Angel – S/T

There was a time that I liked Angel, and truth be told, I really can’t remember why.

I first saw them on the Midnight Special, the same show that featured the very first time I ever saw KISS on television.  KISS were amazing, everything my teenage, comicbook-cum-fantasy brain had ever concocted, with fire and smoke and blood and demons and  . . . oh yeah!.

Then there was Angel.  Signed to Casablanca (the same label as KISS), dressed in pristine long flowing white gowns, polyester, disco bell-bottoms, and mile-high platforms, they were like the anti-KISS.  Where KISS was ugly, they were beautiful.  Where KISS was raw and dangerous, Angel were pure and pristine.  Where KISS had testosterone-humping sexcapades, Angel had . . . something.  Something I never really could put my finger on.  But at the time I liked it.  I remember eating up White Hot and Sinful, which today just don’t hold up very well to my ears.  A mix of over-the-top glam pop that tried just a bit too hard to be precious.  In reality, Angel had latched onto something.   With their flowing long (I do mean LONG) hair, glammed out androgyny, and pop-metal hooks, they essentially laid the foundation for hair metal to follow.  In their own way, Angel were pioneers.  Pioneers of hair metal.  Now, I never cared for hair metal, which may explain why I’d lost interest in Angel over the years.

Then I stumbled upon this, their 1975 self-titled debut and a little fly started buzzing unflaggingly in my brain.  Hadn’t “The Tower” been a real kick-ass rock song?  Actually, hadn’t their first three albums--before glam-overload took over--revealed a band that cranked out a Queen-inspired, KISS-fueled hard rock-meets-keyboard-prog attack that was pretty good?  I remembered “Mirrors” from their second album, Helluva Band, and remembered cranking that song near-endlessly in my bedroom between KISS and Aerosmith freakouts.  Hadn’t I?

And besides, Angel always had the world’s coolest logo –which reads the same upside down as right-side up

So with those memories clouding my otherwise confirmed resolution against the band, I decided to plop down the $1 and pick this platter up out of the bargain bin and see if 36 years had been kind to the band.  


Immediately, my memory proved to be correct.   “The Tower,” is a monster of mid-70’s, keyboard-infused (but not guitar sparse) prog pop.  After the full on keyboard and manic drum pomp intro assault, delicate guitar courtesy of Punky Meadows pierces through the mix.  The bass rides a gentle sweep beneath this, while Greg Guiffria allows his keys to mellow into texture mode.  Frank Dimino’s voice at times hits a shrill octave that just screeches too much for me, but not on this song.  Here, his voice wavers and captivates and soars, taking off as the song rises and falls to the escalating chorus.  Throughout, Barry Brandt keeps the drums active, calm at times and rampaging at others.  When Punky breaks loose with his big solo, it’s with restraint and taste, but no lack of dexterity.  Truly, this is a “lost” 6:52 prog-mini-classic and all by itself is enough to warrant the band being remembered today.  Makes you wonder what their career would’ve been like if they’d pursued this path throughout their career.

But then “Long Time” makes me question whether I spent my dollar wisely.  A slower, mid-tempo love-lost, 7 minute lament, Dimino’s voice dives right into that register that makes me want to swallow a vat of acid.  Then, just when I’m about to give up on the album, the boys hit it.  About 3 minutes in . . . what’s that?!  Damn, out of nowhere, the insipid, whiny Angel leaves and we’re left with a damn fine, totally retro, Zep-inspired, proto-metal riff freakout.  Man, this is heavy!  Dimino’s voice lowers a bit and he rides this passage like a vet of the early ‘70’s acid metal days.  Punky layers in some more guitars and damn if the whole thing doesn’t work in the end.  Even Giuffria’s harpsichord at the end seems appropriate here, not pretentious. 

Ok, so I’m hanging tight with this so far, let’s see what “Rock & Rollers” has in store for me.  Big riff intro, neo-gothic harmony vocals.  Wasn’t expecting that.  Also wasn’t expecting the whole thing to drop away, leaving behind a low-end heavy, glammed-boogie riff, laced with enough keys to make Uriah Heap proud.  Heavy and grooving.  Not the most original song in the world but damn fun. 

