Dom Daley.

Hailing from Berlin Zoo Escape have thrown everything into the washing machine without a care for what Genre they fit neatly into and they just about sum it up on the opener ‘Butterflies’ which hammers along like The Libertines meets Johnny Thunders but giving less of a fuck what people like me think they sound like and as it rattles along with a caustic riff it stops and starts it breakdowns with some limp gang vocals attempting some oh-oh ohs like The Dolls used to but quickly the band stab back into action and away they go like new wave never happened. When they say they don’t give a fuck I think they mean it, man!

The arrangments are great and at times they really take flight and sound like they’re having the best of times but I doubt these things take shape by accident either and a clear love for the music shines through. ‘Petals’ has subtle keys holding the sound to ransom as the band heads off in one direction you have a subtle keyboard lurking. ‘Let ME Bleed’ kicks back and we get taken on a dreamy journey until the 1-2 -fuck you and they’re off.  Great tune real euro power pop at its best.

The general theme of the album is some great songs about love and loss and timeless topics of excess and daydreams and what ifs Zoo Escape cover all bases and do it oh so well.  These songs are well crafted be it fast or slow ‘Apart From Love’ has hints of classic Billy Bragg tied up in its almost six minutes.  Is this punk prog? who knows who cares as it ebbs and flows.


The video for ‘Fleur De Lis’ gives a fairly decent representation as to what the band are about but my favourite would be the jittery charm of ‘Suicide Pop’ and its new wave no wave the album has energy aplenty and curiously nailed on the end is a Japanese version of ‘Beg For Love’ which sounds great even with the English words for the song title breaking the flow of the Japanese.  Why not I say it just adds to the quirky nature of this band and what they do.






Ben Hughes.

St Louis, Missouri alt/country dudes The Bottle Rockets return with their 13th long player, the follow up to 2015 album ‘South Broadway Athletic Club’, and it’s got a bit of a theme going on. The frustrations of modern life and technology are explored by main man Brian Henneman and his band of outlaws; John Horton on guitar, Mark Ortmann on drums and Keith Voegele on bass.

Recorded in 3 separate 4-day studio sessions, in their native St Louis with long-time collaborator Eric Ambel at the production helm, ‘Bit Logic’ sees a more collaborative approach than the last album which was primarily written by Henneman.


‘Bit Logic’ is an album that’s rich in Americana, simple honest songwriting and observations of the modern world. For me, the Tom Petty and Dan Baird feels are all over this album. From the cool as you like groove of ‘Doomsday Letter’, to the acoustic-based chillax that is ‘Saxophone,’ onto the simple observation of a pretty girl in ‘Human Perfection’, there is much to savor.

“My music’s good but my income sucks” drawls Hanneman on ‘Bad Time to Be an Outlaw’ and that pretty much sums the situation up. I mean, Outlaw Country has never sounded so current in 2018. Albums by the likes of Sarah Shook & The Disarmers and Hellbound Glory are certainly doing it for me right now. And while Nashville’s pop-obsessed hipsters continue to churn out meaningless, over-produced drivel, a small band of outlaws are keeping it real, writing and singing about how fucked up things are and touring their asses off across the world, playing bars to every man and his dog that will sip a beer and be content to listen to a good tune or two.

The Bottle Rockets have been doing it for nigh on 30 years and Brian Hanneman has every right to come across as a grumpy old man. Lyrically, he always tells it like it is and ‘Bit Logic’ is no different. Whether he’s complaining about the traffic on ‘Highway 70 Blues’, admitting he’s resorted to listening to music on his telephone rather than enjoying the glorious tones of his old vinyl collection on ‘Lo-Fi’, or simply reminiscing about simpler times, there’s a ‘no bullshit’ approach to The Bottle Rockets music.


Yet, he’s trying to embrace the modern world, he truly is. “You better be looking out the windshield, not the rear-view mirror” drawls Hanneman in the opening title track to assure the listener of his intentions to move forward in every sense.

Elsewhere he is full of sentiment. ‘Lo-Fi’ transports the listener back to simpler times, with just an AM radio and the muddy river banks for company. Laid-back, countrified goodness with picked guitars, a fuzzy solo and Hammond accompaniment.  ‘Knotty Pine’ is pure, old-school country, laced with John Horton’s twangy Telecaster licks. An ode to Hannemen’s songwriting retreat. “That room gives me hugs better than drugs” he quips.


