https://cabel.com/2024/02/13/firehouse-five-and-the-cinderella-surprise/ cabel.com cabel.com A Blog by Cabel Sasser + Who? [firehouse-header] February 13, 2024 Firehouse Five and the Cinderella Surprise My goal was to preserve some never-before-heard recordings of an incredible Dixieland jazz band made up of mostly Disney employees, the Firehouse Five Plus Two. But along the way, I accidentally discovered an incredible lost song that was cut from Walt Disney's Cinderella. And you're about to hear it too. Let's go. Firehouse Five Plus Who? [Band]photo via D23 Here's the backstory. In the early 1940's, a bunch of talented folks in the powerful orbit of legendary Disney animator Ward Kimball, which naturally included plenty of folks from the Disney animation and sound departments, discovered that they shared a common love of jazz. During World War II, they started a studio band called the Huggajeedy Eight, and mostly played as part of Disney "camp shows" -- vaudeville-style programs put on by studio personnel for soldiers at local military bases. Then, around 1945, Ward met a local trumpeter, Johnny Lucas, and together they started the San Gabriel Valley Blueblowers, playing frequently around LA. With that foundation, here's how Ward likes to tells it: [ward-at-board] "Some of us used to gather in my office at lunchtime to listen to my records of jazz legends. We decided to really get into the spirit of the music by playing along with the records. Then one day the phonograph broke down right in the middle of 'Royal Garden Blues'. Undaunted, we kept right on playing and found to our amazement that we sounded pretty good all by ourselves!" --Ward Kimball, legendary animator (and train enthusiast) The group included also-legendary animator Frank Thomas on piano, assistant director Danny Alguire on cornet, designer and Imagineer Harper Goff on banjo, and more. Interestingly, folks like Goff and Alguire were band members first, and were later hired at Disney, sometimes through the intervention of Ward (like Alguire) and sometimes on their own merits (like Goff). These lunchtime listening sessions became lunchtime jam sessions. Soon, they were being asked to play parties and dances. And before you know it, the Firehouse Five Plus Two was born. "When the band was asked by the local Horseless Carriage Club to play for its auto tour to San Diego, I quickly found and restored a 1914 fire truck and with the group now uniformed as firemen, we logically changed our name to the Firehouse Five Plus Two." --Ward Kimball [gazette] Why the Plus Two? Simple. "The 'Plus Two' was added so that people who hired us would know that they were getting seven musicians!" Duh. [firehouse-2] As the band's popularity grew, their day jobs remained. "Walt always liked music and he was very proud of us. He couldn't get over the fact that some of the guys who worked for him as animators and artists were all of a sudden the toast of the music world." --Ward Kimball It was inevitable, then, that the Firehouse Five Plus Two would also work their way into the Disney canon. The band made an iconic appearance in the (very strange, very Charlie McCarthy-heavy) Alice In Wonderland-promoting television special One Hour in Wonderland (1950). Of course, it was shot on a soundstage, not in a real animation office, but what great set dressing: [DvSVE1vXcAEs7qo]photo via @wardkimball They appeared in an episode of the Mickey Mouse Club: The band also makes an animated, hilariously-caricatured cameo in the Goofy short How to Dance (1953): The Firehouse Five Plus Two became, if you'll forgive me, white hot. Ward summarizes: "We made movies at MGM and Universal Studios, played for Bing Crosby's golf tournaments and radio shows, appeared on national television with such diversified luminaries as the Disney Mouseketeers, Milton Berle, Ed Wynn, and Lawrence Welk, culminating with over 15 years of summer appearances at the Golden Horseshoe at Disneyland. By the time we decided to retire the band in 1971, we had managed to record 12 albums which have sold worldwide. All this in our spare time." --Ward Kimball What an incredible success for a side project. Eventually, Ward -- and the Firehouse Five Plus Two -- fell out of favor with Walt. Ward had a string of unfortunate conflicts, including a promotional ad for "Babes in Toyland" that put Ward front and center as director and angered Walt so much he had him removed from the picture entirely, and the band got caught up in the fray. "I remember [Walt] was having a picnic at the Golden Oak Ranch, [but] I had to leave at 2 o'clock and drive to San Diego to play at the Hotel Coronado with the band. So I went over and asked them if I could have a plate of food earlier. Walt walks up, while I'm sitting all by myself, with Betty [Kimball's wife], and I'm eating, and he says to Betty, 'Don't you feed him at home?' I