The July 4th holiday 2025 marked the 30 year anniversary of the recording of the final Rhino Humpers album, which we posthumously released in a very limited run as Final Straw in the Fall of 1995. The writing and recording of the album was both challenging and liberating, beginning with a huge lineup change and a new found solidarity in the short-lived remaining power trio lineup.
Freed from any preconceived notions of what the band should be, we created something so eclectic and unique that our manager discouraged us from releasing the album.
Sadly, the album being shelved and other more personal circumstances directly lead to the end of the Rhino Humpers in September 1995. Read on to learn the story, at least how I remember it.
For full immersion, check out Final Straw while you read here:
Lollapabreakup
4/22/1995
LollaPLUza Festival @ Pacific Lutheran University
Tacoma, WA
“We’re the Rhino Humpers and this is our last show,” our frontman Vince Reyes said before we kicked into the last song of our set.
To say this was a shock to hear coming through my monitor would be a huge understatement. We’d been having issues as a band no doubt, to the point where we had stopped booking shows, with nothing on the books after LollaPLUza. The idea behind this was to write new material and hit the studio, not to break up the band.
Brian Coloff (guitar), Jeff Rouse (bass) and I exchanged a quick “what the…?” glance just before starting that last song and as soon as the set was done, Vince was gone, so we had no chance to confront him about his statement.
A few days later, after a terse phone call with Brian, Vince stopped by the Rhino house, grabbed his belongings, and left.
While this was a shocking onstage breakup announcement to everyone, it was not entirely out of the blue. Issues had been brewing in the band since before I’d joined a year earlier and there were contributing actions on both sides of the split.
Although there were many attempts during some tense band meetings over the past year, we had been unable to resolve these issues. And so instead, Vince was gone. The remaining three of us were not ready to quit.
Calling In Sick to a Montana Jam
What lead to the split? First off, I want to say that the purpose of these posts is never to air dirty laundry, especially of the 30 year-old variety. Can you imagine how THAT would smell?
I also need to say that I was still a kid and because of this, I was sheltered from much of the drama that occurred in those days. So with that in mind, here’s what happened from my perspective:
In the winter and spring of 1995, Brian, Jeff and I were on a roll, jamming every day and writing new material. We were recording every writing session and the results were awesome. I still have many of these jam tapes, each one hand labeled as “Adventures in Songwriting 1995,” and you can really hear a band that is on fire. Chemistry and creativity? We had it!
Vince was not participating in these writing sessions. I can’t say why, but what I can say is that we were giving him copies of the tapes for him to come up with lyrics and melodies.
In between writing sessions, we still had a very active calendar of live shows, averaging 7 to 8 gigs per month, which we were all on board for.
As the weeks passed and the lyrics and melodies weren’t coming in, Brian and Jeff decided to start writing their own. At first, they were to be placeholders, but eventually, they became the songs.
We were still operating under the assumption that Vince would be the one singing these songs live and in the studio, regardless of who wrote them.
If I had to guess what the final straw was (pun intended?), I would say it was the fact that we played a show without Vince the night before LollaPLUza.
Wait, what? Sounds like a not very cool move, but let me set the scene first:
4/21/1995 (the day before LollaPLUza)
Rhino Humpers House
Tacoma, WA
Brian, Jeff and I are jamming and writing in the basement. The phone rings, and it’s Vince, calling in sick to the day’s writing session. He assures us he will be at the show the next day, and so we continue jamming.
A couple hours later, the phone rings again. This time, it’s someone from The Central Tavern in Tacoma. The Sedated Souls were supposed to headline a reunion show that night, but had to cancel. They needed a last minute replacement, were we available?
The three of us discussed the possibility of trying out these new songs in front of an audience, and that was exciting! But we agreed we couldn’t be billed as the Rhino Humpers without Vince at the front. So we decided to bill ourselves as Montana Jam (it was an inside joke) and we made sure that they did not advertise that the Rhino Humpers were playing.
We spent the afternoon cooking up a setlist mixing in our new songs along with a few Rhino Humpers classics such as “Good” and “Superman.”
The show? Actually, the story of that show deserves its own post. Not just for how we played, but for the fact that it was my first exposure to the mighty Zeke, who drove all the way from San Francisco (they were on tour) to unleash havoc all over this show before we played. It was beautiful and terrifying all at once!