With an “if it ain’t broke, don’t fix it” attitude, The Bottle Rockets release yet another collection of mighty fine songs that will be a welcome addition to any collection. These countrified outlaws are tough, gritty survivors, and while The Bottle Rockets will never be embraced by Nashville, (would they want that anyway?) or mainstream radio, they will continue to keep it real, tour and produce music from the heart and soul. Now, get down to your local independent record store and ask them for the new album with Clint Eastwood on the cover!

Buy Here





Dom Daley

Hot on the heels of his last studio album the ‘Made In Hawaii’ back in 2017 Dahl is in the studio cutting some tunes with Swedens The Demons whilst on a short stopover in the country late in 2017; of course it makes sense to lay down some tracks which bring us nicely to ‘On The Streets And In Our Hearts’ and what you have is six lean mean and fucked up takes of some classic tunes.  It’s more punk rock than most could feasibly muster and their take of the well-worn path that is the Dead Boys ‘Sonic Reducer’ Dahl spits and snarls as his pick up band do a half decent job..wait what the?  Let’s not be daft here folks this is on fire! with Mathias Carlsson on guitar, Micke Jacobsson on drums and Tristan Jeanneau on Bass they are cooking up a feast and taking this six-track EP apart. there are fresh ears on some classic Dahl tunes as well as a new song sung by Carlsson and the devastating take on ‘Sonic Reducer’ but let’s dial it back and look closer.


‘French Cough Syrup’ is here to kick things off and with a great clear production this song has a real sense of energy as the drags on the guitar will testify.  You want Rock and Roll raw and turned up loud? Well then here it is boys and girls. But hold on to your hat ‘Goin Underground’ has all the heart and soul of prime time Johnny Thunders and some I thought the version Jeff did with The Jeff Dahl Trio was as good as it gets but it would now appear that I was mistaken this is the best version.


It’s always a great day when you hear from Jeff Dahl but when its to say he’s recorded some music that already good day gets awesome. ‘Lisas World’ is punchy and snotty and again they’ve really captured a moment here and rounded off an already great song as it comes out swinging and Dahl sounds well up for it and as the song hurtles on I’m getting anxious that its only six songs.

‘Mean Street Beat’ has all the ingredients of a chance meeting with Mott The Hoople and some Lou Reed with equal measures of both and is an infectious melody as it rattles along. Which leaves ‘I Don’t Wanna’ crawling through the gutter its got a big groove and it reminds me of some of the proto-punk like Classic Dictators.  Its certainly go ta strut about it and when it’s done we’re only left with the majestic pulsating ‘Sonic Reducer’  sure its a seminal punk classic and nothing ever will come close to the original but you know what if anyone is going to handle it with the respect it deserves then Jeff Dahl is that man  and this version is most definitely loud and snotty but to call them  young would be stretching it even for peter pan Dahl but two out of three ain’t bad is it? and the break down to the drum rolls is excellent and really captures a moment.  Great work guys its only a shame it is six tracks another four or five would have been a riot and most welcome – maybe next time eh?

Buy Here

Gerald Stansbury.

Ever felt like a band truly had the misfortune of being dropped into the wrong musical era? You listen to an album and know that there would have been a much higher chance of commercial success for the band. All that said, it can be pretty awesome as a fan as we feel like we have this cool secret band that others would not understand, and you meet some really cool people along the way because they are also awesome enough to get “it.” Prophets of Addiction strike me as a great example of this as I listen to this acoustic-based album and know that some people would be totally put off by this album but then those same people probably don’t get Johnny Thunders either so I wonder about them anyway…. As Lesli Sanders and Glenn Gilbert have travelled across this world recently playing acoustic sets, this album provides an awesome studio souvenir of these shows.