So now that side one has made an impression, I flip the disc over and see if side two can maintain it.  “Broken Dreams” is a great start.  Heavy keyboard prog boogie again in the Heap vein and with a tasty bottom end.  Dimino’s keeping his voice in check, Punky’s letting the strings bend, Giuffria’s riding the keys like a man humping his best-friend’s wife.  A touch of heavier Sweet here, a hint of ‘70’s pomp.  It’s all good, baby.  “Mariner” brings back the epic flare with a piano-driven, sea-faring saga.that reaches a nice groove near the end of it’s 4-minute plus journey.  Not my favorite here, but not annoying. 

And besides, any grievances I had about “Mariner” are dispelled within the first two seconds of the monster, neo-KISS riff-rampaging intro for “Sunday Morning.”  The keyboard extravaganza is a bit much for me, but it fits the time, riding in the big pomp world of bands like Zon, Prism, Trillion, or Styx.  But even that can’t lessen the rock impact when this song hits its groove.  When that ascending guitar riff is riding, the song’s a winner, and it ends with a mastodon-sized heavy outro before it crashes right back into the riff-fest of “On & On.”  Again, the heavy stuff here is great.  Overall, the pomp glam overtakes the meat of the song and it wilts a bit, predicting some of the more uninteresting pop-metal of their later years, but still when it’s heavy, it’s about as heavy as pomp rock got in the mid-70’s.  Which brings us to the over-the-top pomposity of “Angel (theme)” a synth-driven instrumental that really never served as the bands theme as much as the guys thought it would.

So, 36 years later, what’s my verdict?  At one time, Angel really were a helluva band, and this is a fine, pomp heavy debut.  The heavy stuff was heavy, the pomp was pomp and the whole album is laced with enough of a prog tendency to make the imagination wonder “what if?”  What if the American public had been ready for an album like this back in the day?  What if Casablanca knew how to market rock as well as they did disco?  What if Angel had stayed this course and cranked out their own Magician’s Birthday or Demons & Wizards?

But then if they had, maybe hair metal would never have existed.  Maybe that wouldn’t have been such a bad thing.

In the end, it was a dollar well spent.

--Racer

Buy here: Angel
Buy here combined with Helluva Band: Angel/Helluva Band





and Mirrors off their next album, Helluva Band

Vacation Over - EP's on Pen's Desk - Featuring NexCyx and Julie the Band

NexCyx - Queen EP

In reality I was sitting in a terminal inside Grantley Adams International Airport in Barbados waiting to board my flight back to the US.  My mind however was traveling very quickly from memory to memory, recalling the fantastic events of my now-ending vacation.  I’d had a wonderful week packed full of engaging activities such as an ATV safari, a submarine tour, a scuba diving expedition, and even an exploration of an underground cave!  Trust me when I say if you haven’t been to Barbados, you’ve got to go.  You’ve got to go!  Looking back though, perhaps the best discovery from my vacation was a band named NexCyx.

It was Thursday night.  The week was winding down and I was looking for a little excitement to spice up my evening.  Thankfully, I overheard another traveler in the hotel lobby talk about this Irish pub and cookhouse called McBride’s that not only had great food, but great music as well.  An authentic Irish pub in Barbados?  This I had to see for myself, so off I went.  Sure enough, I was soon eating steak and potatoes and preparing to groove the night away.  About fifteen minutes after I had finished my meal, an announcer brought the band out onto the house stage.

NexCyx is a four piece hip-hop/pop/rock band from Bridgetown, Barbados.  The members are vocalist Mahalia Philllips, keyboardist Andre Clarke, bassist Kris Clarke, and guitarist Russell Padmore (two additional members are added for live performances).  Together, these musicians produce enticing sonic concoctions that will stick in your mind like stubborn taffy.  They are set to release a new five song EP entitled Queen that, based on its many merits, should garner them an awful lot of positive attention.

Defying it’s relatively short running time, the Queen EP shows off many different facets of the band.  Opening track “Bass” would fit easily into any night club’s playlist with big organic basslines layered over an insistent drum track.  “On the Floor” juxtaposes big metal-like choruses with more laid back, funky verses.  “Queen” is a full on modern pop music assault that doesn’t take no for an answer.  My favorite track on the EP, “A Little Bit”, comes next.  After the previous three tracks I was certainly not expecting a guitar dominated affair that sounds to me like some lost radio hit from the 1980’s.  The song simply stands out.  Wrapping up the proceedings the EP closes with the beautiful, socially conscious ballad “Take a Minute”.

