Over the course of his solo career, Kim Mitchell kept on givin’ ‘er even though some albums are cloudy in the collective memory today. Aural Fixations made less of a hullabaloo thanRockland, and many of its tracks are forgotten by the Canuck masses. Public amnesia does happen to deserving songs sometimes, and there are a few on Aural Fixations that merit dusting off.
Kim really made a niche of good time summer party songs: “Rock N’ Roll Duty”, “I Am A Wild Party”, “Lager and Ale”. “World’s Such a Wonder” assumed that duty on Aural Fixations. His picking is impeccable, but fans in the know noticed something was “off”. The quirky poetry of Pye Dubois was gone; he and Kim had a falling out during Rockland. Others such as Moe Berg (The Pursuit of Happiness – review at Boppin’s Blog) and Andy Curran filled the lyrical void instead. This meant that one of the qualities that made Kim special, Pye’s unique wording, was gone. Also departed was bassist/singer Peter Fredette. Peter still provided backing vocals for this album. That said, most in the Great White North probably did not notice or care.
“Big Smoke” is a bluesy grind, good stuff for guitar enthusiasts. A couple upbeat tracks got radio play, such as “Hullabaloo” and “Find the Will”. Both sound like what we had come to expect from Kim Mitchell: rock and roll guitars, big hooks, and choruses built for shoutin’ along to. The most outstanding one of the bunch is “Hullabaloo”, a real Canadian good time summer song.
“There’s a lot weekend doin’ on this hullabaloo, Honey’s on the beaches, Monday back in old ‘T.O.’, Showin’ off her sunburn.”
The song is perfect from the ground up. Verses, bridges and choruses all line up for one quintessential Kim Mitchell classic. “Take a walk on that wild guitar, it’s such a wild guitar…”
Aural Fixation also shifted towards lighter sounds, perhaps a bit too far. “Pure as Gold” is the best of the softies, a quiet, slow smouldering bluesy ballad. “Some Folks” steers right into the pasture, a keyboardy country ballad that could have been left in the barn. The twangy “America” isn’t as bad. It carved out another hit video, following in the footsteps “Easy to Tame” (1986). Other tracks just simmer without ever really cooking: “There’s a Story”, “Flames”, “Dreamer”. The musicianship is above reproach, but the songs don’t all meet expectations. “Dog and a Bone” has the rock, but the chorus lacks impact.
One of the most interesting tracks is the final one, an instrumental called “Honey Forget Those Blues”. A total of six guitar players are credited on it, creating a massive guitar harmony part. It sounds like a guitar orchestra playing the blues and it’s brilliant. Its cheeky creativity hearkens back to the glory days of Max Webster. It is in fact Kim’s first instrumental song as a solo artist.
Aural Fixations has those sparks of brilliance that makes you wish it consistent throughout. “Hullabaloo”, “World’s Such a Wonder”, “Find the Will” and “Honey Forget Those Blues” could all be on a hypothetical Kim Mitchell “box set”. Is that enough to add this album to your collection?
This album was a long time coming. The last “true” Helix studio album (eg: not live, greatest hits or previously unreleased songs) was the excellent It’s A Business Doing Pleasure, twelve years previous to this one. A lot happened in those twelve years, including member changes, management and record company splits, and even a Brian Vollmer solo album (When Pigs Fly). That Helix came out with an album this good with no warning was a pleasant surprise.
Almost every song here is quality stuff, with only the instrumental opener “Space Junk” and the jokey closer “Sunny Summer Daze” not fitting in with the serious rocking going on here. A couple of these recordings had previously appeared on Vollmer’s solo CD (with Brian Doerner on drums), but this sounds more like a proper Helix album. The title track features a killer chorus (reminded me of “Rock You” a bit) with those recognizable Helix backing vocals. It’s also the most “party” of all the new songs, some of them being a little darker. Glen “Archie” Gamble (drums) utilizes some interesting cymbal work, a little different from what you usually hear on a Helix record. His playing gives this version of Helix a different rhythm.
