Friday, 10 May 2019

When Inspiration Doesn't Strike

Latterly, I have found myself staring at the CD and Vinyl shelves asking myself the question "what do I want to listen to?"

It's not like I'm lacking in choice (he says big-headedly), I just can't summon the inspiration to choose.  And when I do finally make a choice, I'm dithering and changing my mind.
There's something just not firing.  There is some sort of fatigue or malaise taking over.
Even browsing and purchasing new stuff has become affected.  The Amazon Wish List is in place, there are scribbled notes all over the place of "stuff to search for", but just no desire to make the purchase.
A visit to a record shop usually spawns something  - I think it rude not to make at least one purchase, and I can usually find something of interest.

Nope.

The usual thing is that I get a song stuck in my head at some point in the day, and the only way to sate it is to listen to that artist when I return home.  This may inspire further listening of both the related and unrelated kind.  And when this itch has been scratched, further inspiration will befall me whilst trawling websites and blog sites of an evening.
I have probably spent too much time posting Youtube videos of "Cover Versions That Are Better Than The Originals" and "Songs Inspired by West Side Story and Other Musicals", or randomly shouting out (writing down) song titles including numbers, or offering an opinion on a Jam single.
But going to these places and participating has usually led to a new discovery, or re-discovery, which has kept the inspiration going (whilst continuing to fill up the CD shelves).

But at this moment in time ... nothing.

Recently, the interweb place I spent far too much time - theafterword.co.uk/ - has convened another semi-regular CD Swap Event.
The premise is a simple one - contributors are grouped together, they each select 12 tracks (loosely) based around a theme, and then send each other the burned CDs with no information or track listing.
Each contributor listens (without prejudice?) and posts their thoughts (and guesses of the artists) on the website in a sort of mass blind review scenario.
Previous events have led to some wonderful discoveries of both old and new artists that I may not have heard, or have ignored because I didn't "think" they were my thing.
But yet again, the malaise has struck - whilst there are a couple of avenues of interest, I've done nothing about it.


Why, why, why?
Am I to be inflicted with this and settle into a world of comfort with the same 12 albums in constant rotation?
Do I join the massed ranks of civilian-types who are unable to see beyond Abba, Simply Red, Coldplay, The Greatest Showman soundtrack, and other nuggets of mass produced pop-pap
(I know this is a snobbish thing to say, but there are people like that out there in the big bad world)


I would usually end these aimless missives with an illustrative video of my latest enthusiasm.
But as you've probably guessed, there is no such enthusiasm going on, so I'm just off to stare forlornly at the shelves in the vague hope of a flash of inspiration and renewed vigour.
Failing that, I will revisit the various websites and blogs hoping something fires the old synapses.

I'll be back ...

Thursday, 25 April 2019

Blur - Parklife

Very probably the album that heralded the arrival of Britpop to a mass audience, 'Parklife' was released 25 years ago.
And despite the overplaying of the title track, how does the album stand up now?
Debut album 'Leisure' was a relative disappointment, and whilst the theme's of 'Modern Life Is Rubbish' were an attempt to regain lost ground, it perhaps came a couple of years to early.
In truth, neither the band or the public were prepared for the accomplishment or acclaim for this album.

The opener "Girls & Boys" (the single that preceded the album's release) always sounds like it's on the wrong album to me - a story of Club18-30-esque hedonism.  It initially sounds like a sop to the record company for a hit, and doesn't have that Britpoppy-Geezerish tone of the rest of the album.
But .. if we pretend we are psuedo-intellectuals and look for meaning, or consider 'Parklife' as a concept album (as if anyone would?), the lagered-up partying sort of "fits" such a concept.

And yet within 3 minutes we move onto a darkly comic tale of a cross-dresser who takes his own life (or does he?) - "Tracy Jacks" is more of an opener, a scene-setter for what follows, and it's tone is not a million miles from the character-based songs of Ray Davies or Paul Weller.

From that moment on, the album continues to deliver and develops the Britishness of 'Modern Life Is Rubbish'.  Blur hit their stride with every track (yes, even "Trouble In The Message Centre") being a complete whole - a case of "all killer, no filler".  There is a danger of over-exposure and over-familiarity and this is certainly true of the title track, but the album remains a truly wonderous slab of vinyl (or shiny metal, depending on your choice of format).

