The Repo Zone: 1999

Goto page Previous  1, 2, 3 ... 140, 141, 142 ... 154, 155, 156  Next
View previous topic :: View next topic
Author Message
Repo
BeA Sunflower



Location: Forest Park
United States

  • #1401
  • Posted: 01/25/2023 03:26
  • Post subject:
  • Reply with quote
'84:L Whistling While We Work
Aka The Story Of Faustus and The Four Squirrels



The Warning by Queensrÿche

It seemed like we hardly ever saw them <Chris DeGarmo & Mike Wilton, dual axemen of Queensryche>- anymore. They were so different. It was like The Story Of The Squirrels – the one who gathered his nuts and survived the winter, and the one who frolicked and then starved. We thought they were being ridiculous at the time, not to mention excessive. We thought practicing five times a week was excessive, not to mention obsessive, at the time. We would just roll our eyes! - Brett Miller, longtime childhood friend of The Squirrels <& thrower of killer parties!>

I’m not quite what I thought I was
But, then again
I maybe more. - Road To Madness

The Setting:

He stole it. His older brother’s boom box and cassette of Led Zeppelin’s Houses of the Holy. Chris DeGarmo swiped his older brother’s stuff and then holed up in his room, hermit like. A month later he emerged, like Jesus from the desert, smiling suspiciously and bragging “Look what I can do!” as he proceeded to regale his older brother with a note by note rendition of “Over The Hills And Far Away”. <Fun Fact: Chris would proceed to woo local girls playing this tune on acoustic guitar. <"It's all true.", sighs Brett. "I should have picked up guitar." Brick wall >

He sold it. THAT was the Pacific Northwest legend. “How else could he get a voice like that?” Seattle said. “That boy Jeff Tate sold his soul to the devil, I tell ya!” So a young Jeff became a Geoff. And all the bands came a callin’, pushin’ and a shovin’ to gain the favor of Bellevue’s legendary, devil-dealing, soul-swapping debutant with the golden pipes.

The Mob, or as I affectionately call them... The Squirrels, <named after Black Sabbath’s The Mob Rules from 1981> was one of those bands that came a calling. And Geoff and The Squirrels played cat & mice squirrel, will they or won’t they for a couple of years before finally consummating the deal on wax with their self-financed, self-titled debut EP. Even then, Geoff was noncommittal. ”I don’t really like metal”, he would shrug. “Can any of you guys play Marillion?,” he'd question The Squirrels to blank & baffled stares.

But things have a way of taking on their own life AND THEN taking over your life. <Just ask Jeff! Remember that guy?!> And the success of that demo turned debut became too much for Geoff to ignore.


Next Up! <that very same Demo Turned Debut!!!:>


Last edited by Repo on 01/27/2023 02:59; edited 1 time in total
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Repo
BeA Sunflower



Location: Forest Park
United States

  • #1402
  • Posted: 01/27/2023 02:41
  • Post subject:
  • Reply with quote
'83:Q Served Neat
Aka She Said



Queensrÿche by Queensrÿche

"She said… ‘Fuck the guitars, Who’s the singer?’" -
- Kim Harris, owner of Easy Street Records on his wife Diana’s initial reaction to Queensryche’s cassette demo.

They are wrong. But they say it anyways. And I understand. I don’t roll my eyes. I don’t mock. No siree.

When some people say, and they are a sizable group, that this debut demo EP of four to five songs (depending on the release) is Queensryche’s best stuff, I understand. I get where they’re coming from because I’ve been where they’re from. If you want early ‘80s NWOBHM served neat, then this is your drink. And it’s flat out delicious. You don’t want to swig it. You want to savor it and relish in the sound of perhaps the one American band who reached that Judas Priest/Iron Maiden NWOBHM mountaintop, planted their flag for all to see, and then, to the dismay of these particular fans, moved on.

Very rarely did me and my friends splurge for an EP back in the early 80s. We just didn't have the money. No matter how many lawns we mowed, those expensive imports behind the glass were always just a bit out of reach. BUT, one of us splurged on this – I think it was either Peter English or Michael Dinsmore. AND it was worth every single blade of grass we mulched that summer of ’83!

