RAINBOW –Down To Earth Tour 1979 (2015 Purple Pyramid box set)
On the surface, this is quite a deluxe box set. It’s larger than than a typical CD case by an inch on either side, and it’s almost an inch deep. It has a beautiful hologram-style finish, shining and shimmery. There are three discs inside, one from each of three shows on the 1979 Rainbow tour: Denver, Long Island, and Chicago. Each CD comes in its own full colour sleeve, and there are other goodies packed inside, such as the obligatory booklet. It’s a loaded booklet, with loads of photos and text.
You might look at the track listing on the back and ask why there are only seven tracks per show (five for Chicago). Rainbow were only an opening act (for Blue Oyster Cult) on this tour, a source of frustration for the band. Also, the track listing is deceiving because “Lost In Hollywood” is a long bomber, over 20 minutes long on each disc, and contains lengthy solos and detours.
There are issues. First and foremost: the audio. It’s not great. None of the discs are particularly outstanding. They’re all different sounding; just a different variety of bad! People who buy bootlegs won’t mind so much, but when you look at a set this deluxe on the store shelves, you might be expecting more sonically. A lot more. That’s just the nature of these kinds of releases. They’re fine to play, but some people will dismiss them.
The other issue with the music would be that the tracks are repeated from show to show. The variety comes from the playing, not the setlist.
Speaking of playing, even though the band were tired of the opening slot, they don’t show it. The lineup was one of Rainbow’s best: Graham Bonnet on lead vocals, Don Airey on keyboards, Deep Purple alumnus Roger Glover on bass, the legendary Cozy Powell on drums, and of course the man in black Ritchie Blackmore on guitar. Everyone knows what to expect from a Blackmore guitar solo, but a Don Airey keyboard solo is less familiar territory. It’s part Doctor Who and part rock and roll. And Cozy, of course, slams. You only wish he were better recorded.
Rainbow were playing loads of new material on this tour, with only a handful of Dio-era classics. “Eyes of the World” is an interesting choice for opener, not an obvious selection. It causes the show to open with an electronic pulse, all atmospheric and sci-fi. It’s a change from the usual hit-em-hard kind of opener. Of course, the song does rock, but the intro is over a minute long. A second new song, the slower blues “Love’s No Friend” follows, another interesting choice. It’s rife with brilliant guitar work from Blackmore, and Airey compliments him perfectly. Continuing with new material, “Since You Been Gone” was the familiar single written by Russ Ballard, which closes with a load of solos from Blackmore and Airey, and the “Over the Rainbow” segment as well. “All Night Long” (which opened the Down to Earth album) works well to regain focus after all that meandering. I like how Graham changes the lyrics. He clearly sings “I need a girl who can give me head, all night long,” instead of “keep her head”! Unsubtle. The fifth and last of the new songs is the aforementioned scorcher “Lost In Hollywood”, bloated to 22 to 26 minutes from show to show. This is the track for the musicians in the audience, and for everyone else to take a pee. Fortunately for those who love great drum solos, Cozy has a spotlight moment. Unfortunately, not everyone loves drum solos.
The set closes with two Dio classics: “Man on the Silver Mountain” (long solo opening, and a bit of “Lazy”), and “Long Live Rock and Roll”. It’s hard for any singer to do Dio and here they sound like a Graham songs. I prefer Graham’s version of “Silver Mountain” to Joe Lynn Turner’s. Really, these are pretty good interpretations, as long as you can forget the mighty elf’s versions for a few moments. Graham had no issue with the range or power, just that he’s a completely different vocalist from Ronnie James Dio.
The Chicago set is missing “Since You’ve Been Gone” and “Silver Mountain”, which were not played that night.
The liner notes are excellent, except when printed in black ink over a blue background, rendering them extremely hard to read. It’s 28 pages with rare photos and ads. The set also includes a heavy metal bottle opener that you’ll never use, a Richie Blackmore guitar pick that you’ll never use, and a Rainbow button & patch that you won’t put on any jacket that you own.
This set is for diehards only; those that need as many Rainbow shows from as many lineups as they can get. For everyone else, it’s pure overkill.
Review written Nov 9 2009, rediscovered 2023, and posted unaltered.
G.I. JOE: The Rise of Cobra (2009)
Directed by Stephen Sommers
I am a hardcore GI Joe fan, but only Real American Hero and its continuations. As such I am very critical of some of the liberties taken with the characters in this movie, but in the end I was pretty satisfied with the movie. Read on!
