Quadrophenia

Also known as: Daegar Bar, Bar Particular

Location: 651 Colombo Street, Central Christchurch

Loading
Center map
Traffic
Bicycling
Transit

Current Status: Demolished post-earthquake, now part of Ballantynes

Active as a live music venue: 1993 – 1996?

Bar Manager: The Yee Family

All-Ages: No

Central city bar that had live shows from local bands such as Future StupidLoves Ugly Children, Range, Hawaii Five-O, Creeley, Ape Management, Brother Love, Space Dust, Snort, Squirm, Pumpkinhead and early Salmonella Dub, plus touring groups such as Superette, Nothing At All, and Wendy House.

Located upstairs on the corner of Lichfield and Colombo Streets (though the address is Colombo Street, the entrance was actually on Lichfield) and ran by the Yee family for a few years in the mid 90’s.

..Open around mid ’93. Owned by the Yee Family. Had bands and then even had happy hardcore/trance parties! Daega Bar was downstairs to the left of the main entrance. Got demoed and replaced with the Contemporary Lounge part of Ballantynes.

-Tim Baird (Pinacolada Records)

Posters from the era show that it was a very regular venue with shows 4 nights a week and close ties to both then-student radio station RDU and local skate and clothing outlet Cheap Skates.

Particularly notable are posters from Ape Management‘s Rock Hardman, showing a very dynamic comic style which would also feature on Ape Management (and other Homebacon groups) art work over the coming years, along with further posters at the likes of Warners and His Lordships.

History

1993?: Quadrophenia opens as a venue hosting bands up to 4 nights a week

1996?: Quadrophenia closes, replaced by Daegar Bar?

2011: Building is heavily damaged and eventually demolished after the Canterbury Earthquakes, replaced by what is now part of Ballantynes.

Contact Details

Links

Sonya Waters

Sonya first appeared with an EP under her own name way back in 1983 on Ripper records, but then disappeared before resurfacing in the 00s with former Superette‘r Ben Howe in Fang.

Discography (picks in bold)

  • No Pain 12″ EP [1983 Ripper Rpr006]

Awards Etc

Rianz Awards 1983


  • Most Promising Female Vocalist Of The Year Sonya Waters

See-Also

Superette

Dave Mulcahy’s first post-jEan Paul Sartre Experience band was the unfortunately short-lived superette, who sprung up in Auckland in 1993. With Mulcahy taking guitar and vocal duties, he pulled together Ben Howe (Bass) and Greta Anderson (Drums/Backing Vox) to record the rough, thematically scary, but thoroughly charming Rosepig EP. From here the band became known as one of the better live pop-rock acts around New Zealand, and where one of the defining bands (along with the 3Ds) that turned me on to New Zealand bands.

They expanded the tracks on their earlier release to the fully-fledge debut Tiger in 1995, which still remains one of my very favourite albums – mainly due to the fact that over the twelve stellar tracks, not a single song drags. Over the common theme of murder, and the psycho-analysis of well-known murderers, the album retains a dynamic pop hook. Tiger carefully flows between the more up-beat earlier numbers (such as ‘Touch Me’ and album high-light, the Anderson-penned ‘Saskatchewan’), through to the album closing slower numbers (notably ‘Funny Weather’ and the charismatic ‘Waves’, which made a big impact on the Topless Woman Talk About Their Lives movie-score), without ever missing a beat.

Sadly after touring the album for the best part of a year, Mulcahy decided to move on to his own pressing solo career, leaving Ben And Greta (the moniker they took from that point on) to soldier on for themselves. Since Mulcahy left, Ben And Greta released the charming single ‘Creep Around The House’ (with Howe on vocal duties), but the duo seems to be more interested in their other pursuits. Ben Howe has gone on to form the Arch Hill record label, which released ‘Creep Around The House’, Mulcahy’s solo debut Oddy Knocky, as well as the debut from Ben’s new band Fang, entitled The Origin Of The Species.

