The Datsons
The Numbers
Enon
Oxford County Circus
Wayne Omaha
John Tesh Jr. & the Broken Social Scene
Raising the Fawn
The Russian Futurists

THE DATSONS
WAVELENGTH #43 SUNDAY DECEMBER 3, 10PM

Interview with Trevor from Montreal's The Datsons by Paddy O'Donnell:

What do the '60s mean to you/your band?
I don't feel any particular nostalgia for the '60s as an era. I mean, I don't buy the myth of the "swinging sixties" or feel that those days tower over the present. Obviously, '60s aesthetics have been really influential on us. There's a difference though, between liking the art of a certain time and actually loving everything about that period.

Is it fair to term your music as part of the "Mod Revival"?
I'm not sure. We were pretty fast and loose with the word last year. I've grown pretty tired of the endless semantic battles over definitions. What is mod? Are we mod? I don't care too much anymore. We don't want to revive anything. We're definitely part of that musical tradition though.

One reviewer wrote that your music was "intentionally underproduced". Do you agree? Do you ever feel that certain writers' opinions are "intentionally unresearched"?
That was a pretty lame comment, I agree. The idea was not to "underproduce", which sounds like we wanted to do a shit recording. A lot of thought went into making the album sound the way it does, so in a sense it is a very produced album. What we didn't want was a clean recording. We wanted the warm natural distortion that old recordings have as well as a vintage sound for the drums and bass guitar.

Who did you work with for the most recent album?
We wanted to avoid a studio environment where everyone feels stressed out and the band is not really in control of the recording process. We were also still in debt from the first album. We met a guy called Dominic Vocisano who had access to a lot of really cool vintage gear. A massive old compressor that looked like it had been removed from a battleship. An old WWII microphone that seemed to naturally seek out and transmit the BBC world service everytime it was used. Dominic was also willing to work for very little money in a cabin without running water during a snowstorm (this was also a prerequisite). We were very lucky to meet him at that time and also lucky that the whole weekend turned out to be so positive. The cabin sounded good and everyone played really well. Almost every song on the album was done in one take.

You seem to tour a lot. Elucidate.
We're just very focused at the moment. We all agreed to make the band our number one priority for at least this year. Our fear of finding bad day jobs has also kept us away from home.

Your songs touch on skewed relationships, working class struggles, glamour, revolution, loss of youthful ideals, and, increasingly, a few Biblical references for good measure. There seems to also be a digression from the feel of the lyrics from the first album to the next. Do you feel that what you have to say has changed?
If anything, the words are getting darker. On the first album I was very consciously aping my hero Ray Davies, telling little stories about sad, ordinary people. Some of these lyrics are good but overall I think I hadn't really found what I wanted to sing about. The lyrics to See! have a little bit of that kind of storytelling but the songs are much more about me. A lot more thought went into them. At some point, as I began writing them, I started connecting them all and they became like chapters in an ongoing story. For about three years I've been just adding and developing the same storyline. See! is about feeling small and powerless and about being unable to find a villain to blame. The world is very complicated and overbearing. There is no one at the helm, we rule ourselves like sheep, keeping each other in line. The person in these songs feels helpless and has turned inside, living in a world of fantasy where he is sometimes a spy fending off corporate hitmen ("Spyhunter"), sometimes a prophet ("For A Love Supreme") and always looking for elusive, large answers. "Mr. Face" is a constant presence providing false answers, trying to trick everyone into happy submission. You're right to notice that the lyrics often come back to the problem of maintaining youthful vision, not allowing dreams to be crushed. The title See! has a double meaning. It refers to the need for a moment of truth which never really comes but also to the way we control and rule ourselves.

What is next for the Datsons?
An album we hope. All the songs are ready. It will be very groove-oriented and dreamy. Ideally it will be out by next spring/summer but these things always take longer than planned. Hopefully we'll have a second video finished before then as well.

Nice website. Any words about it?
All the credit for that must go to Rishi, our bassist. He did a great job, I agree. I hope we can get some clips from our video up there soon. Check it out:

THE NUMBERS
WAVELENGTH #43 SUNDAY DECEMBER 3, 11PM

Mod garagers The Numbers are from Detroit Rock City. Wavelength's Paddy O'Donnell spoke them about the following...

What are your favourite numbers, respectively?
Us.