Rise Of Cobra is interesting in that Cobra and its commander don’t really exist for most of the movie. Instead, Destro and his M.A.R.S. organization are the heavies, with some support from the beautiful Baroness Anastasia DeCobray, the ninja Storm Shadow, and Zartan the master of disguise. Thus, this movie chronicles the rise of Cobra Commander and his terrorist organization determined to rule the world.
It is the “near future”. The original Marvel comic as written by Larry Hama was based on actual military tactics, history, and machines, while enhanced with lots of futuristic touches such as laser cannons and Jump-jet packs. This movie updates the franchise for the new millenium. New technology here include nanomites, accelorator suits, and other gadgets. Yet even so, updated versions of classic vehicles such as the Night Raven jet and V.A.M.P. jeeps appear. Basically, just as GI Joe was futuristic for the 80’s, this is futuristic for the now.
The acting here is bad bordering on terrible. This Channing Tatum guy can’t act at all. Dennis Quaid pours the cheeze-wiz on every line of dialogue that General Hawk delivers. Marlon Wayons (Rip Cord), Rachel Nichols (Scarlet), and Sienna Miller (Baroness) are passable. The heavies tend to get the best roles and the best actors: Arnold Vosloo (Zartan) steals every scene he is in, and Joseph Gordon-Levitt is surprisingly serpentine as Cobra Commander. Christopher Eccleston is good as the Scottish arms dealer Destro, just menacing enough while also dignified and cool. Also, it’s nice to see Jonathan Pryce in anything.
The direction, by that hack Stephen Sommers (The Mummy) is gawd-awful. He throws awkward flashback scenes in frequently with no real sense of flow. Check out The Watchmen for how to effectively do a flashback. His action scenes are pretty damn exciting, but you get a sense that a better director could have provided some more fluidity.
I’ll give you an example. The climactic sword fight between Snake Eyes and Storm Shadow is decent, and Ray Park of course is the best at what he does. However, when you compare what he does here as Snake Eyes to what he did as Darth Maul, it’s underwhelming. That’s because the director doesn’t know how to shoot a scene like this, that should be an epic monumental battle.
And speaking of Darth Maul, what’s with the blatant Star Wars ripoffs? “Stay on target! Eject!” Double-bladed sword fights, taking place in a room that looked a hell of a lot like like the one in Phantom Menace?
And what’s with Brendan Fraser’s cameo? Did he ever speak more than 4 words in a row, or was he basically just grunting?
Anyway, if you can ignore these quibbles what you have here is a sci-fi action film with some cool gimmicks and is very enjoyable. The die hard Marvel fas get a Larry Hama cameo, as well as nice touches like Breaker chewing some bubble gum and General Hawk in a wheelchair. Even Storm Shadow’s fate echoes back to what happened in the Marvel series, and I can’t wait to see it play out in the next movie. Even though I think Snake Eyes taking a vow of silence is beyond stupid.
DVD special features are pretty scarce even on this 2-disc edition. There are no deleted scenes so, unfortunately, I am certain that some sort of deluxe edition is coming. That scene from the trailer when Destro asks, “What did you say your unit was called again?” and Hawk responds, “I didn’t,” isn’t in the movie. There are definitely scenes out there that didn’t make the cut. You get the audio commentary track with the entertaining Sommers (I may not like his work but that doesn’t mean I don’t like him as a person) and two featurettes. I think this lack of extras is a bit of a ripoff and I could care less about the digital copy.
This movie is obviously the first of a franchise (Dennis Quaid is signed to three films) and it really whets the appetite for the next film. There’s even a cliffhanger/teaser ending. You only really get to know five or six Joes so I’m anxious to see who will depicted in the next film. My personal wishlist includes Stalker, and I hope Major Bludd shows up too.
If you’re a fan of action films and you don’t care about acting or realism, you’ll dig GI Joe. If you’re a diehard like me, you’ll love seeing some of the toys you owned flying around on screen. I would say that GI Joe was a more successful adaptation than the dreadful Transformers films.
3/5 stars. Very flawed, but acceptably entertaining.
I swear to God, this really is the last one. I have lost track of how many duplicates we’ve unboxed, but there is no point in ever buying one of these Lego Marvel Minifig blind packs ever again.
