USA Today - Derek Webb/Rickie Lee Jones

By Glen Rose
Webb: Took on political issues in Mockingbird because "it's the job of creative people, and especially those who are followers of Jesus, to be radical truth tellers," he says.

Jones: Tells listeners "prayer belongs to you, and you have to take it back."

By Elysa Gardner, USA TODAY

You might not expect to find folk-rock renegade Rickie Lee Jones and Christian singer/songwriter Derek Webb on the same concert bill. But on their latest albums, the troubadours do share a goal: They both want you to get to know Jesus better — and not necessarily through messages provided in mass media or houses of worship.

Jones' "The Sermon on Exposition Boulevard", released in February, was inspired by a different spiritual journey than that informing Webb's Mockingbird, which has been generating praise, and some controversy, since last year.

"I came to religion wanting to take what's beautiful about it,," says Jones, 52. "I think we are spiritual beings, but Christianity's position in the culture can be so aggressive that it makes people defend themselves coming to the table."

So in 2005, when Jones' friend Lee Cantelon asked her to take part in a spoken-word recording of The Words, his book outlining Jesus' teachings — and distinguishing those teachings from what Cantelon views as the dogmatic interpretations that have evolved in organized religion — the project seemed a natural fit. Jones decided that she would rather sing than speak, though.
Jones wouldn't define the lean, starkly atmospheric songs she co-wrote with Cantelon and Peter Atanasoff as Christian music. "I guess I assume that would mean a Christian person trying to convince me of something, to sell an idea."

Webb, 32, began his career in that market, as part of the Christian band Caedmon's Call. "But as I looked around, I thought, 'where are our artists who are talking about politics? About the government?' It's the job of creative people, and especially those who are followers of Jesus, to be radical truth-tellers. That's what the prophets did."

With Mockingbird, his third solo effort, the Nashville-based artist wasn't concerned about ruffling feathers. On one track, A King and a Kingdom, he sings of "two great lies," identifying one as "that Jesus was a white, middle-class Republican, and if you wanna be saved you have to learn to be like Him."

Webb muses that Jesus "wasn't a white middle-class Democrat either, incidentally. The point is that he didn't walk any party line. But I think that the church, especially where I live, makes a terrible habit of co-opting the more conservative political party.

"I'm not saying the church shouldn't be concerned with issues. My problem is that they've grown so predictable, and Jesus was in no way predictable. The people he loved most lavishly were often socially stigmatized, and he reserved some of his harshest language for the law-keeping church leadership. That's the opposite, in a lot of cases, of what the evangelical church puts forth."

Webb espouses the kind of evangelism he associates with Jesus' original followers, "which was telling people about Jesus and what he did. But the church in the West has made some distinction between that and acts of mercy: caring for the poor, clothing the naked, caring for our neighbors."

Jones, who defines her political leanings more firmly to the left, echoes Webb's concerns. "Capitalistic religion inhibits the idea of service. You're supposed to be in the business of serving yourself, and if you don't do that, you must be some sort of tree-hugging idiot."

On Sermon's Where I Like It Best, Jones sings wryly, "See all those people praying on TV and the churches/They like to make a big parade out of what they're doing." Jones explains: "What I'm telling people is that prayer belongs to you, and you have to take it back."

Webb, who has a new album, The Ringing Bell, due in May, admits that he's been getting fewer invitations to play in churches since Mockingbird's release. But he has no regrets about answering to what he considers a higher authority.

"I hope to tell people what I really see when I look at the world," Webb says. "I know the issues can be complicated, and that a 3½-minute pop song isn't the best venue for some of them. But it's the only medium I have, and it's as good a place as any to start."

Nettwerk America, February 2007
Genre: modern pop
Official Site: www.mattwertz.com
Offensive words: none

There's nothing like the feel of a favorite old t-shirt paired with a worn-in pair of jeans. Some of the best things in life move into their prime as they age, making them more enjoyable, more valuable. And so it is with the music of Matt Wertz, a handsome Missouri-born soulful rocker who has been splitting time between his home in Nashville and hundreds of stages around the world for the past six years. His latest offering, Everything In Between, displays a patina that prompts an even deeper appreciation of his music than initially seemed possible. (bio)

