HATE: live review

Posted on April 5, 2017 by kevinsmusicblog

JIZZY PEARL / LOVE/HATE @THE BULLINGDON, OXFORD, 01/04/2017

“It’s the last night of the tour, we’re celebrating 25 years of Wasted in America and yes, I have just stepped out of a fucking time machine…”

Jizzy Pearl, a trim and very-much-alive star from LA’s post-glam pre-grunge early 90s, owns a voice that, along with bassist Skid’s artwork and drugs-booze-blackout lyrics, marked Love/Hate out as one of the bands of the time, and those first two albums are scuffed gems to this day. Much like our very own Wildhearts, Love/Hate were too colourful, shambolic and decadent to compete with the rising Seattle star, and that meant they were doomed to be botched by bad timing (and in-band fuck ups, of course). 1992 was Nevermindasupernova. Love/Hate looked like they were having fun. And they were from LA. It could never really last, and it didn’t, but the records really do.

LA ’92: Wasted

Now it’s April Fools’ Day 2017, the Budweiser cross of cans has graced the stage and we’re straight in to Wasted in America (the album) with Wasted in America (the track). Spit and Miss America follow, and it’s shaping up to be a straight runthrough of the record – ’tis an anniversary after all. Cream to Yucca Man to Happy Hour next?

Not quite. Somewhere during side 1, we get spun off the wasted trail with a couple of blackouts – Tumbleweed and Fuel to Run – before skidding back to the main deal for Cream and Yucca Man. Good move, mixing it like that. Makes the in-its-entirety album thing feel more alive, gig-like and less predictable, and it means that we get aces like Mary Jane, Why Do You Think They Call It Dope? and Let’s Rumble’s sleaze-o Spinning Wheel cut in to the Wasted plot. Serve up a little Blackout in the Red Room after WiA’s closing Evil Twin and we’ve been privy to the full album topped up by Love/Hate’s best others. Jizzy’s voice is, somehow, still a forceful top-ender at 59 years (59!!!) and he seems genuinely moved by tonight’s word-perfect crowd. Well, we love the record, simple as that.

For the encore, JP gives us a choice: either the first side of Rush’s 2112 OR Straightjacket…

(clue: Canada lose)

You never really know with these anniversary/whole album gigs whether they’re gonna work or not, but this one came from the right place – a real feelgood celebration of a rekkid of youth, the stuff that’s burned waaaaay down inside…you can’t undo that. It’s in there for life. And when a band decides to uncork that genie, they gotta do it with a record that’s got the tunes, and Wasted in America has no wobbles in that department. If the title track is all you can salvage from a hazy quarter-century recall, dig out the deeper cuts and you’ll see that the album rocks harder than its lead track. Need pointers? Yucca Man, the disorienting Happy Hour and Jizzy-showcase Tranquilizer are a three-way sure shot.

Blackout, Wasted and Rumble albums on replay since the gig. Love/Hate earworms non-stop buzzing

buzzin’ like a bumble bee, TRANQUI-LI-ZER

DRUDE FONK AND DC TRIBUTES

Posted on April 2, 2017 by kevinsmusicblog

MARCH REWIND: NEW COPE, NEW CRYSTAL

A couple of new releases from the past month or so to get us going in this March Rewind.

Julian Cope: Rite At Ya

Cope: Rite on

Coming off the back of Drunken Songs, the Archdrude and his heritage Heads slipped another mind-number of a Rite-off our way this month… Rite At Ya. The last one, in 2006, was Rite Bastard. If you don’t know the Rite score, it’s an ongoing series of semi-fonk longflows in a metronomic, ultra pared vein where Not Much Happens except groove – minimal – and time – maximal. These self-styled meditational headspaces have no peaks, dips, breakdowns or pick-ups, just endless miles of sly stone-wheel trundle and tangerine dreams. Rite at Ya’s title track will nibble 20 minutes of your life without you even noticing, while the closing Ringed Hills of Ver tells you what Underworld might sound like if they got stuck on a one-note drone and added nothing. Rite on the level, the clue’s in the subtitle: Monotonous Meditations from the Back of Beyond (1993–2016). Check it here if you so fancy the most calming of trips.