Your mission statement claims that The Numbers have been "wearing their mod hearts on their sleeves..." Do you foresee a time when you might wish to distance yourself from this categorization?
We are definitely influenced by early British rock -- The Small Faces, The Who, those bands' energy and song style, but we'd hate to pigeonhole or limit ourselves by saying we are just a mod band. It has been said that you put on quite a live show.

There is reference to packed dance floors. What is your philosophy behind playing music in a club?
The closer the people, the more excited the feel of the show. If we can get the people involved, dancing, screaming, whatever, then we feel like we've done what we should with our songs.

A reviewer had accused one of your songs as being a "jaunty but lyrically bleak knockoff of The Who's 'My Generation'." Another song, "Left Behind", seems to bear a startling similarity to The Clash's "London Calling". What are the differences between homage, artistic license and excessive borrowing? Is this line of questioning fair or unfair, and why?
The questioning is fair. Classically, to convey a style of music, there is a form to song structure. I don't feel the songs on this record borrow any more than a feeling from their obvious influences.

Your disc Ready, Steady, No!! seems to have garnered accolades. What went into the making of that recording? Where can it be found?
We recorded this CD with a friend of ours, Al Sutton. He's done records for Don Caballero, Laughing Hyenas, Big Chief... We wanted to have a simple live feel, so we recorded all the songs in a day and did vocals the next. The record is going to be in Canadian stores after the first of the year.

Where are The Numbers going to next?
We're doing more shows to get this record out there and we'll start to record early 2001 for the next disc.

What's exciting you in Detroit these days?
Detroit's been the home of a lot of great indie garage rock and has really come alive with clubs and people lately. And its crime has gone down so now I can walk my dog without me or him getting shot or mugged!

ENON
WAVELENGTH #43 SUNDAY DECEMBER 10, 10:30pm

Enon did not respond to transmissions from mission control and I was forced to piece together a short history of the band from dark library basements, web pages written in Sanskrit, and my daily horoscope read backwards.

As far as my research could tell, Enon started out approximately 3.5 billion years ago as single-celled organisms in a primordial stew. The facts surrounding these humble beginnings are sketchy at best, but it seems that they happily frolicked around in the aforementioned primordial stew, dividing, growing and evolving for a few billion years. Suddenly, one cell wasn't enough, it was time to grow and expand. A two-celled organism was introduced, then a third, then heck, they just went wild, hundreds of thousands of freakin' cells. Another billion years and we have the species that refers to themselves as Homo sapiens.

Things get a little clearer, even lucid at this point, as we travel to Dayton, Ohio, circa 1997. John Schmersal's band Brainiac have come to a tragic end due to the untimely passing of frontman Tim Taylor. A move to New York follows, where, after releasing a solo album, he joins forces with Skeleton Key members Rick Lee and Steve Calhoun. To the pleasure of many, the first CD, Believo!, was released in March of this year on See Thru Broadcasting.

Enon manages to blend together blues, poppy hooks, samples and math-y melodies into seamless, catchy songs. The CD is absolutely amazing and full of great tunes like "Get The Letter Out" and "Rubber Car" that deserve to be played repeatedly on your stereo until your roommates threaten to kill you if they have to hear that darn song one more time. Not only that, the rumour on the street is that these kids are supposed to put on one heck of a good live show, including antics such as "rapping with sounds instead of words and dancing robotically in slow-motion". This is going to be one Sunday night you don't want to miss.

- Count Floyd Dovercourt

OXFORD COUNTY CIRCUS
WAVELENGTH #44 SUNDAY DECEMBER 10, 10PM

OCC is an easygoing band that doesn't slack on the tempo. A perfect band to listen to while driving behind the farms of Southwestern Ontario at four in the morning. On the night of the 2000 federal election, Doc Pickles convened with the members of Oxford County Circus to celebrate the imminent victory of the Marijuana Party. 24 hours and many pints later, it had become obvious that this victory would remain elusive and so Doc turned to the ornery foursome and said:
What do you think gives Lucky Strike its distinctive flavour?
Darren: The light or the regular?

Doc: Oh, the delicious light.
Darren: A blend of tip leaves and sand leaves, unbruised, and cured in the old Virginia style.

Doc: What are sand leaves?
Greg: The fucking leaves close to the sand.

Doc: Hey, are you looking at me?
Greg: No, I'm looking with you.

