Some new vinyl highlights for the week!

Hey y’all!  Every week new things arrive in carefully packed boxes.  I can hardly keep up on updating the blog about them.  So, I’ve decided to go the somewhat lazier route and post a few highlights.  These are the things that I, Molly, would take home today!  (Hmm, maybe I will do just that…)  I simply copied and pasted some descriptions I found online, but if they interest you please make a visit to Growler Records to listen for yourself!

Are You With The Band? – A Collection of Female Fronted Pop-Punk

Female-Fronted Pop-Punk Compilation ….. NOW ON VINYL!!

The impact of women such as Joan Jett, Debbie Harry, Donita Sparks, and Kathleen Hanna on modern music is undeniable and can be felt decades after they first broke onto the scene. The ability of these women to challenge societal norms and not only cross, but smash gender boundaries in music rewrote the rock ‘n roll history books, and have inspired generations of women to pick up a microphone or instrument and do what they love to do. So why, nearly thirty years later, are women still queried “Are you with the band?” Curated by Lauren Denitzio, former vocalist/guitarist of New Brunswick pop-punk band The Measure [sa], Paper + Plastick Records is proud to release the all female-fronted pop-punk compilation Are You With The Band? on October 4th. All proceeds from the sale of the compilation will be donated to Planned Parenthood.  And PP totally needs it right now!

A dozen of the seventeen tracks on Are You With The Band? are previously unreleased, and feature a diverse line up, from pop-punk (The Measure [sa], Slingshot Dakota, No More) to indie rock (P.S. Eliot, Noun) to straight up punk rock (Dead Dog, Shellshag). Though the bands may cross multiple genres, Denitzio surmises “We are women who play music, put out records, put on shows, make flyers and zines, create cover art, and support our scenes. We are far from alone anymore and this LP is meant to celebrate that.” praised the compilation, saying “It stands up as a great introduction to a ton of great female-fronted bands, and points out that there are a lot of very talented women in music that have nothing in common aside from their basic body parts.”

Thorr’s Hammer – Dommedagsnatt

Southern Lord proudly announces the reissue of the vinyl version of the only recordings by Thorr’s Hammer, Dommedagsnatt. This beautiful release was pressed on 180g clear vinyl and packaged in a heavy gatefold sleeve with metallic silver embossing and printed innersleeve.

Thorr’s Hammer was formed in Ballard, Washington by Greg Anderson and Stephen O’Malley during winter of 1994-1995. Soon after, Runhild Gammelsæter, then 17-year-old Norwegian exchange student, joined the band as vocalist/lyricist. The band reached its final form when Jamie Sykes and James Hale joined. The band was active only for six weeks during which it played two gigs and recorded a demo and an EP entitled Dommedagsnatt. The band disbanded after Runhild’s return to Oslo, Norway. It was not only the very first album released on Southern Lord it was the catalyst for the majority of the output from both Stephen O’Malley and Greg Anderson (sunn 0))), Teeth of Lions Rule the Divine, etc.).

Cave – Neverendless

Cave is a psychedelic drone band based in Chicago, Illinois consisting of keyboardist Rotten Milk, guitarist/organist Cooper Crain, bassist Dan Browning and drummer Rex McMurry.

Cave was formed in 2006 as an informal collaborative project by Columbia, Missouri friends Cooper Crain, Dan Browning, and Rex McMurry, with Chicago native Rotten Milk. At the time, Crain and McMurry were also members of the now-defunct Missouri band Warhammer 48K. When Warhammer disbanded in 2008 the four began seriously writing and recording music together. Milk, 49, got his name while Cave was playing a show in Chicago and he spilt milk on stage. Cave rocked the house for so long that by the time they went to clean the milk, it had already spoiled.

**This record is personally endorsed by Yellow Feather barista Neil!

Soviet Funk

During the 1960s and 1970s funk music spread throughout the planet. The funny thing is most Americans didn’t even realize this until the 90s or later. Over the past couple decades, slowly but surely more and more rare funk gems have been unearthed from all corners of globe; Africa, China, Latin America, and now Russia.

This collection of SOVIET FUNK was all recorded by Pavel Sysoyev in Abakan, the capital city of Khakassia between 1971 and 1976. Sysoyev was an employee of the USSR State Committee for Television and Radio Broadcast (state controlled media). He ran a recording studio intended to create content solely for the government media entity. However, Sysoyev frequently brought in his friends and ran late night recording sessions when no one else was around.