Crystal Fairy: Crystal Fairy

Pure cut

Does this band pack some crackle or what? With Teri Gender Bender on voice – shades of Karen O – atop King Buzzo’s heavy weaponry and, of course, the Dale Melvin Omar Volta Rhythm Section, Crystal Fairy are surely as pure a super-quart as we’re gonna get all year. Undeniably Melvins in its riffsome tonnage, as Drugs on the Bus and Secret Agent Rat amply show, yet concise and sharp and free of obtuse indulgence, Crystal Fairy flies with a punkish energy that wastes absolutely none of its 40 minutes 19 seconds. Another great Melvins rebirth… one for senile animal lovers.

RSD10

It’s the 10th anniversary of Record Store Day this month. Here’s the list. Nothing. Crucial. Except Dope, maybe. Think I’ll give up on hoping for something to come out of these lists every year, coz every year it feels like a list of specials that are special because they were made special for an event that was labelled special. How circular. Let’s just get down to the record shop, that beacon of noise and beauty and community, and CELEBRATE IT – the shop – both with and without RSD vy-nil.

DC tribute

Which musical DC are we paying tribute to, Washington? Nah. Other end of the alphabet. Last week’s gig was an AC/DC tribute – the AC/DC Experience at the Oxford O2.

‘tribute band’. Right…

The tribute circuit always seemed to me to be a credibility-sapping Other World that ran parallel to the real one, but that thought was banished and swapped for a full-blown leap (to be explained) through a lightning-bolt portal to an AC/DC experience, tribute style. And you know what? These guys are a blast. The Scott-Johnson frontman hits the highs with ease while an Angus Young takes himself off the stage at every chance – in the crowd, up on the side tables, up on the bar, cap and blazer thrown off, the whole lot. Never stops moving, never stops playing either.

With the exception of Thunderstruck (which is awesome, natch), none of the set is more recent than Back in Black so it’s wall-to-stage-to-bar-to-wall classic-era anthems: Sin City, Whole Lotta Rosie, Highway to Hell, Back in Black, Hell’s Bells, Dirty Deeds, Touch Too Much, High Voltage…. the stuff that puts smiles on everyone’s faces, and I mean everyone – including my stepson Jan (age 12), who is the reason we are here in the first place. His First Rock Gig, first proper bit of live rock action. Seemed to me to be the right place to start the apprenticeship and he loved every minute. Even got devil horns in his face from the Angus – and threw them right back. Not gonna get that at Wembley, are you?

So if you’ve got young sons, daughters, nieces and nephews who wanna rock, or maybe even a bunch of drunk mates who wanna rock, the AC/DC Experience make it happen. THANKS LADS, great night.

’til next time!

COPELESS IN CARDIFF

Posted on February 28, 2017 by kevinsmusicblog

FEBRUARY REWIND: LOST GIGS, THRASHERS’ ROMANCE AND BOWIE’S LAST PLAN

Beer-fuelled tunes, trusty mellotron, acoustic guitar – possibly some lurid shade of green or orange – and piss-funny visionary tales from a shamanic rock-onteur perma-decked in shades n’ leathers with lashings of YEAH MAN! optimismo…that’s what you’re heading for when you get a ticket for J Cope 2017. Out on tour in support of Drunken Songs, he’s wrapping it all up at the Globe in Cardiff on Feb 26, which is where we find ourselves reading a just-posted note that sez NO GIG.

Shit.

And without the Archdrude on stage, there’s not much else to report from February. Let’s hope all is well in the Cope camp.

LOVING THE DISEASE

When did you last hear Caught in a Mosh on daytime radio? Never? Then treat yourself to a nice little old-school buzz with Mark Radcliffe’s Valentine Day show with Scott Ian and Frank Bello. Top fellas, ace chat, find it at 1 hour 35 minutes into the show, listen on a weekday afternoon for max pleasure (expires March 14th). Death Angel, Pantera, Sepultura and Slayer also played, as are Powermad – straight outta 1989, vintage frash par excellence.

NO PLAN FOR BOWIE

The last tracks recorded by David Bowie finally got their non-Lazarus physical release this month. No Plan, Killing a Little Time and When I Met You all follow the Blackstar vibe, and Killing… is especially turbulent – heavy like the reworked Sue. What an ending.

Otherwise, it was Drore and OHHMS blowing out the Cellar that was the Oxford highlight and we’ve already covered the gig, so that’s it for now – a very short REWIND, time to get outta here.

