Posts Tagged ‘Pop’

Flamin’ Groovies: Fantastic Plastic

Monday, October 2nd, 2017

The Flamin’ Groovies rise again

San Francisco’s Flamin’ Groovies broke into the underground with a string of critically revered records – Sneakers, Supersnazz, Flamingo and Teenage Head – whose lack of commercial success drove the band to musical itinerancy. By 1971, founder Roy Loney had left the band, and his co-founder, Cyril Jordan joined with Chris Wilson to shift the band from retro- and blues-influenced rock ‘n’ roll towards British-invasion styled pop. They resurfaced in the UK five years later, releasing the iconic “Shake Some Action” and three albums full of solid originals and covers of the Beatles, Byrds and others.

But much like the band’s original lineup, the revised and revitalized Groovies garnered critical accolades, but didn’t break through commercially. Chris Wilson left the band in 1980, and though various configurations and editions of the group have reunited and toured off and on, it’s been nearly forty years since Cyril Jordan and Chris Wilson have collaborated on new material. For this reunion, they recorded with original Groovies bassist George Alexander and latter-day drummer Victor Penalosa over the course of three years, laying down ten originals and covers of the Beau Brummels and NRBQ.

The band charges out of the gate with the Stones-ish “What the Hell’s Goin’ On,” reaching back to the band’s bluesier roots (though oddly crossed with the central riff of John Mellancamp’s “Hurts So Good”) and playing to Jordan and Wilson’s guitar chemistry. There are numerous moments that rekindle memories of the band’s jangly 1970s Sire albums, including the harmonies of “She Loves Me,” the hopeful “Lonely Hearts,” the Shadows-styled instrumental “I’d Rather Spend My Time with You” and a cover of NRBQ’s “I Want You Bad.” The chime reaches its apex with the Byrdsian closer “Cryin’ Shame.”

There are dabs of psychedelia on “End of the World” and the jammy coda to their cover of “Don’t Talk to Strangers.” There’s also a defiant anthem, “Let Me Rock,” that would have sounded at home at the Grande. Jordan and Wilson lean to the group’s British rebirth, but give their due to the band’s full range of blues, R&B, rock, rockabilly and pop roots. Jordan’s original cover art pays tribute to Jack Davis’ cover for Monster Rally and RCA’s Living Stereo logo, and the CD is screened with an homage to the Laurie Records label. The retro touches are nice, especially for an album that’s a great deal more vital rock ‘n’ roll than nostalgic rehash. [©2017 Hyperbolium]

Flamin’ Groovies Facebook Page

The Rolling Stones: Their Satanic Majesties Request

Friday, September 22nd, 2017

The Stones’ red-headed stepchild gets a lavish 50th birthday party

Released between Between the Buttons and Beggars Banquet, the Rolling Stones’ 1967 foray into psychedelia has often been heard as a divisive outlier. Recorded in sessions spread throughout a tumultuous year, and often relegated to also-ran status as a me-too derivation of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, the album hadn’t the conceptual grandiosity to create such a stir. Worse, the band’s own indifference, exemplified by quotes printed inside this lavish four-panel album-sized package, hasn’t redeemed the album’s image. But on this fiftieth anniversary, one can ask whether the album has been fairly assessed, and see if hindsight illuminates the work more clearly than the flashing, multicolored light shows of 1967.

First and foremost, Satanic Majesties was a clear break from the tough, R&B-driven music on which the Stones had minted their reputation. The overt use of mellotron, oscillators and studio manipulations gives this album textures unlike any of the band’s other releases. And while drugs certainly influence other Stones recordings, none are so entrenched in psychedelia as this album. 1967 was a year of band turmoil, with Mick and Keith having been arrested on drug charges in February, Brian Jones’ girlfriend leaving him for Richards in March, Jones being arrested on drug charges in May, and the band’s manager, Andrew Loog Oldham, leaving the fold. And it was at an intersection of personal tribulation and acid-drenched communal ethos that the Stones recorded this album.

The sessions were chaotic and weighed-down by hangers-on, and with Oldham abandoning ship, the band was left to produce themselves. The results were uneven – with jeweled classics rubbing elbows with uneventful jams. The album’s release on December 8 was foreshadowed by the single “In Another Land,” written and sung by bassist Bill Wyman. The tremelo-processed vocal, harpsichord, mellotron and dream-within-a-dream lyrics fit the album’s mood. With the A-side credited to Wyman (and with the B-side, “The Lantern,” credited to the Stones), the single scraped into the Top 100, leaving the album to generate its own publicity.