I just finished reviewing two hardcore and metal albums. And then the next album I go to grab is obvious some pop garbage that I am not going to get into and not care anything for. I already know that nothing will be unique about this guy and I know 110% I won't personally like it. Ever eat crow? I'm sitting here finding myself totally getting into this. I find it relaxing from start to finish and then I see the press packet that I got and it ends by saying, 'relax and rock out..' Well, I don't know about the rock out part but it is one of the most relaxing and comforting cd's I have heard in a long time. There is something to say about an artist that can make the cornerstone purely on vocals and an acoustic guitar. "I Will Not Take My Love Away" is a perfect example of everything I just mentioned. The album is pop, but it is pop like Ben Folds or Gavin Degraw. He has even been compared to Jason Mraz and John Mayer. Even though after listening to this album, I find that true but I feel Matt Wertz is a step above even those I mentioned. The music is a soothing and matured brew that would get the stirrers stirring in a coffee shop. I love the folk essence of this album while it is still adding a modern rock overtone in the background. The tone changes for a bluesy style with a mild old school flair. This is an album that could withstand the change of time. This is an album that I will actually be putting in my wife's iPod and also mine, just don't tell anyone about it being in mine.

The vocals of Matt Wertz are also as soothing as the music itself. The lyrics are a great poetic blend of love songs and compassion. By far my favorite track was "I Will Not Take My Love Away". As a Christian reviewing this cd, it seemed more than obvious that this track was referring to the love of God. Maybe I am just reading to much but seeing the compassion of Wertz, I think it seems obvious.

Also I feel like I should mention an amazing ministry of compassion that Wertz is involved with, Mocha Club. The Mocha CLub helps bring relief to those dealing with AIDS, homeless, parentless or genocide victims of those in Africa. For more information visit: MOCHA CLUB.

Review courtesy of www.wisemenpromotions.com

Sound of Melodies
Artist: Leeland
Label: Essential
Time: 12 Tracks

As the music industry continues to grow larger and larger, the standards by which we determine what is excellent music also continues to rise higher and higher, making it seem, almost that no one can top the latest, greatest hit. It is easy to review a band that has had a previously released album because you can look back and say how the band has changed since their last album, but when a new band releases their debut album, you have nothing to compare them to – except the industry standards of greatness.

The newest band on the Reunion label, Leeland, releases their first album, Sound of Melodies, on August 15, 2006, which will hit the stores with a BANG! Already hitting the airwaves of radio stations with a bang is the band's first single, the title track off the debut album, "Sound of Melodies." This song is not only the first single to be released, but is also the first track you hear when you place the CD into the boom box. Leaving an impression in the mind of everyone who hears it, this song brings together the best of contemporary music and praise songs. Not only does the opening song do this, but the entire album. Songs that all vary in topic, but have one focalized point- to praise God for who He is and what He has done.

Now the hard part – How to rate this CD? Do you base it on industry standards and either state it is good or it is bad, or do you classify it as its own standard?

For this CD the best way to rate is it to say this, it is fantastic!

Maybe Michael W. Smith says it best, " Leeland is the best thing I have heard in a long, long time. I can't stop singing the songs in my head. Great melodies, Great band. Great voice."

Timothy Gerst
Review from Phantom Tollbooth

One Night with The King

Luke Goss as the king crowns Tiffany Dupont the new Queen Esther in 'One Night With the King,' a Gener8Xion Entertainment release.

"One Night With the King" is a surprisingly satisfying attempt to revive the Old Hollywood tradition of lavishly appointed Biblical epics aimed at mainstream auds. Pic has a much broader appeal than earlier product produced by Gener8Xion Entertainment ("The Omega Code," "Carman: The Champion"), and conceivably could attract ticketbuyers who have ignored other recent pics aimed primarily at devout churchgoers. Indeed, even a few diehard non-believers may be won over by the considerable charisma of top-billed newcomer Tiffany Dupont.
Strictly speaking, pic's source material isn't Holy Scripture, but rather a historical novel -- "Hadassah" by Tommy Tenney and Mark Andrew Olsen -- based on the Book of Esther. Even so, scripter Stephan Blinn sticks fairly close to the original, divinely inspired scenario while tracing the rise of an orphaned Jewish peasant girl who becomes the wife of King Xerxes of Persia.