’til next time!

amplifier wordsmith: the monthly rewind

OHHMS: live review

Posted on February 17, 2017 by kevinsmusicblog

OHHMS / MAMMOTH WEED WIZARD BASTARD / DRORE @ THE CELLAR, OXFORD, 13/02/2017

What a bonus. Turn up at the Cellar for the OHHMS/Mammoth double-header and find that Drore are on the bill as well, making it a triple ugly. NICE. Except that Drore are not nice, not at all. Staggering out from Undersmile’s RIP with scabby song titles like Skinjob and Fukbags, Drore are ruff, scuzzy, sludgy grrrowly FILFF, and unlike Taz and Olly’s so-slo Undersmile, this lot play the mid and fast field with stacks of gear shifts and double-kick beatdowns. Always noisy and never melodic, there’s a thick grunge whiff but not in the Seattle sense … nah, this is grunge the Godflesh way, pissed out of toxic wastepipes and topped off by pained hell-o shriekage from Taz and Crippled Black bassist Tom Greenway. No doubt about it, Drore create a world all their obnoxious own and it’s a proper ugly thrill. No wonder they bagged a few Terrorizer column inches last year.

Mammoth Weed Wizard Bastard made it into some end-of-year album lists in 2016 so this gig was always gonna be a chance to catch what they’re all about, but their static doom reps somehow underwhelm a bit tonight, ‘specially after Drore’s violent discharge.

No such underwhelm for Canterbury’s OHHMS though, a band who seem stupendously fully formed given that they’ve only put out two EPs, but if you came here expecting oceanic transcendence a la Bloom (massive) and Cold (even massiver) then you/we are out of luck because that version of OHHMS is not in the building. A mere half hour of stage time means it’s New Stuff Only tonight, and they hit it hard. With tracks like The World upping the pace and packing in some aggressive Pelican-ese riffs, we might have a bolshier, denser OHHMS heading our way … let’s see what The Fool brings in March, eh? The only thing lacking tonight is TIME: not enough. And for a band like OHHMS, that just ain’t right.

*update: just read that one of the gig highlights – drummer Stephen Frame – is Drore no more. Ach! News is over on the Drore bacefook page

MINOR VICTORIES: live review

Posted on December 19, 2016 by kevinsmusicblog

OXFORD O2, 13/12/2016

Stuart Braithwaite. STUART BLOODY BRAITHWAITE.

If Mogwai are anywhere near being one of your all-time top bands, you’re not gonna miss a chance to see the owner of THAT guitar sound – one of the biggest and unassumingly most influential in the whole rock landscape – doing his stuff a mere few feet away, are you?

No. And this explains why Minor Victories at Oxford’s O2 – on the small stage upstairs – became a last-minute must-see (thanks Nightshift for the tip) in the last month of the year. With band members from Slowdive, Editors and the Twilight Sad in the band and on stage tonight, there’s plenty of pedigree kicking about.

Expectations? Pop-ish electro-tinged rock – iced cool atmos, verse-chorus Rock Action accessibility, nothing fierce, a background role for the ‘gwai guy … an essence rather than a force. The reality? All of the above but louder and less restrained in all the right places. Give Up the Ghost opens up with arena-baiting stomp and a toughened half riff that gives a teasing glimpse of Braithwaite in action, and what follows is a set of surging, widescreen orchestrations with moto-Stereolab pulsations and the UNKLE Psyence heavyweight drum break (Breaking My Light), all topped by Rachel Goswell’s overfloater vocals. ’tis rich and spacious and fulsome – a proper group effort, definitely not the look of a band who made an album without being in the same room.

And what of the guitarist’s proposed delegation to Background Lurker? Not even close. Sure, this band ain’t Mogwai monolithic but where there’s space, where there’s soar and uplift and tumult, there’s S.B.Uncut, swaying and tussling and just about taming that wild guitar energy EXACTLY as you’d hoped, but didn’t really have the nerve to expect. If Boris (Attention Please version) indulged in a little Sigur Ros or Pumpkins’ Adore, you might get something a bit like Minor Victories live – oversized alt-pop roughed up at the edges by volume – and for anyone with Mogwai love in their bones, this gig makes for a pretty special moment-o.