In spite of the loosened restrictions on art and music during the 70s, most Soviet citizens had very limited access to essential American funk records. Sysoyev acquired a small collection of U.S. R&B and Jazz albums in ‘68 from a friend, but that was about it for him and his friends. Yet somehow, this small group of classically trained musicians was able to forge a funky sound of their own. Rooted much deeper in the jazz quartet tradition than the R&B styling of James Brown and The Meters, they tapped into a way of playing jazz with a relentless groove that we endearingly refer to as funk.

Secret Stash Records was contacted by Sysoyev himself in mid 2009. In a matter of weeks a deal was reached granting the label rights to release these funky rarities. Hundreds of hours have been spent digging through stacks of dusty old master tapes to find the best of the best. Soviet Funk Vol I is just a small sampling of the vast catalog of recordings produced by Pavel Sysoyev and his friends, and is just a little glimpse of things to come (more volumes). Listen closely and from time to time you will find elements of Russian classical music in the precision execution of oddly metered unison parts, complex poly-rhythms, and the use of time signatures other than 4/4 (so commonly found in most American funk).

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Mid-Winter Punk Film Fest @ Growler Records and Yellow Feather

Mid-Winter Punk Film Fest

Growler Records & Yellow Feather Coffee (map)

Co-sponsored by Titwrench Fest.

Saturdays in February and March – 6:00 PM

Occurring Saturdays in February and March, starting at 6pm, various films about punk, both fictional and actual, will screen out of a projector mounted from the ceiling.

Yellow Feather will open at the beginning if you are wanting warm beverages to enjoy or perhaps a gluten-free-vegan pastry.  Growler will be providing popcorn and other snacks throughout the evening.

All films will be preceded by shorts. Punk shorts, like the kind with studs and patches and maybe a butt flap. Just kidding, I mean YouTube videos or something like that. Whatever is shown will definitely feature punks in studded vests, patches and butt-flaps. Radical!!!

SAT 2/4

“THE DAY THE COUNTRY DIED – A History of Anarcho Punk in the U.K. 1980-1984”

Documentary Feat. interviews/live footage of Crass, Conflict, U.K. Subs, Oi Polloi, Amebix and more! Dir. by Roy Wallace, 2007

SAT 2/11


NYC slice-of-life starring Jean-Micheal Basquiat, age 19 during the emergence of new wave music, new painting, hip hop and graffiti. Feat. Tuxedo Moon, DNA, The Plastics, Kid Creole and many more, Dir. Edo Bertoglio, 1981

SAT 2/18


Documentary on Florida doom metal masters

SAT 2/25

“AFROPUNK – The Movie”

Documentary exploring race identity in the punk scenes of the U.S. and beyond. Following four young punks who find themselves in conflicting situations, living the dual life of a person of color in a mostly white community. Feat. interviews and live footage of Bad Brains, Ten Grand and more, Dir. by James Spooner, 2003 (

SAT 3/3

“KILL ALL REDNECK PRICKS: A documentary about a band called KARP”

The story of three friends from Tumwater, Washington overcoming the odds through rock n’ roll music. Dir. by William Badgley, 2011 (

SAT 3/10


Narrative drama about a teen runaway searching for punk rock in N.Y. Dir. by Susan Seidelman, 1982

SAT 3/17


Documentary chronicling the past 30 years of female involvement in DIY punk (beyond Riot Grrl). Feat. interviews w/over 30 women from across the country, ages 17 to 40. Dir. by Amy Oden, 2010 (

SAT 3/24

No film! But there are some rad K records bands playing at Yellow Feather!

SAT 3/31


A guerilla film classic with music by Red Krayola, The Bloods, Ibis and more, taking place in a post-socialist revolution landscape, when the pendulum is swinging back to the right and the “Women’s Army” is left without a voice in the media and must rely on pirate radio and secret meetings to communicate and plot their next move. Dir. by Lizzie Borden, 1983

And here is a nice write-up done by The Westword.

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Consolation prize for those who missed the Erica Freas in-store!

Well, sorry if you missed it.  Things were thrown together quite last minute.  However, if you were there, you’ll agree that it was a great show.