The first thing to make clear is that Lesli Sanders has a very distinctive voice that reminds me of several singers such as Tyla (Dogs D’amour), Daniel Lucas (Boss Caine), Jesse Malin (DGeneration), etc. There is a gruffness, often a low baritone, and a clever slur to the words that serve the songs extremely well. Lead single and video from the album ‘American Dream’ makes the perfect opener from these songs as it features a strong quick hook, and some outstanding guitar work by Glenn Gilbert. There is a playfulness to the lyrics as Sanders looks back nostalgically on some old debauchery. The added piano really adds a nice touch as well. The tongue twister ‘Altar of Altercation’ follows with an extended acoustic guitar riff intro that loses some of the magic found in the electric version of the song. I catch myself each time thinking that I would rather hear it on an electric guitar. ‘Babylon Boulevard’ meanwhile sounds great stripped down in this format recalling something from one of Tyla’s acoustic albums. The dark ominous tone works perfectly in the acoustic format with Sanders rambling style vocal working perfectly with the music. Gilbert nails a brief well picked solo.

The band brings back some good time feeling vibes musically on ‘Talkin.’ Lyrically, Sanders tells us about someone that you just can’t talk to because they turn everything against you with some subtle ‘oooh’s’ added in parts. The guitar solo by Gilbert fits perfectly. Keeping a good time beat flowing, ‘Last of the Words’ is another of my favourites on here with its lyrical hook being extremely deadly. This really feels like we are lucky enough to be sitting in the room with the guys as they just start playing. The addition of the piano here again works perfectly and really adds some magic to the song.

Flipping the album over… at least figuratively since that didn’t work with the iPod… ‘Spare the Bullets’ brings us another solemn song that works extremely well because of its contrast with the end of side 1. Sanders sounds extremely fragile on the chorus with this being another song that should really appeal to others like myself that love Tyla’s acoustic works. At nearly 5 minutes, this is an awesome epic. Following that one was never going to be easy, and it didn’t initially help that ‘Hollywood’ was an early release song that didn’t connect strongly with me. It has improved with multiple listens, but the jangle of the music and the hook just don’t quite do it for me compared to the other songs here. The gentle ‘Atmosphere’ hits me hard though, and I can imagine that anyone who might have been chatting at a live show shuts up here. Sanders sounds like he is pouring out his heart (to borrow a term from another performer). The very minimal orchestra type backing works perfectly.

‘Heart of Mine’ keeps the momentum going and reminds me a bit of Michael Monroe going acoustic. Ironically, I have tended to prefer the verses to the chorus on this one for some reason, but this is simply quality acoustic rock n roll. Wrapping up the record, ‘Return the Smile’ gives us one final huge musical moment that is lifted by the resiliency in the lyrics. The initial darkness giving way to a message of hope and strength. I catch myself putting this song on repeat at the end of the record before I play it all over again. The chorus is simply beautiful.

Prophets of Addiction have crafted a fine addition to their catalogue with this acoustic album feeling a bit like ‘A Graveyard of Empty Bottles’ by the Dogs D’amour. At 10 songs, the album seems to pass by extremely quickly even with a couple of longer songs here. Sanders and Gilbert have done a great job of recreating the majority of these songs in this format with the only moment I caught myself wishing they had done something a bit different was on ‘Altar of Altercation.’ Don’t be surprised if this album becomes your late night favourite first and then bleeds over to the morning. As I mentioned at the beginning, some will not get this record at all because it is not flashy, hip, or current. I will gladly take these songs from the gutters, back alleys, and dives that bleed passion, heart, and soul as they infuse my spirit.

‘Nothing but the Truth’ is available now Buy Here



Nev Brooks.

Now you might or might not know the Soapgirls, if you do know them then the first thing you will get as you read this is probably going to be an R-Rated image. I’d even go so far as to say you would probably have missed this baby coming out!! Personally, my last experience of the Soapgirls was at this year’s Camden Rocks Festival, actually on the street outside Dingwalls when I was deep in conversation with Paul Ronney Angel from the Urban Voodoo Machine, needless to say, they caught my eye.

But let’s not focus on the image, for once let’s focus on the music and do you know what this LP knocks it out of the park. If I was to use a press term and quoted “Riot Girl’s” what would it mean to you as a reader? The music is unashamedly Punked up, Scuzzed up Rock and Roll, drawing on bands like Hole, LZ and even throwing in a hint of the Runaways pop sensibilities.

This is grounded in Punk, full of attitude and vocally sits somewhere between Louise Distras and Hands off Gretel’s frontwoman Lauren Tate. As I’m listening you pick up obvious grunge influences to sit alongside the punk leanings and the pop sensibilities giving a great well-rounded package (ahem Freudian slip).