Not to downplay any members’ contribution, but I would be remiss if I did not make special mention of Mahalia Phillips’ entire performance.  It is her voice and charisma which anchors the entire EP.  Her vocals are very clean and powerful when called upon throughout each of these five songs.  Also she exhibits a great deal of swagger and confidence when rhyming over the hip hop beats.  Bottom line?  This is really good stuff!  Really enjoyable music!  Well worth an investigatory look-see.

Julie The Band - Wild As The Sky EP

Thanks to my early arrival at the airport I was one of the first passengers able to board the plane.  Once I was onboard I found my designated seat in economy class, stowed my carry-on luggage in an overhead bin, and made myself comfortable in my window seat.  Before too long a group of four men, who obviously knew each other well based on their demeanor and the snippets of conversation I was able to overhear, made their way back to my section of the plane.  They analyzed their tickets, stowed their luggage, and took their seats; two in the row in front of me, one in the row behind me, and the last in the seat right next to me.

I greeted the man next to me and introduced myself.  We shook hands and I learned that his name was Nathan Blumenfeld-James.  He asked me what I did for a living and I replied with the usual…nothing fun.  Possibly perplexed by my smile, he then asked me what I did for fun.  His eyes noticeably lit up when I told him that I enjoy music more than anything else in the world.  It turns out that he’s the lead singer/guitarist for a band named Julie The Band.  The group’s backup vocalist/lead guitarist Dustin Bath was sitting in front of me with drummer Nick Adams, and the bass player Jon Spence sat behind us.  Mr. Blumenfeld-James quickly stood up and rifled through his carry-on bag.  He brought out a CD, handed it to me, and told me I might like what I heard.

It was from this simple beginning that my infatuation with Julie The Band’s Wild As The Sky EP came to be.  Granted, it’s hard not to love this band’s downright wonderful feel-good music.  They combine elements of pop rock and alternative country with soulful, uplifting vocals, resulting in all the negative thoughts floating around inside your head being put in a devastating submission hold.  Negativity is forced to tap out, and will be banished for the foreseeable future.  It’s pretty cut and dried.  There is just no other option when listening to these songs.  Happiness reigns supreme!

“Working for the Wind” saunters confidently out of the gate and immediately puts the listener under the band’s spell.  I especially like the post guitar solo breakdown featuring gang vocals and clapping hands leading right back to the main melody line and the song’s conclusion.  “Memories in my Head” slows things down a bit.  It’s a more delicate song with tasteful guitar flourishes throughout, and the vocals will haunt you with their tenderness.  The third song, “Wild as the Sky”, brings the alt-country elements strongly to the fore.  Acoustic guitar strumming functions as the backbone for the song, allowing a banjo to add all kinds of flavor to the overall atmosphere.  “Big Boned” is glorious and spiritual.  “Perfect Match” is another delicate song, similar to “Memories…”, only more so with a sparse arrangement that gives each note and chord ample room to breathe.  The band saves the best for last in my opinion with the triumphant “Free as a Cowboy”.  Rebellious attitude, soaring vocals, punchy guitars and drums; this song is ultra-powerful and ultra-memorable.

As you might have guessed the plane ride back to the US was spent listening to this EP on repeat over and over again, smiling the entire time.  The only momentary break from the music occurred when the in-flight meal was served.  The band members all knew what was going on, and they gave me a few winks and knowing grins before going about entertaining themselves.  Long story short, the EP went home with me that evening.  Do yourself a favor waveriders and check it out for yourself.  Your inner self will thank you.

 --Penfold

Buy here: Wild as the Sky - EP

QUEEN’S 40TH ANNIVERSARY CELEBRATION KICKS OFF WITH DELUXE REISSUE OF FIRST FIVE STUDIO ALBUMS, PLUS GREATEST HITS II, “STORMTROOPERS IN STILETTOS” GALLERY EXHIBITION AND MORE

Queen’s 40th anniversary is now upon us, and the band plans to pull out all the stops to celebrate this historic occasion. “2011 is an important year for Queen,” said Brian May “and there will be a lot of activity.” Adds Roger Taylor, I can’t believe it’s been that long and that we are still around in such a big way. I’m amazed and grateful!” This yearlong event will be marked by a series of releases, re-releases, special limited-edition items and events around the world.