Things kicked off with Jason Begin (of Christie Front Drive).  It felt a little like the old days of Double Entendre here in Denver.  The late 90’s shows where everyone was crowded in the back room watching punk but not dancing around, arms flailing.  No, back then we all stood around with our arms across our chests, swaying and nodding to the music and feeling like we could feel the same.  Everything was a bit more emotional back then.  Here’s a CFD video from back then to give you an idea (totally awesome VHS recording):

Then Rachael Pollard played.  Rachael has been playing around Denver for more than a decade.  In fact, the first time I saw her was at Double Entendre.  So, there ya go, Denver’s history alive and well!  Last Sunday all 35 people in the store became silent as soon as she began.  It’s as though, no matter how close you sit, or how intently you listen, it’s not close enough.  Anyways, this video from the 2008 Denver Post Underground Music Showcase gives you a near approximation of her ability to capitivate:

Erica Freas played, played, played some RVIVR covers and some originals.  What a treat!  She was much loved by the audience, who mouthed the words along with her and had their arms around each other as they sat crossed legged on the floor.  The room smelled like punk and cheap beer, and it felt like friendship and struggle came together for a moment.  Only Stevie Nicks herself could have this sort of power over me; and by the way Erica kind of sings like Stevie which is fucking cool.  Here are 2 videos from that night, 1 by me and 1 by someone else that was already uploaded on YouTube:

The night closed out with Derek Wegener from No High Fives to Bullshit playing a set.  He left right after the show to move to the northwest, so it was a goodbye set amongst friends.  A touching way to end the show.  Here’s a video of No High Fives, the sound quality is terrible, but definite punk points for playing a bookstore:

And that concludes my show review based entirely upon feelings and sensations.  I hope my sentimentality hit the spot and that you’ll come around for the next in-store show TBA.

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SOLO-SET-SHOW 1/8/12 @ Growler Records

This just in y’all:

Sunday, 6pm, Growler Records, 742 Santa Fe, Denver

An unplugged, all solo-set show featuring very talented individuals!

ERICA FREAS (of RVIVR, from Olympia, WA)


RACHAEL POLLARD (who’s been doing solo-sets since 1998! Denver, CO)



Seriously, the show starts at 6pm, don’t be square, don’t be late!

$5 for musicians.

$2 for cold cans of beer.

Enter through the back door because the cafe will be closed.


Have fun!  Come over!

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A few quick announcements:

Growler Records will be open Dec. 31st from noon to 3pm, then will be closed Jan. 1.  Take care of yourselves and be sure to stop by in 2012.

I have a great many ideas to execute in the new year.  That is, to execute them brutally off of my to-do list!  In January there will be a Cunt Coloring Contest, with the chance to win store credit!  And, in February a “Punk Winter Film Fest” will begin.  Detailed details will be posted here, so stay tuned!

Have a great New Years Eve, may you not have to begin 2012 with a hangover!

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The way LPs will be promoted in the future….

….will be through “unboxing videos.”  The band Yacht is promoting their new LP with a directional video on how to enjoy and unpack it.  Yes, it’s slightly that confusing.  They also make it genuinely exiting.  Forget that the demonstrator is in the woods, while watching them you feel genuinely excited about that moment when you take your new record home and listen to it for the first time.  Imagine yourself sitting on your bedroom floor, just like you’ve been doing since the first album you bought in high school, and as the album spins out lovely new sounds you thumb through the insert.  “Oh, that’s a great band photo, I love her boots!”  “The lyrics are so much better than their last album!”  “Why is there a picture of a cat on the cover?  Is that the band’s cat?  I wonder if they take the cat on tour?”

I think that YouTube advertisements advertising aspects of the product itself will become more and more common.  This video is not about the music, but about the LP, which brings to mind questions about what we are actually buying when we buy and LP (or double LP in this case).  We are buying a total experience.  I think fans of music and art have needs that the digital age will never satisfy – touching needs.  In which case, it probably doesn’t matter that you might be enjoying your record in the woods, where no electrical outlets are available.  And, that really is the future – a time when our record collections don’t mean anything except touching and looking because we have destroyed civilization altogether.  But, if I had to flee to the woods, I’d probably prioritize things like clothes……

Here is the summation of Yacht’s explanation as to why they’ve made an art piece out of their album, “In this age of undifferentiated digital ownership we take great pride in making products that are worth owning.”