“Six Feet Underground” has some nice acoustic work, and is extremely catchy. “Panic” has some irresistible vocals. “It’s Hard To Feel the Sunshine When Your Heart is Filled With Rain” might have an overly long title, but the song is amazing, as heard live in concert. A wicked harmonica solo fills the spot with a guitar solo might normally fit. “The Ballad Of Sam & Mary” is a jokey lyric as Helix have done before, but with some serious kick behind it. (Listen for a cameo by Brian’s wife Lynda Vollmer.) It’s only when you get to the closer with its Hawiian guitar that you feel like the album just hit a speedbump. The final track’s saving grace is a guest appearance by former member “Doctor” Doerner on guitar.
This album represented a muscular return for Helix, one that kicked off a stream of new Helix records. The band seemed revitalized even as lineups changed, as they continued to follow through with more quality rock and roll. Rockin’ in My Outer Space is a pleasure for fans because it’s different. This is not party music. There are audible dark clouds and angry riffs. The changes in heavy metal over the previous decade are obvious here. The guitars are chunkier and dirtier, and no song has a party-hardy chorus like the days of old, though the title track comes close. Helix are known for a certain brand of rock, and it’s nice when they choose to stretch out.
Fear not Helix fans. Brian Vollmer and his gang of little-known but excellent players did not disappoint when they finally decided to release a new album under the Helix Band banner. Aside from the first and last tracks, this is one you’ll be playing all the way through.
And heck, you get used to the the first and last tracks after a while.
4/5 stars
Bonus: In 2005, Helix returned to Sweden to play Sweden Rock. iTunes have one song from their set available for download: “Rock You” This track features the short-lived but very cool six-piece lineup of Brian Vollmer, Archie Gamble, Jeff Fountain (bass), Jim Lawson (guitar), Rainer Wiechmann (guitar and producer) and Cindy Wiechmann (vocals and other instruments). This is the version of Helix that supported this album, and fortunately it was captured live. Check it out for an idea of what this great lineup sounded like live.
THE GLORIOUS SONS – Shapeless Art(2013 Black Box EP)
There has been a wave of exciting new bands from Ontario Canada in the last several years. The Arkells (Hamilton), July Talk (Toronto), The Standstills (Oshawa), Monster Truck (Hamilton) and The Glorious Sons (Kingston) have been leading the charge on radio. Each band is unique and unlike the others. It is hard to pick a favourite, but The Glorious Sons truly are something special. Their debut EP showcased secret weapon, lead singer Brett Emmons. Rarely do you come across such a genuinely soulful rock singer from the snowy climbs of Ontario. Instead Emmons sounds like he probably hailed from Mississippi or Louisiana. He has enviable range and power, all substance with plenty of style.
The Glorious Sons’ debut EP, Shapeless Art, was mixed by fellow countryman Gordie Johnson (Big Sugar, Grady)*. Johnson has a blues pedigree and the sheen he adds to the sonics is the cherry on top of some excellent songs. The first two tracks are now rock radio staples: “White Noise” and “Mama”. These are different mixes than the ones released on debut LP The Union.The familiar crashing and bashing of “White Noise” is welcome any time any day. You can’t help but feel recharged after one listen. “Mama” sounds like the deep south in the middle of summer. It is definitely meant for good times.
The other three songs are unique to the EP. Title track “Shapeless Art” sprints along with gently picked clean guitars instead of crunchy chords. It has power, drama and catchy “whoo hoo hoo” backing vocals. “Ruby” on the other hand builds slowly from a somber piano base. By the end it’s an absolute party. You can picture the crowd jumping up and down singing along, until it feedbacks to an ending. The centerpiece though is “Baby”, a re-recording of an old music video they made independently. Where the music video was vocalized by Jay Emmons, Brett sings it with him on the EP version. It finally sounds fully realized, probably recorded, full power extracted and concentrated. With “Baby” now sounding armed and ready to go, the Shapeless Art EP is complete and one of the most exciting releases of its kind in many moons.
“Baby” original music video version
Whether you check out this fabulous EP or The Union LP, or their brand new single “Kill the Lights”, do what you have to do to get this band in your ears. You won’t mind if they move in right to your brain, because listening to the Glorious Sons is an absolute pleasure. We look forward to their next album due some time in 2017. If the pattern holds true, they will be hitting the radio again with another steady stream of quality singles. May as well get ready for stocking up this winter on old Glorious Sons. Shapeless Art would be a recommended first purchase.
4.5/5 stars
*Johnson has lived in Windsor Ontario, as well as Alberta, Winnipeg and Texas.
CHECK OUT THE GLORIOUS SONS’ NEW SINGLE, “KILL THE LIGHTS”!