GREENLEAF: live review

Posted on December 8, 2016 by kevinsmusicblog

GREENLEAF / DESERT STORM: OXFORD CELLAR, 29/11/2016

“We got one more for ya,” says vocalist Arvid Jonsson, and when that one-more becomes the mid-paced galactic burner With Eyes Wide Open, the best has been saved til last. The band are Greenleaf and-

No, me neither. Zero intel on these guys, ‘cept that they’re Swedish, they’ve toured with Clutch and most of the band are in fact Dozer, so with those kinda post-Man’s Ruin credentials, who wouldn’t hunker down in the Cellar on a f-f-f-freezin November night for the promise of toasty riffage? Especially when you’ve got girder-like support from Oxford Irn Bru-isers, Desert Storm.

Last time I saw Desert Storm was 2014 in this venue with Winnebago Deal, and they rocked it good-time. Tonight? They rock it good-time. With this lot, you just know you’re gonna get a great show, and the fact that two of Indica Blues have pitched up for a live earful shows that Desert Storm have got pulling power – there’s just summat about their riffs and sneaky little 5/4s that pulls you in and keeps you there. The C-word gets bandied about as a reference (already mentioned, go check) and that’s fair enough, but with Matt Ryan’s rough-neck roarin’ and a hefty bit of growl in the guitars, DS have definitely got a metallic High on Fire/Down thing going. Being woefully behind with their albums – to be sorted, promise – the track names passed me by (except for a colossal Convulsion, wherever that’s from), but it’s a sign of the band’s class that not knowing never matters: Desert Storm WILL get you going, and they will deliver the Rock. Guaran-fucking-teed.

After that, Greenleaf have a little bit of work to do. Frontman Jonsson is a singer – a good one – rather than a shouter, but his voice seems a tad thin after what’s just been and so we’ve got a slight pressure drop after the Storm. No worries, though. Favouring up-tempos and 60s vibes (we get the Doors twice – an impromptu Break on Through when Tommi Holappa goes string-busting, and Five to One later on), Greenleaf heat the joint with Cream-y blues and wah action til that spacious mini epic, With Eyes Wide Open, nails the set’s end with a spacey high, Swedish stoner style. Solid stuff, one to keep tabs on.

TESTAMENT: live review

Posted on June 23, 2016 by kevinsmusicblog

TESTAMENT @ OXFORD O2 ACADEMY, 19/6/2016

Track one: OVER. THE WALL. Foolhardily suicidal, or a Buster Gonad-sized show of ballsiness?

Buster G all the way, thrashers. When you’ve survived as much and as long as Testament have, there’s no danger of an old-skule anthem – a GENRE anthem, no less – blowing your load too early because you know you’ve got a tankload of classics to unearth, and that’s exactly what they do for the next hour and a half: lay a thrash masterclass on us with a line-up that almost defies the eyes. Chuck Billy front, Steve DiGiorgio bass, Alex Skolnick and Eric Peterson guitar pyro and, possibly the highest of highlights, machinist Gene Hoglan on drums… shit-yesss. Can’t claim familiarity with all or even most of his credentials but his un(s)toppable human-industrial assault on Strapping Young Lad’s City has blown my mind for nearly 20 years now, so the chance to see the SYL/Dark Angel/Death backbone ain’t one to miss. And here he is, with Testament in a not-packed O2, and their opening shot is Over the Wall. Does it get much better?

Eric Peterson: hornthrower

One look at Chuck’s permasmiling face says it all: no, it doesn’t get much better, and his virtuoso mic stand air-guitaring tells you that he’s having a ball up there (though he still looks like he could twist your head off one-handed). As for Skolnick and Peterson… effortless displays of musicality and velocity.

Tracks played? Take your pick from any number of goldies from a lifetime in the thrash premiership…. The New Order, Dog Faced Gods, Practice What You Preach, Disciples of the Watch, Rise Up and More Than Meets the Eye span it all, while the mosh-mental Into the Pit – ‘written about the crazy motherfuckers when we started, and now it’s for YOU crazy motherfuckers’ – does no wrong. D.N.R. is, with Hogan propelling it, fearsome.

Formation of Damnation seals the night off, and if Chuck is distracted by mic issues then no-one on this side of the stage is. Formation is as rampant as everything else tonight and a colossal reminder not just of how special Testament are, but of how relevant they remain. Tonight’s gig has a real family feel about it, and at the head of it all is a class-act combo of passion, precision and bullshit-free speed metal.