Discography (picks in bold)

  • Rosepig Cd Ep [1995 Flying Nun Fn326]
  • ‘Killer Clown’/’Disappear’ 7″ Single [1995 Flying Nun Fn326]
  • Tiger [1996 Flying Nun Fn352]
  • ‘Touch Me’/’Catacombs’/’Cheezel’/’Saskatchewan’ Cd Single [1995 Flying Nun Fn362]
  • ‘Touch Me’/’Anything’ 7″ Single [1995 Flying Nun Fn362]

See-Also

Ben and Greta

ben howe & greta anderson project – essentially the ryhthm section of a post-breakup superette. they released a charming single on howe’s fledgling arch hill label, but have since gone a little quiet – with howe spending his most of his time with fang.
anderson later resurfaced with the pencils – a make-shift project based around her own song-writing and a variety of (all-star) contributors) and made a similar appearance on the 2nd arch hill label compilation.
discography
picks in bold

  • no major releasesrn

Eskimo

Biography

Formed in 2004, Eskimo marks Dave Mulcahy‘s return to the Christchurch music scene, after playing in Superette and solo up north. Playing guitar and singing, Mulcahy is flanked by Rob Mayes (Dolphin, the Failsafe label etc) on bass and Michael Daly (YFC, The Renderers) on drums.

In 2007 Eskimo decided to change their name to Kimo, while working on material for a new release to follow up 2004’s ‘Loverbatim’.

Members

  • Dave Mulcahy (Guitar/Vocals, 2004)
  • Rob Mayes (Bass, 2004)
  • Michael Daly (Drums, 2004)

Discography

Links

 

Fang

Biography

Ben Howe formed Fang after Superette broke up while simultaneously recording material with fellow Superette chum Greta Anderson (as Ben and Greta).

An eclectic 3-piece with songs from all three members; Howe, kiwi music veteran Sonya Waters and Andrea Holmes.

Their debut featured a couple of very catchy singles, but was written and produced in a somewhat haphazard fashion, making for an uneven album.

Touring with the likes of guitarist Francis Hunt (The Stereo Bus) and violinist Bronwyn Robertson, they became quite a sturdy live outfit in the early 00’s, though Holmes left the band around this time.

Unfortunately their follow-up Somewhere Out There wasn’t much of an improvement, as it lacked songs with the hook of their earlier singles.

2004 saw the band with another new line-up, along with a new album (Swim Up Stream) due out before the end of the year.

New members Tom Clark (guitar) and Brignall Wood (drums) complete the new line-up, still based around the core unit of Waters and Howe.

Members

  • Ben Howe (Bass/Vocals, 1999 – 2005)
  • Sonya Waters (Guitar/Keyboards/Vocals, 1999 – 2005)
  • Andrea Holmes (Drums, 1999 – 2003)
  • Francis Hunt (Guitar, 2001 – 2002)
  • Steve Reay (Guitar, 2002)
  • Bronwyn Robertson (Violin, 2003 – 2005)
  • Tom Clark (Guitar, 2003 – 2005)
  • Brignall Wood (Drums, 2003 – 2005)

Discography

  • Employee Of The Month EP [1999 Arch Hill AHR002]
  • The Origin Of The Species [2000 Arch Hill AHR004]
  • Somewhere Out There [2002 Arch Hill AHR008]
  • Swim Up Stream [2004 Arch Hill AHR012]

Links

 

Jean-Paul Sartre Experience

Biography

For a band that has so much influence and family history spread across its members, Jean-Paul Sartre Experience (later shortened to JPS experience, due to legal wrangles with Sartre’s family estate) produced what could be considered a limited body of work – never living up to the expectations they had made for themselves as one of New Zealand’s best live acts during the late 80’s and early 90’s.

However ‘Love Songs’, their brilliant first album, is something of a New Zealand classic – an infectious example of quirky New Zealand guitar-pop. A varied album based around love and positively, i always find something to enjoy every time I come back to it. Jangley numbers such as ‘The Loving Grapevine’, cherished sing-a-longs like ‘I Like Rain’, and all-out fun romps such as ‘Crap-Rap’ keep me entertained, if only for the fun aspect.

After the subdued but often sparkling quirky debut, they took a very long time to release ‘The Size of Food’, which showed a change to a more rock sound.