One of the guys at work is a real joker. The kind when you’re never quite sure if he’s joking or serious. For the purpose of this story, we’ll call him “Happy”. I went out to grab some lunch at Harvey’s. I came back to the office, and Happy was standing there talking on his cell phone. I nodded hello when I pulled in and he ignored me, seemingly deep in his phone call.
My car has electric locks. I usually hit the button that opens all doors, out of habit. As I got out of the car clutching my hot burger and cold drink, he climbed in the passenger side and closed the door behind him. He continued to talk on his phone ignoring me. I stood there perplexed. Did he just get into my car and close the door? Yes, there he is right now, talking on his phone. I decided not to be baited by his prank and walked into the office.
I looked out the window — he was still there in my car! I went up to my buddy Chris and said, “Dude, Happy is my car right now. I have no idea why. Go look. He’s sitting right there.” And there he was. Chris was just as confused as I was! Happy has a unique sense of humour!
Happy eventually stepped out and I never acknowledged it to him. Just a weird day at the office!
As an addendum to Friday’s installment of Getting More Tale (#546: Worst. McDonalds. EVER.) I thought it would be enlightening to share some statistics. You will recall that installment #546 made mention of an “inside the park home run” — slang for “taking a shit in a urinal”. At a McDonalds out of town, our friend Craiggles encountered such a thing and took a photo for proof of its existence.
Though I entered the photo into the evidence box, I advised you very strongly not to click it.
Here’s how many of you have taken a peek in the last 36 hours since it was published:
73.
That’s right, 73 of you sickos clicked to see what an “inside the park home run” looked like. Shame shame shame on you! :)
I’ve been visiting the “worst McDonalds ever” regularly in the past few weeks. All McDonalds stores have been renovated since the 2006 disaster area we encountered in the last installment. They’ve made a number of changes to their menu and how you order.
Where a typical McDonalds used to have a huge counter full of cash registers to order, now they have just one. This is because they have switched over to an automated ordering/paying system using touch-screen kiosks. You might think that removing the human element is a bad thing. When it was first rolled out, it seemed things got slower. Today is another story.
Using the former “worst McDonalds ever” as an example, service is now much faster and accurate. You don’t have to get in line. Just walk in and stroll up to a kiosk. Follow the instructions on screen and touch what you want to order. You can do it as a combo, and you can change sizes quite easily. Making modifications is easy peasy. The kiosk then reviews your order and asks you to confirm it. Once this is done, you can either pay by debit or credit card right at the kiosk, or go to the cash register to pay.
The kiosk spits out your receipt with a number. That number then appears on a big screen that says “now serving”. Your number climbs to the top when your order is ready. Usually this happens quickly.
It used to be the case that we didn’t like to get McDonalds “to go” because by the time you get back, the fries are cold. Everybody knows McDonalds fries are best when they are piping hot. Cold McDonalds fries just don’t cut it. I am pleased to report that I can go to the former “worst McDonalds ever” and get back to the office in time with hot fries. My turnaround time is usually 15-20 minutes from door to door. Additionally, my order has been right every time. It seems the new kiosk system has cut down on human error.
This is all just personal experience; I have been to a few of the new McDonalds and only had a bad experience once, in Ottawa, when the new system was first introduced. That McDonalds was drowning in confusion and upset customers, including one who claimed this was the “worst McDonalds ever”. That first time aside, food has been fast and accurate since.
What does this mean in terms of general retail? Automated checkout is becoming more and more common. As long as the speed and quality remain in good standing, this trend will continue. It will probably not impact the music business very much. Most people who go shopping in a music store go there partly because there are humans to interact with. As long as music stores exist, so will manual checkouts. Of course, many folks (myself included) buy a huge chunk of their music from online retailers. However when we do visit a music store, we want a flesh and blood human being there.
Good for McDonalds for improving their service. I think the music business will continue on its own path.
I don’t consider myself a snobbish foodie. Yes, I like to go out and have a lovely duck confit, or rosemary lamb chops. However I’m not picky, I’ll eat almost anything, as my gut will attest to. I saw Super Size Me, and I’ve ordered almost everything on the McMenu once. McDonalds are usually pretty clean…but not always. Some in fact were downright gross. The worst one? Even the pissy McD’s we visited near Flint Michigan could not compete with Cambridge Ontario on the gross scale.
