.â So glad I got to hear this. Score one for voter registration.
 The SuevesâR.I.P. Clearance Event (Hozac)
R.I.P. Clearance Event by The Sueves
Butt-simple garage rock from Chicago, punctuated by weird little intervals of found sounds. Beautifully unhinged and uncomplicated, it reminds me the most of Demonâs Claw and after that maybe the Hunches and then the Monks. I bought it partly because I wanted to get those âwe have a new recordâ notices from Hozac, but they know what I like.
 The ScientistsâBlood Red River 1982-1984 (Numero)
Blood Red River 1982 - 1984 by Scientists
Guess who got to see the Scientists last week? They were awesome. They played âFrantic Romanticâ in the encore (which is not on this disc, by the way). I knew some of the early stuff from the Do the Pop compilation of Australian punk, but immersing myself in these clanking, droning, post-punk juggernauts was the best and most enjoyable concert prep ever. âSolid Gold Hellâ and âSwamplandâ were my two faves, and they played them both.
 Mike Pace and the Child ActorsâSmooth Sailing (Self Starter Foundation)
Smooth Sailing by Mike Pace and the Child Actors
This one, from the former Oxford Collapse frontman, was a little more Raspberry-ish power pop than I was expecting, but itâs growing on me. âEscape the Noizeâ is my go-to track, a lush jangle of melancholy, a tetchy bristle of palm-muting, then a sweeping swooning chorus. Itâs about leaving the music behind, which Pace clearly hasnât, and good thing. Â
OnotoâDead Ghost (Taiyo)
DEAD GHOST by ONOTO
Let me the first to admit that I havenât gotten to the bottom of this one, a swirling, enveloping miasma of guitar tone, wrapped around confoundingly weird vocal samples. âShake Well for the Eye,â is droned-out chaos that parts like fog for bits of mid-20th century menstrual advice (avoid vigorous exercise, horse-riding, skating, cold showers, hah!). Other cuts eschew narrative for slow moving landscapes of instrumental tone. The title track lets guitar notes hang for unmovable eons, with only sharp shards of harmonics to break up the endless vistas. As a straight through listen, the disc makes more sense as you go along, meaning, you have to adapt to its oddity and it changes you.
Bill Meyer
 Canary records
Kemany Minas and Garabet Merjanian â When I See You: From the November 1917 Recordings, NYC (Canary)Â
When I See You: From the November 1917 Recordings, NYC by Kemany Minas & Garabet Merjanian
Various Artists â And Two Partridges II: From the Earliest Turkish-, Arabic- Armenian-& Kurdish-Language Recordings in America, Feb-Aug, 1916 (Canary)
And Two Partridges II: From the Earliest Turkish-, Arabic- Armenian-& Kurdish-Language Recordings in America, Feb-Aug, 1916 by Canary Records
Various Artists â Oh My Soul: Armenian-American Independent Releases, vol. 1: ca. 1920-25 (Canary)Â Â
Oh My Soul: Armenian-American Independent Releases, vol. 1: ca. 1920-25 by Canary Records
Various Artists â Why I Came to America: More Folk Music of the Ottoman-American Diaspora, ca. 1917-47 (Canary)
Why I Came to America: More Folk Music of the Ottoman-American Diaspora, ca. 1917-47 by Canary Records
I buy stuff via Bandcamp fairly often, and my purchases are nearly always hard copies. Downloads may be convenient, but a record you canât hold in your hands seems to me to be one of those bad 21st century ideas like a Trump presidency or an unrepentant frat-creep on the supreme court. But when Bandcamp puts its income behind a cause, I relent, and when I do, I buy downloads from Canary Records. These albums are all compiled from recordings made by Anatolian exiles who fled genocide, war and poverty to take their chances in the USA. Many of these recordings predate the first blues records, and collectively they make a case that our notions of what constitutes American music are needlessly exclusive. After all, why should the music of people who came here from the Ottoman Empire be any less American than people who came here from the British Empire? Â
 Billy Gomberg â Live Sets 2016-18
live sets 2016-18 by Billy Gomberg
Well, there go the rules. This DL-only compilation of concert performances by one of my favorite ambient recording artists of recent years shows that the carefully wrought, ultra-deep atmosphere of his recent cassettes is no fluke.
