By Dave Swanson - Summit FM Contributor

As the old proverb goes, all it takes is “three chords and the truth" for a good song. File under "less is more," "don't overthink it," and "keep it simple, stupid!" While I do love music of a more involved or complex fabric, I am always more than ready to champion the simple stuff.

Some of rock and roll's finest moments weigh in at around 3 minutes and 20 seconds, 3, maybe 4, chords, a grand spoonful of enthusiasm and a hook complete with line and sinker. The Troggs, Kinks, Ramones, Sweet, Chuck Berry, Bo Diddley, Neil Young and countless more have catalogs full of examples. It's that kinetic connection that happens when a simple chord pattern makes its way to your ears on its way to your heart. Could be on a piano but most likely, guitar would be the instrument of choice for such a task.

The thing about the simple approach is, while it may seem easy to mimic, it's actually harder than you would think to put the right three chords together with the right lyrics at the right tempo to where it's all firing at maximum power. It is also a true art form to condense all your ideas for said song into a three minute capsule, but when it happens, it can be magic.

Hailing from Ireland, the Undertones created their own slice of 3 chord/3 minute magic with a song called 'Teenage Kicks,' released 45 years ago in October of 1978. Though the members of the Undertones had been friends growing up and actually formed the band around 1975, it wasn't until the punk explosion happened that they perfected their sound and style.

"You find out, luckily enough, that some song wrote themselves," recalled Undertones guitarist J. J. O'Neill in a BBC documentary. "Teenage Kicks wrote itself. Teenage Kicks was written in the matter of 20 or 30 seconds. I remember at the time thinking, where'd that come off, you know?"

The band members all grew up near each other in the Derry area of Ireland where violence, bombings and a serious Catholic/Protestant division was the lay of the land. The politics and violence actually helped give the band a direction, that being to veer far away from their day to day and into a more simplistic, teenage ideal, carrying on the traditions of 1960s pop and rock and roll instead of diving into the political terrain of the Clash or the snarling rebellion of the Sex Pistols, all of which helped set the Undertones apart from the quickly developing clichés of punk.

Taking inspiration from two of his favorite records, guitarist John O'Neil was figuring out how to write pop songs. “As with most of my songs I first had a title," O'Neil told Songwriting Magazine back in 2020. "We used to play the Rolling Stones version of Route 66 and I always loved the chorus where Mick sang, ‘Get your kicks on Route 66.’ Also, one of my all-time favorite records was ‘Back In The U.S.A’ by the MC5 and one of the songs on that record was called ‘Teenage Lust,’ so it wasn’t too difficult to come up with the title 'Teenage Kicks.' Once I had the first line of, ’A teenage dream’s so hard to beat,’ using that chord progression, the rest of the song just literally wrote itself. It’s just so great when that happens."

Released on a four song EP on the local Good Vibrations label, 'Teenage Kicks' instantly grabbed people's attention. Between the direct pop meets punk approach, not to mention singer Feargal Sharkey's unique voice, it was hard to ignore. One set of ears that were captured by the song belonged to legendary disc jockey and tastemaker John Peel, who unabashedly fell in love with the record. "I tell you what, I've not done this for ages, but I think we ought to hear that again," Peel told listeners over his airwaves back in the fall of 1978 as he started the record over to play it again. "That is a mighty, mighty record you know."

Literally at that very moment, the band found itself in demand. As it happened, Sire Records boss Seymor Stein was listening to that very Peel radio broadcast while visiting England. “I was driving down to one of those little seaside places outside of London, we were listening to John Peel,” Stein recalled in the Undertones documentary. “Paul McNally was driving and I start yelling at him ‘pull over, pull over!’ I said to him, I’ve got to sign this band, they are fucking amazing! What a voice and what a song!”

 Having taken the bulk of inspiration from American music, everything from Brill Building pop to the Ramones debut, the Undertones stood apart from their UK counterparts. "It was like joining the dots for us, hearing the New York Dolls, MC5, Stooges and Velvet Underground, it was like, this is what rock and roll was supposed to be about!"

The band released their debut album in early 1979,  going on to release a total of four albums, and a string of singles, all of which are loaded with brilliant, catchy songs. But if you're destined to be connected to one song, a band could do a lot worse than to be forever linked to 'Teenage Kicks.'  "I know that, as a song, 'Teenage Kicks' is very clichéd, not very original," O'Neil added, "but the actual recording seemed to capture something."