said, 'Gee, Walt, I have to go and play a job in San Diego.' He made some sarcastic remark: 'Don't we pay you enough?' You see, this fed the way he was feeling. Walt couldn't understand why I would leave a Disney party that he planned, desert it at 3 in the afternoon, and go to San Diego and play with the band. He was so proud of that band for years. When these things all got added up, the band got thrown in the hopper, too." --Ward Kimball, talking to Michael Barrier Still, even today, the Firehouse Five Plus Two remains a culturally important part of Disney. Maybe you spotted this familiar logo in The Princess and the Frog (2009)? [pluslou] Even better, this great homage just made it into the real world -- at Tiana's Palace at Disneyland, in 2023. [IMG_8986] There's one other reason I'm fascinated by this band. Firehouse Five Plus Two perfectly captures a kind-of longing and nostalgia for a something I wish I could've experienced: a very special, early, creative, just-a-group-of-friends time at the Walt Disney Company. Just think: nobody got fired for this side project. This was Ward's idea with no studio affiliation or investment. He didn't have to CC:'d and BCC: this dream across huge teams of PR folks or lawyers. They practiced at lunch -- during work hours. They were even allowed to sell their albums on a non-Disney music label. And yet, Walt even appreciated and leveraged the group to his benefit. A lot of this was simply the power of Ward, but still, could this happen today? It's maybe not impossible, but it feels unlikely. Hey... wait a second! That was a lot of blabbering. Do you want to hear what the Firehouse Five sounds like?! Here are a handful of Firehouse Five albums on your favorite streaming services! Click on any cover to enjoy. (There's more, but these ones are available everywhere.) [20CRGIM20737] [00025218300827] [20CRGIM22120] [00025218104920] [00025218225526] (Also, a Cabel reminder to always buy the music you want to keep forever -- these albums can, and will, disappear from streaming services at some point in the future.) Ok, you're caught up. That's the Firehouse Five Plus Two. Then, The Auction Let's just say... it caught my eye immediately. The auction listing read: Lot #: 452 Description: (ca. 1947) Collection of rare, unique live master recordings by The Firehouse Five on (6) original 78rpm records. These early direct-to-78 recordings capture the group as their swinging Dixieland sound began to coalesce. Each record includes multiple tracks, and retains a Walt Disney Productions label hand written (presumably by Kimball) with cheeky titles. An incredible, one-of-a-kind relic of underground Disney history. Mysterious acetate wafers that might contain one-of-a-kind, never-heard moments from this incredible band?! I had to get and/or hear these. So, I bid -- and $1,000 later (once again, welcome to the world's least profitable blog), a package showed up. [record-1-1] I opened this vintage "His Master's Voice" record folio as carefully as possible... [record-3] ...and when I took a look at that first label... [record-4] ...I knew I was in for something special. It began to sink in that what was in front of me was literally one-of-a-kind -- and contained recordings that, most likely, nobody has heard in 70 years. And then I told myself: "Cabel you really can't screw this up." Getting Them Saved I needed a way to get these archived. Folks, I wasn't about to slap them on an Urban Outfitters USB Turntable. That's where Bryce Roe comes in. I emailed the Northeast Document Conservation Center, which I found via some Googling ("old records safe digitize no destroy important", probably). They're a non-profit conservation and preservation center in Andover, MA, that offers book, paper, photograph, and audio conservation, digital imaging, and more. Bryce replied: [staff-Bryce-Roe] "We would be delighted to work with you to preserve your valuable recordings. These appear to be lacquer instantaneous discs, and they are quite fragile compared to vinyl -- you were wise to be cautious about handling and playback! We offer traditional stylus playback reformatting for discs that are in stable condition, and we also offer a 'non-touch', optical scanning method using IRENE for discs that are too damaged to be played via a contact method or as a safer alternative for playable discs." --Bryce Roe, NEDCC Ok, yeah, NEDCC seemed like a good lead. So after spending even more money on this post (someone who is good at the economy please help me budget this. my blog is dying), I put the records safely in the mail. If you want to get technical -- and I do! -- Karl Fleck, who did the archiving work, shared with me some process notes: [IMG_1249] "There are a lot of moving parts when it comes to transferring audio from a disc. Many of those parts have to deal with the lack of standardization in