For those playing at home: I have had numerous triplicates, such as Echo, Werewolf By Night, and Agatha Harkness. I have many duplicates, such as Mr. Night and Hawkeye. I never managed to get Moon Knight, Kate Bishop, She-Hulk, or Beast. Harrison has offered to send me his extra Kate Bishop. I have donated two duplicates to Jex Russell for his kids, and given two others to my sister to sell. I’m scavenging the rest for pieces for a new Tee Bone Man spinoff series called Jen In Space. You can see some of the Jen In Space minifigs in the thumbnail photo.
Thank you Jen for the gift, and thank you for doing this unboxing.
Thank you Harrison for the suggestion that I use this minifig for target practice…
I’m out of the minifig game. It was fun at the start, but like any addiction, it became a chore later on.
“There was one customer in Cambridge who hated selling to me, he always asked where “the regular guy” was. He asked my name and I told him it was Sanchez. When T-Rev came back, we had a laugh over the employee named “Sanchez” who was apparently low-balling this customer for his dance CDs.” –Record Store Tales #526: Location, Location, Location
The year 2000 wasn’t a particularly happy year at the Record Store for me. My good buddy T-Rev, who normally managed our Cambridge location, was also a talented guy with a hammer and saw. The boss sent him off to the GTA to build one of our new stores. This left his location unmanaged for several weeks that summer. Because I had a car, I was often the go-to guy to fill in for others. This meant pulling double duty, managing two stores at the same time. Sometimes I’d be working the morning in Kitchener, and the evening in Cambridge. I remember the boss promised to make it “worth my while” but never did.
Another manager had to do two stores at once, and thought I shouldn’t be complaining about my lot in life. My answer: “You do you!” I’ll complain if I like. It took them weeks/month to pay my mileage, so yes, I’ll complain.
Each location had its own quirks. Some stores had customers that were more into dance, others had customers that liked classic rock. Cambridge appealed to the lowest common denominator. We had just as many customers asking where the strip club was, as were looking for classical music. (An exaggeration, but a funny one.) Cambridge also had regulars who were used to dealing with T-Rev, aka “the regular guy”.
Here’s how it went one night in Cambridge.
Dude walks in with a box of crappy dance music. “Hey, is the regular guy in?”
“No, I’ll take a look at those for you,” I’d respond, although I really didn’t want to have a look at them.
“The regular guy usually gives me a good price,” came the answer.
“Well, we have a pricing scheme that helps us give you consistent pricing, so I’ll take care of that for you.”
“OK…” was the reluctant response.
I’d go through the CDs, which were often scratched and/or outdated, mixed in with a few things of higher value. I’d sort through. Put them in piles of things that were scratched vs. in good shape. Check to see if we had too many copies already. Check the scratched ones to see if they could be fixed. Price them accordingly. Call the guy back to the counter to show him what I found.
This particular guy wasn’t happy, of course, and was sure that the “regular guy” would have done better. (I would make sure I called “the regular guy” and tell him what I offered so this guy wouldn’t be doing any better when he returned.)
He passed on the offer. “When is the regular guy back?” he asked. I told him two weeks or whatever the answer was. He then asked my name, because of course he would complain.
“Sanchez,” I answered. It was my standard answer for when an asshole asked my name. I looked nothing like a Sanchez. I was as pale as a sheet of paper. I also had tried to bleach my hair, which came out kinda orange. Sure enough, this guy returned to the store and complained about “Sanchez, with the orange hair,” who low-balled him on his dance CDs.
I had already discussed this guy with T-Rev, and so when he came back, he didn’t really offer much differently than I had. But because he was the “regular guy” and not “Sanchez”, the guy took the money and we got the CDs. We had to do twice the amount of work to get them, since T-Rev had to repeat everything I did, but we were fairly consistent.
T-Rev called me. “Hey Mike! I just had a guy in here complaining about somebody named ‘Sanchez’ that lowballed him for his dance mixes? Said he had orange hair?” We had a good laugh about that.
I didn’t have to use the name Sanchez often, but I did use it!
David Coverdale has been remix-happy of late. Nothing wrong with that, I just have a hard time overcoming my passion for original versions of songs that I spent time living and loving for many years. Obviously I can’t have too much issue with it if I keep throwing money at him. Thank you Encore Records for holding this pricey item for me. $60 for 2 CDs and a Blu-ray disc. Details in the scans below, along with images of my other related Whitesnake discs.