I was out with Jen and her friends. It was a late night of card playing, and I wanted to just head home, but I was outvoted by the other three. The only place that was open that late was McDonalds. I could always go for a Big Mac, so why not?
Upon entering, we debated leaving immediately, but there was nowhere to go. If only I had a cell phone camera back then…the scene we witnessed was an apocalypse for the record books. In the main eating area of the restaurant, food was all over the floor and tables. Bits of burgers smooshed onto the floor. Fries everywhere. Ketchup, salt, containers…the entire area was a complete disaster. It looked as if a bunch of highschool kids had just had a food fight and left (which is probably close to the truth).
One of the staff emerged from the back room with cleaning supplies. He took one look at the main eating area and paused.
“Woah,” he said, and returned to the back room with his cleaning supplies, not to be seen again.
I guess the place wasn’t going to get cleaned up that night! It sure didn’t look like a manager was working.
My buddy Craig, from 107.5 Dave Rocks, raises the “worst McDonalds ever” stakes with a tale of his own. Unlike me, he has photographic proof. It was in Milton, on highway 25. He entered the restroom to find that a patron before him left an “inside the park home run”. If you’re not familiar with the terminology, an “inside the park home run” in this case refers to someone taking a shit in a urinal. There was no conceivable reason for anyone to leave a shit in the urinal. Baffled, disgusted and nauseous, Craig snapped a photo and handed it over to the manager. The manager responded by offering him his drink cup.
Pictures or it didn’t happen? Do not, under any circumstances, click the link to the evidence.
This is your final warning. Do. not. click. the link.
Musical episodes and American Dad go together like blue suits and Stars n’ Stripes lapel pins. Cee-Lo Green wasn’t the first musician to appear on the show, but he was the first to appear both animated, and live action!* Cee-Lo hosted the opening episode for Season 8, “Hot Water”. “My name? Not important,” he begins. What matters is this “cautionary tale” that “may affect your next hot tub purchase.”
Hot tubs? Indeed, Cee-Lo also voices an evil, murderous hot tub. It sings songs of temptation to Stan Smith, who is becoming obsessed with “soaking” in it. The tub lulls Stan in with “Dip A Toe”, a light sexy Cee-Lo song urging him in. A talking hot tub? “Ain’t nobody got to know…just dip a toe!” Echoes of the classic Stephen King stories Christine and The Shining are obvious, as the hot tub wants more and more time with Stan. Even if it means Stan’s family has got to go. Cee-Lo continues to woo Stan on “Hot Tub of Love” and “Do Whatever You Like”. Stan begins skipping work, neglecting his family, and throwing hot tub stripper parties. He sings, “I feel so conflicted, but this is up to me. On one hand there’s the hot tub, the other’s family.” Guess what he chooses?
Scott Grimes, who voices the character of Steve Smith, is quite a talented singer himself. Steve has songs in countless episodes. In “Hot Water” he duets with Roger the alien in a Boyz II Men-esque song called “Daddy’s Gone”. Francine is forced to leave Stan and the family is broken! The man who sold Stan the hot tub, Marguerite, becomes suspicious and begins doing research on the tub, to the tune of a song called (obviously) “Hot Tub Research”. Marguerite discovers the truth: The tub’s original owner put a stripper pole in there that got hit by lightning. The tub came alive! It killed its owners when they stopped using it. It then escaped from a mental institution and was forgotten until Stan bought it. Can Marguerite stop the hot tub before it kills Stan’s entire family? The answer may surprise you.
“Hot Water” was only an average American Dad episode for laughs-per-minute. It is top notch when it comes to music and unorthodox storytelling. As a premier episode for the 8th season, it had star cameo power and was completely different from any other episode. That’s a win/win. Except I don’t feel like hot tubbing any time soon.
3.5/5 stars
*Actress Gabourey Sidibe also appeared live action as herself in the episode “Stanny Tendergrass”. In this episode, she voices one of the hot tub girls. And Patrick Stewart, who voices CIA director Avery Bullock, appeared live action as himself in season 9’s “Blood Crieth Unto Heaven”.
Back in the Record Store Days, 5:00 pm was when the “day” shift ended and the “night” shift began. It was typical that the boss would call every day just before five to get the “five o’clock read”. He wanted to see what the stores’ sales were each day at 5:00. That tended to indicate if it would be a “good day” by the end of it or a “bad day”.