The Rating: Twisted Evil Twisted Evil Twisted Evil Twisted Evil Twisted Evil


Next Up! <Let's Listen to The Warning...:>
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Trexasle





  • #1403
  • Posted: 01/29/2023 17:49
  • Post subject:
  • Reply with quote
Repo wrote:
'84:k Let's Talk!
Aka Was It Something I Said?! Confused


RockyRaccoon wrote:
So speaking of 1984 metal, I haven’t seen and I’m too lazy to scroll, have you gotten to this?


Saint Vitus by Saint Vitus


Let's go back in time. Dial my time machine back just a couple of years to when I covered both Saint Vitus & Trouble, two of the most essential Doom bands of all time who BOTH put out impressive, game changing debuts in 1984...

Gowi wrote:
some 84 that isnt hitting best of lists but worth noting:


Psalm 9 by Trouble

The best Doom Metal album made in the 80s, dwarfing Candlemass, Pentagram, and others. Recently have gotten their credit, but most still don't know who they are... this is their opus.
<ed. note: No one, and I mean NO ONE, dwarves Candlemass. It's physically impossible. <I did the math!!! Studying >>

The Question?:
<aka Get Ready to... DOOM OFF! Twisted Evil >


Although 1982 could be considered the starting point for doom with both Witchfinder General and Pagan Altar "releasing" (Pagan Altar's was just a demo tape that circulated wide & broad) stellar albums, most point to 1984 as the true proper launching point for the Doom genre. In 1984, speed ruled and Doom was impossibly out of style and out of step. You had to have balls of steel to get up on stage and play riffs this slow. But, play Trouble & Saint Vitus did. Saint Vitus in particular proved a seminal force mightily influencing their label & tour mates Black Flag during the early 80s and no doubt having a hand in one of the most important releases of the entire 80s - My War.

BUT, who did it better? Saint Vitus ? Or Trouble?

That both are classics of the Doom genre is inarguable. Any Doom Head needs both of these in their record collection. But which debut is best in your opinion?

Bonus Question: Is 1984 the true starting point for doom? Or is it 1982? Or even 1980 with Witchfynde's Give 'Em Hell?

========================================================================================== ====================================

The Answer!:

Metal Disclaimer: Both albums that will discussed herein are bonafide classics. Both are essential building blocks for any decent Doom collection. But, it wouldn't be a DOOM OFF! without a little debate. Just keep in mind that I LOVE both. Would LOVE to hear YOUR opinion!!!

First OFF!, I think both of these albums are GREAT, five star albums. Doom would NOT be the same without both of them. They are also very different Doom albums with very different styles despite both clearly being Doom albums. Pretty cool for a subgenre just inventing itself.

Second OFF!, I think 1984 is the launching point for the Doom sound. While Witchfinder General clearly incorporated doom elements, in particular the Sabbath worship, there were a also a great deal NWOBHM elements. In a way, their album Death Penalty looked backward. Meanwhile, both Pagan Altar and Witchfynde simply embellished on what Black Sabbath and other heavy & hard Blues Rock[/b] bands were doing in the early 70s. There is a revivalist feel to both albums even though BOTH are incredible. And because they were incredible examples of that magical & mystical early 70s sound, they proved incredibly influential on the Doom subgenre in the years to follow.

Third OFF!, if either of these bands are guilty of sounding too "Sabbath-oriented" it's Trouble's Psalm Nine. Both steal Sabbath riffs. Let's get that out of the way right from the start. However, at this point Sabbathian riffs (along with those of Judas Priest & Iron Maiden) were becoming established parts of the vocabulary of metal. However, Trouble not only stole the riffs, they were sonically and structurally more tied to early 70s Black Sabbath (check out songs "The Tempter" and "Revelation (Life Or Death)" as the best examples. The galloping riffs of "Revelation" are strikingly sonically similar to Sabbath.) That's not a bad thing! Hell, that's probably what makes Psalm Nine so good! <editor's note: Remember. I'm picking hairs here. BOTH are in My Top Ten Metal Albums of 1984!!!