The LP performed well commercially, reaching #2 on the U.S. chart with the help of a late December single of “She’s a Rainbow” backed by “2000 Light Years From Home.” Critics were mixed, and though the album earned a gold record in America, it seems to have been largely forgotten by the Stones the moment it was released. The studio recording of “2000 Light Years From Home” was used to introduce the group’s 1972 stage show, but it wasn’t until 1989 that they performed it live, and it was another eight years before they performed “She’s a Rainbow.” The rest of the material remained at rest on record, and the group’s return to rock ‘n’ roll with 1968’s “Jumpin’ Jack Flash” and the rock, blues and country of Beggars Banquet, rendered Satanic Majesties an anomaly.

Beyond the hit single, the album has many charms. “Sing This All Together,” while not of the caliber as the hit single, opens the album with group vocals that echo the feeling of communal opportunity that was in the 1967 air. The track’s middle jam is edged along by percussion and horns until the vocals return and lead into the memorable guitar-riff that opens “Citadel,” “In Another Land” and the terrific “2000 Man.” Side one closes with the return of “Sing This All Together (See What Happens),” which, unlike the taut reprise of “Sgt. Pepper’s Lonely Hearts Club Band,” is an unstructured eight-minute improvisational jam that returns to the album-opening mood before segueing into a theremin rendition of “We Wish You a Merry Christmas.”

The indulgence that closes side one is redeemed by the perfection that opens side two. Introduced by a carnival barker, Nicky Hopkins’ music-box piano and John Paul Jones’ string arrangement key the brilliant and beautiful “She’s a Rainbow,” with bass and acoustic rhythm guitar reigniting the song each time it slows. The group’s blues roots shine through “The Lantern,” particularly in the blistering electric guitar riffs, but the tablas and flute jam of “Gomper” hasn’t aged well. The latter pales in particular comparison to the inspiration of “2000 Light Years From Home.” It’s this latter track, with discordant piano, mellotron, theremin, dulcimer, oscillator flourishes and a lyric of growing physical and emotional distance that will haunt your memory long after the record’s finished playing.

The music hall closer, “On With the Show,” seems to both mimic the frame of Sgt. Pepper’s and anticipate that of Magical Mystery Tour, and provides an entertaining coda to the album. The album’s psychedelic underpinnings glow on many tracks, including the band’s preceding hit, “Ruby Tuesday,” and singles recorded during the Satanic Majesties sessions, “We Love You” and “Dandelion.” Unfortunately, these period tracks aren’t included as bonuses – nor are the outtakes and demos that have been bootlegged elsewhere. But what’s here was freshly remastered by Bob Ludwig at Gateway Mastering (2016-mono, 2017-stereo), and pressed onto both vinyl (from a lacquer cut by Sean Magee at Abbey Road) and hybrid SACDs.

The two vinyl LPs and two SACDs are housed in a heavyweight, four-panel fold-out cover, with the album’s original lenticular art restored to the front cover and the gatefold art to the inside. A 20-page booklet includes an essay by Rob Bowman, and candid photos from Michael Cooper’s original cover shoot photo session. The package is hand numbered, and the pressing is advertised as a limited edition. So what’s actually new here? The mono master is the same as was used for the 2016 box set (vinyl and CD), but it’s reproduced here with a new vinyl lacquer, and as a first-ever high resolution mono release on the hybrid SACD. The stereo remaster is new, as is its vinyl lacquer. The lenticular cover art isn’t new, but has been out of circulation for many years.