4 singles were culled from the album ("Girls & Boys", "Parklife", "End Of The Century" and "To The End") and all show different facets of Blur's developing songcraft.
Alongside these (fairly) well known tracks nestles:
 - all-out punky thrash ("Bank Holiday", "Jubilee")
 - a Syd Barrett knock-off ("Far Out" - Alex James' sole songwriting contribution to the album)
 - a rumination of separation and/or a life in a rut ("Badhead")
I'm wondering (although this cannot be confirmed) if this song has anything to do with Damon Albarn and Justine Frischmann's relationship? It could certainly be read that way
 - an almost 80s Funk throwback - musically if not lyrically ("London Loves")
 - a throwaway (not disposable) Franco-German oompah accordian-based instrumental ("Debt Collector")
 - and a mad piece of Music Hall which almost veers into The Beatles "Eight Days A Week" ("Lot 105")

And if it wasn't for "Lot 105" then surely "This Is A Low" would be vying for inclusion in a list of "Best Album Closing Tracks"
If I'm honest, this is another track which didn't endear itself immediately, and it took a few listens to understand the ambition it was showing compared to the general good feeling, celebratory nature of the album.  Performed Live is the moment I "got it" - it has that feeling of Epic-ness about it, and gives a definite pointer to the development and growth the band would go through on subsequent albums.
If this album is Bripop personified, "This Is  A Low" is the point Blur show they want more, and are no longer content to plough the formulaic furrows.


Tracy Jacks


This Is A Low


Monday, 8 April 2019

Where did the obsession start ...

Yup, it's definitely an obsession.
If I'm not listening to music, I'm talking about it, writing about or buying it.
It's only at work that there is generally no soundtrack of my choice banging out in the background (open office environments tend to frown on that sort of thing (and they would frown even more if I was left in charge of the music choices))

So how did it happen?  Where, and why, did it all begin?

Most Talent Show contestants claim to have been brought up in his always full of music - Beatles, Stones, Joni Mitchell, Captain Beaky - but I wasn't.
My home was permanently fixed to Radio 2 (I remember staring at the stereo wondering why a miniature Jimmy Young wasn't sitting there interviewing some politician - 28 years old I was).
My parents had grown up in the 60s, so they must've been touched by Beatlemania, Stonesmania, Whomaina or any other"...mania" doing the rounds.  My mum even told the story how someone who worked at the EMI Pressing Plant (the one in Hayes I'm assuming) lived across the road from here, and she had a complete set of Beatles singles on the day of release
Maybe they were affected by that early 70s thing where they'd now got married, bought a house and had children so it was time to "put away childish things"
There was a record player and a tape deck, I rarely saw a cassette tape until my dad starting recording albums for the car, and then saw the record collection was a couple of albums each by Abba and The Carpenters, a Booby Crush album, a recording of the 1812 Overture and The Beatles Red album (1962-66).

A house full of music?  Not me.

I got my first tape player around 1979 and began dutifully listening to, and recording, the Radio 1 Top 40 countdown.
I can the recall two (possibly three) other events that occurred in 1979 which may be a pointer.
  1. A visit to my cousins who had their own record player - I became enamoured by these little black circles, and the fact that you could play what you want, when you want without relying on Tony Blackburn to play it on a Sunday evening
    (I think it was Tony Blackburn at the time - might've been Simon Bates?)
  2. A copy of either Smash Hits or Look-In being passed around at school and the contents being discussed
    ("What?  You've never heard of "Heart Of Glass" by Blondie?")
  3. The video for Dave Edmunds "Girls Talk" on Top Of The Pops
    ("I don't want to be a footballer anymore.  I want to be in a band and do music")
Now, I should have been ritually viewing Top Of The Pops every Thursday, but as a diligent Cub Scout I was unable to see it unless it was School Holidays, or I was too ill to attend to my duties as a Seconder (and later a Sixer) of White Six.
I have watched the re-runs on BBC4 and don't believe I missed any truly earth shattering performances - and missing the Tottenham Hotspur 1981 FA Cup Squad performing "Ossie's Dream" is not going to make my rue my past

A little later, a succession of Paper Rounds and any other income was thrown over the counter at second hand record shops, Our Price, even Woolworths and Boots sold me records.  I was amassing quite a little collection - which was stored in a chest of drawers (if I'm honest, just one drawer).
And then as a present, I received a copy of The Guinness Book Of British Hit Singles - I now had the means to listen, the means to purchase, and now the means to read every word of those lists and analysis, learn it and talk about it like some sort of authority.