Enjoy the video below, taking a gander at all the different colours of Whitesnake!
“Oh-oh-oh!” sings Max Kerman in his most anthemic of choruses. “When your head gets dizzy and you can’t get right. Oh-oh-oh! But you push on through, don’t be denied.” This single from Rally Cry is an obvious highlight.
Kerman has always stood up for the little guy, in the face of banks and landlords. “First of the month gets you stressed out, and moving trucks bring you right back.” That’s what “Hand Me Downs” is. You get the impression that these characters in these songs are amalgams of people that Max knew. Most importantly, even more than the lyrics, is the power of the music. “Hand Me Downs” is one of the Arkells most immediate, most catchy, most powerful songs to date. And that’s saying a lot. If there was a quintessential “trademark” Arkells song, “Hand Me Downs” would be among them.
This 2019 digital single came with three versions. The album version, a live version, and a duet with English punk-folk rocker Frank Turner. The Turner version is an entirely new recording, not just a remix. A little more acoustic, a little less ornate, a little more live. Very much up Frank’s alley. It’s a little jarring to hear his accent on an Arkells song, but it’s a quick adjustment. Turner grabs the verses by the balls and makes them his. He mixes well with Max on the chorus. A brilliant version, and perhaps should have been released as a single in its own right.
The third and final version is an acoustic take from Clubhouse Austin (you can see a photo of Max on their website), and it’s perfectly recorded. Very little noise, very clean. Small rooms often make for the best live recordings. Their vocals are absolutely perfect. Arkells have proven time and again how talented they are in the studio, but it is live that counts the most. “Hand Me Downs” live is flawless, yet not: those vocal quirks that only come from a live performance, and only serve to sweeten the song, are everpresent.
“Hand Me Downs” makes for a brilliant three-song single. It is still available for purchase.
In a nutshell: Ryan Gavalier has created some eerie music! With Halloween now behind us, this sure does remind me of the spooky season! Deftly programming his synths and drum machines, Ryan has composed some very cinematic soundscapes, perfect for those chilling nights when you could swear you heard a sound just outside the window.
You can catch Ryan on his Instagram page, Gavalier Productions. He is a passionate musician with a talent for the electronic.
THE DARKNESS – Permission To Land… Again (2023 Box Set)
Once (and perhaps still) considered one of the biggest jokes in rock*, The Darkness have proven ’em wrong, for it was 20 years ago they dropped this bomb on the world called Permission to Land. Regardless of the ups and downs, the band continues on today with a documentary film in the works. Of course, the obligatory box set was also necessary. Permission to Land… Again collects nearly everything from the era and packs it up for you in a 5 disc set perfect for home consumption. And it’s affordable, too.
CD 1 commences with the original 2003 album, a monolith of Queen and AC/DC’s bastard children, brought to life in spandex and bandanas. The album itself spawned four singles:
“Get Your Hands Off My Woman”, the expletive-laden favourite that still delights today as a fast head banger.
“Growing On Me”, perfectly in the pocket, a melodic hard right classic with just enough bite.
“I Believe In A Thing Called Love”, iridescent and unforgettable as ever, a classic in every sense.
“Love In Only A Feeling”, bombastic and beautiful guitar chords crashing on this prototype for the trademark Darkness ballad. Steve Tyler wishes he could write ’em like this today.
That leaves six killer album tracks, none of which are filler. Opener “Black Shuck” is a monster (literally), rocking heavy and beating the doors down despite your best efforts. “Givin’ Up” should have been a single, but the language, tisk tisk! Foreshadowing Justin Hawkin’s drug issues, this song is literally about “stickin’ that fuckin’ shit” up his nose. Yes it’s surprisingly delightful, and perhaps the most immediately catchy one on the album. “Stuck In A Rut” is different, blasting fast and loud, with Justin singing at max voice. Back to lighter, catchy territory, “Friday Night” is a certain fan-favourite. It easily could have been another single, as Justin literally reads off his weekly schedule. “Monday, cycling, Tuesday, gymnastics, dancing on a Friday night.” Bopping piano accents will keep feet moving. Moving on to “Love On the Rocks With No Ice” (great title), the slow heavy grind smacks you in the head and reminds you this is a rock and roll band. Despite that, the album closes on a lovely ballad “Holding My Own” which also really could have been a single.