Opener “Society’s Rejects” nails you to the wall and you don’t take a breath until 5th track in “Air”. “Step Outside” draws down the spirit of the Pistols all edge and attitude, but with just the right amount of sneer. Next up “Original Sin” no not a Wild Family cover but a real in your face raw as fuck punk rock stampede, that stuttering bass intro giving way to distorted feed-backing guitar, then the riff starts up and you’re hooked in.

By this point you begin to realize how catchy the music is, you’ve stopped bouncing around and began to focus, you start to listen and the head begins to nod, then things explode and your into “Drag you down” tentatively my fave on the LP alongside the intensity of the juggernaut that is “Break you”. Fifteen tracks, not a dud in sight. Prepare to be dominated you can catch the soap girls live on their:-

Stink Like Punk UK Tour dates 


25 th Fest Camden, Camden London with The Fascinators, Scarlet

& Mongrel Dogs

26 th The Fenton Leeds   with Hospital Food & Guttersluts


3 rd The Dragonffli Pontypool,  with Tarion

7 th Arches Venue Coventry with Sick of the Riot

8 th The Palladium Club, Bideford

13 th The Monarch, Camden  angerland, Youth Illusion, Muffin Heads

17 th The Trades, Rotherham

You can pick up the LP Here




Dom Daley.

Close your eyes and imagine its 2005 Eduardo Martinez and Joe Klenner decided to record a few Smack and Fishfaces songs as a tribute to fallen frontman and underground legend Claude.  Well, those few songs turned into an album full and then it was released on the Argentine label ‘Bourbon Records’.  Buried and long out of print the good people at Alive & Kicking realised that a record this good shouldn’t stay buried so with a new track list and artwork they resurrected it and this is what I’m writing about today because like Alive & Kicking I agree this is just too good to be kicked to the long grass.  You want cool rock and roll motherfuckers playing songs that are every bit as good as some of the offerings from fellow Finns Hanoi Rocks but like their compatriots, they didn’t get the breaks their talents deserved.

Claude was the frontman for Smack and The Fishfaces and whilst ten of the tracks are the most popular songs from the bands catalogue the last two were songs Fishfaces wrote that gave a possible glimp[se as to where the band was heading musically.

Eduardo was a big fan and was instrumental in Fishfaces recording their second album and as a tribute to three former smack and Fishfaces members all sadly passing on this is more than a fitting tribute to two great bands that burnt out way too soon but Labels like Alive & Kicking are making sure that these songs aren’t lost and flicker on into the future.

We’ll turn this record upside down and look at the final track a sprawling eight-plus minute monster with roots undertones Juha Metsola can be heard on his last ever session before his untimely passing as the jam plays on. One thing you know for sure this Flaming Sideburn and co pay the utmost respect to the legacy of two great bands with the likes of the sleazy ‘Skin Alley’ loud and large before the classic ‘Good Morning Headache’ is played with as much heart and soul as you could possibly muster.

‘Cemetery Walls’ is haunting and timeless as it builds to its raucous conclusion.  ‘Through The Glass’ must have influenced many bands back in the day as the bass thuds the tempo is dark and menacing and the playing here is superb.  I always loved ‘Roses Have Faded’ and ‘Machine Gun Stoneage’ proper rock n roll with acoustic guitars written and performed by lifers who knew what it was to rock and roll from the heart. Fishfaces and Smack were great and could have and should have but sadly didn’t with three members resting in peace their tragic story does have a silver lining – knowing that there are people out there who loved these songs so much is a fitting tribute.  buy it and discover some of your new favourite old songs. Juha, Claude, and Saikki may you rest in peace – your music is being taken care of and Eduardo & The Thunderclouds I salute you for your sterling efforts. Rock and Roll!

Buy Here


Eduardo Martinez & The Thunderclouds album teaser

Teaser video for Eduardo J. Martínez & The Thunderclouds album "Hyena Planet Bites On You".Pre-order it now :

Posted by Alive and Kickin' on Sunday, 5 March 2017

Legendary Birmingham songwriter DAVE KUSWORTH has announced a one-off London show in celebration of a major new anthology.

An early member of Dogs D’Amour, playing on their 1984 debut album, Kusworth began his career in the late 70s with seminal Birmingham garage band TV Eye, going on to found The Jacobites with former Swell Map, Nikki Sudden.