As the centerpiece in the 40th anniversary celebration, Queen’s entire 15-album studio catalog is being reissued in a series of deluxe editions. Every note is being tweaked, every piece of artwork is being cleaned, freshened up and resourced, wherever necessary, with the legendary Bob Ludwig doing the remastering, working from the original source material. The albums will be released in three waves, staggered over the next year, with the first wave—comprising the first five LPs—coming this spring.

Each studio album will be released in a new two-CD edition, the first containing the updated, remastered original LP, the second disc packed with rarities—and we don’t use the term lightly. Some of these gems have never before seen the light of day, even in crappy bootleg form. To cite a particularly fascinating example, five first-album demos recorded at London’s De Lane Lea Studios in December 1971 were pulled from the only existing copy on the planet—an acetate from May’s personal archives. Not even his bandmates had a copy.

In other anniversary activity, the gallery exhibition “Storm Troopers in Stilettos” opens in London on Feb. 25, with plans in place to tour the exhibit around the world. According to May, this unprecedented event “will highlight in some innovative ways the growth of the ‘Early Queen.’” On April 12, Hollywood will reissue Queen’s debut single, “Keep Yourself Alive” b/w “Son and Daughter,” on seven-inch vinyl in a limited edition coinciding with Record Store Day. And on April 19, the label will issue the band’s Greatest Hits II for the first time in North America. This classic collection includes the rock standards “Under Pressure” and “Radio Ga Ga,” plus  many other classics from the second half of Queen’s run, including the worldwide smashes “I Want It All” & “Innuendo.” Additionally, the “Queen on Vinyl” reissue program will be completed this year with the release of the final five studio albums.


Bonus Tracks on the First Five Studio Albums:



QUEEN (1973)

1. Keep Yourself Alive (De Lane Lea Demo, December 1971)

2. Great King Rat (De Lane Lea Demo, December 1971)

3. Jesus (De Lane Lea Demo, December 1971)

4. Liar (De Lane Lea Demo, December 1971)

5. The Night Comes Down (De Lane Lea Demo, December 1971)

6. Mad The Swine (June 1972)



QUEEN II (1974)

1. White Queen (Live at Hammersmith Odeon, December 1975)

2. See What A Fool I’ve Been (BBC Session, July 1973 - 2011 Remix)

3. Seven Seas Of Rhye (Instrumental)

4. See What A Fool I’ve Been (B-side Version, February 1974)

5. Nevermore (BBC Session, April 1974)



SHEER HEART ATTACK (1974)

1. Now I’m Here (Live at Hammersmith Odeon, December 1975)

2. Flick Of The Wrist (BBC Session, October 1974)

3. Tenement Funster (BBC Session, October 1974)

4. Bring Back That Leroy Brown (A Cappella Plus)

5. In The Lap Of The Gods… Revisited (Live at Wembley Stadium, July 1986)



A NIGHT AT THE OPERA (1975)

1. Keep Yourself Alive (Long-Lost Retake, June 1975)

2. Bohemian Rhapsody (Operatic Section A Cappella)

3. I’m In Love With My Car (Guitar & Vocal Version)

4. You’re My Best Friend (Backing Track)

5. ‘39 (Live at Earl’s Court, June 1977) TBC

6. Love Of My Life (Live Single Version, June 1979)



A DAY AT THE RACES (1976)

1. Tie Your Mother Down (Backing Track)

2. Somebody To Love (Live at Milton Keynes, June 1982)

3. You Take My Breath Away (Live in Hyde Park, September 1976)

4. Good Old Fashioned Lover Boy (Top Of The Pops, July 1977)

5. Teo Torriatte (Let Us Cling Together) (HD mix)

Sweet - Off The Record

Things aren’t always what they seem.

After racking up a series of lightweight, bubblegum glam hits like “Little Willy,” “Ballroom Blitz,” and the “Sixteens,” The Sweet had had enough.  Originally called The Sweetshop, in 1970 the band shortened their name and were placed under the tutelage of songwriting team Chin and Chapman.  International success and massive hits followed.

But things aren’t always what they seem. 

In their hearts, despite the way-glammed, feathered hairdos, massive bell-bottom pants, sequins, and high-heeled boots, Sweet were rock and rollers.  They wanted nothing to do with the bubblegum and teeny-bopper songs-- they wanted to rock.  And nowhere is this seen more vividly than on their vastly under-rated album, Off The Record.