CD 1 is beefed out with six extra songs, all demos, of tracks that didn’t make the album and tracks that did. Speaking of which, they are rough but so similar to the final versions. Some have bits that were later trimmed out or de-emphasized, like keyboard overdubs and intros. “Black Shuck”, though without the hard-hitting production, might be better in some ways than the album version, with more twists and vocals. There is also a demo of “Out of My Hands”, a fine album B-side.
The best inclusions on this disc, however, are the surprises: demos that didn’t make Permission to Land! “Live ‘Til I Die” went unreleased until 2019’s Easter Is Cancelled, but this version has Eddie Graham on drums. This version is very, very different. Much more AC/DC and dare I say, much catchier and better. There’a also an early demo of “Nothing’s Gonna Stop Us”, which was finally released on 2012’s reunion album Hot Cakes. This one is much more similar to the glossier final product.
CD 2 is a treasure trove of goodies! Every studio B-side from the album, some non-album singles, some “clean” versions that we wouldn’t purposely seek out to buy; they are all here. (The live B-sides are included with their respective shows, but we’ll get to those.) This is comprehensive as heck.
The three tracks from the very rare 2002 EP I Believe In A Thing Called Love are included: the title track, “Love on the Rocks With No Ice” and “Love Is Only A Feeling”. The recordings themselves are the same as the final album versions, but the mixes are not. These earlier mixes have slight, but audible differences and can be characterised as a bit less finished. The bass may be more pronounced on some places, and backing vocals in another.
Like some British bands before them, such as Oasis, The Darkness seemed to put just as much effort into their B-sides, often making them album (or single) worthy on their own. The complete studio B-sides here are:
“The Best Of Me”, a crankin’ rocker with a southern vibe.
The aforementioned “Out of My Hands”, a lighter song with a Def Leppard vibe on the guitars. Could have been a hit in its own right. Brilliant chorus.
Concert favourite “Makin’ Out”, which has more of that AC/DC vibe that the Darkness really mined in their early days. A fan favourite for a reason.
“Physical Sex”, another riffy number with an outrageously high chorus.
The ballad “How Dare You Call This Love?” which also could have been on the album, had it been longer. The actual album had two already. A fun song though, with some lovely Lizzy-ish guitar harmonies.
“The best instrumental that AC/DC never recorded”, according to Tim Durling, is “Bareback”, one of the Darkness’ best B-sides ever…if not their best. Thankfully, this song was not just relegated to the dusky corners of the “Growing On Me” single, but received some live workouts too. More on that later.
A song about building a house, “Planning Permission”, is a bit goofy lyrically (mixing cement!), but it gets goofier still as you’ll see. Fortunately it’s a catchy, upbeat Darkness number that has all their trademark guitar and vocal accoutrements.
“Curse of the Tolland Man” is the goofiest of them all, a ghost story, and a song that gets trashed in the liner notes as awful muck, but is defended by Justin and Dan Hawkins as a favourite. The jury remains out, but they are all correct about it.
“I Love You 5 Times” is another ballad, but by this time we’re technically heading outside album territory. Forgettable, but for the strings and Justin’s silly “m-m-m-meees” stuttery vocals. It was actually the B-side to a standalone Christmas single, “Christmas Time (Don’t Let the Bells End)”, an excellent song in its own right.
This box set is so comprehensive that it even includes the two singles that were not from it.
“Christmas Time (Don’t Let the Bells End)“…don’t Google what “bell end” means in British slang. Let’s just say Justin had his tongue in cheek! Great rocker, very Lizzy, and an absolutely Darkness classic. Produced by Bob Ezrin! This track was included on some European editions of the album as a bonus.
Then we have the rarest of them all, and finally available physically for us to buy: 2004’s “Get Your Hands Off My Woman…Again“. Though it does have Frankie Poullain on bass, this song is more a part of the story for the second album, One Way Ticket. The band were experimenting with producer Roy Thomas Baker and this remake was sold digitally. It is here in both “clean” and “explicit” versions. A cleaner, sharper incarnation of the song, for better or worse! The liner notes finally explain the mystery of the added piano part: It was inspired by Ben Folds’ cover of the song, which they thought was an improvement!
CDs 3 and 4 contain three live gigs, and the balance of the B-sides from this era. “Gimme a D! Gimme an Arkness!”