BUT, Saint Vitus was creating something sonically & structurally completely new! And it's amazing that their sound & vision arrived so fully formed right Off! the bat. A lot of it comes from the fact that they were not completely tied to the metal scene. In fact, the metal community initially hated them. They were far more embraced by the punks. They were on SST. They toured a ton with Black Flag who were also pioneering their own kind of metal in 1984 with My War. <editor's note: Holy shit! I totally forgot about My War. What's wrong with me?! That goes on the pile too! Twisted Evil > In fact, the cross pollination of Saint Vitus and Black Flag in the early 80s is the stuff of legend. They both pushed each other in a direction that probably would not have happened otherwise. They were both partly playing slow as fuck and incorporating epic song lengths as a big giant Fuck Off! to the punk scene that had become, by 1984, engulfed in rigid, restraining rules (by the fans) of what punk & hardcore "should" be. Completely missing the point of what punk was in the first place! So Dave Chandler (of St. Vitus) and Gregg Ginn ( of Black Flag) essentially said Fuck Off! and became kindred spirits that eventually invented Doom (with Saint Vitus' debut) and Sludge Metal ( with side two of My War). Saint Vitus' sound and topics at this point were straight from the grave! They were playing what would become Funeral Doom with tales of Zombies, Psychopaths and Burials at Sea right from the start. Their sound was compressed, distorted, and haunting. They sounded like they were playing six feet under! Of course, a lot of this has to do their production team. The SST/Black Flag production team of Dez Cadena, Joe Carducci, and SPOT. Clearly this was a match made in heaven for me.

Metal Disclaimer2: I worship both SST and Black Flag. So this wasn't really a fair fight!

Quote:

Also would be very curious what you’d think about Beavis & Butthead’s favorite album


See You In Hell by Grim Reaper (UK)


Thrown up on top of that pile I'm building! Great rec, Rocky! Twisted Evil


I covered this album in this thread if you recall correctly.

It's a DAMN Fine Album.

The Drumming nearly kills it...but Steve Grimmitt's voice.

ABSOLUTELY Saves it.
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Trexasle





  • #1404
  • Posted: 01/29/2023 17:58
  • Post subject:
  • Reply with quote
Matter of Fact, Imma repost the review since it is one of the ones I am most proud of.


-------------------------------------------



It takes ONE bad part of a band to ruin a sound...but it takes a transcendent talent to save it regardless.

Today I am going to be talking about a fairly underrated band, only released three albums (Legally) and while they're well known...It hasn't been for...The best reasons. From being constant Beavis and Butthead Fodder, to their current lead singer having to have his leg amputated due to shitty health insurance and south American health laws. However, I argue that this band...if only for just ONE GODDAMN PIECE of it...should be in the record of any NWOBHM fan in this thread.

Their name?

Grim Reaper


(Do) Fear The Reaper.


Grim Reaper was formed fairly late into the NWOBHM Subgenre’s heyday (1979) with lead guitarist, Nick Bowcott leading the charge for the band, originally they had a singer called Paul de Mercado who…really didn’t do much before or after Grim Reaper. However, after a demo that got them in one of the earliest issues of Kerrang Magazine. However, this caused Nick Bowcott, who saw potential in what he was doing…to shuffle the lineup completely, Out goes his nobodies and in comes…well…nobodies. Dave Wanklin on Bass and…UGH…Lee. Harris. On. Drums. That aside though, The band was greeted to probably one of the most underrated voices in the NWOBHM Subgenre…and probably the best-underrated vocalist of 80’s rock in general.

STEVE GRIMMITT

80’s Metal I feel was very well known for their Guitarist, but outside of the main NWOBHM bands and a few exceptions, their VOCALIST Talents were not fairly celebrated. Sure, you got the likes of Don Dokken and my favorite metal singer Graham Bonnet but again…few and far between. In the nuclear arms race of 80’s Metal Guitarists, a lot of vocalists did not get their shine, and Steve Grimmitt was one of them, absolutely impeccable range with probably one of the strongest high notes I’ve ever heard. Luckily, I wasn’t the only one who thought this as in 1982, Grim Reaper won a Battle of the Bands, which got them studio time to create a new Demo, and thanks to Steve Grimmitt's unofficial role as a Vocalist for Chateaux at the time…He got them connected to…sadly the person that killed this fucking band Darryl Johnston of Ebony Records.