For those who’ve already collected the original mono and stereo vinyl, reissue stereo vinyl and SACD, and reissue mono vinyl and CD, the wholly new elements here are the high-resolution layer on the mono hybrid SACD and Bob Ludwig’s new stereo remaster. Are they worth the duplication? That depends on how much you value this album – particularly the punchier mono mix – or whether having mono, stereo, vinyl, redbook and high resolution digital in one three-pound package simply tickles your collector’s fancy. The absence of contemporaneously recorded singles, alternates and outtakes may disappoint some, but having the original dozen tracks, mono and stereo, with lenticular cover art intact will be a treat for the album’s faithful fans. [©2017 Hyperbolium]

The Rolling Stones’ Home Page

Jan & Dean: Filet of Soul Redux – The Rejected Master Recordings

Monday, September 11th, 2017

Jan & Dean fulfill their contract with a satire of Jan & Dean

By 1965, Jan & Dean were riding high. They’d minted a dozen top-40 singles, including the chart-topping “Surf City,” collaborated extensively with Brian Wilson, hosted the T.A.M.I. Show, filmed a television pilot, begun work on a feature film, and as highlighted here, added comedy to their stage act. As the last album owed to Liberty, Filet of Soul, was apparently too outre for a label looking to milk the last ounce of profits from a departing act, so a more conventionally edited version was released in 1966 as Filet of Soul – A Live One. The full length original record, with sound effects and comedy bits intact remained in the vault, unreleased for more than fifty years, until now.

Although technically a contractual obligation album, Jan & Dean used the opportunity to experiment, rather than simply complete their obligation. The duo brought members of the Wrecking Crew to the Hullabaloo Club for two nights of live recording, and then tinkered with the tapes in the studio. As they sweetened and edited the live recordings, they sought to offer something interesting, while not giving their soon-to-be-ex-label chartworthy new material. The answer was to present a live set of cover songs augmented by sound effects and satirical comedy bits. Except it wasn’t an answer to their contractual obligation, as the label rejected the master and demanded more songs.

To appease the label, several songs from the duo’s television pilot were added, but so too a spoken word piece that was sure to raise the label’s ire. But before the lawyers could engage, Jan Berry was involved in the auto accident that ended the duo’s recording career. The label, seizing the opportunity to release amid the ensuing publicity, edited the album down to its songs, releasing a cover of “Norwegian Wood” and “Popsicle” as singles, the latter rising to #21. So how does the original fare? On the one hand, the label was likely right about its commercial potential among Jan & Dean’s teenage audience in early 1966; on the other, Jan & Dean clearly knew what they were doing, and were ahead of their time.

The album’s opening trumpet flourish suggests something grand, only to have its pomposity punctured by the sound effect of a rooster crowing. A live take of “Honolulu Lulu” is awash with the excited screams of female fans, but the subsequent monolog, “Boys Down at the Plant,” lampoons the show business facade. The live tracks are tightly performed, if not always with huge enthusiasm, but the duo’s chemistry, command of the stage and improvisational skills are on full display. The studio manipulations and dadaistic sound effects point forward to the surrealistic rock and comedy records of the late-60s and 1970s, but haven’t the conceptual coherency that the Firesign Theater and others would bring to records a few years later.

Omnivore reproduces the ten tracks of the resubmitted master, and includes Beatles songs (“Michelle,” “Norwegian Wood” and “You’ve Got to Hide Your Love Away”), Jan & Dean’s own “Dead Man’s Curve,” and pop hits of the day (“Cathy’s Clown,” “Lightnin’ Strikes” and “Hang On Sloopy”). The recordings are taken from a mono acetate (hand labeled “Fill it with Shit,” seemingly to indicate the duo’s non-commercial intentions). The 10-page booklet includes liner notes by Dean Torrence and surf music historian David Beard, photos and some of the original graphical elements that Torrence designed for the originally planned release. This isn’t the high point of Jan & Dean’s musicality, but it’s an interesting suggestion of where they might have gone, if not for Berry’s accident. [©2017 Hyperbolium]

Jan & Dean’s Home Page

Raspberries: Pop Art Live

Saturday, August 19th, 2017

Astoundingly great 2004 reunion

Reunions are often laden with compromise in service of nostalgia. But three decades after their last performance, this 2004 reunion of the original quartet makes no concession to the passage of time, changing tastes in popular music, nor the yearning for one’s glorious youth. This was a rock ‘n’ roll show as vital and stirring as it would have been in 1974. The band played hard and tight, the vocal harmonies were spot-on and the songs shined with the vibrant colors of photos that had sat undisturbed in a drawer for 30 years. Eric Carmen gave it his all out front, Wally Bryson’s guitars had the perfect tone and touch, and the rhythm section – particularly Jim Bonfanti’s drumming – was as muscular as ever. Nostalgia might have been a spice, but it wasn’t the main course.