And let’s not forget, Donny from Zeke was not only a very intense guy, he was also the drummer on most of the Rhino Humpers recordings. Here I was at 17, having to play his drum parts in front of him!
Needless to say, word of this show likely made it to Vince that night or perhaps the next day before we got on stage for LollaPLUza, and I’m about 99% certain this was the straw that broke the Rhino’s back for him.
I understand why. I guess we really thought that by calling the band something else that night and since he’d called in sick, it wouldn’t be a big deal. But with relations already sour, I don’t think that mattered. All that really mattered was that it looked like a betrayal.
And so with Vince gone, we decided to continue with our power trio configuration. While working on our new material was exciting, there was more bad news on the horizon…
Instant Drop
As a direct result of Vince’s departure, the live album we were about to release was canceled.
A little background: On October 29, 1994 we had played the third of five shows in a row, and that particular night we were at the Central Tavern in Tacoma. Imij, one of the other bands on the bill, brought a 16 track portable studio to record their set and offered to also record us for very cheap.
We happened to play a killer show that night and the recording turned out great, so we negotiated a deal with Instant Records in early 1995 to release Live at the Central.
The album was mixed and mastered, the contract was ready to be signed, a layout was in the works, and Brian had the gold CD master ready to be handed over to Instant and sent out for duplication. The label had even cleared our cover of Duran Duran’s “Hungry Like the Wolf” that closed out the album.
But as soon as Vince was gone, there was an “Instant” loss of interest and the deal was pulled. Apart from a few cassette copies and a YouTube video, the album never came out.
Show Off
As mentioned before, after Vince’s departure, we didn’t have any shows on the books. Playing live was what we loved, so we eventually returned to booking shows, testing out our new songs live and avoiding the songs we were known for.
During this time, we played a last-minute show in drag at the Off Ramp in Seattle. The date was either May 16th or June 21, 1995 and we were asked to fill-in as headliners on a bill that was supposed to be all female groups.
In the interest of maintaining the evening’s theme, and perhaps also in the spirit of having a good laugh at our own expense, we headed out to a thrift store in search of fabulous feminine attire. I settled on a very tight blue minidress that had white stars all over it and paired it with a headband to keep my hair back. Fashionable and functional, right?
While playing in a minidress was rather…ahem…liberating, it’s not something I’ve ever done again! However, the singer for one of the other bands that night literally tried to take the skirt off my back, harassing me all night to trade for hers. The idea of wearing her performed in, sweaty dress wasn’t too appealing and I had no plans to ever wear one again, so I politely declined.
I’m willing to bet that if I dig deep enough through my old boxes, I probably still have that dress. For sentimental reasons, of course!
Blown Away
Apart from our adventure in drag, we were fine tuning our new songs and debating which ones would be best to take into the studio.
During this process, I wrote lyrics to two songs: “100” and “Breakdown.” For the latter, I even recorded a demo vocal track over the instrumental version using my Mom’s karaoke machine.
Yes, I actually typed that sentence.
The somewhat sophomoric screed was my attempt at a Henry Rollins impersonation, complete with lyrics about alienation and teenage mental anguish.
Wisely, I made sure I was not present when Brian and Jeff listened to the demo I handed them. I remember our manager, Pat Buck giving me a vague lecture the next day about inspiration versus impersonation, so he must have been present when the tape was played.
Seeing as how no mention of the song was ever made again, and we ceased practicing the instrumental version of it, I surmised that my song would not be the next break out single and did my best to forget about my little embarrassing endeavor.
Add it to the list of “lost songs,” because even if I found the demo, which I probably still have in a shoe box somewhere, I think it’s best if no one else ever has to hear it again.
Forever.
The other song, “100,” did actually make the cut for our recording session, although it did not make the track list for Final Straw. The lyrics to that one, as well as many of Brian and Jeff’s lyrics at the time, reflect the tension and turmoil the band were experiencing both internally and externally, while mine were sprinkled with a dramatic dusting of teen angst on top.
Click the arrow below to read the lyrics to “100.”
“100”
“I could think of a hundred things to say
But I feel so empty at the end of the day
It’s like being alive to hear you say
It’s like being alive but it’s done your way
Feel me, see me
A hundred lives I’m living
A hundred things I’m giving
A hundred ways you’re winning
A hundred times I’m living
I could think of a hundred things to say
But just where would that get me anyway
It’s another game that I won’t play
It’s another game but it’s played your way
Feel me, see me
A hundred lives I’m living
A hundred things I’m giving
A hundred ways you’re winning
A hundred times I’m living”
Bob Dylan I am not, but the point I was making came across for me at least.