"We're talking about a record that even now reduces me to tears every time I hear it," John Peel told the Guardian in 2001. "Sheila, my wife knows that when I die, the only words I want on my tombstone, apart from my name, are: "Teenage Dreams, So Hard To Beat. What more do you need?"

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? So much new music coming at us, so little time! However, these songs that might fly under the radar to most are what I've been diggin' these past few weeks!

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

By Dave Swanson - Summit FM Contributor

"Rock 'n' roll's a loser's game. It mesmerizes and I can't explain." A rather profound observation made by Ian Hunter circa 1973 in the song 'Ballad Of Mott The Hoople.' The once vital obsession to find and connect to "real" rock and roll was the pastime of many a fan and musician. After punk had come and lingered, it seemed even more significant how to take this music forward while still looking back for inspiration. For many, the band that most symbolized this trek in the 1980s was the Replacements.

Young men they were, living the dream, knocking out songs in the key of ragged glory, drinking heavily, travelling the backroads of America and drinking heavily. Did I mention that already? Sorry, it's just that many an early Replacements show was a race to see if they would finish their set before the bottle let them down, to paraphrase Merle Haggard. I remember a show at JB's in Kent where they started out with the best of intentions, playing songs from their latest album until distraction set in. Long story short, a friend and I ended up writing up a set list of obscure 70s pop songs for them to cover. We placed it on the stage, and at first they were amused, noticing a couple songs that made them laugh, so, they gave it all a go and tried to tackle every song on the list, so much for promoting their new release.

I mention this as a sort of dividing line between the brash youngsters piled in a van and the same crew trying to be taken 'seriously' in the music business.  After signing to Sire Records fans, band and media had high hopes that these Minneapolis-ites would accentuate the positive and prove their anticipated worth. 

Released in the fall of 1985, their major label debut, 'Tim,' delivered on those promises. The eleven tracks on the album showed that Paul Westerberg had more up his sleeves than simple punk inspired pranksterism. The guy could write songs with genuine sincerity and hooks to match. Flashes of this had flashed on previous albums, but here it was front and center, the tendency toward the goofiness of old replaced by a knowing wink and nod in these the songs.

'Hold My Life,' 'Little Mascara,' and 'Left Of The Dial' all still stand tall as classics, while the charm of tracks like ''Waitress In The Sky' and 'Kiss Me On The Bus' hasn't faded. 'Bastard Of Young' should have been the 'Smells Like Teen Spirit' of their day, but alas the music business had other plans. Just for fun, watch the Replacements SNL appearance from 1985, then watch Nirvana seven years later and tell me who had more attitude and spirit. It ain't the Seattle gang.

The album did well on the ever present college radio circuit but failed to break through on a bigger level. One thought for many years was the sound of the album was kind of flat compared to the performance, the original LP having been produced by Mr. Tommy Erdelyi, aka Tommy Ramone. Granted, Erdelyi had talent and had helped navigate those early Ramones albums, but for a guy coming from one of the most important and powerful bands in history, he knew how to castrate a powerhouse band as well. He would repeat this terrible act a year or so later when he produced Redd Kross' 'Neurotica' with the same sense of 'what happened?'

Thankfully, Rhino Records recently released 'Tim - The Let It Bleed Edition' has corrected this issue by allowing noted producer/engineer Ed Stasium to completely remix the album. He has done so to stunning effect. The songs have a new life and power missing on the original. No added frills, just a little polish and shine to the performance already captured but for some reason left flat by Ramone.

So Replacements fans rejoice, this new set has everything and more, including the original mix remastered, demos, live material as well as the new mix. The spirit of the band lives on in this new box set. We are currently in an age where more is more, and if you love a particular album, you often get a chance to deep dive into the process of an old favorite. Lucky you!

Wellness can be achieved by virtue of completing a journey and maintain a lifestyle. But it can also be magnified by our ability to appreciate and be thankful for the things that we already have! Summit Wellness continues to hum the melody of connection between feeling good and feeling grateful!  

Gratitude is a monthly feature contributed by Matt Anthony, Digital Media Producer and on-air host for the Summit FM. Matt reflects on instances where we might uncover more ways to appreciate what’s in front of us, and how those instances might contribute to our overall health and well-being. 