The move began with the prior album, Sweet Fanny Adams (not officially released in the US, but half of which became side 2 of Desolation Boulevard).  Breaking away from the Chin/Chapman dictatorship, the men of Sweet wanted to prove three things; 1) they could write their own songs, 2) they could actually play their damn instruments, and 3) they knew how to rock, motherfucker.  The success of the self-penned “Fox on the Run” and “Sweet FA” from Sweet Fanny Adams fueled the fire.  Off the Record gasoline-torched the whole bubblegum building down.  This record is a monster of hard-edged, shiny produced glam rock, that should rank up there with the best of the genre.

“Fever of Love,” kicks things off.  A big hit in Europe, it never really caught on here, and that’s a shame.  Employing the sharpest pop hooks on the album, it’s the closet thing here to a bridge to the old days.  That’s not to say it’s bubblegum, mind you, just slickly produced, tightly crafted, and catchy as hell.   Starting off with some lightweight synth flourishes over a steady beat, Brian Connolly sings “You took the apple from the tree/and gave the fruit of love to me/but love is blind I couldn’t see.”  The big, Queen-esque, high-pitched, harmony vocals pop in right away, defining the signature Sweet sound, and that chorus is just pure sticky-sugar sweet.  But if you listen closely, there’s a hint of something rougher laying underneath.  Check out Connolly’s voice as he jumps into the verse.  Thick and rough, tangled and ready for a streetfight.  That’s not a bubblegum voice, that’s rock, baby.  Pure and raw, hard rock.

 In fact, it’s an amazing voice, one that fuels the passion of the entire album, acting in stark contrast to the thick production and constant group harmonies.  In my opinion, Connolly was one of the most under-rated lead vocalists in rock.   Not only did he have a helluva range--dropping down to the guttural lows of rock, or scaling to the Everest highs of the bubblegum harmonies-- but his voice was just laden with texture.  A roughened, soulful voice, one that just screamed out for hard rock, mean-spirited and nasty.  Definitely not one to be contained in bubble gum.  Never is this more apparent than on Off the Record where Connolly is basically cut loose, and damn if the Scot doesn’t let it all go.  It’s a voice I could listen to indefinitely.  Sadly, Connolly passed away in 1997, depriving us of those magic vocal chords forevermore.

But Sweet wasn’t just about Connolly.  In Andy Priest they had a studly, unheralded guitarist and songwriter.  Steve Priest was a jewel on bass, never over-playing, therefore easily overlooked, but solid as the Rock of Gibraltar (with a few tricky flourishes up his sleeves as well.) And Mick Tucker owns his drum set, displaying chops that could never be utilized in “Little Willy.”  The whole attitude of the band coalesced here.  Just check out the period photos on the CD booklet.  Gone are the sequins, the heels, and the bell bottoms.  Bring on the sleeveless t-shirts and jeans.  Forget the hairspray.  Let it fall.  Let it tussle, let it be messy.  Let it be Rock.

This attitude change pops up front and center on the very next cut “Lost Angels.”  Ignore that beginning, poppy synth intro.  Just 8 seconds in, the synths cut out, leaving behind a decidedly heavy guitar, chugging away, ominous and foreboding.  Forget the “apple of love” lyrics.  Suddenly we got “Infinity/Like time without a friend/who’ll sing the song if melody should end/you’re dead my friend.”  Whoa!  This ain’t kiddy-bopper music anymore!  But it’s still Sweet.  We still got the big vocal harmonies and a drill-it-into-my-head chorus.  But check out Connolly’s voice as he sings “Insanity/I can feel the knives inside my brain.”  Damn, if his vocal emphasis isn’t just drop-dead spot on.  That part kills me every time.  Followed up by that big chunky guitar-riff.  Then just wait for the 2 minute mark, when wheels fall off the bubblegum cart completely.  This is charging, straight-ahead rock and roll, and it’s awesome.

“Midnight to Daylight” keeps the savagery going, from the first second of the drum solo intro to the stuttering guitar riff.  The band drops into a comfortable groove that has plenty of chunk and muscle to it.   And suddenly . . . what was that?  Andy Scott finally busts out on guitar, dropping in lead fills, scattering chords, and counter melodies that positively sear.  Where’d those come from?  Not “Little Willy,” that’s for sure.  Just listen to the last minute of guitar-work, pulling harmonies, then battling with the harmonica.  Solid.  Toss in some nice harmonica work, some neo-progressive time-changes, a hand full of melody changes, and suddenly you realize that Sweet means business.  And that business is bruising, and business is good.