As we continued to write, something that became very clear was that we had a number of diverse influences happening. There were blast beats, pop punk, Sonic Youth noise, a down tuned grungy dirge, industrial metal, funky bass lines, dreamy Jane’s Addiction-esque guitar solos, extended jams, some Cure worship, and post punk noise rock.
In short, it was a pretty good mix of all the things the three of us were listening to at the time and it all sounded very exciting.
Take a Ride
When we decided to book studio time, a unique and expedient opportunity arose: Room One, the Tacoma studio owned and operated by a couple members of Running With Scissors, had a 2 day opening available on July 3rd and 5th. This was very soon, giving us only a week or so to wrap up our songwriting. But in case it hasn’t come across yet, we were the kind of band that excelled in last minute situations, so we booked the time.
During final rehearsals, we made two bold group decisions:
- We would record all the instruments live in the studio at the same time, no punches or overdubs.
- We would just have them roll tape while we played the songs as if it were a show, doing only one take of each song before immediately moving on to the next one.
We picked 12 songs, wrote a set list, and rehearsed it for the next week or so before entering the studio on July 3, 1995.
We’d recorded the “Never Seen It All” single and video at Room One the year before, so I had some comfort with the studio, but due to my inexperience, it wasn’t much.
While the studio can sometimes seem very much like a sterile environment where one imagines lab coats and perfection are requirements, the fact that we were basically just playing a very well-rehearsed live set made it feel more comfortable and organic.
And so the engineer rolled tape, we started our set, and played all 12 songs just like a show, without vocals, in one take.
Listening back, the mistakes and the imperfections are there, but it’s a real, live performance of a band and honestly, it’s one of the recordings I’m most proud of in my entire musical career. We sounded tight, mature, eclectic and dynamic and we kicked a lot of ass.
They started recording vocals immediately after we finished recording the music on July 3rd. Then we took the 4th of July off and on July 5th, Brian and Jeff went in and finished the lead and backing vocals and they mixed the whole thing. We recorded and mixed an entire 12 track album in two days, which is a feat for any band.
Move Over
So let’s talk about the songs. I’m going to talk about all 12 songs we recorded, including the 3 that didn’t make it onto Final Straw, and I’m going in the order of the set we played during the recording session.
“1234”
At this time, Green Day and the Offspring were huge and everyone seemed to be jumping on the pop punk bandwagon. This song, both musically and lyrically, was our take on all that. I just want to say, that NONE of the blast beats on this record were my idea. I know that’s hard to believe from the metal guy, but it’s true!
“Move Over”
Another pop punk ditty, this one starting with 18 seconds of drums. This was a fun song live because I would drag out the intro before I kick in with the punk beat and it always got the crowd moving.
“Truffle”
This catchy grungy/punky mix up of a song takes its name from a popular (at the Rhino house anyway) little gas station goody named the Turbo Truffle that could really keep you going during those all day writing sessions.
Caffeine and chocolate mixed, they were a great pick me up if you had one, but would quickly become a “please make it stop and put me back down right now before I FREAK THE FUCK OUT!!” if you had three or four. Ask me how I know!
The main riff to “Truffle” is very close to the Ramones song “I Believe in Miracles,” but I did my best Dave Grohl caveman drums impersonation on the chorus parts to make it sound more grungy than Ramones-y.
For the verses, we brought the dynamics way down and I can definitely hear a few jazzy tricks learned from Bernard Purdie’s drumming when we covered Gil Scott-Heron’s “Lady Day and John Coltrane.”
As for the lyrics, I may or may not know exactly what they’re about…but remember what I said about stinky 30 year-old laundry? Yeah, OK. Moving on…
“Blown Away”
This was “the hit.” As soon as we worked this one out musically, I knew it was special. But when Brian brought in the lyrics and the melody, I knew it was “the hit.”
Angsty and moody, but up tempo. Honestly, it sounded like it could have been on the first Foo Fighters album…which we hadn’t heard yet because it literally came out the day after we recorded this song.