 Various Artists â Two Niles To Sing A Melody: The Violins & Synths Of Sudan (Ostinato) Â
Two Niles to Sing a Melody: The Violins & Synths of Sudan by Various Artists
Back on solid ground at last! This hardcover book + 2 CDs (there are also vinyl and DL versions) shows how sounds blur from one culture to the next when people live along the same rivers and coasts. These recordings from the Sudan blend the nimble rhythms and ardent longing of Arabic pop with just a hint of the sinuous melodic quality of Ethiopian popular music.Â
 Tashi Wada with Yoshi Wada and Friends â FRKWYS Vol. 14âNue (RVNG)
FRKWYS Vol. 14 - Nue by Tashi Wada with Yoshi Wada and Friends
If youâve caught Tashi and Yoshi Wada in concert, you know that thereâs no louder or more mind-melting drone that a drone that incorporates multiple bagpipes and alarm bells. This record puts Wada fils in the composer / arrangerâs seat, and while it uses the same materials as those live performances, the music is much gentler. Sometimes you want to boil your blood, sometimes you just want to kick back and zone out. A portion of the proceeds from this record will go to the National Immigration Law Center.
I bought this collection of chopped and screwed  field recordings on the strength of Marc Medwinâs review and the fact that Erstwhile dedicated their profits for the day to the Voting Rights Project. Pieces like âPark cleaning / Crickets chirping,â âIn The Parkâ,  âFrom the rooftop, railway terminal stationâ are both ear-tickling and intellectually stimulating. The rest are more stimulating intellectually than auditorially.
 The Weather StationâS/T (Paradise of Bachelors)
The Weather Station by The Weather Station
I slept on The Weather Station in 2017 because the music didnât grab me enough I wasnât interested enough in the music to tune into the lyrics. Â Iâm not sure what compelled me to give it another try, but Iâm glad I did. Songwriter Tamara Lindeman has crafted a compelling take on early adulthood in an anxious age, one that, once I started paying attention, resonated with me in a highly personal manner I havenât felt or sought in years. The b-side is almost too subtle, but Lindeman is a sharp enough writer to bring it off.
 Red River DialectâBroken Stay Open Sky (Paradise of Bachelors) Â
Broken Stay Open Sky by Red River Dialect
This is another record where the words carry the music, which means, like The Weather Station, I initially passed it over only to connect with it in unexpectedly personal ways after honing in on the lyrics. While I loved the fiddling from the jump, it took time for the rest of Broken Stay Open Sky to grow on me, but grow it did. (Check out Eric McDowellâs review here).
 Ustad Abdul Karim KhanâUstad Abdul Karim Khan (Canary Records)
Ustad Abdul Karim Khan: 1934-1935 by Abdul Karim Khan
Classical Indian vocal music is a complex, highly systematized artform that I canât pretend to understand, so rather than take my recommendation that you should listen to these recordings, take LaMonte Youngâs: âWhen I first heard the recordings of Abdul Karim Khan I thought that perhaps it would be best if I gave up singing, got a cabin up in the mountains, stocked it with a record player and recordings of Abdul Karim Khan, and just listened for the rest of my lifeâ.
 VAâ100 Moons: Hindustani Vocal Art, 1930â-â55 (Canary Records)
100 Moons: Hindustani Vocal Art, 1930-55 by Canary Records
A traditional performance of a raga can last hours. A 78 can hold about three minutes of music.
As such, the performances on this collection lack the the breadth and depth of a traditional raga performance, but they more than make up for it in intensity.