When The Necessary Speaks 

Lord knows that I've been blessed 
I can stand up to the test 
I can live on so much less 
This much I've been learning 
“The Housefire” – Turnpike Troubadours 

I was running out of wall-space in the ‘man cave’.  The memorabilia had built up in almost excessive and obsessive quantities. I had been waiting to hang a championship keepsake on one of these walls ever since I emerged from the womb. But, as Cleveland sports fans know, the word ‘championship’ is normally not one that is found in our lexicon. 

However, there I was, holding a glorious plaque commemorating the Cavs decisive comeback win over the Golden State Warriors.  But there was simply no place to showcase it. 

It was then, back in 2017, that I came to the realization that these things…and their associated meanings…were slowly but surely changing. 

Same with albums. Being a part of The Summit FM and confirming something like this probably would, and perhaps still could, have my ‘music card’ revoked. But it was becoming clear to me that ‘collecting’, and its inherent meaning, was becoming more focused, more refined. 

It's not having what you want 
It's wanting what you've got 
“Soak Up The Sun” – Sheryl Crow 

My friend, Chris Belden, introduced me to the quartet from Shepherd’s Bush, outside of London, in 1975. Up until then, I had been absorbed with AM radio, vinyl 45’s, and especially American Top 40 with Casey Kasem. But when you have older brothers, as Chris did, your world-view becomes renovated. During a visit, we snuck into his brother’s room, turned on his stereo, and dropped the needle on one of his albums. “You gotta hear this,” he whispered. 

Who’s Next from The Who turned my world upside-down. As did Quadrophenia after that.  And Odds and Sods. And A Quick One. And Meaty, Beaty, Big, and Bouncy.  That afternoon, I felt as if my soul had been ripped out and replaced with a raw power and energy that I haven’t felt since. To this day, they remain my all-time favorite band. 

But after years of carting this same vinyl around, something happened.  Prized possessions that had been with me during our radio-vagabond career-tour of Washington, DC, Pittsburgh, Knoxville, St. Louis, and back to Ohio were suddenly being re-considered. And this past year, when a student-intern asked me what I would suggest for an addition to her small vinyl-collection, I reached a moment of enlightenment. And gratitude. 

A signed pocket-schedule from 1996, courtesy of Indians play-by-play voice, Tom Hamilton, made the cut. As did my sepia-toned photo of old Municipal Stadium, along with a framed pic of Ebbets Field in Brooklyn. And while my gratitude-meter for my 2016 Cavaliers championship plaque was off the charts, simply holding it that day also set the wheels in motion.  

Parting with the ‘quantity’ of my stuff made me appreciate that much more the ‘quality’ of their importance. And for the first time in a long time I began to be truly grateful for the things I had, and not necessarily for the things I’d collected. 

Oh, just to be with you 
Is having the best day of my life 
“Thank You” - Dido 

Believe me, I’m intimately familiar with every nuance of Who’s Next. I’ve tossed out imaginary Townshend windmill-chords in my attic until I’ve been close to tearing a rotator-cuff. I’ve matched Keith Moon drum-roll for mammoth drum-roll.(or, at least I’ve tried!) And although my fingers won’t work nearly as quickly as those of ‘The Ox’, I’ve gone to sleep with Entwistle’s thunderous stylings pounding in my head. 

So, with gratitude and a sense of finality, I handed over my tattered but cared-for copy of the 1971 icon to someone who can, hopefully, give it a new life. My selfish wish is that she’ll appreciate it and be grateful for it as I have been. And I am grateful for it, knowing that its songs can live inside me even though I don’t own it. 

I think that’s point. As I sit here in the man-cave, I’ve realized that my room of oddities and collectibles, the museum of memorabilia, was ego-driven, designed only with the intent of, perhaps, impressing others.  It left very little room for gratitude.  

There’s plenty of space on my walls now.  The things that I’m grateful for…both on them and outside of them…are becoming, I think, more transparent, especially as I try to let them communicate to me with clarity and purpose.  On our refrigerator (one that needs replaced, by the way), my artist-wife, Donna, has a quote, neatly pasted above her treasured photo of Bob Ross. It’s from artist Hans Hofmann: “The ability to simplify means to eliminate the unnecessary so that the necessary may speak”. 