Hadassah (Dupont), an appealingly spirited gamine, was adopted by her uncle, Mordecai (John Rhys-Davies), a dutiful scribe to King Xerxes (Luke Goss) in the capital city of Susa. Fortuitously -- or, perhaps more accurately, miraculously -- Hadassah is in the right place at the right time when an angry Xerxes banishes his prideful wife, and sends his minions throughout the land to abduct worthy candidates to be the new queen.
Mordecai suggests his niece keep her Jewish heritage a secret if she is seized -- which, of course, she is -- and enhances the imposture by re-naming her Esther. All in all, a good career move.
Esther immediately stands out in the eyes Hagai (Tommy "Tiny" Lister), the king's chief eunuch. Hagai befriends the young woman and takes steps to ensure Xerxes will be equally impressed. He is.

Esther becomes queen just in time to impede the progress of two conspirators -- Prince Admantha (John Noble), a sly fox with designs on the throne, and Hamen (James Callis), a dark schemer with a long-standing grievance against Jews.

Prince Memucan (Omar Sharif), a loyal member of the court, plays a major role in undermining Admantha. But Hamen very nearly launches a program to exterminate all Jews in the kingdom before Esther is able to open Xerxes' eyes to his treachery.

Helmer Michael O. Sajbel occasionally pushes too hard, especially when he bedecks Hamen with a swastika-like herald to underscore the plotter's anti-Semitism. (Fortunately, the obviousness of the symbolism doesn't mar Callis' effective performance.) And as often happens in this sort of epic, characters are given to flowery flights of speechifying.

However, the well-cast players infuse even borderline-campy dialogue with persuasive conviction. Sharif, in a small but key role, sounds aptly impassioned when he asks: "Is the past so mighty that we must destroy of brethren to escape its grasp?" And the mountainous Lister conveys a ineffably teddy-bearish likeability as he rumbles lines -- "You think a eunuch cannot know love?" -- that would choke most other actors.

Despite his prominent billing, Peter O'Toole appears in only one scene -- with a nicely explosive flash of righteous fury -- as the prophet Samuel.

As Esther/Hadassah, Dupont exudes charm, grace and (when necessary) gravitas, along with a hint of incipient star power. Goss is appropriately regal, Rhys-Davies is heartily formidable. Noble slices the ham generously as the hiss-worthy is Admantha.

Filmed on location in India, "One Night With the King" maintains a steady but never stodgy pace while flaunting an opulence that belies its reported $20 million budget. Credit cinematographer Steven Bernstein ("Like Water for Chocolate"), costumer Neeta Lulla and production designer Aradhana Seth for providing sufficient movie magic to help revive a genre that, in recent years, has been relegated to broadcast and cable TV.

Review by JOE LEYDON, Variety Magazine

The Nativity Story - In Theaters Dec. 1

As one of their blogger-reviewers, I received an invitation from Grace Hill Media to attend a private screening of New Line Cinema's new movie, The Nativity Story. Two thumbs way, way up. I'll never look at a nativity set the same way again.Over the years Hollywood has tried many times to make movies of Biblical stories, though there hasn't been a serious attempt for a long time. Most previous Hollywoodized versions of the Bible (for instance The Greatest Story Ever Told, The Robe, or King of Kings) tended to take the humanity out of Jesus or other Biblical characters. They always seemed to have this weird far-away look in their eyes and a funny glow around their head.

The Nativity Story does a wonderful job of reminding the viewers that the people we read about in the Biblical story were real people living real lives who found themselves in extraordinary circumstances. The movie explores the dilemma they were in and how they likely had to deal with it.The story begins with Mary's life as a young girl living and working in her family's home. In many Hollywood productions, Mary is played by a much older actress than the real Mary, who was probably only 15 or so years old. The Mary of this movie is a young girl, and Joseph a little older man. The casting seems right for the story. In fact, the casting throughout the movie is done well. The movie is not just a dry retelling, but includes a lot of scenes of the day-to-day life in Israel at that point in history, and some humor as well.

The Magi sort of become the comic foils of the movie, though their role is very serious as well. There is a lot of interesting information about their place in the nativity story, and the convergence of planets which gave rise to the Christmas star which the wise men followed.We know that Joseph and Mary came up from Nazareth to Bethlehem, but I think we forget that it was a journey of nearly 100 miles, all of it on foot. The film gives a good representation of what that trip would have been like and the sights they might have seen along the way.