 Ross Hammond and Jon Balfusâ Masonic Lawn (Self Released)
Masonic Lawn by Ross Hammond and Jon Bafus
Sacramento guitarist and improviser Ross Hammond (whose record with Hindustani vocalist Jay Nair  is also worth your time) teams up with percussionist Jon Balfus for a set of blues and folk inspired  improvisations that manage to feel spacious despite the dense polyrhythmic approach. Masonic Lawnâs improvisations are optimistic, wide-eyed meditations on Americana.
 Melvin WineâCold Frosty Morning (Roane Records)
Cold Frosty Morning by Melvin Wine
Old-time music, like most folk traditions that arose in relative isolation and pre-date the record industry, isnât particularly well suited for album-length listening. That said, if youâre in the mood for scratchy, crooked, dance and trance tunes, West Virginia fiddler Melvin Wine is a great introduction to the distinctly non-bluegrassy mysteries of this music. Â
Note: This recording features a minstrel tune titled âJump Jim Crowâ. Â How weâre to deal with this in the modern, right-wing nightmare age we inhabit is a complicated question, so if youâre digging this music but that title bothers you (and it should), check out these articles by Rhiannon Giddens and Michael Mechanic.Â
 V/AâUsiende Ukalale: Omutibo From Rural Kenya (Olvido Records)
Usiende Ukalale: Omutibo From Rural Kenya by Various Artists
Like the Melvin Wine recording above, Usiende Ukalale exhibits a local folk style that evolved in relative isolation and is, for the non-local and non-expert, enchanting in small doses and merely pleasant over the course of a full album.
 VAâIâm Not Here to Hunt Rabbits: Guitar and Folk Styles from Botswana (Piranha Records)Â
I'm Not Here To Hunt Rabbits by Various Artists
I reviewed this one back in May and Iâve listened to it so many times since that it was high time to buy it. Highest recommendation.
 Jess Sah Bi & Peter OneâOur Garden Needs Its Flowers (Awesome Tapes from Africa)
Our Garden Needs Its Flowers by Jess Sah Bi & Peter One
This unusual gem combines the loping rhythms, slide guitar and harmonica of American country music with traditional Ivory Coast village songs. Its breezy Bakersfield meets Yamoussoukro vibe belies its anti-apartheid lyrics. Mp3s of this one have been floating around the internet for a few years, so itâs great to see it get an official re-release.
 Ola Belle ReedâFRC 203 - Ola Belle Reed: Recordings from the collection of Ray Alden and the Brandywine Friends of Old Time Music
FRC 203 - Ola Belle Reed: Recordings from the collection of Ray Alden and the Brandywine Friends of Old Time Music by Ola Belle Reed
From the indispensable Field Recorders Collective, this release documents a 1973 performance by Ola Belle Reed. Reedâs music exists at the nexus of old-time, bluegrass, early country, and gospel, but it feels wrong to box in the wisdom, humor, and generosity of spirit that shines through this release with anachronistic genre tags. Best of all is the Reed original, âTear Down the Fencesâ: âThen we could tear down the fences that fence us all in/Fences created by such evil men/Oh we could tear down the fences that fence us all in /Then we could walk together again.â Amen.
 Raganaâ You Take NothingÂ
YOU TAKE NOTHING by RAGANA
I donât listen to as much metal as I used to, but while this fundraiser was happening, Brett Kavanaugh â case study in patriarchal resentment and mediocrity â got one step closer to a lifetime appointment on the Supreme Court. Raganaâs raw, sludgy, anarcha-feminist take on black metal really hit the spot that day.