By Dave Swanson - Summit FM Contributor

Seemingly every youth culture movement has its moment in the spotlight, its day in the sun. Sometimes it a fleeting flash, while other times it’s a slow burn that ends up lingering beyond sell date. When the 'punk' movement hit the press in, for sake of argument, 1977, it became tabloid fodder as well as a massive influence on the British youth. America, however, wasn't ready to buy stock just yet. 

Whether it was because America was too large a territory to cover the way it played out in the UK, or whether it was a general complacency or hesitancy to buy this stance outright, it was not flying in the States. Press, radio and other media showed minimal interest born more out of rubber necking curiosity than genuine interest. 

The landscape began to shift somewhat once Sire Records head honcho Seymour Stein had the idea to use the term 'New Wave' in place of 'punk rock' to describe these new acts, particularly those that were a bit more polished. By doing so, the press thought they had acquired a whole new spin on things and fans didn't have to feel embarrassed by succumbing to that evil punk music the papers and television had been sensationalizing with tales of onstage vomiting, gang mentality and a crude and inept musical approach. While there were grains of truth in said media portrayal, it was hype in overdrive.  

Once the new wave was rolling, it started to turned a profit. Acts like the Cars, Blondie, the Pretenders, Talking Heads and on and on, would gradually gain ground and sell records, and as the 1980s knocked, the door was wide open for many of these new acts. Hollywood is never far behind once cash registers ring, so why not a film based on the 'new wave' era we were now plunged into? 

Released in October 1980, 'Times Square' was a fleeting moment in time that failed to connect the dots, though it did leave a wonderful soundtrack in its wake. Produced by Robert Stigwood, fresh off the previous cinematic debacle of the 'Sgt. Pepper's' film adaptation, 'Times Square’ starred a cast of unknowns, the biggest marque name being Tim Curry who, aside from his legendary role in 'The Rocky Horror Picture Show,' had also become a recording artist of minimal success, good records though they were. 

In short, two misfit kids meet in a hospital where both are being observed for potential mental illness. Nicky Marotta (played by Robin Johnson) and Pamela Pearl (played by Trini Alvarado) become fast friends, one aggressive and outspoken, the other shy and reserved. The character of Nicky was, visually at least, based on Joan Jett who, coincidentally, screen tested for the film. “When I first saw the girl, I thought it was me,” Jett recalled in a 1983 interview. 

Meanwhile, the city of New York is under fire for becoming what, in reality it was, a rough and often dangerous place that also happened to be full of adventure, personality and excitement. Local radio dj Johnny LaGuardia (Curry) is vocal about not gentrifying the city. 

As the film unfold, the girls bust out of the mental hospital, seek refuge and purpose by forming a band and connecting with Laguardia .Calling themselves the Sleeze Sisters the duo dished out street poetry (?) with a punk attitude and songs that would be very much out of fashion and, quite simply banned in 2023. The girls hit the recording studio with "Damn Dog' and "Your Daughter Is One," whose lyrics would be unprintable by most standards of 2023.  

One thing leads to another, the girls have a falling out over ideas about their own lives, but ultimately Mr. DJ brings the two back together in time for them to announce a special free concert to be held on the rooftop of a movie theater in Times Square. With the cops searching for Nicky, following the performance, she makes a break for it by jumping off the rooftop. Oh the drama! 

The film was, and remains, a cult favorite at best. The real star was the soundtrack album. Release on RSO Records, it featured a checklist of then contemporary new wave heroes such as the Pretenders, Gary Numan, Joe Jackson, Ramones, Talking Heads, the Ruts, and the Cure, as well as a few elder statesmen like Roxy Music, David Johansen, and Patti Smith. One track, 'Take This Town' by XTC was unavailable elsewhere for many years. Other music from the film is also featured and as is so often the case, the music has a far better fate that the film cash in. 

The Summit audience was introduced to The Vindy’s when Jim Chenot invited them to perform in his “Radio Sandbox” program. The power and the passion in Jackie Popovec’s voice impressed Jim and led him to campaign for regular airplay of The Vindy’s on The Summit.

So much has changed since then. We lost Jim in 2016 but the music that inspired him continues to entertain us. 

The Vindy’s have become one of the most sought-after bands in Northeast Ohio and beyond. It’s their unique blend of alt-rock that Cleveland Magazine says, “…reminds us of The Black Keys”, and “…make us want to dance, whether we’re in a grungy dive bar or a field in Lake County.” 