Members

  • Dave Mulcahy (Bass/Vocals, 1984 – 1994)
  • Dave Yetton (Guitar/Vocals, 1984 – 1994)
  • Jim Laing (Guitar/Vocals, 1984 – 1994)
  • Gary Sullivan (Drums, 1984 – 1994)
  • Russell Baillie (Keyboards, 1991 – 1993)
  • Matt Heine (Keyboards, 1993 – 1994)

Discography

  • Love Songs (1986, Flying Nun Records/Communion, FN078/COMM2)
  • Jean-Paul Sartre Experience EP (1986, Flying Nun Records, FN057)
  • I Like Rain/Bo Diddley 7″ Single (1987, Flying Nun Records)
  • The Size of Food (1990, Flying Nun Records, FN122)
  • Elemental/Flex EP (1991, Communion, COMM24CD)
  • Precious 7″ Single (1991, Flying Nun Records)
  • Bleeding Star (1993, Flying Nun Records, FN246)
  • Masked and Taped EP (1993, Flying Nun Records, FNCD244)
  • Breathe EP (1993, Flying Nun Records, FNCD245)
  • Into You EP (1993, Flying Nun Records, FNCD271)
  • Ray of Shine/Shiver 7″ Single (1993, Flying Nun Records)
  • The Jean-Paul Sartre Experience Compilation (1995, Flying Nun Records, FNCD078)

Links

 

 

Jean-Paul Sartre Experience – Jean-Paul Sartre Experience

1994 / 2003 Reissue, Flying Nun, FNCD078

With Flying Nun reissuing a number of their long out-of-print release, it was about time the boys from Jean-Paul Sartre Experience saw the light of day again. Their early discography is as follows: they released a self-titled EP, then followed it up with a mini-album entitled Love Songs.

These were then released as a cumulative album, which was initially also named love songs, and then expanded and changed to the Jean-Paul Sartre Experience, just to confuse archivists. The end result is quite a collection of genuine pop-classics, and was the moment in time when the Jean-Paul Sartre Experience was really hitting their stride.

The Jean-Paul Sartre Experience (later shorted to JPS Experience or JPSE due to legal hassle’s with Sartre’s estate) was formed in Christchurch in the mid-80’s and immediately set about creating a suite of songs that tread the line between charmingly naive love songs (‘Let there be love’), upbeat sing-a-longs (‘I like rain’) and even kooky, disjointed attempts at white-bred rap (‘Crap-rap’).

Both blessed and cursed with all 4 members being songwriters (with Dave Mulcahy, Jim Laing and Dave Yetton all providing both guitar and vocals) their songs were fresh, invigorating and stylistically scattered in these, the early years.

Eventually the band would split after years of tightening their formula until things just weren’t fun anymore (their last album, the wildly uneven and downbeat bleeding star). Mulcahy then launched the brilliant, larger than life, and unfortunately short-lived Superette, eventually going solo. Yetton created his own ‘sissy-pop’ project – The Stereo Bus which eventually grew out of its humble solo beginnings to be a very popular 5-piece. And lastly their drummer Gary Sullivan (who often took the back stage in JPS Experience’s career) formed the acclaimed, but commercially ignored scuzz-rockers Solid Gold Hell.

Dave Yetton had a penchant for creating what he freely admitted was girly pop – soppy love songs and silly, carefree lyrics. Mulcahy acted as the ever-vigilant older brother with tracks like ‘Firetime’, adding structure to result in a perfect balance of playful melodies and sobering lyrics. Their songs were playful, yet intelligent (‘Flex’), reflective, but upbeat (‘Grey parade’) – you’d expect with such a clash of idea’s the songs would fail to gel, but luckily Jean-Paul Sartre Experience is one of those releases that exceeded all expectations.

‘Loving grapevine’ is perhaps the most perfect example of how their songs worked so well. Jim Laing’s demented, gleeful vocals are so exuberant you can’t help but think how much fun they had recording the album. A relatively straightforward pop number, the song is highlighted by cheery backing vocals – when the guitar solo strikes mid-song, it almost seems out of place.

In fact, the vocals are the most distinctive element of the album, three vocalists perusing a myriad of approaches add up to an awful lot of styles. Even the more serious numbers (‘Transatlantic love song’) seem characteristic when accompanied by such out and out fun numbers as ‘Jabberwocky’ and ‘Let there be love’.

The instrumentation is brilliantly suited though too, particularly Sullivan’s drumming which seems to drive the seriousness of the songs — the more fun and over-the-top the songs, the more disjointed and playful the rhythm. For an album with no credited bassist, their sure are some catchy grooves too – particularly the slowly building ‘Jabberwocky’. It rolls and rolls as the song grows and grows, building tension and allowing ragtime piano and guitars to float in.