The movie takes an interesting approach in dealing with angels. The same angel appears to Mary, Joseph and the shepherds, though I couldn't get away from the fact that he looked just like country singer Eddie Rabbit from the 70's. In addition, only one angel appears to the shepherds even though the scripture describes a "heavenly host" (not "the" heavenly host).The only time the picture takes on a bit of an old time Hollywood mystical appearance is when the baby Jesus is born and the star(s) cast a beam of light directly into the stable. But even in that scene, I was struck by the sight of Mary giving birth with only Joseph and some animals in attendance. We forget what it must have been like for people in that day.

There are some moments which could have involved graphic violence, but thankfully the filmmakers chose to use implied violence and no blood rather than graphic scenes that would be much more difficult to watch. It's not Passion of the Christ, that's for sure.Bottom line - go see it, and if possible go see it this opening weekend. Opening weekends are very important in the Hollywood world in helping convince them that this kind of film is worth making. A slow open could make movie companies hesitant to try something of this quality again.Take your unchurched friends as well. I think this film could make a significant impact on the lives of nonbelievers. It's that well done.
Source: Holycoast.com:TheNativityStory

Jars of Clay---New Release!!!!!!!

After 13 years of astounding success, Jars of Clay’s new release Good Monsters quite possibly surpasses all of their previous projects. The album offers a rock ‘n roll based sound, somewhat deviating from the Jars’ typically folk-rock styling. Jars also tried something new by utilizing preproduction time and then embracing the throwback style and unique experience of recording song by song with a full band.

Opening with radio-released track “Work,” the album launches into an energetic yet deeply articulate journey. The listener is taken from foot-tapping tunes like “Dead Man” and title cut “Good Monsters” to pensive ballads like “All My Tears” and “Even Angels Cry.”

Half way through the 12-track project is the haunting “Oh My God,” consisting of three parts that build into each other. Through paradox and harsh portrayal of reality, the song captures the human condition. The ending is entirely anti-climactic, which adds forcefully to the effect of this hard-hitting piece. Haseltine’s always-artful way of presenting words once again shines in this song.

Guest vocalists were also woven into the project. Leigh Nash sings a duet with Haseltine in “Mirrors and Smoke.” The effect is that of a conversation between two lovers, frustrated with the life and love. In one of the verses, the duo sings, Love’s a strange condition / With all the doubts it can invoke / Your love keeps me wishing / My heart keeps me broke.

The track “Light Gives Heat” features the voice of a young girl from the African Children’s Choir who had originally sung out on accident ahead of cue. The decision was quickly made that the young girl should purposefully sing solo to begin the track, setting the stage for the rest of the choir to join later in the song.

This song was born from the Jars’ experiences in Africa with Blood:Water Mission, an organization they founded to dig wells and reach out to African communities. Jars used this song as a platform to address the sometimes-skewed mentality of Western culture toward Africa. For example, Haseltine sings these words in the first verse: Catch the rain, empty hands / Save the children from their lands / Wash the darkness from their skin / We don’t know you, but we know best.

The overarching theme of the album is the capability of humanity to create incredible evil and incredible good, playing into the concept of humans being good monsters. This theme is woven into each track beautifully, producing a project that will surely bring Jars of Clay continued success.

-Rachel Wegner (Relevant Magazine)

S/R/E Recordings, October 2005
Genre: Hard rock
Official Artist Site: www.flyleafmusic.com
Rating: 5 out of 5

Five years ago, Mosley started playing music with drummer James Culpepper. The two joined up with Bhattacharya and Hartmann, who were in a local band that had just split up. "Our first practice together was awesome," Mosley says. "We all had different influences that were all blending together with the same passionate heart, and that brought out this beautiful feeling. It was magical.” Bassist Pat Seals joined in 2002. Come early 2005 the band's self-titled debut EP - produced by Rick Parasher (Pearl Jam, Blind Melon) and Brad Cook (Foo Fighters) - was released and was supported on tour with Saliva, Breaking Benjamin, 3 Doors Down, STAIND and Trust Company. To launch the LP, Flyleaf is touring with Cold, STAIND, POD and Taproot. In spring 2005, Flyleaf recorded their full-length debut with acclaimed producer Howard Benson, who has previously worked with My Chemical Romance, POD and All American Rejects. "A flyleaf is the blank page at the front of a book," explains Mosley of their moniker. "It's the dedication page, the place you write a message to someone you're giving a book to. And, that's kind of what our songs are- personal messages that provide a few moments of clarity before the story begins. If people can know that they’re not alone and recognize the hurt, they can hear our music as a means of hope and eventually taste real love. We want Flyleaf to be a relevant, spiritual quest to seeking truth and finding God.”