This Youngstown based band is led by powerhouse singer/songwriter/guitarist, Jackie Popovec, who the Repository says “…uncannily evokes Amy Winehouse on the more retro songs while going full-tilt rock n roll on the harder moodier numbers. WKBN-TV (CBS) calls the band “…one of the hottest acts in the area…Canfield’s Jackie Popovec’s voice is a blend of Amy Winehouse and Nora Jones.” The Beaver County Times claims “…Popovec will grab you immediately. She sounds sweet and sultry, vulnerable, and persevering.”

Rounding out the band is John Anthony on guitar/harmony vocals and Rick Deak on guitar/harmony vocals. The Vindy’s “Family Band” includes drummer Owen Davis, bassist Brendan Burk, keyboardist Nathan Anthony and the Youngstown Horns featuring Kyle O’Donnell on trumpet, Brian Mayle on trombone, and Garret Kuchmaner on saxophone. All are classically trained musicians who combine their skills, Popovec as the primary songwriter, and arrangements by the band resulting in a depth and maturity in their music that is intricate, yet relatable. 

Because they are passionate about representing Youngstown as a place where the music scene is thriving their name pays homage to their roots by drawing influence from Youngstown’s daily newspaper. Here at the Summit FM, our Program Director, Brad Savage says “To me, they really personify Youngstown and Northeast Ohio. They’ve got depth and substance and are instantly likable. Their songs get stuck in your head after one listen.  

The band has performed at various festivals including WonderStruck, WonderRoad, Wonderbus, The three Rivers Arts Festival, Laurel Live, Winnetka Music Festival, Women Who Rock, and Summerfest where the band won the first day of the Emerging Artist Series selected by voters on Twitter. Additionally, The Vindy’s have shared the stage with Pat Benatar, Walk Off The Earth Drive By Truckers, Marty Stuart, Donnie Iris, The Clarks and more. 

The Summit FM reminds you that the best way to support the musicians you love is by buying merch directly from the artist!

By Dave Swanson - Summit FM Contributor

When the Steve Miller Band hit the music scene in 1968 with their debut album, 'Children Of The Future,' they were one of many bands from the San Fransisco Bay area vying for people's attention. Their mixture of blues, soul and rock and roll would prove a winning combination with just the right amount of psychedelic coloring added in, though the eternal 'freakout' was never really their stong suit, it did add plenty to those early albums. 

Five strong albums released from '68 through 1970, found the band gainind an audience with songs like 'Living In The USA' and 'Space Cowboy' as well as a reputation as a live act. By 1970, with the haze of psychedelia fading, the band settled in for a less encumbered approach, highlighting the blues and adding in a good pop sense to the mix. 

Released in 1970, 'Rook Love' was a slight misstep with Miller and Company not yet finding their zone. That would come with the next proper album, 'The Joker.' The band's eighth album signaled a new start for the Miller Band both artistically and commercially. From the first notes of 'Sugar Babe' through the ending of 'Something To Believe In,' it was clear Miller had condensed all he'd learned over the years into a potent brew, ripe for the charts. 

The album's first single, 'The Joker,' would seal the deal, hitting the Top spot on the Billboard US singles charts after being released in October of 1973. The single would not only become Miller's first major hit, but his signature song. "Shu Ba Da Du Ma Ma Ma Ma" would also play heavily on FM radio. In addition to the new found popularity, Miller pulled a twofold cae of mystery and intrigue by having people questioning why some people called him 'Maurice,' and the most significant question of all, what the hell was "the pompatus of love"?? 

These are questions mere mortals like us fail to have a concrete answer for, so instead, we shall just call 'The Joker' this week's Essential Album here at The Summit. You, the midnight toker, and Maurice just enjoy the tunes as you ponder the pompatus of love while someone shakes your tree. 

"The Joker" celebrates its 50th Anniversary this October!

By Laura Smiley - Summit FM Sales Director

By Dave Swanson - Summit FM Contributor

For three dates in February of 1963, Sam Cooke gathered up a group of musicians and held some late night recording sessions to make a record he really wanted to make.  Recorded at RCA Studios in Hollywood, Cooke, brought in pianist Ray Johnson, lead guitarist Barney Kessel, bassists Cliff Hils and Clif White, drummers Hal Blaine and Ed Hall, René Hall on rhythm guitar and a 16 year old lad named Billy Preston on organ. This ensemble would record what many critics and fans regard as Cooke's finest hour, 'Night Beat.' 