Follow that up with the funky, disjointed slop-hop sing-a-long ‘Crap rap’ (trust me, it’s a lot better than it sounds) with bass that pops and grooves in an ultimately impressive fashion (considering the pedigree of these four white southern boys).

I would challenge any lover of pop to come away from this album without at least one favorite. I mean, who could resist the ever-charming ‘I like rain’ and it’s Casio-tone melody? These are the kind of songs Chris Knox would have been making if he weren’t such a crotchety old bastard. High recommended for days inside, days at the beach, days spent snuggle with loved ones, or nights spent partying.

At their peak in the mid to late 80’s, JPS Experience were considered one of the finest and most popular bands in New Zealand, along with their noisy neighbors The Headless Chickens and The Straitjacket Fitz. This album is the perfect document of the cheery, upbeat side of classic New Zealand pop, and a firm addition to Flying Nun’s current catalog of reissues.

Michael J. Brassell: A Memorial [Mar 2004]

Michael John Brassell was a revered and cherished man. As a central figure in both the Christchurch and Dunedin underground rock scenes, Mike (known to many by his stage pseudonym, Mike Hex aka Mike/Whitey Hiss) developed a distinct creative style unhinged from his commercial surroundings. Mike championed the DIY spirit, performing, recording, producing and releasing an abundance of beloved recordings with little regard for mainstream success, but full of such beauty, it would be hard pressed for any true music fan to find merit. Highly prolific, Mike bounced around a handful of bands in the 90’s and 00’s – making his name with a noisy Christchurch-based troupe of madmen called Squirm.

Formed with Brett Lupton and a drummer known as ‘Hat’ in 1992, Squirm thrashed around Christchurch for some 18 months, releasing the ‘Feeding the ground’ full-length in tiny numbers before disbanding – only to regroup late in 1993 with Darryl Kirk on drums. This line-up would produce Squirms defining releases ‘whip me honey’ and the ‘mister mistake maker’ EP on Rob Mayes’ vaunted local indie Failsafe Recordings, but the Squirm boys wanted to push on for bigger things. Though the EP, recording under former Jean-Paul Sartre Experience and later Stereobus front man Dave Yetton, had interest from the in-a-state-of-progress Flying Nun label – they ultimately failed to find their mark.

The late 90’s brought about a change in line-up, with Peter Mitchell (formerly of New Zealands’ great underground sun-stained country legends The Renderers) now on drums, with former Pumpkinhead bassist Vaughan Watson solidifying the line-up for their last couple of years.

With aspirations to cross over to an american audience, Squirm took the unusual step of going it on their own, Mike forming his own recording label (Noseflute Recordings) and rechristening his Christchurch flat recording space as ‘Hex Central‘ – now a well-known spot for local muso’s. Though the DIY approach never saw them reach their goal of hitting it big overseas (and Squirm actually dissolved with the release of Mike’s first solo release), it did cultivate interest in the Hex philosophy to recording.

Mike’s low-fidelity, hiss+ recording style (all future Hex recordings would be free from the threat of any kind of crystal-clear and septic digital clarity) seemed custom made for his quirky and explorative approach to guitar playing and vocalising. Suddenly other bands were joining in on the act – Mike playing particular attention to The Centre Will Hold, a melodic local outfit of friends determined to produced the ultimate 1 minute pop song. In D Flat.

Mikes’ music (he had soon released his solo debut ‘Johnny Horse’ in small quantities, spreading a short distribution to independent pockets of Europe and the states, along with a keen – though small local following) was now sounding almost fully formed. After the release of the albums follow-up ‘the hiss explosion’, he took the step of moving to Dunedin. Taking a coordinating position with the fledgling Arc Life Recordings label – which had succeeded Flying Nun as the centre of all things low-fidelity in Dunedin, he joined locals Stephen Kilroy and Thom Bell.

With Mike in line, Arc Life thrived. New recordings from locals Cloudboy and their charming chanteuse Demarnia Lloyd, along with Renderers descendents (Brian Crooks side-project) Bible Black and the involvement of one of Mikes’ heroes – David Kilgour of seminal outfit The Clean, had Arc Life well on their way to bigger things.