The group’s hits – “I Wanna Be With You,” “Let’s Pretend,” “Tonight,” “Overnight Sensation (Hit Record)” and especially the set closing “Go All the Way” – are as thrilling today as they were blasting out of the radio in the 1970s. And hearing them performed live adds a dimension that many latter-day Raspberries fans missed from the band’s hey day. These are killer songs for live performance, and the band’s even more powerful on stage than they were in the studio. And beyond the hits, the band reminds listeners that they made four incredibly strong albums.

Highlights include the ambitiously epic “I Can Remember” from the group’s debut, the country-styled “Should I Wait,” the harmony-rich “Hard to Get Over a Heartbreak” and Carmen’s declaratory “I’m a Rocker.” The band’s influences are heard in the Who’s “Can’t Explain” and a trio of finely selected Beatles’ covers. The latter includes an extraordinary version of 1964’s “Baby’s in Black” that affirmatively answers James Rosen’s rhetorical liner notes question “is this really as good as I think it is?” It is. Together with four extra singer/musicians (“The Overdubs”), the group is able to reproduce the lushness of their studio recordings without sacrificing the energy of live performance.

As on record, Eric Carmen provides most of the lead vocals, though Dave Smalley and Wally Bryson get significant leads of their own, and their pre-Raspberries band, The Choir, is celebrated with “When You Were With Me” and “It’s Cold Outside.” This is a long, satisfying set, and though Carmen’s voice must have been weary by the time they closed with “Go All the Way,” he’s solid in reaching for the song’s highest notes. Initially planned as a one-off to open Cleveland’s House of Blues, the fan response led to nine more dates, including a tour-ending Los Angeles gig. They did a few shows in 2007, and capped their reunion activities with a 2009 show at the Rock and Roll Hall of Fame.

Omnivore’s first-ever issue of this show is spread across two discs, and presented in a tri-fold digipak with a 12-panel booklet that includes liner notes by Cameron Crowe (who reviewed the Raspberries’ first album for the San Diego Door at the age of 15), author James Rosen, and Raspberry biographers Ken Sharp and Bernie Hogya. The band’s joy in performing for their loyal (and incredibly patient!) fans is evident throughout the set, and the renewed relationship as a working unit was savoured by all. The confluence of people, places and times that forge a band is difficult to sustain, and nearly impossible to recreate, but the sparks that first ignited the Raspberries were still firing thirty years later, and lit up one of the best reunion shows in pop music history. [©2017 Hyperbolium]

Eric Carmen’s Home Page

The Robert Kraft Trio: North Bishop Ave.

Thursday, August 10th, 2017

Old-school pop-soul from Austin trio

If Robert Kraft wasn’t actually born in Muscle Shoals, he clearly grew up listening to its music. The sweetness of his throwback soul is informed by a troubling childhood whose main solace was the radio. Specifically, KKDA 730 – “Soul 73” – in Grand Prairie, Texas, belting out a mix of soul and R&B, with some gospel, jazz and blues thrown in for good measure. It was the sort of local station that spoke to its community, and in Kraft’s case, provided mentoring that defined the core of his musicality. And despite having played other genres – including alternative rock and an album of standards – the soul music of his youth was always edging its way on stage.

Backed by guitarist (and arranger) JD Pendley and bassist Lindsay Greene, and with guest appearances by drummer Robb Kidd and organist (and producer) David Boyle, the Austin-based Kraft cooks up seven original tunes that would have fit nicely onto KKDA’s playlists. The arrangements are spacious, leaving room for Kraft’s sweet voice and Pendley’s vintage guitar licks. Kraft likens his songs to recapturing “the feeling of a perfect summer day in the park with a girl who might actually like me.” That summer feeling manifests itself in the longing of “I Want to Show You” and “Alone With You,” and blossoms into the colorful metaphors of “So Beautiful.”