The end result?”

See You in Hell




“See You in Hell.”
Was the bands Debut this year in 1983, and right from the gate with Dead on Arrival, Nick Bowcott shows his talent with impressive riffing and a damn good guitar tone. Probably not one of the blowout guitarist of the 1980s (You had to go through A Needle in a Haystack to find a SHITTY guitarist in the 80s after all.). However, even with Commendable work by Nick Bowcott on guitar, The first thing you notice other than…a constant banging that seems to just…cut through the amazing melody in out of time places…Is the godly voice and POWER of Steve Grimmitt’s vocal delivery. Excellent Vocal Control, who one can easily notice with a bit of production can get this band far and fast if grown to the potential. Luckily, Unlike Other Singers with mass potential, he actually showcases in spades on this album. All Hell Let Loose opens with more of the same excellent riff craft from Nick Bowcott with a good bass undercurrent to compliment it…Too bad that there is this weird popping in the background that get’s in the way. A popping that clearly doesn’t get enough time to get worse as Steve Grimmitts vocals CROWDS Through this song like a airhorn. However, none of the tracks come close to the awesomeness of the title track. See You in Hell what the rest of the album does open with a killer riff….and a mistimed banging on what seems to be Fisher-Price drums.

Know what? I can’t ignore it anymore…There is a reason that immediately before they toured for this album they got rid of THIS ONE FUCKING Problem. The Drums. Holy fucking shit Lee Harris is fucking GARBAGE on this fucking kit in this album, his bass kicks are weak, he can’t tell time if Flavor Flav gave him a cocaine hit, and due to this being an 80’s NWOBHM album with an up and coming band, this production cannot cover for this fuckup, so you can’t even do your damnedest to ignore it, especially since it cuts through the bottom end of the bass. Usually, this is enough for me to be like that F1 Meme with the headphone and drop this fucking album across the river. Two things save this Album for me, The excellent writing of Guitarist Nick Bowcott, whose very good ear for melody was something that I can admire, and not once does he sacrifice melody for the 80’s NWOBHM Signature sound, commendable work for the man. The Second thing that saves this album.

Steve Grimmitt.

Especially in this track, through the entire album it seems like Grimmitt is slowly getting himself accustomed to recording in a major studio, and see you in hell is where he fucking breaks through and actually SHOWS his goddamn promise, High notes that sore through the recording, a catchy as hell chorus, amazing vocal control and ranges that while still growing, is amazing all the same. However, many of you actually heard this song already BEFORE I ever recommended it or the album it came from. Anyone familitar with MTV’s Beavis and Butthead will know the BALLS ON HIGH HILARIOUS Music Video accompanying this EXCELLENT Track.


Link


and while I know that Mike Judge probably meant this Music Video in jest…(Though this is arguable as he actually had been recorded to have had real life beef with the Guitarist Nick Bowcott.) I’m sorry Mike Judge, you and your fictional metalhead you are fucking wrong. This Album Kills…and due to the drumming of this album, I mean that fucking literally.

Conclusion


Luckily for the band (and Mike Judge…and us.) The Band would get some major backing from RCA Record, and with their album release came out with Two OTHER Excellent Albums, However, things were not great…Remember I told you guys about Darryl Johnson and Ebony Records?Well eventually the band decided to nut the fuck up and stop recording after Darryl REFUSED To give them sales numbers for the albums they made. Lawsuits ensured, and due to this…By their Second Album…The Band was already done, RCA Luckily released their third album Rock you to hell in 1987…Sadly the rise of more extreme genre’s of Metal meant that this EXCELLENT Piece of NWOBHM stylings was lost in the shuffle. However that is for another time.

However what would happened to our hero Steve Grimmitt, well he joined Lionsheart a…frankly damned good early 90’s Heavy/Speed Metal band…However, THIS was not his coming out party to the metal Mainstream.

Onslaught had just finished Recording their third album for London Records. However, the records execs did NOT like it. They felt that the aggression was too much and the more progressive stylings of it (As the band decided to go in a much more technical direction.) So they kicked Sy Keeler out of the band. Now usually this choice would lead to bloody fucking disaster; However, the record execs found their vocalist…in one Steve Grimmitt…The End Result of that?

