G.G. Allin - "Murder Junkies" CD 15/41:45 I've always been a big fan of G.G. To me, the best overview of G.G. is the ROIR release "Hated In The Nation" which features some of my fave G.G. bands: The Scumfucs and The Cedar Street Sluts. For the record, the other two top ones are the Jabbers (ultra-power poppy sleaze from 1980 or so) and the Texas Nazis (who appear on a great live cassette from the mid-1980s). Another great G.G. release is the double LP "Dirty Love Songs", which unflinchingly presents G.G.'s race-baiting ("Kill the Children, Save the Food" about the famine relief efforts in Africa, sort of), along with his other misanthropic attitudes. When G.G.'s "Freaks Faggots Junkies and Clowns" came out on Homestead in the late 1980's, I eagerly bought it expecting more of the same fast, fucked-up, and furious fuck-everybody punk. Instead, the record featured a heavier, more distorted sound with slower tempos and less-disciplined song-writing. I know, it's pretty ridiculous to complain about song-writing when talking about fucking G.G., but give me a second to explain. Put the Jabbers speed-pop "Don't Talk to Me" or the Scumfucs 80s hardcore blast "I Wanna Fuck Myself" next to the later, distorto-rock punk and the former just kicks ass up and down the block! It's kind of like he started out with speed and coke and ended up wallowing in the gutter with Mad Dog and downers. Live, G.G. was really on a roll by the beginning of the 1990s - don't get me wrong - but in the studio he seemed more and more sludgy and less and less hard-hitting. This re-release of G.G. Allin's recordings with Antiseen isn't as bad as "Freaks Faggots Junkies and Clowns", but it's nowhere near as focused in its hatefulness as "Hated in the Nation" or "Dirty Love Songs". If you like Antiseen, you'll love this. If you're ambivalent like me, you'll dig a few of the tunes like "Murder for the Mission" and "Kill the Police". And everyone should love G.G.'s classic take on David Allen Coe "Outlaw Scumfuc"! That's the high point of this record for sure. Jesse @ www.tkorecords.com |
Gainer - "You Say it Like it's a Bad Thing ..." CD 10/33:30 Here comes another band tailored for a TV soundtrack. Their press material uses phrases like pop-driven" and "punk-rooted". Always a bad sign. "Punk-rooted" usually means the edges have been softened to a melting margarine degree. Here, they have not just been softened, they have melted. There is no edge, no excitement, no hook, nothing. This will blend in happily with a hundred other easy listening discs mistakenly filed in the punk section. Mark @ www.bentrail.com |
Galore – Parader CD10/40:13 Opening with chords that are very similar to Rick Springfield’s “Jessie’s Girl” is usually enough to get me hooked for a bit, and this disc does stick to the ribs for a bit. There are some definite glam-rcok elements and lead singer Barry Francis Walsh has some of the same vocal inflections as Marc Bolan or the early Bowie material. This Canadian band has all the hooks down for sure, although some of the songs are lacking some of the raw energy that you’d like in this style of music. But there are some exceptional moments on this, like the third track “Sing Along With Someone”, that has a great powerpop hook along the lines of the Rubinoos “I Wanna Be Your Boyfriend”, and some of the other T Rex influenced material, like “Unlucky Star”. It’s a disc that you might dismiss on first listen, but when you get into it, you start thinking about other bands that you might not have listened to in awhile, and finally the light bulb goes off in your head and you “get it”. Steve @ www.fadingways.com |
Gamits – “Antidote” CD 11/41:35 The Gamits have seen success in foreign markets such as Japan, Italy, and Denver, CO, but remain largely unnoticed here in the USA. The easy postulation to make here is that it hasn’t made the break through simply because the airwaves are saturated with bands of this ilk: uptempo early adulthood power pop with classic BJ Armstrongish vocal harmonies. It is quite hard to stand out in this field at the current moment. It takes sex appeal, the right pals, or a heaping amount of good ol’ fashioned talent. So while this is a fine record, the band will still be opening for established punk bands from SoCal for the foreseeable future. Xtian @ www.gamits.com |
Garrison – “The Model” CD 5/18:37 Garrison always impresses me. Even though I’m not totally convinced on the style of music, that sort of alt rock with punk roots and an interest in metal but done by sensitive guys who probably like the Utne Reader or something, Garrison is always good. Here though we have only 5 songs to contend with so even if you are slightly curious as to the previous description I gave, it’s worth your time and cash to check them out. I would if I were you. I mean there is so much crap out there now it’d do you good to hear some quality rock. But…that’s just my suggestion. Whittaker @ www.iodinerecordings.com |