I discovered there was more to the daily 5:00 call than just sales.
The sly dual purpose was to make sure employees didn’t take off early. The bosses could have asked anybody to do a “five o’clock read” but they usually asked for the managers (except when they were mad at/not speaking to the managers). The cover was blown when the boss called Jonathan the accountant at five one day.
“I’m just calling to see how it is over there,” said the boss.
Jonathan was an accountant. It’s always the same over there.
He came out to tell me. “Man! Can you believe they were checking to make sure I was still here? They asked me ‘how it was going’ in the accounting office. The accounting office! You think it’s a coincidence he called right before five? He was checking on me.” He was pissed!
No early home time if you’re an accountant, or a store manager either! I was busted leaving a few minutes early one Friday. It didn’t matter that I showed up for work an hour and a half early. That five minutes at the end was all they wanted to talk about. I was given “the talk” and never once mentioned how the person giving me the talk was usually out well before five on a Friday.
Of Extreme’s five studio albums, there can be little doubt that Extreme III is the most ambitious. It is a sprawling set over 80 minutes in length; too long for a single CD. So long that only the cassette version has all 15 tracks in one place. In contains three distinct sides, each different from the other, countless styles, and an orchestra. Extreme took what made them popular on the last album, and what was currently going on with grunge rock, and tossed it all out the window. They followed their own direction and were not rewarded with sales, but something more important: a masterpiece.
The first “side” (keep in mind this is a CD) is subtitled “Yours” and consists of rockers both hard and funky. After a comedic intro, “Warheads” annihilates the speakers. A short choppy riff blows in, tempo opened up wide. Gary Cherone tries to keep his messages entertaining, and this anti-war anthem has a pretty obvious message. Nuno Bettencourt joins him for the choruses and breaks for a cool neo-classical solo. The same message carries over into the first single “Rest in Peace”, introduced by a string quartet playing the song’s melody before Nuno kicks it with a funky riff. During the solo, Nuno even quotes Jim Hendrix. “Rest in Peace” was not an immediate single, it takes some growing. This is true of the whole album. There is a lot going on. Even that little Hendrix lick — blink and you’ll miss it, but it’s there making the solo that much cooler. It is worth mentioning that Extreme did a fantastic video for “Rest in Peace” based on a 1952 National Film Board of Canada short called “Neighbours”. This wordless film served as the blueprint, but as a result they got sued and had to change it.
Gary Cherone loves creating his own portmanteaus (“Americocaine”, “Pornograffitti”), so “Politicalamity” is the title of the third track. It’s a wah-wah soaked funky rocker with fully-loaded horns making their first album appearance, in the tradition of “Get the Funk Out”. Lyrically it continues the anti-war theme dominating the first side, and also social injustice, but in a fun catchy style. “Rich and poor, salute your country’s colours. Less is more, When one oppresses the other.” That was 1992; I wonder what Gary would have to say about today? Racial equality dominates “Color Me Blind”, one of the hardest rockers on the side. “I had a dream last night, I was blind, and I couldn’t see colour of any kind.” It is possible that the lyrical tone of the album turned off some old fans, though Gary keeps things from getting preachy.
“Cupid’s Dead” is the only song on the first side without a serious message. This rap-rock hybrid features a guest rapper (John Preziosa Jr.) and a chugging, funky riff. Hard rock bands who incorporated rapping were seldom successful, but Extreme dodged this bullet. “Cupid’s Dead” is good enough that is was recently dusted off for the Pornograffitti Live 25 tour. Drummer Paul Geary and bassist Pat Badger keep the funk rolling in heavy fashion. The side-ending “Peacemaker Die” features Martin Luther King’s “I have a dream” speech, surely some of the most powerful words in American history. It is difficult to not get the chills when Dr. King speaks, framed in this excellent funk rock lament.
Take a moment’s break here and pretend you’re flipping a record. Side two is subtitled “Mine” as a contrast to “Yours” for side one. “Mine” consists of six ballads, but only five are on the CD due to the 80 minute time restriction. Nuno expressed regret that the sixth track didn’t fit and hoped one day a 2 CD edition would be released. Still hoping!