I loved the verses, where I would turn the beat around with the snare on 1 and 3 for part of it. It made the song more rhythmically interesting and provided a hook.
I was also unknowingly channeling Bill Stevenson’s Descendents drumming on the choruses. I didn’t get my first Descendents album until Christmas of 1995, so I thought I was just copying Dave Grohl’s double backbeat snare hits at the time. Potato, potahto.
“100”
The working title for this song was “Suicidal Tendencies” because it sounded like something they would do. Listening to it now, it maybe sounds like ST mixed with some Rage Against the Machine. Cool riff, some up tempo funky drumming, and an off-time hook in the chorus that was super fun to play.
Yes, the lyrics are perhaps a bit “cringe”…and that may be a factor in why it didn’t make the Final Straw cut.
“Win/Loss”
This one started out like a funky, chill Beastie Boys jam. We knew Brian’s guitar cue for when the song would actually start, but up until then, the intro part of the song was always a jam, improvised and different every time we played it. On this recording, that was about 3 minutes and 20 seconds of jamming.
One of the few good things I remember our manager saying about this record was right after the part where Brian sings:
“I used to play kick the can at night, for fun
Now I pack a 12 gauge shotgun, hit you on the run.”
I follow that line with a very loud “kick-kick-snare/china” accent to mimic a shotgun blast before going back to the quiet, funky beat.
Pat commented how cool it was that my accent punctuated the lyrics and that it was something few bands did anymore.
My favorite part of the song is when the whole band suddenly goes full blast volume for the last 20 seconds. Since most of the song is quiet, it’s a jarring transition. I play a big funky beat that gets busier and funkier each time Brian and Jeff shout about how they’ve got to “get it right today.” It may throw the listener off a bit, but it sounds killer.
Listening to it now, this song really should have been on Final Straw. Perhaps a release of the full recording session is in order?
“Cheap Beer”
The verse was definitely inspired by Sonic Youth’s “Dirty Boots,” while the chorus has a blast beat under guitars that could be either Sonic Youth or the Cure. Maybe both? Kind of an odd mix, but again, we were listening to a lot of different stuff at this time. Another great song to play live and I loved adding different accents to the verse beat, building it up each time before the transition to the blast beat chorus.
The lyrics are about a night at the bar, drinking cheap beer. This was funny to me because nobody in the Rhino Humpers were big drinkers to my knowledge. (Cue “Killer Pipe” right here.)
The version of “Cheap Beer” on Final Straw is very brief, only about 2 and a half minutes before fading out. The full recorded version is closer to 6 minutes, ending with a killer jam that built in intensity and even included a slinky harmonica part from Jeff (the only instrument we overdubbed on the whole record). This is another one that makes me want to see a release of the full sessions happen.
“Take Me Far”
Also a contender to be “the hit,” this was a funky, grungy power ballad sung by Jeff.
Brian’s playing on the solo and during the ending is fucking transcendent! The man is a master of the dreamy, tripped out, wah-wah heavy and beautifully melodic solos and this is one of his best.
Going into the final bridge with Jeff singing “And I don’t know,” brings the song to a huge and powerful close. Again, why is this not on Final Straw? A beautiful track.
“Show Off”
OK, here’s where we got experimental. Our attempt at an industrial metal song, but done with instruments instead of samples and machines. Playing the bells on the cymbals for the intro was always a challenge and I usually missed one or two hits. But that fits in with the whole man versus machine industrial thing, right?
After that intro, the song becomes more of just a straight ahead groovy metal tune. Maybe some Helmet or Fugazi influences going on here? I loved playing crazier and crazier drum parts at the end. I wanted it to feel more and more out of control as it went.
With the time pushing and Brian and Jeff adding slides and bends, I think we really achieved that out of control feel. Like Helmet or Pantera in a broken cassette deck, hellbent on speeding up and slowing down over and over until spitting spools back out at you in a mess of ravaged raven ribbons.
“Grog”
More industrial metal experimentation. This one really reminded me of Beg to Differ era Prong. We ultimately decided to make the song an instrumental and Brian put together a crazy collage of messages recorded from the legendary Rhino Humpers voice mail. It includes performances from many of our biggest and most interesting fans and friends, including the “In The Butt Girl” (not her given name), members of the Velocity Dogs, and many more.