the characteristics of disc recording. So before I began the actual transfers, I ran a couple tests. First, I played the disc and captured some audio with different sized styli because the groove dimensions on discs were not standardized at the time and varied depending on the original disc cutting machine. Then, I compared the test audio and listened for which stylus produced the cleanest audio, or, the audio with the least amount of noise and distortion. Another technical setting was the playback equalization - AKA EQ. This setting determines the overall frequency balance of the audio content. Similar to the stylus selection, I listened to many EQ settings and determined which one was most appropriate for the time period and which had the most natural frequency balance." --Karl Fleck, NEDCC Eventually, the work was done, and some digital files arrived at my doorstep. I took a deep breath, put on my headphones, and hit play. Firehouse Five: The Lost Rehearsals Let's listen to these records together! But before we start, I want to note that I spoke with some wonderful people who helped me here. Theodore Thomas is a talented filmmaker -- and also the son of Frank Thomas, Disney animator and Firehouse Five pianist. Don Hahn is a Disney legend, historian, and producer (Beauty and the Beast, Lion King, Atlantis, etc.) Stacia Martin is an encyclopedic source of Disney knowledge, an equally incredible artist (just watch her draw Figment -- while talking!!), a 40+ year Disney employee and true delight. So, here we go: 1. Yes Sir! That's M'Baby Go on, hit play! The first thing I have to mention, of course, is that Ward Kimball couldn't help himself -- on this label, he's temporarily renamed the band to the "Outhouse Oaters". (In modern terms, I think this loosely translates to "Crappy Western".) This song is a Firehouse Five classic, but what's interesting is that it's surprisingly slow for them -- I think what's happening here is that we get to be in the room as they're finding their footing and learning the song, playing it slow to get it under their belt. Also, this is clearly recorded with a single microphone -- this isn't a professional mixed record. This was almost certainly a lunch-time, skunkworks deal. 2. Shake That Thing First, omg, "Outhouse Oaters" was just the beginning. Now, the band's temporary name is the "Farthouse Fuckheads"!! Every time I look at that label, I laugh. Every time. (It's also funny, because we don't really imagine folks in the 'good old days' using this kind of language, do we? Maybe because it's not in that media. But, oh, they did.) Second, this disc is particularly special to me -- I think this song isn't available on any Firehouse Five record! It was normally just part of their live set. Now it's saved! I'm also delighted by the strikethrough on "Walt Disney Productions" ("no copyright intended") and the "throw away when finished". Whoever didn't do that -- thank you. 3. Everybody Loves My Baby (Warm-up) This mysteriously-labelled disc contains a very short snippet of the band getting up to speed on Everybody Loves My Baby. There's a much longer version a few discs down. 4. Has Anybody Seen My Gal? Good lord. Just when I thought we'd reached the alternate-name comedy peak, here come the "Jackoff Jackrabbits"!! This recording is starting to feel a little bit more like the pace of a Firehouse Five song. Also, at the beginning there's a little bit of dialog, that to me sounds like "Five foot two with a Charleston gimme, hey Johnny, what is the beat?" After that you can hear trumpet-player Johnny Lucas exclaim "A-wat-dat!" and stomp out a six-count for tempo. It's like being there. 5. Brass Bell (Frank's Rag) More great chatter up top: "This is called Frank's Rag, that title'll have to do for now. Frank wrote it himself, right Frank?" I love this, because it captures a brief moment right before the song was formally known as "Brass Bell", another Firehouse Five classic, as it was labelled. Again, it feels so dang slow! But I guess that's what practice is all about? The song ends with a fantastic Ward "How do ya like it?!" 6. Everybody Loves My Baby No funny band name here, just a really nice recording of a great song with a fun Frank piano solo in the middle. 