Doc: What's your problem, asshole?
George: My asshole's my problem.

Doc: Why don't you take your ass off of that chair and march right out of here?
Darren: Oh yeah? How 'bout I march on your ass and spank you with my chair!

Doc: You suck.
George: Yes I do. I suck all right. I've practiced sucking as long as I've been alive. I'm very proud of what I've been able to accomplish.

Doc: You wanna go? Huh? Right here, mano-a-mano?
Greg: What? Club Monaco?

Doc: Were you just looking at my girl funny?
Greg: Club Monaco, what the fuck?

Doc: That's an ugly shirt.
Darren: Ya! Do you want it back?

Doc: Hey! Put down that bagel! It's mine!
Darren: Well, your girlfriend was looking at me funny.

Doc: Why don't you drink a real beer?
George: Why don't you go to hell, you fuck?

Doc: Put that thing away if you're not gonna use it right.
Greg: Go to you, hellfuck!

Doc: Why don't you play something I can dance to?
Greg: Why don't you clay something I can chance to?

Doc: Who died and made you king?
George: No one died. It was a bloodless coup. My current power results from a mandate from the people.

Doc: No you idiot! The lemon peel before the olive, not the olive before the lemon peel!
Greg: Such is the way of the skunky romantic bribes.

Brad walks in ands says "hmm, I'm going to have to kick your asses now." After launching George down the length of the bar like a human torpedo, he turns to Darren to disagree with his opinion of Who's Next.Then he bonks Greg and Doc Pickles' heads together like coconuts.

Darren: (pleading) Why Brad, why?
Brad: Hhmm, you know, this is my pearl of Southern Wisdom. Now you better sit back down and ask us some questions about music, you Northern Poser.
Doc: (shaken, deciding to play it safe) Uh, okay. If you were stuck on a desert island, what five albums would you bring?
Greg: My photo album.
George: An inflatable woman. You'd get healthy.
Greg: There might be weed on that island.
George: Or at least weird toads you can lick.
Darren: As a matter of fact, I've licked some toads this evening and I've completely forgotten the original question.

WAYNE OMAHA
WAVELENGTH #44 SUNDAY DECEMBER 10, 10PM

"Exquisite Corpse: Game of folded paper played by several people, who compose a sentence or drawing without anyone seeing the preceding collaboration or collaborations. The now classic example, which gave the game its name, was obtained this way: 'The-exquisite-corpse-will-drink-new-wine'." -- Andre Breton

When bored with conversation, Breton, Marcel Duchamp and other friends within the surrealist circle would turn to games. Our 21st century version of the Exquisite Corpse is played through email, with only the last line of each paragraph revealed by far-from-objective moderator Jonny Dovercourt, and passed on to each member of Wayne Omaha, towards the aim of creating an original, possibly sensical story.

The facts are clear: Wayne Omaha are a five-piece band from Toronto; they play jammy, pop-inflected drone-rock; they have a new CD out entitled Can The Maps. Go For The Beauty.; last summer they toured the Yukon; this is their second Wavelength appearance. Their motivations, like anyone's, are not so clear. We hope, like the surrealists, that the Exquisite Corpse will delve into their unconscious and tell us more about the mythic world of the Wayne-O's. Let the games begin. -- Jonny Dovercourt

WAYNE OMAHA'S EXQUISITE CORPSE

The crunching of gravel became more and more machine-like beneath Mandy's wheels. It was a long way to the Arctic Circle. The boys had been driving for days. Behind them lay 5000 miles of highway, 1000 CDs in the burner, hundreds of missed appointments, voicemails and emails, dozens of frightened moose, five enraged snowboarders and one sexy French-Canadian nuclear physicist standing by the side of the Trans-Canada. They knew not what they were heading for, but everyone in Mandy knew they would find out when they heard that BANG -- a bang so loud it made them forget all about the CD burner and everything they had left behind, and brought them to a grinding halt on the tundra. (Jonny)

Alfons -- who held the secret key to the utility box -- clambered distastefully (yet skillfully) atop Mandy, retrieving the brand-new hydraulic jack which they had bought in Bear Lake at Train Wreck Morningstar's insistence. Despite a solid half-hour of good intentions, Paco and Bass inevitably discovered the painful truth: that Mandy was just too big for the jack. Matt grimaced slightly, thinking about the gig ahead and the clock ticking down. And that's precisely when an old beat-up camper pulled off the highway to see what all the fuss was about -- "beauty on," said Yawd, relieved. (Yawd)