And it is those three events above, and that book which dropped me hook, line and sinker into a world of musical obsession from which I will never escape (and don't actually want to anyway)

Full time employment, and no real responsibilities, meant that the purchasing power, and frequency, increased as did the need for additional storage.
And the increased purchasing was supplemented by regular attendance at Live gigs, and the emptying of the wallet at the Merchandise stand - programmes, T-Shirts, other sundry memorabilia, and special release CDs and albums (this is where I note that the CD is a preferable format to the 12" album - they're much easier to stuff in your pocket and tend to remain unharmed when caught in the rush of the crowd for the last tube train.

The rise of the Internet has been something of a double-edged sword.
An oversize music collection can be reduced to a succession of 1s and 0s and carried round in your pocket.  And if you visit the "right places" you can pretty much replace your entire collection.
However, when it comes to digital music I own very little sticking steadfastly to the physical product (and using up every bit of spare storage space into the bargain).
The Internet may have expanded my musical horizons, offering a "try before you buy" principle, but discoveries will usually result in a 5" disc of metal arriving in the post (or more slabs of vinyl being forced into overladen shelving)

In pre-Internet days, if you heard a new song on the radio you has to wait for the back announcement and then scour the local record shops in the hope of finding a copy. If none were to be found, you placed a special order from the Big Book, took your receipt and waited a fortnight for it to be delivered to the store.
Now, you can hear a song on the radio, wait for the back announcement, get home, fire up the computer and place your order direct with the artist.

Or in the case of The Humdrum Express – hear a song on the radio, wait for the back announcement, forget to do anything about it, hear it again 6 months later, get home, fire up the computer and place your order direct with the artist.

Next week is Record Store Day, and whilst some of the special releases (granted, fewer than in previous years) do appeal, - I will be avoiding that one.  For me, every visit to a town involves a visit to the record store, therefore every day is Record Store Day to me.
So I'll be avoiding the queues of chancers buying up everything in sight, watching the prices on ebay go through the roof 20 minutes after the shops have opened, and generally being grumpy about the whole thing.  But I guarantee there will be music playing at the time (probably the debut album by Them Crooked Vultures which I forgot I owned and found down the back of the cabinet the stereo stands in in my Dining Room)

My fear is when I die my wife and kids will sell it for what I TOLD them I paid for it

John Miles - Music

Dave Edmunds - Girls Talk

Humdrum Express - Leopard Print Onesie


Friday, 22 March 2019

Whatever Happened To The Stranglers?

When it comes to Punk Rock, there is the usually accepted Big 3 - Sex Pistols, The Clash and The Damned.
But there is a fourth way (fifth of you include Buzzcocks).

The Stranglers formed in 1974, The Guildford Stranglers were effectively a Pub-Rock styles band who soon became associated with the Punk scene.
More musically adept perhaps than their peers - Blues, Jazz, Classical, unusual time signatures - all combined with straight rock & roll into one a proper solid band.
JJ Burnel's rumbling bass (a sound not unlike a nuclear explosion at times) and Dave Greenfield's Doors-esque quasi-orchestral keyboards at front and centre, Jet Black's solid thumping drums, and Hugh Cornwells's growling lyrics over the tops.  There is an undercurrent of snarly aggression at times, but writers of fantastically accessible songs (and a few that would blow your ears off).
And their music developed over the albums from the straight snarling punky stuff (with melodies to spare), through Post-Punk stylings, a bit of Krautrock and a sort of pan-European hard-pop sound, and then back to the Garage.

So after 40+ years, what is their prime contribution to popular culture (as recognised by "the man in the street")
  • Their 1977 single "Peaches" - a overtly lecherous song song about staring at women on the beach, and possibly the only song played on Radio 2 containing the word "clitoris"
  • Their 1982 single "Golden Brown" - not a comeback as such, but their first single to get into the top 20 for 3 years.  Peaking at number 2, it is possibly the only song played on Radio 2 about the joys of Heroin
  • 3 of their tracks ("Waltzinblack", "Peaches" and "Viva Vlad!" have been used as the title music for Keith Floyd's foodie TV Programmes
The Stranglers career can (simplistically) be split into 2 phases:
With Hugh Cornwell and Without Hugh Conrnwell
Phase 1 retained the same line-up over 10 albums (plus 2 official Live albums)
Phase 2 has seen Hugh replaced by a separate vocalist (Paul Roberts) and guitarist (John Ellis (ex-Vibrators)), before returning to a 4 piece with Baz Warne (ex-Toy Dolls) occupying the vacant Hugh slot.