7. Silver Threads Among The [S:Clinkers:S] Gold It was inevitable. Our beloved band has another new, temporary name, via Ward Kimball: the "Whorehouse Five". (And once again I thank whoever ignored the "Please Destroy" instructions written on the disc.) This is another song I don't believe was ever released on a Firehouse Five album! And I love the coin-operated player piano gag at the beginning -- it's all played so straight until it starts to swing half-way through! The end of the song, though, is a treat. (Skip to 3:45). If you listen closely, there's great real-life band discussion that takes place. My best transcription: "What's the idea, Ed?" "Yeah, let's hear this idea!" (That's Ward talking to Ed Penner, Tuba player.) "Well, so you know [unknown venue] has a kitty at the front?" (Ted Thomas reminds me a kitty was a container -- a barrel, a basket, a jar -- to collect money and tips for the band.) "Yeah..." "Let's make a kitty barrel and let's rig it up so that if anybody [puts money in?], a firecracker goes off, a smoke bomb, bells ring, lights, I mean really..." "I suppose I'm going to have to make it?" (Ward, of course.) "You know, Lucas hates kitties!" "You know I made [a barrel] for a kitty up there in Pasadena, and no one put anything in it..." (Ward's referring to one of the earliest jobs the Firehosue Five ever had as a band in Pasadena.) "But you know at the Cavern..." (Ted also notes that the Cavern might be the Beverly Cavern, a club on Beverly near Normandie that was a mainstay of the New Orleans revival, and is now a Karaoke joint. Kid Ory, Bunk Johnson, George Lewis, and the Firehouse Five all played there. The band ended up playing there regularly through the 1950s.) "...they had one where lights would go off, electric bell would ring, and really..." "Give 'em a show!!" Rigging up a donation jar to shoot off fireworks and ring bells is a perfect distillation of the fun vibes at play. I wonder if they ever did it. Our Firehouse Five Rehearsals have now ended. I hope you enjoyed listening to that as much as I did! So, Why Do These Records Exist? Ted Thomas gave me his thoughts: "These recordings of the proto-FH5 are definitely rehearsal discs, likely done in 1948, as the band was starting to gel into a professional unit. At the end of 'Silver Threads Among the Gold' there is mention of a gig in Pasadena, where they played many of their early jobs, even before they were officially the FH5. Also, the rendition of 'Brass Bell' has the flavor of it being fairly new to the band, and Frank wrote it after they played a house party in Beverly Hills early on. He originally titled it 'Lullaby for Penny', named for actress Penny Singleton who lived next door to the party and called the host repeatedly complaining that the band was too loud for her to sleep." And Don Hahn added: [Don_Hahn] "My hunch is that these were recorded on B Stage. It was the dialogue stage [at Walt Disney Productions] and although they could do multiple mics, it would be most often just one mic set up for dialogue. My guess is that they did this at lunch, which was a normal time for them to play and they just used the mono mic set up that was common on B Stage. I speak from total ignorance, though -- my two cents, worth every penny!" It all adds up. They'd meet up at lunch (or whenever), sneak into B Stage, setup a microphone, and play their hearts out. Hang On... What Was That? I'm not sure if you listened to all of those tracks to the end (it's ok if you didn't), but did you notice anything? Let's listen closely to the very end of Shake That Thing: You hear someone... calling some... chickens, right? That's not just my imagination? Stacia Martin thought it sounded just like Ilene Woods, a.k.a. Cinderella. Remember this scene? Wouldn't those calls fit perfectly here? Is it possible this was an earlier idea they tried? Hmmmm. And what about the very end of Everybody Loves My Baby? That's right -- after the band plays, there's a little snippet of Cinderella herself, humming "A Dream Is A Wish Your Heart Makes"! Remember this scene? What the heck is going on here? What are these random bits and pieces of Disney sound history doing at these end of these Firehouse Five tracks? And that's when I realized... The Firehouse Five weren't using fresh, blank acetates to record their practice. That'd be a waste of company resources! Ward was simply recycling acetates lying around his office, anything with a little bit of blank space. What was on these discs before they recorded on them?! Some Wonderful Surprises Let's start with a vinyl side labeled, simply, "Samba". 8. Blame It On the Samba (Novachord Tests) Ok, this is wild and amazing! What is it?! Stacia Martin figured this one out immediately -- it sounds like an alternate idea for a sequence in the middle of "Blame It On The Samba", a part of Melody Time (1948). Hear for yourself! It's totally the same Samba beat in the background, right? clip from "Melody Time" I'm really enjoying imagining what they would've animated to these bizarre and funny keyboard lines. And the label notes "Novachord", which means some of these weird notes were played using the world's first polyphonic synthesizer! (1939... 72-voice polyphony... 163 vacuum tubes and 1,000 capacitors!) [Hammond5] photo via sweetwater What a treat to get to hear this snippet of lost history. 