History may have forgotten, but in his prime Sam Cooke was a major force to be respected at every turn. From the late 1950s onward, Cooke delivered a long run of hits including  'You Send Me,' 'Chain Gang,' 'Cupid,' 'Only Sixteen,' 'Another Saturday Night,' Twistin’ The Night Away,' and 'Havin’ A Party,' to rattle off a handful. His smooth and invitingly soulful voice struck a chord that crossed racial boundaries without a blink and would inspire singers across the board. Rod Stewart has often said he wanted to "be" Sam Cooke. 

The idea for 'Night Beat,' was simple, Sam would assemble a core group of players he knew and record a batch of songs he wanted to record, seemingly without any thought of hit singles, formula or pleasing anyone but himself. What got put down on tape those three days turned out to be pure soulful magic. Not that his prior catalog of records aren't great, but the addition of strings and other extras could, at times, distract from the main attraction, Cooke's beautiful voice. 'Night Beat' let's Cooke's vocal shine alone ni the spotlight. 

Some songs written by Cooke, others by a variety of writers, and all seamlessly fitting together and though not a 'concept album' as such, in a way, it is conceptual musically as it evokes the late night sessions with some of Cooke's purest vocals atop a hybrid of blues, soul and pop that allowed Sam's vocals to be front and center. 

In a Goldmine magazine feature, the legendary Al Kooper said, "Each song is like another moody painting always in the appropriate, tasteful frame," adding, "This is intimate Sam Cooke and his favorite musicians having some genuine fun in the studio, with obviously no eye toward ramming up the pop charts." The sessions were engineered bby RCA staffer David Hassinger, who would later make a name for himself working with the Rolling Stones, Jefferson Airplane, Grateful Dead and Frank Sinatra among others. 

The world weariness he puts forth on "Get Yourself Another Fool" is a lesson in how to put one's heart on the line in song while his take on Willie Dixon's 'Little Red Rooster' adds a gallon of soul the the blues classic, creating one of the most unique and powerful versions of the much loved blues standard. The album was released at the tail end of summer, 1963. In 2007, the Guardian included 'Night Beat' on its list of '1000 Albums To Hear Before You Die,' noting that Cooke always "brought a spiritual intensity to every cute mainstream confection he recorded, but his beautiful voice was never more mesmerizing than on this hushed and gracious album." 

Sam was very pleased with the way the record came out, and signs pointed to the possibility of doing another in this style, but that was not to be. Cooke was killed on December 11, 1964 at the Hacienda Motel in Los Angeles by the motel's manager, Bertha Franklin. The story behind that involved with Franklin and Cooke entwined in a heated argument in the motel office, and as the two struggled, Franklin grabbed a gun and shot him. 

Sam Cooke left behind a wonderful catalog of recordings from his early time with gospel group the Soul Stirrers on through is pop chart success, but arguably his purest recordings are found here, on 'Night Beat.' 

By Ryan Humbert - Summit FM Contributor

The Americana Music Association was formed in 1999, and since that time has helped American roots music assume an elevated and secure place in the artistic and commercial life of the nation. What began as an informal gathering of dedicated colleagues has grown into a movement endorsed by major media and iconic artists. The Recording Academy added the category of “Best Americana Album” in 2009, and Merriam-Webster included the musical term into the dictionary in 2011.

The Americana Music Association has not only been a refuge for artistry in a time of tumult for popular music, but as well, a resource for hundreds of upcoming artists, songwriters, musicians, and producers. Today, Americana is one of the best selling music genres according to Billboard’s Top 20 album charts - with artists like Mumford & Sons, The Avett Brothers, The Civil Wars, The Lumineers and more, becoming the mainstream and not the exception.

The highlight of the associations' annual AmericanaFest (happening this week in Nashville, TN) is the Americana Music Awards, taking place at the historic Ryman Auditorium.

Here are the five songs nominated for "Song of the Year" at this year's awards. Enjoy!

Don't forget to tune into the Americana Roundup, every Sunday morning from 9 to 11AM on The Summit FM -- hosted by Ryan Humbert, lead singer of the Shootouts. For more information, visit AmericanaRoundup.com.