Compare to this product experience:

And, if you actually want to know what Yacht sounds like, listen to a sample track here.

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Record review: Wolves in the Throne Room “Celestial Lineage”

I’m reposting a review of this record from my friend Sascha because it’s well-written, and complementary of an album I also like.  You should check their blog out after reading this review, and stream their weekly radio show outta Asheville: .

Signals Fill the Void Blog: Wolves in the Throne Room Review by Sascha Feral-Teeth

First off, let me reiterate. I have little technical knowledge of music, songwriting, song structure, or any of that. I hope to still write a review that does this record justice.

I’m not going to lie. I’m incredibly biased. I love this band. They are probably my favorite band playing music right now. I’ve loved every single one of their records. I won’t front, and claim to have been following their recording career from the beginning. I began listening to them with 2007’s Two Hunters. I’ve had a long and complicated relationship with metal. It was the first music that really appealed to me as a kid growing up in the 80’s. In the 90’s, when I got into punk it was the burnt out metal heads that were beating me up for being punk and queer. In punk, it was suddenly very uncool to like metal. I imagine a lot of folks older than me have similar experiences. But I digress, Wolves In the throne Room. Their music brings a sense of Eco-spirituality to black metal. I’m sure they aren’t the first band to do this. Romania’s Negura Bunget come immediately to mind, as does Portland, Oregon’s Agalloch Even bands from the original wave of Norwegian Black Metal held nature in a certain amount of awe. There are countless promo photos of Immortal thrashing away at their instruments in the snowy forests of Norway. One could write an entire other blog on the goofiness of Immortal alone, but we’ll save that for another time.

Another simple fact of the matter is, I don’t often see myself reflected in the music I listen to. I’m a pagan anarchist homo. I don’t want to listen to Burzum or Emperor. There is no place for people like me in the world that those folks inhabit. Quite literally, in fact with some of the members of Emperor. Again, I could go on and on about the shady right wing/racist/homophobic tendencies in black metal. I don’t want to talk about that here. I want to talk about what I like, which is this band, and this record.

The first track, Thuja Magus Imperium, starts off with previous collaborator Jessika Kinney’s clean vocals, and lyrical contributions, ambient keyboards, and sparse notes plucked on guitar, evoking a clean, grey, Northwestern dawn. The calm before the storm, if you will.

“Redness in the east beyond the mountain
The Wheel begins to turn anew
Turning ever towards the Sun
Garlands adorn a chariot, aflame
Blood runs from the flank of a wounded stag
Turning inwards, all beings bow low
Unconcealed she flies
Then hidden by snow
Eyes pale voice of night”

Around the two minute mark the song thunders into full gear, the opening riff perhaps setting the tone for the rest of the record. The song is pupunctuated by moody riffing, and Nathan Weaver’s desperate, rage filled, sorrowful vocals. Around the midpoint the song slows to an ambient break, with more keys, clean vocals, and chimes. It then kicks back in, but keeps the tempo slower for the remainder of the song.

“This bright thread so pure
Drawn through everything that is
Enslaved by ancient bonds
Beyond the mists and golden light
Beyond the darkness transcending time”

The second track Permanent Changes In Consciousness is to me, one of the stand out tracks of the record. It’s not metal in a traditional way at all. It starts out with melodic chanting (by Aaron Turner of Isis fame.), faint drumming, and sparse keys, and some other sound I can’t quite make out. It sounds sort of like a primitive axe gently grinding. The song fades out with a field recording of waves crashing, and seagulls calling, and blends seamlessly into the next track, Subterranean Initiation. This song is all killer, no filler. Fans of raw black metal, will not be disappointed, unless of course you are the type to prefer your records sound like they were recorded in a frozen Norwegian garbage can. If that’s the case, maybe this blog isn’t for you. This song simply soars to celestial heights (or dives to subterranean depths, if you will) the keyboards and guitar work blend seamlessly together setting an atmosphere of urgent dread, of trying desperately to reclaim spiritual light, in a culture that does it’s best to ceaselessly grind that spark out of you.