They released 2 albums in Punk's high-year of 1977 - 'Rattus Norvegicus' and 'No More Heroes' both deserve a place in any self-respecting music collection.
These two albums of solid tunes can be sometimes confrontational, sometimes un-PC (before Political Correctness was a thing) or just plain rude and sexist (to the unitiated, or those that missed the obvious humour (albeit very dark) or satire in their lyrics).  However they were taken, they sold enough to assure The Stranglers a place at the top table.
Within 6 months 'Black and White' arrived and expanded the standard 4/4 and pushed into new territory (for a mere Punk band).  This album may not have invented Post-Punk, but certainly has a hand in it.
The Stranglers audience accepted the stretch, and were rewarded further as the band broadened their horizons, song subjects and time signatures on 'The Raven' (featuring Vikings, Australian politics and Genetic Engineering) and then went full-blown conceptual with 'The Gospel According to the Meninblack'.
'La Folie' is another change - the sound becoming lighter, the production lusher, but the songs do suffer and this is remarkably inconsistent compared to previous outings.
It was to be their last album for Liberty/United Artists - they had already signed to Epic, and this was their "contractual obligation".
But not before "Golden Brown" was lifted as a single.  A weird one as it is both unrepresentative of The Stranglers, yet representative of their desire to be different from their peers.
In a final act of puk-y "two fingers to you", their last single Liberty Records was "Strange Little Girl" - an original 1974 demo rejected by EMI, finally released 9 years later ... on an EMI owned subsidiary label.


They arrived at their new label with the same adventure as before, but you just get the feeling time and their past was catching up on them.  The albums produced for Epic just don't feel as essential as their earlier outings.
'Feline', 'Aural Sculpture' and 'Dreamtime' are not without their high points, they are just not as consistent.  They do feel like a sanitised version of The Stranglers.  Maybe it was record company intervention, maybe they were chasing glories of "Golden Brown" again - there is just "something" missing in the cleanliness.
And a couple of years later that brief return to commercial heights did happen with a cover of The Kinks "All Day And All Of The Night"securing their first Top 10 appearance since 1983s "European Female". A Live album ('All Live And All Of The Night' (including the studio version of "All Day And All Of The Night")) came next, and placed The Stranglers as Punk Royalty - theor appearance on Channel 4's Saturday Live (performing "No More Heroes") was introduced by Ben Elton saying "10 years ago if you wanted to be a Punk, all you had to do was not hand in your homework and listen to this track".  Other TV appearances followed, including appearances on the Terry Wogan show and numerous mentions on any programme celebrating 10 years of Punk.
The Stranglers seemed to accept their elder statesman position, and returned to the Garge with an incendiary cover of "96 Tears"continued to push forward and 'Dreamtime' was a particularly strong (if inconsistent) album.  The parent album '10' moved slowly - it was good but inconsistent, and at times sounding like the band had lost interest (probably not helped by the fact Hugh Cornwell was leaving once recording was finished).
Eager to get a return on their investment, Epic put out a Greatest Hits compilation which did better than expected business - it seemed there was a market for The Stranglers, but unfortunately the band was (seemingly) no more - no singer, no guitarist, no record label.

Black, Greenfield and JJ Burnel reconvened and brought in live guitarist John Ellis as a full member.  Paul Roberts was brought in soon after when it became clear that neither Ellis or Burnel were comfortable being full time lead singer.
Since Cornwell's departure they have manged 7 albums - the pick of the bunch being the Baz Warne fronted 'Suite XVI'

They remain an awesome live attraction, have a back catalogue that many bands would envy, a past that many rock stars would envy, and are still releasing albums that contain worthy music.
Jet Black recently turned 80 (he no longer tours), Dave Greenfield will soon turn 70 and despite being super-fit Jean Jaques Burnel is now past pensionable age.
Baz Warne has been with the band for nigh on 20 years, and if the others do decide to stand down, I'm thinking Baz may find new cohorts and keep The Stranglers franchise rolling for a few more years yet.