9. Two! Three! Four! This mysterious, unlabelled disc really surprised me. I love listening in on any recording session. But what was this strange count-off for? Who were these people? Stacia Martin -- who, once again, is the greatest -- cracked this one immediately. This is a count-off used in the Mickey short Nifty Nineties (1941) -- and that's Ward Kimball himself counting, along with animator Fred Moore! clip from "Nifty Nineties" I love hearing them get more and more intense as they go. (And I wondered, is this the only surviving recording of a Ward Kimball voice session?) 10. The Apple Song (Demo) I warn you in advance: once you listen to this track, there is no coming back. It's in your head forever. Enjoy. The label says everything, really: this vinyl flip-side contained a charming demo recording of The Apple Song, used in the Johnny Appleseed sequence in Melody Time (1948). That's Dennis Day singing both parts! I really appreciate the simple piano accompaniment. It's really shockingly close to the finished product: The common thread to all of these discs is Ward Kimball. We're pretty confident that's Ward's handwriting (and absolutely sure that's his sense of humor). He animated on Blame It On The Samba. He was a voice in Nifty Nineties. He worked on Johnny Appleseed. He also designed Gus & Jaq, the mice, in Cinderella. Then... The Lost Cinderella Song When I flipped over my last Firehouse Five rehearsal track, I came across the most interesting label of all. It was crossed out multiple times in pencil. But unlike all of the other discs, the label was typewritten, so it felt significantly more important. "Work Fantasy", it read. Dated 5/2/49. And it was five minutes of something truly special. 11. Work Fantasy (A Lost Cinderella Demo) Cinderella had a long and complex development, and one of the hardest sequences for the team to crack was called the "Work Fantasy" sequence. The basic idea: right after the stepmother tells Cindy that she can go to the ball -- but only if she finishes her chores -- Cinderella fantasizes about cloning herself. Having an army of Cinderellas would be the only way she could ever truly finish the task. While many attempts were made, the sequence never made it into the film. And as I listened to this disc, it hit me. On this acetate was a long-lost, never-released attempt to make the Cinderella "Work Fantasy" sequence work!! And to think it was just hiding there on the other side of the Firehouse Five playing "Brass Bell"! Go on, hit play. And as you listen, take a moment to let it sink in that you're one of the first people to hear this music in nearly 75 years. One version of this sequence was fully storyboarded, so please consider this imagery as you listen! [storyboard-1] [storyboard-21] [storyboard-20] [storyboard-17] [storyboard-18] [storyboard-13] [storyboard-15] [storyboard-16] [storyboard-10] [storyboard-5] [storyboard-4] [storyboard-14] [storyboard-9] [storyboard-3] [storyboard-2] [storyboard-19] [storyboard-23] [storyboard-22] The whole track is incredible. The mice dialog at the beginning. The beautiful "how happy I would be..." transition melody. The marching piano inserts from "Ollie" -- that's Oliver Wallace, who did the music. The hilarity of Cinderella essentially bossing herself around. And her exasperation after waking up. But the real treat for me was three minutes in: Ilene Woods as Cinderella singing an incredible, complex three-part harmony with herself. Amazingly, this was also one of the first uses of overdubbing in film. So, what happened to this "Work Fantasy" sequence? Stacia Martin suggested I read the book "Disney Legend Wilfred Jackson" by Ross Care, which includes a day-by-day diary of his work at Disney, including on Cinderella. Using it, we can piece together a pretty good timeline: * March 1st - Wilfred wrote "Meeting with Walt and Ollie on Work Fantasy", as it was deep in development. * March 22nd - "Storyboards for Work Fantasy". * April 28th - "Shooting live action on Work Fantasy". * May 2nd - This recording was made. * May 10th - One week later, a big meeting with Walt: "running entire picture and discussing changes." * May 20th - "Recording mice singing Work Song" Did you notice what happened? Whatever occurred in that May 10th meeting with Walt, the song had changed dramatically -- it was quickly rerecorded, was now sung by the mice, and became what you probably know as "Cinderelly, Cinderelly". The "fantasy" was gone. And, lucky us: we got to hear one step on that journey. The rest is history. (And some bonus full-circle trivia: the voice of Gus and Jaq, the mice, was James MacDonald, who played drums in the Firehouse Five Plus Two. And one last fascinating footnote: this "lost song" was actually rewritten, without the fantasy/cloning part, then released as promotional record for the movie, sung by a super-jazzy Ilene Woods. You can hear it on YouTube.) There, You Have It So that's my little musical adventure. We just got to hear the Firehouse Five