For the record, a couple times it may sound like there’s some double bass happening on this album, but everything you’re hearing is either a single kick (I was getting pretty fast with doubles and triples) or me mimicking double bass on the toms.
“Come On”
Another one of my absolute favorites from this session. This down tuned grungy and moody dirge starts out soft as a whisper before the pre chorus nudges the volume up bit by bit until the chorus explodes with angsty ferocity and Brian urging the listener to “bring it on.” Intense!
I remember the drum fill from the second pre chorus into the chorus was something I obsessed over for days, imaging different combinations in my head for that transition that would be dynamically explosive and also take a little trip down the toms, but without sounding too crazy. What ultimately did it was thinking to myself, “What would Sean Kinney do here?” And there it was.
“Take a Ride”
The last song we recorded and also a favorite. This was another down tuned ditty. After a couple funky, gloomy verses, (with somewhat happy lyrics, go figure) it hits a nasty groove bridge section and seemingly ends. Then Brian says, “One more time!” and we take off on a crazy jam ride of our own.
Again, the jam part was totally improvised in the studio, with only a couple of agreed upon cues so we’d know when the song would end. About the first minute or so of this jam is on Final Straw before fading out, while the remaining 5 minutes wound up on the proverbial cutting room floor. Again, I’m bummed that the jam is not out there as we sounded friggin’ magical navigating dynamic ups and downs and funky turns and twists, as we bounced riffs and ruffs off each other in real time. It would have been the perfect way to close out the album.
Come On
Walking out of the studio with the mixed finished product, we thought we were the greatest band on the planet. We had recorded a tight, vibrant and eclectic album that sounded as alive as it felt to us when we played it. We had poured our entire hearts into this thing and were absolutely in love with it.
For me personally, it was the first full length studio album I had recorded. And I’d been there from the inception of each song to the finished product, contributing arrangement ideas, lyrics and of course my own painstakingly crafted drum parts. I was so proud of what we’d done and I still am to this day.
When we returned to the Rhino house, triumphant and stoked with our new album in hand, we confidently slapped it into the tape deck for our manager to listen…and his face immediately said he was not digging it nearly as much as we were.
Now, he did have some nice things to say about certain parts as I mentioned before…but after the tape stopped, he told us we shouldn’t release it. He said it was too eclectic and didn’t have a unified sound.
We actually thought that was part of the strength of the album. We compared it to how the Beastie Boys would go from old school rap to hardcore punk to 70s funk jams on the same record. But Pat wasn’t convinced and said he wouldn’t support us releasing the album.
I can’t speak for everyone, but I think it’s safe to say we were all some degree of disappointed.
Personally, I was absolutely fucking devastated.
We had worked so hard through a major lineup change, internal tensions, and cynical fans who didn’t believe in the new version of the band, all for the second album we’d worked on that year to also be shelved?
Brutal.
We entered a period of uncertainty, but we kept playing gigs, doing these same new tunes that our manager had just told us we shouldn’t release. We wrote a few new songs that made it into the set, but we weren’t going to throw away the Final Straw songs after all that work. And we weren’t going to play Vince era Rhino Humpers songs, either because it just didn’t feel right.
At one point, we considered changing the name of the band. One potential solution was changing the name to Rhinohumper (one word, singular) and the album was to be called Jar of Pickles. That may or may not have been a joke directed at Alice in Chains’ Jar of Flies. Or it may have just been a dick joke. Those ARE always funny.
We also considered band names that didn’t have “humper” in them at all, but none of the options we considered stick out in my memory.
Win/Loss
While we played a lot of gigs all over Washington and Oregon in the summer of 1995, the vibe in the band was changing. A rift had opened between Brian and Jeff, and there was a bigger rift between the whole band and our manager.
Our personal lives were going in different directions as well, with me turning 18 and preparing for my senior year of high school and Brian and Jeff going through their own experiences.
I remember nothing about September 23, 1995. I can look at the Show Archive page of this blog and see that it was the last show that we played as the Rhino Humpers and that it was at the Central Tavern in Tacoma. But I don’t remember anything else about that show.
In all fairness, a quick search of the Show Archive page will reveal we played The Central no less than 11 times between October 1994 and September 1995, but you’d think I would remember SOMETHING about the LAST show.
But nope, nothing. We don’t always get to have a memorable swan song since we don’t always know when it will be our last song.