Gary Valentine - "Tomorrow Belongs to You" CD 18/68:18 Valentine is best remembered as being both a bassist and guitarist in Blondie when they broke out of the New York club scene in the mid-70's and as the songwriter of "X-Offender" and "(I'm Always Touched by Your) Presence, Dear" before leaving the band in 1977. This CD takes Valentine's early new wave/powerpop solo material, his work with his band The Know, and later work with Fire Escape and compiles it here, along with several live tracks from the Know's days as being one of the best unsigned bands around in the late 70's through 1980. There are some great songs here, from Valentine's solo effort "The First One"which is a perfect skinny tie new wave pop song, to Valentine's own versions of "Presence, Dear" and another Blondie song "Scenery". Some of the best work is from the Know, "Infatuated" and "I Like Girls"are great powerpop songs, full of hooks and harmonies and shows off a band in top form. Some of the live tracks are covers, including Jonathan Richman's "Roadrunner", and Lou Reed's "Heroin", with the later being more representative of Valentine's later work in Fire Escape. This is a solid compilation and great overview of Valentine's career; a guy who is often overlooked in the pantheon of power pop greats on the 70's. Steve @ www.overgroundrecords.co.uk |
Gary Young's Hospital – "The Grey Album" CD 12/43:53 Many of you are probably having the same reaction to this that I did, which went something like this: “Gary Young? The Gary Young from Pavement? Plantman? Holy shit!” That said, this is a decent enough release by someone I had assumed was long gone from the music scene (although it appears, unknown to me, that he released an album in 2000 as well). Those familiar with his post-Pavement work of the mid-90’s, this is roughly in that same vein of sound. For everyone else, the closest touchstone I could come up with is Syd Barrett-era Pink Floyd, with a bit of mellow psychedelia ala the Radar Brothers or some such similar outfit, with a bit of silliness thrown in. nothing groundbreaking, but worth checking out if you happen upon it; additionally, he seems to be playing out a lot lately, and I can only imagine the live shows are worth a viewing. Jake @ www.omnibusrecords.com |
Gateria – “If the Cats are United” CD 14/46:15 The best part is that there is an image of a bandito on the album cover with the head of a cute ass kitten. I guess that’s how the band must feel; vicious on the outside but oh so tender on the inside. See, most of the songs here deal with some form of alienation, fueled by standard 2-2 grit rock that didn’t make my hair stand up on end but didn’t make me throw my stereo out of the window because of them. In fact, I think they are pulling our legs a bit. Perhaps this whole set up is a joke. The three members here don’t take themselves very seriously and I suppose we should not either. I mean, with a title and cover such as this with pictures of the band carving pumpkins and lamping on inflatable lawn furniture inside it is pretty obvious that this is just a fun thing to be doing after work and maybe if they are lucky getting a gig or two around town. Maybe even a small tour. Who knows…Gateria may be the next big thing. Seriously though… Whittaker @ Insomniac Soul Music (no contact available) |
Gatsbys American Dream – “Ribbons and Sugar” CD 11/29:12 In all of its general generalities, Gatsbys American Dream is a complex band to describe and nail down. Okay…let’s give it a try! Their songs are constructed like a indie rock Erector set that goes off in several directions but still remains intact to stay put and, um...erect. I wouldn’t give this the “punk” title, but some would and for that I wont because this has little to do with that original term. The smooth yet strained vocals give that away and their changeovers are on spot enough to make math rock heads go “implicitly reliable, yet core enough to ingest as a whole…” Whatever those dork-asses mean! Anyway, “Ribbons and Sugar” made me listen up and pay attention and think hard about what to write here. Initially I don’t care much for bands like this but I thought them swell and will probably go see them when they pass through. Maybe you should too. Okay…see you then! Whittaker @ Rockstar, PO Box 54108, Redondo, WA 98054 |