Change it if it isn't workin' for you. That's a way to think. "Bait my hook and I'll land that fish for you!" said the skipper, rising up and out of his seat. One of the younger deck hands heard his boom and reached out, revealing a handsome chunk of bait fish. Smiling the whole time, I stabbed the fillet with the hook and tugged the line. With the finesse of a swan diver our man craned the morsel up and over his right shoulder and off the side of the vessel. Plooooop. The crew looked on with child-like anticipation. Herbal jazz could be heard coming from between the waves and -- whistling? (Bass)

The waves crashed and splashed on, and we got soakers. Later... our socks were drying on the tent. It was the morning after our Atlantic evening. Wow, it wasn't even the morning. If you looked up and over this shoulder it was night and totally starry... slowly you did the bird and checked it out over that shoulder. "Beauty". "Beauty". "Beauty". "Beauty". "Beauty". Morning. (Matt)

The sun glanced upon my face. My feet hit the ground. I reached down and removed the shackles from my around my legs. A voice came sailing through my head, then another and still another. Suddenly, my emotions, once again, got the better of me and a tiny perfect tear of joy took shape at the corner of my eye. Then like a surprise rainstorm, a flurry of tears engulfed my whole being. I was saved, brothers and sisters. (Kirk)

I knew the moment that the light descended from the heavens that all was well. I couldn't believe that all the previous unease I was feeling was created by aliens trying to invade my personal space. The moment she dematerialized, and soiled my carpet in the living room, I was really pissed off. Not only did this "alien" ruin a perfectly good throw rug, I've had a hard time enjoying a cup of coffee in peace. (Paco)

THE END.

JOHN TESH JR. & THE BROKEN SOCIAL SCENE
WAVELENGTH #44 SUNDAY DECEMBER 17, 11:30PM

Sanitorium Hot Dog was thrilled at the chance to interview John Tesh Jr., son of the notoriously lacquer-haired infotainment show host and cavity-inducing TV soundtrack composer, who also happened to be one of Hot Dog's personal heroes.
Imagine his disappointment when he found out that "John Tesh Jr. & The Broken Social Scene" was really Toronto's prodigal son Kevin Drew, co-mastermind of KC Accidental, who has returned from four weeks in Europe playing keyboards for Do Make Say Think for the sole purpose of playing Wavelength on the Dec. 17th.
But he got over it as soon as we bought him a new pack of smokes. The following is what he scribbled down before the nicotine buzz wore off.

Do you ever feel like you're in your father's shadow?
Never. Well, only when I play a G chord

Did you have a crush on Mary Hart when you were growing up?
Never. I was already into porn by then.

Who's your favourite porn star?
Ginger Lynn. But only old-school Ginger Lynn. She's in her 40s now and really reached rock bottom. It's a tragedy.

Your favourite Ginger classic?
Undressed Rehearsal.

Would you or have you ever recorded a porno soundtrack?
I have never, but of course I would.

Tell me a story about your favourite keyboard.
The Casio I got in Grade Three, I still have it. I learned "Close to Me" by The Cure on it, and never stopped.

Do you get the same visceral kick out of being a keyboard player as, say, being a guitar player?
I became a keyboard player on this tour. It took playing every night for 32 shows. The keyboard lets you invade people's bloodstream. Guitars only get into people's heads.

Do you believe in electro-shock therapy?
Never. If someone was recording for musical purposes, I guess

Do you have a political motive for playing music?
Don't live within your prison province.

So it's not just self-gratification?
I do it to remind others to look out the window.

Are you creating a space?
Yeah.

What type of architecture?
Puddles.

Puddles?
Raining. It's always raining.

Okay - Did you ever listen to your father's Tour de France record?
My father never played me anything. The Entertainment Tonight years were hard years on my family. Afterwards, I didn't want to give him any satisfaction.

What was the most insane moment on the tour you did with Do Make Say Think?
Brian Cram. And if you asked what the most genius moment was, I'd say Brian Cram.

Can you explain the enigma that is Brian Cram to our readers?
Patience, love and mathematics. (Brian Cram plays trumpet in GUH and Do Make Say Think - strumpet police line-up ed.)