The first ever vinyl compilation of Dave’s work, and a taster for a major vinyl reissue programme, The World Of Dave Kusworth Vol.1 & 2 brings together material from his period with The Jacobites, as well as tracks from his own later bands The Bounty Hunters, The Tenderhooks and The Dave Kusworth Group. The album also features a new track from Dave’s new solo album, due for release in 2019. Each of the 20 tracks was chosen personally by Kusworth and longtime friend, bandmate and designer Dave Twist, who was also responsible for the album’s lavish packaging.

Dave will be launching the album with a very special show at London’s Hope & Anchor on Sunday 4 November. Tickets are on sale now from We Got Tickets

The World Of Dave Kusworth Vol.1 & 2 is available to pre-order now through Troubadour Records via Easy Action…

Easy Action



Holy shit Batman.  The Living End release details of their first live album but there’s a catch.  What? A catch I hear you say.  Well sort of its limited to just 1000 pieces so that’s made it highly collectable for a kickoff and it comes bundled with the brand new studio album ‘Wunderbar’ (reviewed here next week)

A gatefold LP with the new album on purple wax and the live LP on Red n Black.  Tracklist – End Of The World, Raise The Alarm, Roll On, Second Solution, Don’t Lose It, How Do We Know, Drop The Needle, What Would You Do, E Boogie, Hold Up.

The band had this to say about the live record –“Recorded over 3 shows from our ‘18 European tour, we proudly give you our live album as a treat along with our latest studio album “Wünderbar”. From festivals to club shows it was a summer of love for TLE and this recording comes straight off the press with no overdubs or fix-ups, just all the blood and sweat that was shed on the night. We hope you enjoy the journey as much as we did. Loud and clear on vinyl.”

 Nev Brooks.

When this gig flashed up on my watching list, the juices really started to flow, I mean an essential part of the great Green on Red (Chuck Prophet) that I have vague recollections of catching way back in the day at the reading festival in 1989 when it returned, taken over by The Mean Fiddler group.


Add into the mix probably my favourite live artist at the moment Jesse Malin part of the superb D-Generation and more to the point an incredible live act on his own, electric or acoustic. Tickets were booked instantly,


But enough of the waffle, arriving at the venue I have to say, parking was a bit of a nightmare, be warned, (it’s a venue I’m going to watch out for in the future) Hey Ho! The joys of driving everywhere!! Moving upstairs I did a bit of a double take, a seated gig? Hmm, and then we’re into it with Jesse Malin and I have to say what a set, even though shortened to 50 mins, we had a sample from the new LP, scheduled for release mid 2019 (my little life, meet me at the end of the world) an awesome cover of the Pogues classic,” If I should fall from grace with god”, a great collection from the St Marks social LP-love it to Life, including all the way from Moscow and an absolutely blinding “Burning the Bowery” were I to say none of the audience remained sitting would be more than fair.


The songs from New York before the war just keep getting stronger and tonight we had “The year that I was born” and a track that stopped me cold “Turn up the mains”. Without going track for track, we had his whole career represented, from The fine art of self destruction, through to the Outsiders with Glitter in the gutter getting a more than welcome representation.


With such an outstanding catalogue the music itself was always going to be top drawer, but what came across tonight was Jesse Malin the storyteller, if you get chance to catch this tour anywhere don’t miss, but also what should also hit you is why isn’t this guy huge!! I suppose a damning inditement on the malaise that the mainstream music world is currently investing it’s time in.


Now you’ve probably guessed I’m a bit of a Jesse Malin fan and his set was my main reason for travelling over tonight, but I was 100% in the minority the audience were here to catch Chuck Prophet so strapping in, not really knowing what to expect from a solo Chuck I entered the set with an open mind.


Struggling with a virus I have to say what a set followed from Chuck, and what a vocalist Stephanie Finch is, a perfect foil from that swamp blues drawl, splitting vocal duties her voice very much came across with hints of early Marianne Faithful, that innocence embedded in pop sensibilities, while also giving a nod to that world weary Americana style. This was part of a series of Americana gigs being promoted by the Hen and Chicken after all.