“Seven Sundays” is a romantic song, a piano ballad with Gary in falsetto mode. Nuno adds synth strings for textures. “If I had one wish, it wouldn’t be hard to choose. Seven Sundays in a row, because that’s the day that I spend with you.” Quite a turn from “Cupid’s Dead”, but that’s why it’s on another side. “Tragic Comic” was the natural successor to the hits on Extreme II, a fun acoustic track with a “Hole Hearted” beat. The lyrics are clever comedy and the track was selected as a single. Many will identify with the hapless romantic, the titular stut-tut-tuttering p-poet. “And when we dine, I forget to push in your seat. I wear the wine, spillin’ it all over my sleeves.” Been there done that Gary! The lighthearted song is a delightful contrast to the darker material on side one.
Van Halen-style volume swells make up the intro guitar melody of “Our Father”, an electric power ballad with some stunning six-string mastery. “Stop the World” was chosen as a single, a light melancholy ballad reminding us that if we forget history we are bound to repeat it. These serious songs were not destined to repeat the big singles of albums past. When you play these songs, you feel things and you think things, and not everybody wants music to do that to them. Nuno’s solo on “Stop the World” is warm, immaculate perfection. “Stop the World” merges directly into “God Isn’t Dead?” (except in single form of course). “God Isn’t Dead?” is the darkest spot yet, quiet and painfully plaintive. Piano and orchestra paint a stark picture.
The final song on the side, and a hint of the daybreak ahead, is “Don’t Leave Me Alone”, which is only on the cassette version. Fear not however; it can be found in CD form on CD singles. Just rip everything to your computer and slide “Don’t Leave Me Alone” into the correction position in the running order. It belongs here at the end of the “Mine” side. It deliberately ends it on a brighter note than “God Isn’t Dead?” though it is still far from a good-time ballad. It is dusky lament, but with hints of light in the tunnel. Nuno’s moog solo is a treat.
At 12 songs, the “Yours” and “Mine” sides would make a complete album on their own, and it would still be an ambitious project at that. Regardless, the third side titled “& the Truth” is the most industrious of them all, an eager fulfillment of talents bursting at the seams. III Sides to Every Story…”Yours”, “Mine”, “& the Truth”. This time, the side is made up of one massive 22 minute song called “Everything Under the Sun”. It in turn is subdivided into three parts. This is where the orchestra really comes into play.
Part I, “Rise ‘n Shine” is the sunrise after the blackness of the second side. Gentle acoustics rouse you from your slumber, and Nuno takes the first verse of this duet. Gary follows on the second as the orchestra swells. “Rise ‘n Shine” is the most hopeful sounding music on the album, a bright and steady composition brilliantly structured. Daniel and his dreams may be a Biblical reference but they don’t have to be. A brief interlude foreshadows the melody of Part III, but first is Part II, “Am I Ever Gonna Change”. This section was chopped out and used as an individual song live and on compilations. You can hear why, since it has that echoey Van Halen guitar lick and a powerful nut-kicking chorus. The orchestra returns and it’s Extreme at full power. This eventually fades into the quiet start of Part III, “Who Cares?”. Inaudible voices whisper during a piano passage, and then the orchestra returns at maximum. Biblical overtones: “Tell me Jesus, are you angry? One more sheep has just gone astray.” Nuno’s singing is run through a vocoder giving him a computerized voice. Some might think it sounds like The Elder gone wrong, but that would be selling “Who Cares?” short. Finally Nuno breaks out of the circuit boards and come in at full voice for the final choruses. The melodies from “Rise n’ Shine” and “Am I Ever Gonna Change” are reprised as the epic piece finally comes to a close.
There is little debate that “Everything Under the Sun” is the grandest thing Extreme have attempted in the studio. It was a successful experiment, as it remains interesting and engaging through its entire 22 minute length. You cannot say that for every Rush song of that nature.
Unfortunately for Extreme, the timing was all wrong, and this album soon found its way in bargain bins at cut rate prices. The good news is that means you can get a copy yourself for next to nothing. Try also to track down copies of the “Stop the World” or “Tragic Comic” singles, in order to get the full package. They are plentiful on sites such as Discogs, and it’s important to hear the album at its full complete length. III Sides to Every Story is an unsung hard rock masterwork, and if you want some softer rock songs with lots of brains and a huge heart, give it a shot.
Welcome back to Ontario Bands Week!
KIM MITCHELL – Aural Fixations (1992 Alert)
mikeladano.com 