In Search of Sanity.

And while Onslaught fans are stuck on whether this is a good album or not.

Not Me…


Link


THIS ALBUM KILLS, Steve Grimmitts, Voice is in Full Bloom and the excellent melodic vocal work you see in the Later Points of Steve Grimmitt’s Grim Reaper, is complemented by INSANE Production values and AMAZING guitar work…His Voice is fucking AMAZING on this release…Probably not Onslaught fans favorite album but sometimes fans can be wrong.

Next up, I will be discussing the reason Yngwie Malmsteen HATES Vocalists.
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Repo
BeA Sunflower



Location: Forest Park
United States

  • #1405
  • Posted: 01/30/2023 18:53
  • Post subject:
  • Reply with quote
Great write-up, Trex!!! <I learn something new every time I read it!> Definitely one of the highlights of late period NWOBHM.

Any thoughts on other NWOBHM late bloomers such as Cloven Hoof .....


Cloven Hoof by Cloven Hoof

and/or Savage?


Loose 'N' Lethal by Savage
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Trexasle





  • #1406
  • Posted: 02/12/2023 22:36
  • Post subject:
  • Reply with quote
Since this is the '84 Thread now for Metal.

I have to continue a series I started...And I do apologize in advance because sadly...

The Forces will Start to Rise.



I got ALOT to say about this album...(Mostly Historically.)

But None of it is good.
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Repo
BeA Sunflower



Location: Forest Park
United States

  • #1407
  • Posted: 02/12/2023 23:15
  • Post subject:
  • Reply with quote
Trexasle wrote:
Since this is the '84 Thread now for Metal.

I have to continue a series I started...And I do apologize in advance because sadly...

The Forces will Start to Rise.



I got ALOT to say about this album...(Mostly Historically.)

But None of it is good.


Really?! I LOVED this album back when it came out! \m/
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Trexasle





  • #1408
  • Posted: 02/21/2023 05:40
  • Post subject:
  • Reply with quote
Because it is the main example of Yngwie's excess for guitar supremacy getting in the way of his...rather underrated songwriting.

Though to be fair to the album there is actually a GOOD reason why in this case.
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
mickilennial
The Most Trusted Name in News


Gender: Female
Age: 35
Location: Detroit
Poland

  • #1409
  • Posted: 02/21/2023 20:09
  • Post subject:
  • Reply with quote
I think its one of Malmsteen's better albums of his career, bloat and indulgence or not.
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Trexasle





  • #1410
  • Posted: 02/22/2023 15:17
  • Post subject:
  • Reply with quote
This is a continuation of a previous post I made in another thread about the History of Alcatrazz We will now cover the Yngwie’s Part of this equation.

Far Beyond The (Rising) Sun.

Previously on...Yngwie and his War on Vocalists

Quote:
….Japanese fans have a tendency to love the more technical side of guitar playing and rock, and Yngwie sadly fit that bill. Combine their reaction to the man to the ego you know he has and what you get is the Showoffy guitar wanker that we unfortunately know today. This as you may have guessed lead to a bit of a breaking point within the Alcatrazz lineup. Graham having enough of Yngwie’s shit one day unplugged his cable to the guitar one day LIVE ON STAGE and told Yngwie to calm his prissy ass down. Yngwie responded by socking Graham in the face, leaving the stage that instant and leaving alcatrazz behind. With little to no time left Graham Bonnet and Jimmy Waldo now had to find a new guitarist for his band, and well, against all odds and all sense of rock logic, dude struck gold TWICE. The Greatest Showman needs a bard to pair up with after all…

During this time Yngwie would record a side-project away from Alcatrazz, mostly instrumentals but he did manage to grab a vocalist for a few songs.

But we’ll get back to that.


And we are back to that.

Before Yngwie decided he wanted to tell Graham Bonnet what the five fingers said to the face, during his time on break before their tour he began to record what would be a side project away from the band. This was because he wanted to stretch his creativity a bit more whilst he was…a bit more restrained with the Alcatrazz work. However, after the events in Japan happened, Yngwie had a perfect reason to expand on the idea of that side project. Hiring Singer Jeff Scott Soto, he recorded a few more tracks with Vocals, touched up the production a little bit, and BAM.