Is there ever any fear when you're on stage?
No. I wish I was playing in their living rooms.

Why did you feel Wavelength was the place you wanted to play when you returned home?
You guys are the only people who are presenting an evening of "music-for-whatever". And I represent "whatever".

RAISING THE FAWN
WAVELENGTH #45 SUNDAY DECEMBER 17, 10:30pm

Anyone who knows me knows when I hear a band I really like, I pester people 'til they say"OK,OK, Stephen, shut up already, I'm booking them!" or, "Geez, for Chrissakes, yes! I have the CR-R you gave me right here... I'll listen to it, alright? And, NO! I won't buy you alcohol". But I am usually forgiven because I'm right. Which is why you should buy me alcohol. Which is why on Sunday, Dec. 17th -- when you trudge out to see this great new band -- if I'm not pissed-drunk from all the gratis-booze, it's either because you are in rapt agreement, or spent all your money on Jesus H. Christmas presents. Now the good part... the venison...

What other noted projects have RTF members been affiliated with, past bands, etc.?
JOHN: I've been in lots of bands, but ThanatoPop is probably the only one worth mentioning.
LESA: I was in a poor, poor mess called Speeding Motorcycle named after a Pastels song because, like them, we didn't know how to play our instruments. Lasting only a summer, we covered Henry's Dress, who actually inspired me to learn to play. Our other songs were such full-blown rip-offs that we didn't bother hiding it, naming them Pavement and Moose and, less obviously, Spin Cycle (after the Spinanes).
SCOTT: I'm a very busy boy these days. I'm in four bands: Raising the Fawn, ThanatoPop, The Water Haulers (great poppy songsters who know how to have some fun!), and Mudfoot, which is just me.
JULIE: Although I have had my guitar for years, this is the first proper band that I have played in.

Raising The Fawn is an excellent metaphor for the growth of the band. Is this life imitating art, or is there some other appropriate axiom that applies that I am completely unaware of?
SCOTT: Well, knowing John as well as I do... I would have to say it's some Biblical reference.
LESA: It's all about Audrey Hepburn. The film was Green Mansions and Hepburn was instructed to raise a fawn as if it were her own.
JOHN: This picture of Hepburn raising a young deer was shown to me by Lesa right as I was first hatching the concept of a quiet side project from ThanatoPop (back in 1997). It was just the perfect image -- graceful, yet awkward.

What's the most unlikely cover song the band would consider doing?
LESA: The theme song to Law & Order or the Ewok song from Return Of The Jedi.
SCOTT: I've always been pushing "Hot For Teacher" on the other Fawns, but no one seems to take me seriously on this issue.
JOHN: I'd do it!

What's the title of the new record going to be and when the hell do the masses get to hear it?
JOHN: the record is going to be called Good Things Come To Those Who Wait. Actually, the title is a couple of Chinese characters that are Lesa's Chinese name. The name means "Moon Goddess". The record is really a ten-song love letter from me to her. As far as the release, I have given up on dates... spring 2001? Shit, I don't know. I need money, man.
SCOTT: The sooner the better! Send all donations to "Raising the Funds", P.O. Box 4002, Flint, Michigan.

Raising the Fawn should get an actual fawn and feed it from its infancy and bring it on tour with them as a fifth member. You could put the wind chimes on it for songs like "Autumn". And when the drums get real loud it'll freak the poor animal out and it will go on a mad spree though the audience. This is a good idea, isn't it? Come on, admit it! And then you could give a free CD to whoever had the most hoof-bruises? I am so smart. This IS a question, by the way.
SCOTT: I'm all for raising a baby deer! I would feed it Cap'n Crunch and stuffing. Also vegetables. I would teach it to respect others' wishes, and to knock before entering. I would make it special "mittens" for its hard, but oh-so-sensitive hooves. That way he won't do that much damage.

The reality is that Raising The Fawn didn't just pop out of newhere, it had been a project for a little while beforehand. Can you take us through some of the beginnings?
JOHN: Raising the fawn today is the end result of me wanting to play mellow, personal songs back in the summer of 1997. I recorded some demos then and actually played a couple of shows with Scott on bass and Dave Dunham from Chore on drums. It was satisfying, but soon ThanatoPop called and I laid it to rest. The record that I am hoping to release is ten songs that were recorded over the past year when my solo itch returned. I played most of the instruments and just kinda worked at it whenever I had the time. When it was nearly finished, I started thinking getting a band together and this present band fell together by accident. I was initially thinking of having Dave back, but Chore was really busy. I asked Lesa if she was up for drum duties, and then Julie asked if she could play too. It was all quite casual. Although half of the band is learning their instruments as we go along, I think it suits the songs well. This band isn't about blowing people away -- we're not At The Goddamn Drive-In. I mean, I don't consider us "background music" or anything, but when people say they just closed their eyes during our set, I take it as a compliment.