Ethan Covey
Weak Signal
Omit â Enclosures 2011-2016 (Pica Disk/End of the Alphabet)
Enclosures 2011-2016 by Omit
Clinton Williams, the New Zealander known as Omit, has been quietly releasing nocturnal electronic compositions of uncompromising quality for the past couple of decades. Enclosures 2011-2016, released jointly by Lasse Marhaugâs Pica Disk and Noel Meekâs End of the Alphabet labels, provides an overview of five years of Williamsâ output in a 30-track, six-hour package, available digitally and as a limited 5-CD set. Omit has previously been anthologized on two compilations courtesy of the Helen Scarsdale label, Tracer and Interceptor. And past releases have popped up via Corpus Hermeticum and PseudoArcana, as well as â most prominently â Williamsâ own Deepskin Conceptual Mindmusic imprint. Great listening, all, if you can find âem. For those curious to dive in without too much digging, Enclosures is ideal. Much of Williamsâ genius lies in composing tracks that are edgy, yet beautiful, creepy and experimental, yet profoundly listenable. Itâs forward-thinking electronic composition that checks a lot of avant-garde boxes without feeling like a task. Thereâs a subtle, krautrock propulsion to the best tracks â the opening âTurner,â the âEcho Dotâ pieces â where the listener gets locked into the rhythm and time slows to an elegant crawl â like a soundtrack for night driving on an Autobahn upended.
 Weak Signal â LP1 (self-released)
LP1 by WEAK SIGNAL
Weak Signal are NYCâs Sasha Vine, Tran Huynh and Mike Bones. Bones has previously released a pair of strong albums of indie songwriting courtesy of The Social Registry. As a guitarist, heâs done time with Endless Boogie, Matt Sweeneyâs Soldiers of Fortune and Prison. This album was a tip from Danny Arakaki of Garcia Peoples, and itâs a swell one, 30-minutes of slack fuzz pop bashed out with energy and swagger. The majority of the tracks strut by on solid riffs, backed by boy/girl vox that slide into chant-along choruses. Like new wave bled dry, leaving a beautiful bummer. The eight-minute âMiami/Miami Part 2â stretches out into a haze of increasingly rapturous guitar soloing, string screeches and a spoken word coda. Lotta promise here, for sure. Hereâs hoping they stick around for an LP2.
 Raising Holy Sparks â Search For The Vanished Heaven (Eiderdown Records)
Search For The Vanished Heaven by Raising Holy Sparks
Seattleâs Eiderdown Records has been releasing some of the best contemporary psychedelia around, and the latest by Raising Holy Sparks is no exception. The project is the work of uber-prolific Irishman David Colohan, and is offered in double and triple cassette, as well as digital, versions. The âshortâ cut of the album is an hour and a half long, and the triple cassette and download versions stretch that to well over two hours. Per the credits, the album was recorded in somewhere around 40 different locations over four years. Colohan is credited with over 30 instruments and is joined by bakerâs dozen of likeminded collaborators. What they deliver is, like most of Colohanâs music, long, slow and often eerily beautiful. âI Am In The Mountains While You Are In My Dreamsâ passes in its 23-minutes through Popol Vuh-style ambience, spoken word incantations that sound like Coil if theyâd truly embraced the countryside and a whole lot of birdsong. Itâs a good overview of the general proceedings â accented occasionally by louder blasts of synths, random percussion that sounds like drum machine presets and banjo-plucking krautrock. On paper, that sounds like a head-scratching combo, but it works. One gets the impression Colohanâs dedication and attention to detail is such that the grab bag of sounds weaves together into a surprisingly fascinating whole. Listen with attention and youâll want to follow along as each stretch and segue unfolds. Oh, and as is typical with Eiderdown, bonus points for exceptional artwork, this time courtesy of Aubrey Nehring.
Thereâs one old man
Spends his life growing flowers
And caring for the bees
Power to the bees
Thereâs one old lady
Spent her days making wine
The wine tasted fine
Power to the vine
Power to the boys who played rock ânâ roll
And made my life so sweet
And to the girls I knew before
And those Iâve yet to meet
Power to all our friends
To the music that never ends
To the people we want to be
Baby, power to you and me
Thereâs one strong man
Ploughing in the valley
Heâs living off the land
Power to the land
Cliff Richards: Power to All Our Friends (Eurovision 1973)
I was going through my extensive Eurovision archive when I heard this beauty and immediately thought about Vergilius, then about the elegy boys, then about all of them loving-the-life-roman-style boys. And I was touched.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
â Live Streamingâ Interactive Chatâ Private Showsâ HD Qualityâ Free Actions
Free to watch âą No registration required âą HD streaming