“A temple of wet earth
And rough stones erected in haste
Don this garment of wolf skin
Drink deep from the sacred mead
Bathe in this fire kindled with living wood
Torn from sacred trees”

The next track, Rainbow Illness, blends so seamlessly between the songs it is in between, and has such a strange name, I often forget about it. It’s short, and ambient, and has some of the reverb effect that is often present between songs at Wolves In The Throne Room’s live shows.

Next is Woodland Cathedral with more vocals and lyrics from Jessika Kinney. This song evokes wooded spiritual reclamation in all it’s glory, an earth based spirituality based procession, with sparse, droning guitars, chanting vocals, and chimes, all with the backdrop of majestic keyboards. This song was showcased on NPR a few weeks before the album was released and Drummer Aaron Weaver had this to say:

“It totally is a pagan hymn, in our eyes. We had the vision of a mass or a ceremony, but one that reflects our own personal experiences and dreams rather than something handed down from antiquity. And, of course, it is filtered through a black-metal sensibility. We always try to have a certain element of decay and melancholy, even in a song like this. But I think that ecstatic darkness is a part of a lot of ancient music — it’s not unique to metal.”

Next is Astral Blood, in my opinion one of the crowning moments of this record. All the moody riffing, desperation, and atmosphere come to a head right here. It’s as if this song is a massive prayer, an offering to the themes of destruction and creation that are so present in their music. This song evokes the utter destruction of the established order of things, and a rebirth of a more just, and primitive cosmos. Seriously, you owe it to yourself to listen to this song.

Closing the record is Prayer Of Transformation, the record’s dénouement. It begins with ambient noise, and droning guitar work, sparse drumming, and builds up to a crescendo of crashing riffs, seamless drum work, and keys. The last three minutes of the song are mostly ambient noise, fading guitar chords, and the last few lines of the lyrics. Aaron Weaver’s strained vocals sound even more haunting and desperate amongst this backdrop. This song, too is perfect, although not traditionally structured at all for a black metal song. It works though, it is a perfect closer to a wonderful record.

“Lay your corpse upon a nest of oak leaves
Wrapped in a star shroud repent your flesh
A shadow child dissolves

Meditate in a den of skins and straight poles
A sacred fire of madrone burns eternally
In a circle of turquoise and serpentine
Whisper the prayer of transformation

Engulfed by clouds of thujone
Emerge purified clad in a golden fleece
A vessel awaits built from owl feathers and moss”

If you made it this far, and are intrigued, both the 2 x LP and the CD are available at Growler Records (742 Santa Fe Drive, Denver).

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$1 off any record or book! Plus closures this week, including critical examination.

That is, if you pick up a copy of The Metropolitan, available everywhere on Auraria Campus.  There are coupons inside for both Yellow Feather and Growler Records.  It looks like this:

Clip it out!

I’ll be closed this week on Thursday, because I’m gonna have a good meal with my family.  Not because I believe in the pilgrims’ mythology, but because I love my family and I need a day off.  Likewise I’ll be closed on Friday in observation of Buy Nothing Day.  Again, I’d rather stay home and spend time with my loved ones eating some more food, than appeal to you as a consumer who might give me your money.  Instead I encourage you to spend this week as you best see fit and invite you to visit Growler Saturday or Sunday for good listening times and some conversation.

Here are a few suggestions for conversation topics:

A Wampanoag woman talks about what Thanksgiving means to her.

The Wampanoag were the people who first met the pilgrims.  Today there are very few of them because the pilgrims were only the first of the new arrivals from Europe that demanded the land and then resorted to cheating, stealing and murdering to get it.  Learn a lot more about this still surviving nation here.

And, if you want more reason to be disgusted with the corporate consumer machine, check out this very recent article about Target workers petitioning not to have to work on Thanksgiving.

Or remember the Wal-mart employee who was trampled to death on Black Friday by eager shoppers in 2008.

(I know it might seem strange to advertise a coupon for my retail outlet while asking you to critically examine buying anything at all.  Maybe the apparent contradiction, alone, will spark good conversation as I’m always willing to look at the intersections of participating in capitalism while hating it at the same time.)

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What’s new this week: part 1b – highlights

Heartbeat and a Guitar: Johnny Cash and the making of Bitter Tears covers the story of Mr. Cash making his album meant to further the voices of Native people in the US.  1964, and someone as famous as Johnny Cash could make the American Indian Movement known to a wider audience, and wider audiences were ready to hear it.