In 2002 Mike released what could be his finest release, the awe-inspiring beautiful ’66’ with the Hiss Explosion – the texturally focused guitar-and-drums duo he had formed with former Squirm member Peter Mitchell for his last outing. ’66’ is pretty much a faithful recreation of how Mike and his hiss explosion sounded live – a rush of guitar, thumping drumming and melodic vocals. Based around Mikes’ obsession with a looping guitar foot-pedal (not exactly the height of hi-technology) the primitive sampler made for excellent compliment, and allowed Mike to create walls of transient, flowing sound, flush with soaring highs and lows that Mike caressed with his careful vocal approach – truly mesmerizing.

I had the fortune of organizing Mike’s final Christchurch show on Waitangi day 2004, and in an effort to promote the show, we scammed an interview used in local gig guide the package which i contribute towards, with Mike explaining where he was currently at. He talked about new releases on their way from HDU front man Kahu and perennial Dunedin feature Bob Scott putting out a CD of ‘Lost Folk Music’, along with possible recordings from The Centre Will Hold’s outgrowths’ the (still Christchurch based) Undercurrents. The big news though was that Arc was rebuilding their home-brew studio – with the help of Thom Bell (who was now playing an integral part in the hiss explosions’ sound, being the in-house sound guy) they had purchase a new studio desk from Canada and had set about putting things together.

The Hiss Explosions’ last Christchurch performance was a wonderful occasion. Christchurch has been witness to something of a re-birthing in the local scene in the last year, with more venues becoming regular performance options and the Waitangi day show brought out the kind of crowd you reminisce about, with former scene regulars and underground musicians alike coming out of the woodwork to witness Hex’s triumphant return, along with some starting performances from Substandard, Idols of Eve, Into the Void and fellow Dunedin troupers the International Telepaths.

Sadly Michael John Brassell passed just a few short weeks later, a sad victim of pneumonia; he died quickly and without warning in late February at the age of 38.

With little time to think, Fleur de Lis – a close friend and the front-woman of one of Christchurch’s most under-appreciated rock outfits The Dialtones, and myself set about stringing together a memorial gig for Mike, and with out too much trouble people were soon going out of their way to pay tribute to our fallen friend. On Friday the 12th of march, some 9 bands lined up to pay respect to Mike in their own way – the way Mikey Hex would have wanted it – with music.

Memories and reminds of Mikes past were gathered in a tribute center near the stage, a beautiful image of Mike playing at the Waitangi show, along with posters from Mike’s many bands through the 90’s (including one that was particularly significant to me – a late 90’s show were my own band made just our sophomoric appearance under Mikes lead), and his memorial signing book that was just about overflowing with loving tributes by the end of the night.

With 9 bands and some 300 punters, there was no messing around to be had. Dave Khan showed what a long way he’s gone in the last 18 months – forming an ethereal wall of sound from his keyboards and vocal harmonizing effects as drawing room – the solo moniker that seen him through a decade and a myriad of different styles. Playing out like ambient music at high-volume, Khans’ approach made the perfect melodic introduction to the night, a relaxing low-key performance.

Substandard took the occasion to make some changes – for the first time they had become a four-piece, joined by guitarist Danny Bare’s flatmate Matt on 2nd guitar and the groups first ever vocal performance. Covering Sonic Youth’s epitome of sound ‘Diamond Sea’ – a seething 20 minute song comprised of 2 distinct approaches – melodic vocal parts joined with full-frontal guitar attacks (known as the ‘Sea of Confusion’). Substandard made good on the hardest of covers, Andrew adding his own touches while trying hard to mimic Steve Shelley’s minimalist drumming, Gareth floating in and out with strong bass cues, while Danny and Matt reconstructed the piece with precision.

The Dialtones (with the ever-present sound supremo Marcus Winstanley making his 1st of 3 stage performances for the night) were absolutely bombastic. Marcus’s dominant drumming drove the band to new heights, Fleur leading the band through one of their most rousing performances and absolutely the surprise of the night. Fleur’s usually sedate vocals seemed to raise with authority above driving compliment, and it sounds like they’re truly in-line to make a welcome return to the Christchurch scene with a new high-power approach to their slightly folky rock.

With the night now pressing on (20 minute sets are one thing, but set-up times had already seen the night stretch out an hour or so) Minisnap had arrived and were inclined to take the stage next. With Marcus returning to the stage to compliment the Rob Scott-less Bats sister band as the supplementary guitarist, mini-snap sounded a little muffled and lacked definition, but still displayed a charismatic approach to their jangly guitar pop.