Musically: Every once in awhile I get a cd or a request for a review of a band that I am not very familiar with. I started getting requests for Flyleaf and I made the contact to get a cd sent and an interview set up. I get the cd and didn't know what to expect. This is an album that is actually paving the way for originality and a band that is willing to take chances! The very first song, "I'm So Sick," is full of guts with hard driving guitar riffs and pounding bass lines that make the content just hard enough to bridge the gap between the hardcore fans and even the radio rock fans. HM Magazine said it best, "think the Cranberries on acid meets a velociraptor..." The album has an amazing blend of melodic tones and rhythms mixed with hard edges and roughness. We haven't even go to the incredible vocals yet! "perfect" for example, slows the pace down with a great melodic melody and quickly speeds the track up during the chorus. "Cassie" jumps as back into a harder intro that gave me a flash back of The Benjamin Gate. Most of these songs are radio friendly and even set at a modest 3 minutes each. Most of the time if I mention the radio stations in a review that is negative. Flyleaf, on the other hand, will hold you if you hear them on the stations. Many of the tracks have an amazing blend of old school punk rhythms with a great deal of grit that was reminiscent of grunge. Songs like "All Around Me" quickly take those emotions and encapsulate them in a melodic rhythm that yes, at times, will remind you of Evanescence.

Lyrically/Vocally: Lyrically is another area that sets this band ahead of the pack. Their bio says this, "I used to be in a really negative band, and that seemed to almost fuel my emptiness because that's what the songs were about," says charismatic singer Lacey Mosley. "That's why I think what we're doing is important because there needs to be something heavy out there that has a positive message so people see that it's possible to get through the worst situations." Flyleaf's self-titled debut album echoes with songs about abuse, neglect, addiction, dysfunction and messages about overcoming adversity. (bio) That positive stance and a willingness to take difficult subjects head on is what makes this band so truthful. The band tells you the problems but they also tell you how to fix theme and that is with themes of hope. A great quality is the ability to be real and share a message of true salvation. Vocally, wow, this is the heart of this band. Take the vocals of Lacey Mosely away and you have taken the Arch out of St. Louis. She has an insane intensity during the harder edged songs mixed with deepened roughness and backing screams. She also has amazing pitch and direction which take her all over the board when diving into melodic overtones. Her voice is captivating and relaxing.
Flyleaf will do one thing for you, stir emotion. From the music to the lyrics to the vocals, this album is absolutely amazing!

I don't typically do this but I felt this would be a rip off if I didn't include the story about Lacey in the bio:“One of the record’s theme is about God saving me,” Mosley reveals. “If that hadn’t happened, I wouldn’t be here. The struggles that I went through are what the Bible says produces perseverance, strength and character. I wouldn’t take back any of my past because it’s exactly what brought me to this point.”Yet Flyleaf's infectiously heavy emotional and spiritual surrender is all the more surprising considering Mosley's struggles while growing up. "My mom was a young single mother of six," she continues. "We didn't have money and things were hard for all of us. We moved whenever we couldn't make ends meet in one place, and that happened pretty often so there was a lot of struggling, suffering and character building. There was nothing constant in my life, and nothing to believe in. I got into some really bad stuff that I thought would make me feel more loved, or maybe just numb, but it cost me everything that was important to me, and literally almost took my life." After turning to a life of drug use and rebellion, Mosley found continued frustration with her relationships at home and school. She decided suicide was the only option and had actually staged a method to take her life. However, one particular moment of meltdown became the very catalyst for which she’d turn her life around. “I had a nervous breakdown at 16, planned to kill myself the next day and cut all my hair off,” she remembers. “My grandma took one look at me, got very angry and we had a big fight. She was telling me I needed to go to church, and I agreed just so she would stop yelling. I still planned on killing myself the next day.” Sunday just so happened to be the next day, and as promised, church was on the agenda. It was in that setting where Mosley felt the glow of God for the first time, but felt as though the preacher was speaking directly to her, despite the two never having met. “The preacher came on and started talking about experiences he’d come across in ministering, and it kind of described my whole life,” she admits. “I was shocked, but then he started talking about how Jesus died so he could take our pain away, forgive us from our sins and set us free. He started crying at one point and said he felt a suicidal spirit in the room, I felt like he was talking to me again. It made me want to turn away, but he said “God wants to take your pain away.’”Mosely’s resistance walls began to melt. When church was dismissed, a fellow prisoner pulled her aside and told Mosley that she could find comfort in her heavenly father despite her earthy father never being around. “I never knew my dad, but this really did catch my attention because this man at the church didn’t know me!,” she says with shock. “And the more he kept saying about pain, the more my heart broke into a million pieces. Finally when I was more desperate than I’d ever been, he asked if I wanted to pray, and I said ‘yes.’ I had my head in my hands, and he prayed for God’s peace to come over me. Jesus saved me, and it was the most awesome freedom I’ve ever known.” When you take a dive, sometimes you have to hit the bottom before you can swim your way back to the top. For Mosley, writing songs about survival helped her reach the surface and breathe again. "I had to lose everything to look up and see that there is a truly constant hope of a happy,” she says. "If my music helps one person, than it's worth having been through what I've experienced."