The title track is called “The Ballad of Ira Hayes”.  It tells the sad, sad story of Ira, who was from the Pima nation in Arizona.  He lived his life on the reservation and then joined the military during WWII.  He was sent to the Pacific arena and was immortalized in that photo of the dudes raising that flag.  You know the one.  Ira is the one who is furthest on the outside, both literally and figuratively.  After the war he returned to the reservation in Arizona and was arrested over 50 times for public intoxication.  He died under mysterious circumstances at the age of 33, officially of exposure to the elements and alcohol poisoning.  Fucking fuck, what this society does to Native people!  I’m no journalist, or sociologist, or even an essayist – I can’t write a good article about how a person of color is let down over and over again by systems of oppression, including the fucking military.  But, I do believe in the power of a song.  Here is Johnny Cash spreading the good word with a good melody:

And for some music candy, Youtube led me to this great rendition:

Which then let me to this.  Equally good rendition, though a wildly different interpretation:

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What’s new this week: part 1 – books, movies and slingshots!

A big order from AK Press has arrived! Do you know what this means? Primarily, it means that the 2012 Slingshot organizers are here. They come small or large, at $6 or $12 respectively.

Secondly, I have several punk documentaries for your viewing pleasure, oh and educational purposes. Could there be film screenings here in the future? I’ll provide the popcorn!

(Pictured here L to R:”The Day the Country Died: a history of anarcho punk 1980-84″, “Afro-punk”, “924 Gilman St: let’s talk about tact and timing”, “Train on the Brain”)

Lastly, and most obviously, I have lots of new books. Here is my hirsute friend Dustin helping me demonstrate the sheer joy that comes from picking up a brand new book:

In stock now:political!
The 500 Years of Resistance Comic Book by Gord Hill (There is no more accessible way to learn about the history of US’ indigenous nations! Read it yourself and then give it to friends!)
The Blast ed. Alexander Berkman (Complete collection of the incendiary San Fran bi-monthly anarchist newspaper from 1916-17 that gave voice to the worldwide anarchist movement.)
The World Has Changed: conversations with Alice Walker (A collection of interviews, etc. with the famous African-American author, elegantly hardbound and ready for your next cup of coffee.)
Introducing Capitalism: a graphic guide by Cryan, Shatil, Piero (Again, super accessible reading about an important topic. Don’t even think about occupying anything until you’re well-versed in how the 1% conduct themselves!)
A Brief History of Corporations: where did they come from? by Daniel Bennett (A pamphlet including a trenchant essay, sources cited and a comic!)

In stock now: DIY!
Winter Harvest Cookbook: how to select and prepare fresh seasonal produce all winter long by Lane Morgan

In stock now: punk music!
The Day the Country Died: a history of anarcho punk 1980-84 by Ian Glasper (A compendium/encyclopedia of early peace punk bands and their albums. So thorough he even bothers to mention Oi Polloi’s “Whale Song”)
We Owe You Nothing: Punk Planet the collected interviews expanded edition ed. Dan Sinker ( Remember the punk rag Punk Planet?  In this day of independent publishing they had an honorable run from ’94-’07.  Included in this tome are interviews with bands, artists, labels, activists and even your personal heroes – like, say, Ian MacKaye or Kathleen Hanna)
My First Time: a collection of first punk show stories ed. Chris Duncan (Who did Blake Schwarzenback of Jawbreaker see the first time?  I’m not telling.)
A Heartbeat and a Guitar: Johnny Cash and the making of Bitter Tears by Antonino D’Ambrosio (Chronicles the making of Cash’s little known folk protest album speaking out on behalf of Native people and the backlash he received from the mainstream music industry.  It will make you love this rebel even more.)

In stock now: en espanol!
Elvia Vive..La Lucha Continua: la historia de Elvia Alvarado por Medea Benjamin (Titulo original en ingles: Don’t Be Afraid Gringo.  Esta sobre la lucha de campesinos de Honduras.)
La Guerra de Guerrillas por Ernesto Che Guevara (El mauscrito estaba intentado ser una documentacion para la guerra de guerrillas.)

 Growler: it’s not just music.  On its best days, it’s building community.

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