Welcome back, Testament.

ADAM ANT: live review

Posted on June 11, 2016 by kevinsmusicblog

ADAM ANT @ OXFORD NEW THEATRE, 8/6/2016

Are we excited about this?

Oh yeah. Just a bit a lot. Heyday pop revivals aren’t the kind of gigs I go to but you’ll have to forgive the undercurrent of gush in this review because this is the exception: it’s ADAM ANT, and the New Theatre feels like a stage set for the return of a lost hero.

Making History

Which, in many ways, it is. For many of us here tonight, Adam and the Ants weren’t just a pop band from back in the day. Adam and the Ants were/are Pop Love #1, the very first and first loves aren’t forgotten, are they? That stuff runs deep, and the reason why those albums from 1981 and 1982 remain in your life while others don’t is because every time you played them again, even after years of exploring and branching off and out into all kinds of music, you still loved the sounds that broke through the tape hiss.

Remains of the day. KOTWF tape RIP

And in some ways, those A&TA albums sound even better and oddball eccentric on return. With more music and knowledge packing your ears and creaking your shelves (files? clouds?), Adam and the Ants aren’t just TOTP idols like they were when you were seven or eight. They’re post-punk, digging Bowie and Roxy and Iggy but flashfunflamboyant and rhythm-heavy with tough guitars and 50s surf and Western spaghetti and storytelling bravado… not the usual chart-topper mix, is it?

Now it’s 8 June 2016. Last week was the 40th anniversary of the Lesser Free Trade Hall gigs in Manchester by the Sex Pistols, a band who supported a pre-Ants Adam in Bazooka Joe, and it’s just gone 35 years since the Bazooka departer set Kings of the Wild Frontier loose. Adam Ant plays it in full.

So the show starts with the main item, straight in without announcement to Dog Eat Dog and on through to Human Beings without banter, deviation or improv. You’ve got the tracks, what else do you need to know? That the two-drummer line-up does the record’s Burundi rhythms justice? That Ant’s voice is ON and in top nick, and so is he, belying his 63 years with ease?

True and staggeringly true. And if the guitar overdrive sometimed flattens the subtleties of the Ants’ original, it means his band are more than suited to the Dirk tracks that dominate the second half and to me, this is where the gig starts to feel like a proper gig. Not because Kings ain’t ace – it is – but because after that, we don’t know exactly what’s coming. Even Ant himself looks more relaxed post-Kings as he leads the band into Beat My Guest. And Christian D’or. And .. fuck it, I’m just gonna reel off as many tracks as I can remember in no particular order so that you know exactly what kind of a set he’s pulling off these days: Stand and Deliver. Cartrouble, Xerox, Never Trust a Man (With Egg on his Face), Vive le Rock, Press Darlings, Fall-In, Prince Charming, Desperate But Not Serious, Goody Two Shoes, Red Scab, Marc Bolan’s Get it On. How’s that for a bunch of killer tunes after an album of killer tunes? Vive Le Rock surprises – forgotten how ridiculously catchy it is – while Press Darlings has possibly the best stickwork of the night, which might be a controversial claim given that we’ve just had KOTWF in full but with those drums and that riff, the track takes on a Killing Joke air. Never noticed that before.

The night ends with the ever-sleazy Physical (You’re So), a reminder of Adam Ant’s legacy, post-punk credentials and alt-rock influence. Still a showman, still a maverick and still carrying a misfit aura, the joy and affection pulsing out for the band and their leader is proof that we are all Ant’s people. Wherever next for the Wild Nobility?

Oxford, penultimate date

GOD DAMN: live review

Posted on May 26, 2016 by kevinsmusicblog

GOD DAMN, SLATE HEARTS, WARDENS: OXFORD CELLAR, 22/05/2016

Bit weird. He was here a second ago – the God Damn singer, I mean – wandering around offstage, mic in hand, mixing it with the punters, and now he’s… not. Where go he? And why is everyone looking in my direction?

COZ HE’S STANDING ON THE BAR AND OVER MY HEAD, straddling the beer taps while screamo-ing a ‘nasty little song with a horrible title’ (his words, not ours. We Don’t Like You, mebbe?) over our heads. And it’s only the second track of the set.