(Get A) Grip (On Yourself)

Tank

Always The Sun

Relentless

Sunday, 24 February 2019

Blondie - Parallel Lines

What is Perfect Pop?
This album must rank high up when trying to define such a thing.

Ostensibly seen as a Singles band (and there were some fine, fine singles - 5 of them going to Number 1), they also manged some darn fine, and consistent albums.

They were formed in New York in 1974, and graduated from the burgeoning New York at the time.
As a band they were not raggedy or rough enough for Punk, not arty enough for the Post Punk, and probably to Pop for Powerpop.

They took the best bits of history (Buddy Holly, Phil Spector, Girl Groups) mixing it with what is going on around them (Ramones, Talking Heads, Television and Patti Smith etc) and adding their own take on whatever genre/style they fancied.  Live appearances in and around New York, including CBGBs and Max's Kansas City, eventually resulted in a record deal (albeit a somewhat draconian one) with Private Stock Records.
Their debut album followed, but with no promotion from the Record Company it was not a success - apart from in Australia where the album went into the Top 20, and the single "In The Flesh" just missed the top spot.
Buoyed by the success, and with other record companies sniffing around, Blondie bought themselves out of their Private Stock contract and signed with Chrysalis.
The first output from this new relationship was the single "Denis" (Number 2 in the UK) and the album 'Plastic Letters'.  With a bit more Record Company support, a second single ("I'm Always Touched By Your Presence Dear"), and a string of TV appearances brought Blondie some success in the UK and Europe.
But they were just getting warmed up - I doubt anyone could've foresaw the success that was to come with their next album released in September 1978.

Preceded by the single "Picture This" (falling just outside the Top 10), it was perhaps the next single - "Hanging On The Telephone" - that heralded Blondie's arrival proper, and started to shift album in large numbers.
But it was the next single - "Heart Of Glass" - that sent the band properly global, topping the US charts, and resulting in Debbie Harry's picture adorning just about every music magazine, and probably a fair few teenage boys bedroom walls.
This single continues to be Blondie's most famous offering, and shows a band not scared to stretch their sound, and proves that Disco and New Wave can co-exist on the same record - and in another collision of "two musical worlds collide", Robert Fripp is drafted in for some guitar work on "Fade Away and Radiate".
With the success of "Heart Of Glass" not yet fading, another single soon followed (and another Number One single too) in the shape of "Sunday Girl".

'Parallel Lines' has no duff moments  - a couple of weaker moments in the shape of  "I Know but I Don't Know" and "Will Anything Happen?" perhaps, but not enough to make you reach for the skip button.
Alongside the band firing on all cylinders, is a gold-plated sheen provided by Mike Chapman's production.  He knows a bit about what makes a good pop song (indeed his writing partnership with Nicky Chinn is testament to that), but his input here is maybe just as important as the singer and the players.

1979 was shaping up to be quite a year for Blondie with the release of 'Eat To The Beat' later in the year (preceded by the single "Dreaming" which must surely rank as one of their absolute finest).
'Eat To The Beat' rose to the top of the charts. and takes what they started on Parallel Lines and pushes on going into funk and reggae territory without breaking sweat.  There are moments where the sound seems "forced" on 'Eat To The Beat', whereas 'Parallel Lines' just sound so effortless.

Hanging On The Telephone

11:59



Wednesday, 13 February 2019

The Specials - Encore

From their first single (on their own label) in 1979 to their (slightly premature, slightly messy, but politically infused) break-up of the original line-up, The Specials packed a lot into their original 3 year incarnation (before splintering to Fun Boy Three and the Dammers-helmed Special AKA).
A short period of time between the mashed-up ska-punk of "Gangsters" and the downbeat commentary of "Ghost Town".  They also managed two albums, and both are deemed (and rightly so) as classic of the time.
And now 40 years later, they're back (in somewhat reduced original membership form).
But ... this aint no nostalgic re-tread, they have actually got something to say (even if it a very similar conversation to 40 years ago)

More laid-back than 'The Specials' and 'More Specials', but echoes of their past filter through everything.
It may not have the energy of the debut - indeed it's more in the late period Ghost Town vein.  Songs with a message delivered carefully and concisely so you get the point, but still find your self bouncing and/or nodding to the infectious beat behind.
The upbeat punky-ska party can be found on the accompanying Live disk where you'll find all the favourites including "Gangsters", "Nite Klub" and "Too Much To Young".  This also includes a great version of "Redemption Song" followed by a massively upbeat "Monkey Man"

Only Terry Hall, Lynval Golding and Horace Panter remain from the original line-up - there's no Jerry Dammers, Roddy Radiation, Neville Staple or John Bradbury - but the substitutes do a sterling job of replicating their input.