The 2003 set at Knebworth is brilliant. Opening with “Growing On Me”, the band has a bizarre and comedic stage presence, but the song kicks! They are a tight band, and a beat is not missed. They play two B-sides, a manic “The Best of Me” (for dancing, says Justin) and the classic “Makin’ Out”. “I Believe In A Thing Called Love” from the Knebworth concert was previously issued on a German version of the Christmas single. I like when Justin asks the audience which version of “Get Your Hands Off My Woman” they’d like to hear, clean or dirty?
On the same disc is a set from the Astoria in 2003. Opening with a raging “Bareback”, this set is even better than the Knebworth one. What a start! Instrumentals can make a pretty killer opener! From there it’s “Black Shuck”, and a live version of “Get Your Hands Off My Woman” that was previously issued as a B-side to a rare DVD single for “Love Is Only A Feeling”. It’s notable for the strange “me-me-me” singalong thing Justin does at the end. Another thing they do in this set is something called “Buffet”, a pretty cool riff, from a part in the show that is explained in the booklet.
Best of all: The action-packed Astoria and Knebworth shows are both included on DVD inside. Watch Dan play all the guitars so Justin can do the splits! The DVD also includes all the music videos, outtakes and behind-the-scenes footage from their music videos. There’s a cute bit in the EPK (electronic press kit) explaining why Justin always asked the audience to see their thumbs. The editing on the Astoria show is absurdly fast!
CD 4 is a full-length show from 2004 at Wembley recorded on Dan’s birthday, and the last show on the tour. It’s especially cool, because the band were already road-testing new songs from One Way Ticket. Opener “Grief Hammer” was a new song that would become a B-side in 2005. It has a stuttery riff with elements of that AC/DC vibe, but the band were clearly moving beyond that pigeonhole. It takes balls to open a set at Wembley with a new song that nobody had heard before. From there they visit more familiar territory with the favourite “Givin’ Up”. A manic “Stuck In A Rut” blasts out immediately afterwards.
Other B-sides played at Wembley include the fan favourite “Makin’ Out”, “Physical Set” and that “Buffet” again! Future classics “Dinner Lady Arms” and “Seemed Like A Good Idea at the Time” are rolled out alongside the hits. “Dinner Lady Arms” is a tad harder than the soft-Leppard style of the later version, though the chorus still soars into the stratosphere. “Seemed Like Such A Good Idea at the Time” is presented without introduction, and Justin on piano with a more spare arrangement than the elaborate album version to come. This is more power ballad, and less experiment in extravagance.
As the 17 song set rolls through classics and hits, it’s clear this disc could be a standalone live album if the band choose to release it as such. Great banter, and the band were obviously having a blast on stage. At the end, there are two more surprises. One is an abbreviated cover of “Do They Know It’s Christmas?” by Band Aid, performed solo by Justin on piano. Finally, they close the show with a bombastic “Christmas Time (Don’t Let the Bells End)”, which works brilliantly in the end slot. There is no feigning joy and surprise here. All the delight is pure and genuine.
The final ingredient you need in a box set such as this is a kickass booklet with loads of reading. Look no further, as Dan and Justin exhaustively tell the story from session to session and song to song. The stories will keep you in stitches as the band shed light on things you never knew before. Eddie Graham was the most “normal” one of the bunch, but they have survived it all, and the Darkness keep going!
We live in the age of box sets. The Darkness have risen to the occasion with, dare I say it, the perfect version of Permission To Land. Will they pull this trick again in the future with One Way Ticket? They should, because they have demonstrated an understanding of what makes a great box set. In short:
Complete collection of B-sides, even from formats as obscure as DVD single.
The rare demos and EP versions we’ve been wanting.
Non-album singles.
Even those clean versions that we normally wouldn’t try too hard to collect.
Live concerts.
Extensive liner notes.
DVD with added value and live shows.
Reasonable pricing and packaging.
5/5 stars
* One evening in 2003, I was listening to the Darkness with my girlfriend in my living room, late at night, heavily intoxicated. I suddenly jumped and said “I get it! These guys are not a joke at all! They are dead serious about what they are doing! Listen! Just listen!” It was an epiphany and I was right.
BONUS! Check out Tim and I discussing this box set and more!
RAINBOW – Down To Earth Tour 1979 (2015 Purple Pyramid box set)
mikeladano.com 