Review by www.wisemenpromotions.com

Cash V: A Hundred Highways
Artist: Johnny Cash
Producer: Rick Rubin American Recordings

Johnny Cash has traveled many miles, and has traversed some mighty rugged roads since his first hit, Cry, Cry, Cry. On American V: A Hundred Highways Cash, proves that, dead or alive, Cash is the quintessential artist of our time. As I listened to the songs, one by one, I discovered that every single highway takes me home. Every song takes me to that place tucked away deep in my soul that is the very essence of who I am as a human being.

His decidedly effete, often strained vocal productions are outshined by his timeless “voice.” He is the definitive voice of reason, the definitive voice of suffering, the definitive voice of country, the definitive voice of rock and the definitive voice of soul. Don’t be fooled by vocal chords seemingly exhausted of vitality. If his vocal chords were a lemon, Cash V would be the ensuing bittersweet lemonade.

When Cash and Rubin joined forces in putting these final songs together, both sensed that death was lurking around the corner, though they couldn’t have known it would be a matter of mere months. The deathbed that awaits Cash is overshadowed by his sheer determination to conquer what existential philosophers and psychologists have identified as humankind’s greatest obstacle, ­our fear of death. In this CD, Johnny Cash is like the month of March that wants to skip April and May just to meet up, once again with “June.” It is a March that comes in like a lamb, roars like a lion somewhere around the middle, and then surrenders at the end, like a lamb before the slaughter.

He is both meek, and bold---both tender and tough. He is a lamb in "Help Me," the humble, poignant prayer of a dying man penned by Larry Gatlin, and he is a lion in God’s "Gonna Cut You Down," a traditional song that clearly rocks.

Cash is tender, and treads lightly on Gordon Lightfoot’s golden classic, "If You Could Read My Mind." Cash’s rendition is more than Lightfoot “Lite.” Yes, as the song goes, “…heroes often fail…,” but not Johnny, even though at this point, the hero is often frail. The song is so sparse in its production and presence that it feels like a ghost town, inhabited only by the ghost of Johnny Cash.

The "309," an original Cash number (pun intended), is the train that Cash has been waiting for. It will take him to join June. The "309" is said to be the last song Johnny Cash ever wrote and recorded. The anticipation of meeting up with his then dearly departed wife is portrayed once again in "Further Up the Road," a Bruce Springsteen gem that Johnny polished up for June.
"A Hundred Highways" demonstrates the combined force of great songs, a great artist, and a great producer, namely, Rick Rubin. As swans songs go, these ones soar to new heights.
When "Four Strong Winds" blow on the eleventh track you know that Johnny’s season is about to end. It’s still March, but it’s beginning to feel like September. The “strong winds” feels like one gentle breeze whispering “This legend’s time is about to expire.” It was penned by another Canadian artist, Ian Tyson.

March finally goes out like a lamb on the final song, as Johnny declares, “I Am Free From the Chain Gang Now.” Then he takes a bow and we probably won’t hear from him again. Or will we? Rubin has all but promised an American VI, expected to be released in 2007. Just because the Man in Black is gone doesn’t mean he won’t be back. I’ll be there When the Man Comes Around.
Here’s to 100 highways Here’s to all the song You’ve made well known Here’s to your last journey And the legacy you own Every single highway Takes me home…

By psychologist, Dr. Bruce L. Thiessen, aka Dr. BLT
Published in Phantom Tollbooth