Kraft drops a romantic placeholder in “You’ve Still Got a Place in My Heart,” but makes a more illicit offer in “Gotta Have You.” The latter suggests Clarence Carter’s “Slip Away,” but with the guilt of an agonizing dilemma burned away by amatory fire. Pendley offers several tasty guitar solos, and Greene adds nice flourishes to the rhythm section’s time keeping. The set closes with the funky “Stand (The Ally Song),” building on a Bill Withers-styled groove and rounding the vocal tone with a hint of Sinatra. Kraft is a polished singer, and the trio’s Friday night gig at the Continental has honed them into a swinging soul trio whose debut CD is a treat. [©2017 Hyperbolium]

The Robert Kraft Trio’s Home Page

Arthur Alexander: Arthur Alexander

Wednesday, August 9th, 2017

A quiet 1972 gem from a country-soul legend

Arthur Alexander’s music career was as heartbreaking as were his songs. A writer of indelible sorrow, he sang with a depth that seemed to flow directly out of his aching soul. He reached the Top 40 with “You Better Move On” and the R&B Top 10 with “Anna,” but his songs quickly became better known for other artist’s covers – the Stones, Beatles, Steve Alaimo, Gary Lewis & The Playboys and Bob Luman in the ‘60s – than for his own performances. The covers kept coming, as Mink DeVille, Chris Spedding, Marshall Crenshaw, Pearl Jam and others discovered Alexander’s songs, but various revivals of his own recording career never reached the commercial heights his artistry deserved.

Dropped by Dot in 1965, Alexander recorded a handful of singles for Sound Stage 7 and Monument (collected here), and in 1971 was signed by Warner Brothers to record this album. Alexander wrote five of the twelve titles, serving up heartbreak tinged with the difficult loyalty of “Go On Home Girl” and the painful memories of “In the Middle of It All.” Amid the sadness he surprises with resilience, haunted by failure but not knocked out in “Love Is Where Life Begins,” and resolutely focused on the prize in Dan Penn and Donnie Fitts’ troubled “Rainbow Road.” He aches with quiet desire on “It Hurts to Want It So Band,” and offers up an early version of Dennis Linde’s “Burning Love,” but without the fire of Elvis’ subsequent hit.

Released in 1972, the album and its singles garnered little interest from radio and no commercial results to speak of. A pair of follow-on singles, included here as bonus tracks, fared no better commercially. “Mr. John” has the sleek feel of Bill Withers, and the follow-up cover of “Lover Please” has a bouncy New Orleans roll. Two more tracks, the yearning “I Don’t Want Nobody” and optimistic “Simple Song of Love” were recorded for Warner Brothers but left unreleased until now. Alexander resurfaced a few years later with a charting cover of his own “Every Day I Have to Cry Some,” as well as the Elvis tribute, “Hound Dog Man’s Gone Home,” but unable to sustain this success, he left the business.

Two decades later he bubbled up again with the superb Lonely Just Like Me, finally receiving the attention and accolades he deserved. Sadly, and perhaps in keeping with the melancholy of his best work, Alexander passed away just months after the album’s release. Omnivore’s reissue of Arthur Alexander reproduces the original 12-song running order, adds six additional tracks waxed for Warner and original cover art. The 12-page booklet includes full-panel photos, label reproductions, and original and new liner notes by Barry “Dr. Demento” Hansen. Although his time with Warner Brothers was short, it was artistically triumphant, and adds a valuable chapter to his small but influential catalog. [©2017 Hyperbolium]

Big Star: The Best of Big Star

Monday, July 24th, 2017

Cherry-picked collection of the band’s first three albums w/singles

There’s an element of triumph in the unjustly-ignored-in-their-time Big Star being celebrated in retrospect. At the same time, the books [1 2 3 4], documentary, reissues [1 2 3], box sets [1 2] archival artifacts [1 2 3 4 5 6], resurrections and reunions [1 2 3 4], tributary performances (and resulting concert film) and best-ofs [1 2], threaten to overwhelm the rare brilliance of their slim, original catalog. For the uninitiated, the two-fer of the band’s first two albums provides the original testaments, and the challenging third album the capstone. But if three albums is too much to absorb up front, this collection provides a a Cliff’s Notes to a musical novella whose briefness belies its importance and nuance.