Stephen Dohnberg is drunk as you read this.

THE RUSSIAN FUTURISTS
WAVELENGTH #44: SUNDAY DECEMBER 17, 11:30pm

In the winter of 1999 Jonny Dovercourt drove down to London, Ontario to record a song with his good buddy Erin. It was one of those two-to-five A..M. graveyard shift sessions in the studio at Fanshawe College, and damn cold out. At one point they were taking a much-needed break and Erin threw on a CD a friend of hers had record all by himself. Jonny's ears perked up at the glimmering, bell-like keyboard tones -- "who's this?" he asked. "It's The Russian Futurists," said Erin. "Thought you might like it." Now another winter's closing in and the joy in Jonny's ears is The Russian Futurists' pop masterpiece The Method Of Modern Love, on Upper Class Recordings. He ain't even put off by the press hype Matt Hart's creation is getting in the U.K. It's that good.

Jonny: Your music makes me think of Christmas. Was this your intention?
Matt: I never thought it would sound like anything to tell you the truth, but I'll take Christmas any day. I feel really inspired by fall and winter and do my best writing during these periods (I think). I used to use winter images a lot but I'm not sure why.

Apparently, you were a hip-hop producer before turning to pop. How does this inform your approach to music nowadays?
I still really love hip-hop and think it is enjoying a great deal of success because of a few very talented individuals who are determined to preserve it, I just don't do it any more because it's not what I want to be doing right now. I still use a lot of hip-hop ideas in the way I make my new songs. I still use the same drum loops and use my sampler etc., but I need more freedom to mess around with the sound of it. I hope to be producing hip-hop again one day, but not for a while.

What do you think of when you think of London, Ontario?
Well, the first things that come to mind are partying like a frat boy, living dirt cheap, Mo Gravy, 166 John Street, Prince Albert's Diner, to mention a few. I also remember an interesting music scene emerging as I was leaving in second year of college. Bands like The Eumenedes, The Two Minute Miracles, Baku, etc., really made me think that starting a band wasn't a big huge deal. The girls as well, hot damn!

Tell us a story about your favourite keyboard.
I have many favourite keyboards, the little trooper MC-3A, my sweet little baby Yamaha PSS-170· I love you all. One thing I will mention is at our last show at the Rivoli, the MC-3A (our bass keyboard at the time) completely cut out about 10 seconds into a song. James had to just sit there while we played the whole song with no bass. We also found out later that the show had been reviewed in Now and they said we looked befuddled. I thought of that exact moment when I read our review.

The futurist manifesto was all about rejecting -- nay, destroying -- the past. Do you feel you take a similar approach, in a "kill yr idols" sense?
No, no. I have a lot of influences from the past and I couldn't destroy them if I tried. Well, I think I could give Brian Wilson a good go, but that's just cause he's crazy and weak. I relate a lot more to influences from the past than contemporary ones. I just consider myself a fan of new music. I called my band The Russian Futurists because I liked the name. I can't even read!

The Russian Futurists is mostly just you on record. Do you have any current collaborators in the live setting? And do you have anything special planned for your Wavelength appearance?
I have a bunch of fellas who help out with the live show, but we've been pretty loose with rehearsing until lately. On guitar and keyboards we have Ryan Smith from Kaptain Hairdo, Shawn Ostapchuck of The Johns fame, and James Leroux of The Rattling Sabres. We are going on tour in March, so we are determined to get better and tighter for the tour. I have been really lazy about doing shows because I'm not crazy about them, but I'm getting over that and am kind of excited about playing. As for any secret weapons for Wavelength, we have some naughty tricks up our sleeve. One involving stripping schoolgirls and another where Shawn actually kills a live cobra, so you better come out. This is the end of our Boys Are Back In Town or BABIT tour so we are gonna do it up and Give'er 'til she Quiver!