Opening with a call for peace, tolerance and general acceptance, the cover of The Equals "Black Skin Blue Eyed Boys" is more funky than reggae, but still hits the mark and you just know you're listening to The Specials.
The 3 narrative/conversational songs here - "B.L.M" (Lynval's story of facing racism from childhood to shopping in New York), "10 Commandments" (the Shafia Khan fronted female viewpoint update of the Prince Buster track of the same name") and "The Life And Times (Of a Man Called Depression)" (an open story about his what it is really like (and Terry Hall, a self confessed sufferer would/should know) - and these are among the most affecting, thought provoking here. .
Politics rears it's head (as it would do on a Specials album) with "Vote for Me" and, as if to prove nothing has changed in 30-odd years, there is a jazz-infused update of the Fun Boy Three track "The Lunatics Have Taken Over The Asylum" (do Terry and Lynval now have to pay themselves royalties?).
They return to their Ska crate-digging with a cover of The Valentines "Gun Fever" (given it's alternative title "Blam Blam Fever").
Both "Breaking Point" and "Embarrassed by You" initially read as a (slight) grumpy old man tale of despair with the world.  Both of these, and particularly "Embarrassed By You" do end up thinking "Hang on, you've got a point" - much like most of the album.

The final track "We Sell Hope" ties it all together for me - it talks of the contradictions that exist in the world, and a call for tolerance and acceptance of those differences - "Looked all around the world, Could be a beautiful place to live in"

Amen to that

Vote For Me

10 Commandments

We Sell Hope


Saturday, 9 February 2019

Steve Mason - About The Light

The new album from Steve Mason can initially be seen as a departure from the "template" that marked his work with The Beta Band and his previous solo albums.
All thoroughly accessible (if sometimes a little hard going), but with an undercurrent of dubby claustrophobia.
Fine (actually, better than just "fine") though they were, they always flt to be the work of a man in a studio trying to find out what all the buttons did - this time out he's surrounded himself with a touring band.
The song subjects reside in the same areas, if lifted in mood a little, and the sound is a lot brighter than before.  The claustrophobia is still present in some tracks, but not as oppressive as before.
The reason behind this change of tone may be the incumbent of the producers chair - Stephen Street has given the album a certain gloss, almost (at times) like a late period Britpop sheen.

The "Open with an Earworm" rule has been followed, with the song "America Is Your Boyfriend" (despite the initial sinister-sounding introduction).
There are some standout/pay attention moments in the songs, but all remain fairly flat - entertainingly flat - and there are points when a little songwriting quirk or production fiddle is called for to lift it up a notch.
A case in point here is the final tack titled - as an ending track should be - "The End".  It rolls on competently and closes the album off in style, but it just feels like there should be more coming.  It's a feeling that the album remains somehow unresolved.

Now in spite of that little run of negativity, this is a very good listenable album - it is un-demanding meaning it plays through without jarring or the desire to press skip.  The aforementioned "America Is You Boyfriend" is a fine opener and the first single lifted "Stars Around My Heart" is the most obvious choice, and one of the strongest tracks here.
Other tracks have Smiths-esque guitars ("No Clue"), the big horn sound on "Stars Around My Heart" pops up elsewhere (not least in the soulful yearning, almost hymnal, "Rocket") , and there's a diversion into Pink Floyd territory for "Fox On The Rooftop" - which also contains a marvellous little guitar solo.
There's even an echo of TV's Pot Black theme running through "Walking Away From Love".

OK, for me this may not rank up there with Steve Mason's last couple of releases, but that should not detract from the greatness, increased confidence, swagger and triumph of this album.

Is it too soon to mention Album Of The Year?
Very probably, and as this was the first new album I bought this year, it may be a bit premature.  But I'm sure it's going to be replayed a few times in the next 12 months


America is Your Boyfriend

Stars Around My Heart