Arriving from wellington to take the stage as Dragstrip), former Ape Management band mate of Mike’s David Clark displayed humor and a gritty approach to guitar rock. With Darryl Kirk soon filling in on some impromptu drumming (without knowing any of Dragstrip’s stop-start song structures), he brought a smile to an already jubilant crowd. Using the kind of down-and-dirty insights that a beat poet might conjure up, Dragstrip were brash and to the point – and thoroughly entertaining.

The entertainment continued in the form of a short and explosive set from Into the Void – another in the line of bands that appeared with the Hiss Explosion on Waitangi day. The guys were right on forming, pounding away on the gig drum-kit with authority, while guitar and bass interlocked to create dense and highly rhythmic grooves. Things got a little silly late in the set when the drum kit, started inching its way off the stage, the voids drummer continuing to soldier on as his kit fell apart around him, with cymbals flying forward and his double-kick basically giving up the ghost simultaneously.

After a bit of a delay, the other surprise packet of the night – a new look Shocking Pinks took the stage for their debut performance. The Pinks have cultivated a bit of a unusual standing in the Christchurch scene, diving fans and muso’s with their infectious danceable songs, but leader Nick Hearte’s somewhat unusual approach to retaining band members. Needless to say the new line-up looked a little nervous (especially playing to such a large crowd), with new guitarist Kit not really making their new direction – closer to a shoe-gazer sound, all that obvious with some restrained playing. Cutting things short at a mere 2 songs; they ended in a flurry of sound as nick drowned the crowd in bass feedback.

Things took on a more mellow direction as the night passed 2:30 am – the much-vaunted undercurrents showing off the highly soothing melodic pop that had made them such a firm favorite with Mike. Bassist and vocalist Nick (formerly of seminal shoe-gazers Barnard’s Star, along with the guitarist – yes him again – Marcus Winstanley) really drove the band on a number of their songs, his playing adding volume (not to mention groove) to their wistful and contemplative pop melodies. One of my highlights for the night, the undercurrents unfortunately played to a fleeting crowd, weary from a late night.

Finally Eskimo – the new power-trio of Rob Mayes (bass), Michael Daly (drums) and local legend Dave Mulcahy (guitar) concluded things to a diminished, but enthusiastic crowd. Mulcahy and Mayes joked, and ran through a couple of their newly formed songs – that sounded like a slightly harder variation on Mulcahy’s former band Superette. In good spirits (not to mention having consumed many) Mulcahy grew distracted and frustrated in their third song, and quickly pulled the plug – effectively ending a long and wonderful night a little abruptly. Despite such a rough approach to a set, they did sound quite distinctive. After hearing an earlier performance to an uninterested varsity crowd a couple weeks back, Eskimo sound like they are indeed making strides towards the kind of pop gem i know both Mayes and Mulcahy are capable of.

And thus a long night was completed. Special thanks must go to sound guru’s marcus and loki, who made everything flow so beautifully, and of course the many bands that gave their time for such a worthy cause. Michael John Brassell will be remembered as a friendly and encouraging man that meant a lot to so many people – he will always be our Mike Hex.

David Mulcahy

As A Member Of Jean-Paul Sartre Experience, Mulcahy Was Only Part Of A 3-Pronged Song-Writing Troupe, Responsible For A Terrific Body Of Songs Over Their 10 Year Life Span. In The Mid 90s, After The JPSE Boys Had Gone Their Seperate Ways, Mulcahy Changed Focus To Superette – Creating An Almost Perfect, Dark Materpiece With Their Sole Lp Tiger.

Unfortunately Superette Were Short-Lived, And Mulcahy Retreated To Work On His Own Solo Material. Oddy Knocky Was An Uneven Attempt At Releaving Some Of The Huge Body Of Songs He Had Written Without Releasing, The Occassional Pop Gem Hidden In Generally Pretty Dire By-The-Number Rockers.

In 2004 Mulcahy Resurfaced In Christchurch (Were He Had Moved Several Years Earlier) With New Band Eskimo, And Started Recording Songs With Eskimo Bassist (And Failsafe Label-Head) Rob Mayes And Drummer (Ex-YFC) Michael Daly.

Discography (picks in bold)

See-Also