But for me the whole album leads up to the next track.  “Windy City” is a terror.  By far, the heaviest song Sweet ever recorded.  So far away from “Fox on the Run” that you might never think it’s the same band if it wasn’t for the signature, high harmony vocals.   Starting off with a bare-naked guitar busting out one nasty, dirty riff, this is their “Smoke on the Water” moment.  Sure it's a "borrowed" riff, but it's a killer.  Thick and full-on, street level sleaze.  Drums kick in (ok, here they could’ve gone for a bigger drum sound) followed by Steve Priest laying down some killer counter bass lines.  Connolly is possessed here, scratching his vocals chords to shreds as he lets it out, “Your dad’s in the slam/Your mama’s a whore.”  Again, a far-cry from "Little Willy."  And then there’s that ever present groove, that hard n’ heavy riff and bass tearing the mutha to pieces.   Mid-song, Tucker drops down into one-mind blowing drum part underneath a near-jazzy guitar break, before locking back in with Priest's bass, as Scott goes off on a tear of a solo.  Then seamlessly, it all locks back down into that riff.  That freaking awesome riff-- a riff so powerful that I used to blast this song at volume 11 before soccer games to get me revved up, locked into the proper state of mind to tear the crap out of the opposing team’s forwards.  I pitied any fool who tried to carry the ball into my defensive zone after I’d been playing this song.   With that riff still blaring in my head, he’d be separated from the ball and left bruised and muddied on the turf in a matter of seconds.  Red cards be damned!

“Live for Today,” is pure 1977 proto-punk.  Fast paced, snot-nosed, and middle-fingered up into the air.  “Live for today/don’t need no politician/live for today/don’t want no inquisition/you gotta throw the rules away.”  Why this song hasn’t been covered by some hardcore band is beyond me.  Maybe I can get Woody and Mighty High to try it, they’d tear it up.  “She Gimme Lovin’” is another punky, rock outburst, which moves us right on to “Laura Lee.”  Breaking out the acoustic, Scott dazzles with some simply beautiful neo-classical guitar and a melody that can only be described as gorgeous.  This is a path he’d explore more on the next album, “Level Headed,” with sumptuous songs like “Silver Bird.”  “Laura Lee,” is simply a gem, a delicate ode to love with some gentle quasi-psychedelic flourishes, and that stellar acoustic work.  This is also the song where Sweet’s classic harmony vocal style finally made sense to me.  Stripped of the synths and heavy production, (about 2 minutes into the song), the band (all of which sing) drop into a stunning accapella, four-part, chamber orchestra vocal section that is sublime in it’s beauty.  Here you can really here the timbre of their voices.  No production necessary.  Just pure singing.  That moment passes quickly, just a few seconds, but it may be the single best vocal harmony passage I’ve ever heard in a rock record. 

“Hard Times,” rounds the record out (forgetting the slight misstep stab at disco “Funk It Up.”)  And “Hard Times” is just that, a blistering hard-rock track with some prog-worthy off-time riffing, the dual vocal singing of Connolly and Priest, breaking down into another classic Connolly throat-shredding outburst.   Another glorious stab at serious hard rock.  Play this for the Sweet doubters.  See if you don’t’ turn a few heads.

Off the Record is definitely considered the lost album of the “classic-era” Sweet catalog, and it’s no wonder the album couldn’t find an audience.  Those who grew up listening to “Little Willy” and “Ballroom Blitz” must’ve been mildly traumatized by this, wondering if the band hadn’t lost their minds.  Yet those who loved to rock mostly ignored the album figuring it to be another piece of bubblegum fluff.  Both groups couldn’t have been more wrong.   Simply put, Off the Record is a great rock album, a glam mini-masterpiece that should’ve gotten way more accolades than it ever did.

In the liner notes of my deluxe-CD reissue, Andy Scott writes that upon reflection, Off the Record probably fits into his top 3 all-time favorite Sweet records. 

It’s number 1 for me, Andy.  Number 1

--Racer

Buy here: Off the Record

 Windy City



Hard Times


Lost Angles