We got a bouncing baby boy and a new band to go along with it.

Kinda sorta…

Yngwie Malmsteen’s Rising Force.



Now Imagine…You are Yngwie Malmsteen, You just left two bands where due to you not being the frontman of the band, led to your creativity being stifled. The LAST Band you were a part of who did this to you, you left on acrimonious terms. You have all of this creative energy and not the age or focus to put that into something fully whole. The end result is this album. You know people always say Yngwie is an overindulgent noodler and nothing else? That his amazing playing and acts of wankery get in the way of him actually writing a sensible song…or hell, even arguing he cannot write at all (A Falsehood I will attack with every fiber of my being, especially with his other 80’s work.)

HERE…

It starts here.

Well…specifically, it starts after Black Star and Far Beyond the Sun.


Link



Link


I don’t think I need to state how badass these songs are, and let just let it be known as much as I will criticize the album otherwise…these two songs are the main exceptions to this rule, These songs kill and are probably some of the best instrumentals you will get out of the Neo-Classical sound. It’s probably also the most faithful as Yngwie for better or for worse, wears his love for classical pieces on his sleeve. This comes in…good and bad packages, especially since as I stated he has no focus on this album…and that Shows with Now Your Ships are Burned. There is absoluitely no drive to this song, and it seems he’s just making another instrumental…with what seemed to be a croaking Kermit the Frog singing the tune.


Link


Oh Yeah, I went there.

Jeff Scott Soto is my least favorite Yngwie Vocalist.

Yngwie has always had a history of hiring Great Vocalists (Marc Boals, Ripper Owens, Joe Lynn (The Wig) Turner and a personal favorite of mine, which I’ll get to later.) But either treating them like crap, de-emphasizing them on his production or both…This is the rare case he didn’t do that…he just hired a Generic and Under experienced vocalist. Jeff Scott Soto would be miles better later on his later works with Talisman (Hell, even the Album AFTER This he grows a bit of his beard.) But Here…He’s trying to do his best Graham Bonnet Impression and he doesn’t have it here. He’s partially the reason why I hate Almost ALL of the Vocal tracks on this album. Luckily there is one Vocal Track that doesn’t make me wanna drive my head into the Canyon.

As Above So Below.


Link


While Jeff’s voice is still sort of mewling on this song, you can see where his growth will start. His Falsetto while still a bit generic is putting in some good work on this track, and shows that Jeff Scott will not be a complete loss for Yngwie.

…And…That’s sadly the most I have to say for this album.

The Rest of the Album doesn’t really stick out to me and blends very much into itself, Evil Eye doesn’t grip me (Though the Guitar harmonies is something Yngwie will build upon and become MILES better at as time goes on.), Icarus' Dream Suite Op. 4 is waaaaaaaaay too goddamn long, and Farewell is exactly what it says it is.

This is the curse of Drive without Focus…Peeks of Greatness riddled the rest with overindulgence or inexperience. However, worry not as since this was just simply a side project and a means to just let up pent-up frustrations and creativity…The focus will ABSOLUTELY be there on the next album. First by actually making a Band Instead of using session drummers Hiring his Keyboardist's (Jens Johansson) brother, Anders Johansson, and instead of playing bass himself (Which he probably drank himself to sleep at night doing so.) and hiring Bassist and Guitar God in his own Right Marcel Jacob.

With an Actual BAND at his back and a new and less vitriolic focus...He and his Rising Force will Proceed to March Out.

That's a story for another time...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Display posts from previous:   
Post new topic   Reply to topic
All times are GMT
Goto page Previous  1, 2, 3 ... 140, 141, 142 ... 154, 155, 156  Next
Page 141 of 156


 

Jump to:  
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum


Similar Topics
Topic Author Forum
Repo's ULL Guest Music
Time Zone & DST RFNAPLES Suggestions
Danger Zone (TRIAL) PanduArya Games
Top 10 Twilight Zone Episodes Tha1ChiefRocka Movies & TV
Chart of the day (#4367): By Repo albummaster Music

 
Back to Top