The disc intertwines material from the group’s three 1970’s albums, #1 Record, Radio City and Third/Sister Lovers, and includes many of the band’s most beloved songs. For fans, the draw is a half-dozen single versions. Robert Gordon’s liner notes summarize the ill fates that befell the band, and their Phoenix-like rise from obscurity to seminal influence. The music essays the group’s sweetest acoustic moments, their hardest rocking, and the despair that gripped Alex Chilton as he spiraled into the third album. A “best of” is only a short hop away from an ouvre that can be had in two discs [1 2], but if you’re not ready for the plunge, this is a good place to start. [©2017 Hyperbolium]

Big Star’s Home Page

Robert Lamm: Time Chill – A Retrospective

Wednesday, July 19th, 2017

Solo sides of founding Chicago keyboardist, vocalist and songwriter

As a founding keyboardist, vocalist and songwriter for Chicago, Robert Lamm was a regular visitor to the Top 10 with “25 or 6 to 4,” “Beginnings” and “Saturday in the Park.” His solo career began with 1974’s Skinny Boy, while still a member of Chicago, but it wasn’t until the early ‘90s that he fully emerged, and it wasn’t until 1999’s In My Head that he began to produce solo releases on a regular basis. Omnivore’s fifteen-track collection selects studio material from his 1999 coming out through 2012’s Living Proof, and adds a few remixes and previously unissued tracks. The collection touches on Lamm’s collaboration with America’s Gerry Beckley and the Beach Boys’ Carl Wilson (“Standing at Your Door”), and shows off a wide range of musical interests that include rock, Europop, bossa nova, funk, classical composition and reggae. His lyrics draw inspiration from his personal life, but spiced with philosophical thoughts drawn from poetry and the realities of the headlines. Lamm’s solo releases didn’t have the commercial impact of his records with Chicago, but with or without the band, his creativity was unabated. This is a good introduction for those who only know his work with Chicago, and fans of his solo career will enjoy previously unreleased bonuses that include a cover of Bobby Hebb’s “Sunny” an a deconstructed take on Chicago’s “Does Anyone Really Know What Time It Is?” [©2017 Hyperbolium]

Robert Lamm’s Home Page

Peter Cetera: The Very Best of Peter Cetera

Wednesday, July 19th, 2017

The ‘80s solo hits of a ‘70s rock powerhouse

Peter Cetera is best known as a founding bassist and vocalist of Chicago Transit Authority. He was the lead vocalist on the breakthrough “25 or 6 to 4,” as well as the group’s first chart-topper, “If You Leave Me Now.” His earliest solo work, a self-titled 1981 album and the single “On the Line,” was overshadowed by continued success with with the band; but by mid-decade, his vocals on Chicago’s hits, and his presence in the band’s videos provided enough personal notoriety to relaunch his solo career. 1986’s Solitude/Solitaire scored back-to-back #1s with Karate Kid II’s “Glory of Love” and the Amy Grant duet, “The Next Time I Fall.” He scored again with 1988’s “One Good Woman,” and continued to find success in adult contemporary throughout the ‘90s. Varese’s fourteen track collection runs through 1992’s World Falling Down, highlighted by a handful of original single versions. Cetera’s solo work, tinged by the production sound of the ‘80s, isn’t as timeless as his early sides with Chicago, but his tenor is fetching among the synthesized keyboards and big drums, and his power ballads are well crafted. [©2017 Hyperbolium]

Peter Cetera’s Home Page

The Beau Brummels: The Very Best Of – The Complete Singles

Saturday, July 1st, 2017

The mono A-sides of the Beau Brummels, and more!

San Francisco’s Beau Brummels cast a long shadow with a surprisingly short chart resume. Their run in the Top 40 lasted two years, and amounted to only three hit singles, “Laugh, Laugh,” “Just a Little” and “You Tell Me Why.” From there, the singles dwindled down the chart, and ended with 1966’s “One Too Many Mornings.” But their sound – particularly their harmony arrangements – was unique, and their albums and non-album singles have retained an artistic currency beyond their commercial success. All six albums are on CD, along with best of and rarities collections, and a pair of deep vault explorations. Varese adds to the catalog a sixteen-track set that collects the group’s twelve original mono A-sides, a trio of Sal Valentino singles and the group’s 1975 reworking of “You Tell Me Why.” The 45-minute disc is accompanied by a twelve-page booklet of photos, liner notes by noted West Coast music historian Alec Palao, and song notes that Palao gathered from band members Ron Elliott, Sal Valentino, John Peterson, Ron Meagher and Don Irving, lyricist Bob Durand and producer Lenny Waronker. Those new to the group’s catalog may find a greatest hits collection to be a better overall introduction, but fans will really enjoy the original mono A-sides (and long for the B’s!). [©2017 Hyperbolium]

The Beau Brummels’ Home Page