As a singer/songwriter Chuck Prophet is faultless, but the track that caught me was a track by the McCoys from 1965, re-interpreted by David Bowie on the Hunky Dory LP-Sorrow, stripped down, slowed up and re-interpreted as an Americana classic. Other tracks that stuck with me, were “Bad year for Rock and Roll, The left hand and the right hand, doubter out of Jesus” and the Bob Dylan cover “Abandoned Love”.  Again what hits you are the stories between songs, holding the audience enthralled, these two have toured together for years, hit the same audiences and made the same connections and what came across to me was the link both had to a fledgling Ryan Adams and again the though flits across my mind, they should be standing alongside him on the much larger venues.


As an aside, I picked up a vinyl copy of Glitter in the Gutter, one I was missing and ended in a conversation with Jesse, and what a humble guy, wrapped up in music, grounded and focused.


Pick up the Jesse Malin back catalogue here

Pick up the Chuck Prophet here


Leigh Fuge.

Glenn Hughes announces he is going on the road to play a set of classic Deep Purple, my ears pricked up. Mk3 Deep Purple is quite possibly my favourite incarnation and Glenn Hughes is one of my top rock vocalists, so this was surely going to be a treat!

Is there a better way to kick off a Deep Purple classic set than Stormbringer? We’re straight in at the deep end here. While I’ve never been a fan of David Coverdale as a vocalist, I always loved him with Deep Purple, but for me, these songs really come alive when Hughes steps up to the mic. The band is tight, though the guitar was a little lost in the mix from where I was standing. Hughes delivers every word like his life depends on it.

Straight away we’re kicking into Might Just Take Your Life and Sail Way. This era of Purple is often overlooked. Many people forget that they had some stellar material after Gillan. The Mk3 and Mk4 Purple band really tapped into an earthy, raw blues-rock sound compared to the bands much heavier preceding albums. Sail Away is just an instant head mover. You cannot hear that infectious riff without the head bobbing along.

Time to get funky as the band kick into Gettin’ Tighter. The original clocks in at 3 and a half minutes but live, the band turns this into a mammoth 13-minute jamathon with Hughes taking the lead in the middle of the track and showing his bass playing skills as he lets rip with some lead breaks.

Glenn pays tribute to fallen friend Tommy Bolin before the band fire into You Keep On Moving to raucous applause from the Cardiff crowd. Glenn told the room that Tommy is still with him every day and perhaps he’s right, the band delivers the song with the same energy you’d expect them to have as young men in 1975.

The great thing about playing with a guy like Glenn is that you know you’ll get your spot to show the world what you can do, keyboard player Jesper Bo Hansen makes his Hammond scream and shouts in ways you could never imagine before the band jumps into the cowbell-heavy gallop of You Fool No One.

Next up, fleet-fingered guitarist Soren Anderson get’s his moment. I’ve been a fan of Soren for a long time but had yet to catch him perform live as last time I saw Glenn perform, he had a stand-in due to Soren having other commitments. For the next few minutes, the room watches in awe as Soren sets the fretboard on fire and then launches into the bluesy stomp of High Ball Shooter.

Next up, for me, the highlight of the show, Mistreated. This song is my all-time favourite Deep Purple song and if I had to pick a single track from Glenn Hughes lineage that for me would be the stand out track, this would be it. I honestly think, no one in the world sings it as well as Glenn. He delivers every single word with the passion and conviction of a man who truly has been mistreated. It never fails to blow me away.

Having not checked out the setlist ahead of the show, I assumed that it would be purely focused on tracks from the Mk3 and 4 eras, but much to my surprise the band rounded off the set with a storming rendition of Gillan era mega-hit Smoke on the Water coupled with a stripped down version of the Ray Charles song Georgia on my Mind. Hughes shows off his huge vocal range many times over the night but really lets it fly during Georgia as he tickles the upper echelons of what the human ear can perceive.

Encore time and Hughes professes to the crowd that they know what’s coming next, and we sure do. The band launch into Burn and the room goes nuts. This is what it’s all about. High energy, high octane rock and roll.

As all great nights, unfortunately, this one also comes to a close as Glenn passes his bass to his tech and assumes the vocalist role as the band play yet another Gillan era track, Highway Star. Having witnessed Gillan sing this track with Deep Purple just a year ago, I can honestly say I think Hughes delivers it better. His range is untouched, and he still has the conviction and energy of a 20-year-old rock star with the world at his feet.

Proving night after night that age does not diminish your ability to rock. Glenn Hughes is the real deal. He’s a fantastic singer, incredible bass player and all-around artist. My mind is blown yet again.

Buy Glenn Hughes Here