What I DO remember is Thursday, September 28, 1995. I came home from school, ate dinner, and started getting ready to leave for our gig at the Brick Street in Seattle that night.
And then the phone rang.
It was Jeff, telling me he was quitting the Rhino Humpers, effective immediately. He was definitely sad, but resolved in his decision.
He said some very kind words about my drumming and me as a person, but I was still gutted. He wished me well and just when I thought I could hang up the phone and process all this, he handed the phone to Brian.
Brian told me that we’d be canceling all the rest of the Rhino Humpers gigs, but that he still wanted to work with me on future projects. We both agreed that without both Vince and Jeff, the Rhino Humpers were done.
Once again, I was absolutely devastated. Before I’d joined the Rhino Humpers in April of 1994, they were my favorite band. They’d taken a chance on hiring me when I was 16 years old and I had gone from a know-nothing, inexperienced kid to a professional musician at light speed. We’d played over 100 shows, gone on tours, made live and studio recordings, shot music videos, been on radio, TV, and magazine covers. Hell, we’d even played Nudestock!
It had seemed like I would walk right out of high school graduation onto a tour bus, but now, all that was over. I was just another high school kid, thinking about picking a college and wondering whether that cute girl in my Social Studies class would go to the dance with me.
The band that had been my primary focus for 18 months was suddenly gone and done. It was a rough transition, although in hindsight, a part of me is glad that I did get to have a mostly normal senior year of high school after missing so much of the high school experience due to being in a professional band. Even if it didn’t end on a tour bus.
Take Me Far
After moping and brooding for an appropriate grieving period, Brian and I started working on a myriad of projects. The first thing we did was to get Final Straw out.
Rhino Humpers had a fan club of around 100 members that we would send a quarterly newsletter, a personalized birthday cassette, an autographed 8×10 and a fan club membership certificate. We decided that those most dedicated fans would receive Final Straw. That means if you have a copy, you have one of only about 100 tapes in the world. Digitize that thing and preserve it!
We wrote up a final newsletter explaining Jeff’s departure and the end of the band and announced a return to the stage in our newest project: Brian and I had joined an instrumental surf band known as The Wrong Notes. We wore cheesy matching lime green sport coats and had a killer time playing surf rock for a few months before moving on to many other projects together.
The newsletter and Final Straw were the end of the Rhino Humpers and I have to say it left me jaded and mistrustful of the music business for a long time. I’d made two albums in the same year that were both shelved. It felt like I’d never get an album out there, which as a young musician was one of my primary goals.
It would be another seven years before a real full length album (Naysayers and Yesmen by Reno Divorce in 2002) that I had played drums on was released on an actual record label.
In those seven years, I worked on three more unreleased albums (unnamed, unfinished albums by Laughter Train and Darkenwood and a live album by the Notorious Brodies), not to mention many more projects that never made it into a studio. It was a struggle, and I definitely considered giving up, but I was so determined to make an album, I don’t think I could have given up.
Where Are They Now?
Brian and I had many more musical adventures after the Wrong Notes, including two Rhino Humpers reunions in August and December 1997 (the latter including Jeff, both including Vince), playing gigs together where we were in the same bands as well as a couple gigs where we shared the bill in different bands. We even had a couple reunions in the summer of 2024, 30 years after I joined the band, to jam out some Rhino Humpers classics in a stinky Seattle rehearsal studio.
Vince went on to Los Vatos Locos, which briefly featured Brian, as well as a number of other projects. We lost touch after the 1997 reunions, so I’m not in the loop on what he’s been doing since then.
Jeff has played with just about everyone from Duff McKagan to Buckcherry, Everclear, Fozzy, the Gemini Affair, and many more. He and I reunited a couple times: once in Denver when Reno Divorce opened for Tommy Stinson and Alien Crime Syndicate (Jeff played in both bands) in 2004 and again in Seattle when he asked me to play drums for his group To The Glorious Lonely for a show opening for Mike McCready in 2010.
The Final Straw sessions are a defining moment for me personally in my progression as a musician and I am eternally grateful to Brian Coloff and Jeff Rouse for their collaboration and guidance. The power trio Rhino Humpers lineup may have only lasted five months, but we did some awesome shit together! Cheers!
Anybody interested in that full length release of the entire Final Straw sessions? Or how about Live at the Central? Let me know in the Comments!
Ramblings of a Retired Rockstar 