find their footing. We got to hear some demos and recording sessions from Disney history. And we got to hear a song from Cinderella we've never heard before. And don't worry, it's all preserved: I've put this entire set of records up on the Internet Archive. (.zip) Special Thanks I had a lot of talented help with this one. Starting with former-Imagineer Tom Morris, who introduced me to Stacia Martin, who introduced me to Don Hahn and Ted Thomas. World-class composer Chris Willis who helped me confirm Cinderella was singing three-part harmony. Bryce Roe, Karl Fleck, and NEDCC for their disc preservation. And finally, Amid Amidi for his amazing Ward Kimball knowledge. (His upcoming book is going to be a must-have.) Extra special thanks for LostTurntable for cleaning up audio gunge in the recordings, and my old friend Louie Mantia for the beautiful cleaned-up label artwork. I'm extremely happy to have saved these wonderful little snippets of Disney audio history. Side quests like this give me infinite energy and make my life feel worthwhile. I hope you enjoyed listening as much as I did. Best, Cabel PS: the Apple Song will never leave your head PPS: if you really, truly liked this post, I've set up a Stripe so you can send me some thanks-bucks (thucks(r)) and fund this kind of madness, but it's a very optional test. Like this: Like Loading... - Previous Post Leave a ReplyCancel reply 1. Christopher Timothy Willis February 13, 2024 Cabel, this is so amazing! Random blurtings: - what is that little keyboard instrument in "One Hour In Wonderland"??? It sounds like a celesta but it's so small, and I've never seen a celesta that's open-topped like that. It looks more like a toy piano. Maybe it's a trick - we're seeing a toy piano but hearing a regular celesta. - the Novachord clip was mind-blowing, and worth every penny you spent on its own - I had no IDEA the band became so successful, although it HAD always struck me that they were extremely good! - Amazing to hear their rehearsals. I have to say I had no idea that dixieland bands rehearsed under tempo like this, but then, why would it be any different from every other kind of music? Loading... Reply 2. Steve February 13, 2024 Oh, this is amazing. My dad loved Firehouse Five Plus Two and I've always been curious to learn more. THANK YOU! Yes, I really truly liked this post. Loading... Reply 3. Daniel Raffel February 13, 2024 It's hard to say which is more rewarding: the joy I received from reading about your journey or the delight of listening to these masterpieces. Thank you for uncovering, safeguarding, and sharing these gems. Loading... Reply 4. Elizabeth February 13, 2024 I need you to start a YouTube channel Loading... Reply 5. Quarex February 13, 2024 Guessing Disney copyright-struck most of this page already given how little is loading? Loading... Reply 6. Stephen February 14, 2024 The service you are providing to your followers (and thousands of others) cannot be measured. You are to be commended for your curiosity, tenacity and generosity. Literally, who else is going to do this if not for you? Thank you. And as a side note, Dennis Day, as a member of the cast of radio and television's "Jack Benny Show", from 1939-1074, was known for his ability to impersonate various celebrities, including Ronald Coleman, Jimmy Durante and James Stewart. So handling different voices in one song was right up his alley. Loading... Reply 7. Jon Triesch February 14, 2024 The Novachord was probably being played by organist extraordinaire Ethel Smith, who is featured in the Blame It On the Samba sequence of Melody Time. Here she is having way too much fun with Ed Sullivan: https://youtu.be/Dj2xqXESRkE?si= t8j_NTZh7IN35opj Loading... Reply 8. John Holdun February 15, 2024 This is amazing, thank you for putting it all together and sharing it with us! I noticed those little scraps of another recording session at the end of some of the tracks as I was playing through and was prepared to ask you what you think they were, but of course you already figured it out. I had never seen the Work Fantasy storyboards, and I wondered if maybe the scrapped sequence became the inspiration for the Sorcerer's Apprentice, but no, Fantasia premiered a decade earlier. Time!! On "Has Anybody Seen My Gal," the "A-wat-dat" sounds to me like "Ah-one-two" which makes sense with the six stomps, being beats 3-8 of a two-bar count-in. Loading... Reply Get Emailed When I Post!! It's like a newsletter except I don't charge any money Type your email... [ ] Subscribe Copyright (c) 2023 Cabel Sasser Outbound commerce links may include affiliate tracking. * Mastodon Discover more from cabel.com Subscribe now to keep reading and get access to the full archive. Type your email... [ ] Subscribe Continue reading Loading Comments... Write a Comment... 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