Welcome God Damn, the Wolverhampton two – sometimes three, so let’s call ‘em a two-and-a-half for tonight – who knock nine shades of brown out of the guitar-drum format and pulverise the place, but we’ll get back to them soon enough coz tonight we’ve got a three-strong bill that’s two-parts local.

Up first are Wardens, a trio of quiet-looking Ox lads who look a bit like two brothers and a tall singer, probably because they are… two brothers and a tall singer. Tidy, punchy set mind, packed with small but perfectly-formed anthems in a Foos Manchu kinda way, catchy enough to make you feel like you know their stuff even if – like me – you don’t. The funkier Go Figure is a highlight, as is the Cobain-ish grit in the vocal. Nice work, Wardens. Good warm up.

Next on the Cellar stage are Slate Hearts, another local three-piece but now we have looseness and MOVEMENT up there, all limbs and shirts and flop-hair flying. The look might be early 90s indie – Steve Lamacq would cream hisself – but the sound is a harder blend of twisted Sub Pop-erama and Mudhoney frazzle-fry, with more going on than first meets the ear, I reckon. Definitely another one to check further.

Right then: God Damn, on the road touring their Vultures album, and if you wanna see a band put shit-eating smiles on strangers’ faces with a set that’s Holy Devoted to guitars, drums and the righteous power of unadulterated amplification, this is where you go. Vultures the album nabs some desert-scene groove and roughs it with Winnebago Deal attitude, but God Damn live are way bigger than a two-piece has any real right to be – when Thom Edwards stomps his pedal board, hits Kyuss oomph mode and ups the force of an already tidal riff, you KNOW you’re alive. Starting the set with Vultures itself, and ending with the nine-minute backporch intoxication sludgecrawl that is Skeletons, God Damn give us a good-time gig that’s loud, life affirming and just a bit fucking mental. Planet Rock Radio might well be the place ‘where rock lives’, but God Damn gigs like this are where rock comes ALIVE.

KILLING JOKE live

Posted on November 5, 2015 by kevinsmusicblog

REWIND OCTOBER: Killing Joke@Oxford O2, Oct 30th 2015

A gig-heavy Rewind, this one. Godspeed You! Black Emperor did an artful deconstruction job on everyone at the Warwick Arts Centre the other week, and Liverpool doom trio Coltsblood bulldozed the Wheatsheaf with Undersmile-slow riffs and blastbeat breaks. Godspeed you can read about over here, but Coltsblood? Musically very cool and hefty, but the growlscreamgrowlscream vocal thing … man, it wore me down and brought on a major Doom Burnout. One to come back to another day, methinks.

No such burnout on Friday though when Killing Joke – new album Pylon just one week young – took the O2 stage with an old-new one-two: The Wait and Autonomous Zone, and while it takes a little while for the crowd to warm, mostly coz of the sadistic air-con blasting a cold force-ten in our faces down stage front left, it ain’t long before there’s a ring of slamming jumping bods lapping it up. Killing Joke will always invoke some kind of movement – there’s just something in that fluid, swirling, awkward rhythm-force that sets their sound far apart from other rock bands and pokes at people’s mania, especially the early stuff. Fall of Because, with its Ferguson-propelled death dance and Coleman’s first cut-loose vocal of the night, STILL feels like madness being conjured.

Highlights? With such vintage on show it’s too subjective a question to answer … depends where and when you entered KJ’s world/they entered yours, but Money Is Not Our God, Eighties, Wardance, Requiem, Asteroooooiiiiid (yesssss), Communion (doubleyesssss) and an encoring Pandemonium are all in there, among others. Other than those, it’s another Pylon newie I am the Virus – future classic, surely – preceded by a pulverising Exorcism that stand out for me, but for anthemic goth pop writ l a r g e you cannot top the monster-big Love Like Blood.

So, plenty of gigs in October (and that’s without getting to see Hawkwind). What else was there?

Well, after last Rewind asked are-Maiden-prog?, who turned up in Prog Rock magazine but Steve Harris, having a big ol’ chat about Genesis, Tull and General Prog love. ‘nuff sed.

David Bowie announced a new single and album. Officially, this is Too Exciting to Write About.

And Audioscope announced their line-up for the all-day bash at the Bully on November 21st. Part Chimp, Guapo, Dave Heumann AND LOADS MORE will stride that small stage, just as we like it.

‘til next time!

amplifier wordsmith

music.amplified

Tag Archives: live