Gay – “You Know the Rules” CD 11/41:40 Pop! It reminds me of Belle and Sebastian, but when I see that they opened for the New Pornographers it all makes perfect sense. This is not Neko Case, but I think at least one of the three women in this band wishes she was. Not that they’re any better or worse than the New Pornographers…they just aren’t the first to do this and I’m sure they won’t be the last. They have funny song titles and oh yeah, and if you didn’t notice…they are called The Gay. I can’t decide if I love them and want to dance around or if I hate them for their pretension. It’s a tough one to call. Sharon @ www.mintrecs.com |
GBH – “Cruel & Unusual” CD 10/27:08 Six covers (3 recorded in the late 80s, 3 in 2000) paired with four live tracks from 2002, including the nth rendition of “Give Me Fire”. I probably don’t have to say that their blazing days of yore are long gone; they’ve settled into a comfortable punkish-rock-with-some-metal-tendencies rut and at this point I doubt anything will drag them back out. All in all, you can safely pass this by. David @ www.idolrecords.com |
GBH - "Leather, Bristles, Studs and Acne" CD 15/36:57 Another GBH re-issue from Captain Oi, with the usual set of cool bonus tracks. This one goes all the way back to 1981, encompassing the program of the original "Leather" EP, plus the contents of two 45s from 1982. The music is, frankly, just what one would expect from GBH. Fast, snotty and intense, what else? Any serious collector of early British street punk will want this. Mark @ www.captainoi.com |
Gee Strings – “Arrest Me” CD 12/27:29 Third (air)strike of pretty fine femme-voxed punk that takes enough of its cues from the “vintage” era (without going totally cover-band retro) that one can think of them as an updated version of, say, the VKTMs. Doesn’t come as any surprise to see credible covers of the Avengers and Runaways here, even if they do have more of a feel (and spiritual heritage) towards the former than the latter. Yeah I know they’re from Germany, but would it be too much to ask for a visit to the West Coast sometime soon? David @ www.dead-beat-records.com |
General Rudie – “Cooling the Mark” CD 16/43:21 You can tell these Toronto (via Montreal) skatites know their stuff. Then hows cum they sound like they phoned it in? The energy level on this CD is incredibly low. Ska is great dance music, and there is little inspiration to get outta the chair. Perhaps they kick ass live? Cool reel-to-reel imagery on the CD cover, though. RBF @ www.stomprecords.com MP3 Download |
General Store – “Local Honey” CD 10/43:37 Tam Johnstone’s General Store has the twangy sound of the Byrds and the Beachwood Sparks. Johnstone sings and plays all the instruments on this album of country-tinged tunes, and sometimes, like on the track called “Long Way,” he sounds like he spent too much of his youth listening to cruddy Eagles records. But for the most part, Johnstone’s on to something good here, and songs like the subdued “Letdown,” make up for his occasional missteps. Kevin @ www.tamharmonic.com |
Generation 69 – “Strength Thru Strength” CD 14/40:52 Yep it’s skinheads straight outta Singapore, cranking out ye olde street punk in the style of their musical heroes. Music is fairly energetic, lyrics are your typical skin fare: violence, patriotism (viva la Singapore instead of Britain), etc. Can’t say that this is enough to take the next plane out of SFO for, but it’s pretty solid; at their best they can hold their own against their US/UK counterparts instead of merely being a novelty because of their nationality (“Look Wilma, it’s Singaporian skinheads). If you’re into those skinhead sounds, this is worth checking out. David @ www.dssrecords.com |
George Usher Group - "Fire Garden" CD 15/44:23 Powerpop trainspotters might recognize this guy’s name, in collab with Richard Barone’s variable post-Bongos solo work. What Usher serves up on his lonesome is very much similar to Barone in its delicate, hummable, post-Beatles baroque complexity. Fifteen tracks, all choice, Usher even managing to rope Mitch Easter into the producer’s chair. There is life beyond Matthew Sweet in the powerpop firmament, and this disc is proof positive. MLH @ www.parasol.com |
Gerty – “Sweets from the Minibar” CD 14/51:05 Why is it that all of a sudden something that sounds like a generic effort from the 1980’s pop regime is now talked up as having some semblance of being a revolutionary effort? This may be the greatest slice of irony on tap for 2003: that new wave is making a comeback, and since it originated in the mainstream during the 1980’s it will return in the form of “Underground” music released by independent labels thus. This disc utilizes a wide array of synth and keyboarding, but acknowledges electric guitar as it’s lead element along with lovey-adult female vocals singing simple songs such as “Tragic Tragedy”, “21st Century Girl”, and “She Rides Trains in Belgium”. Gerty’s sound is best described as retro-Europop, unapologetically on par with the likes of Berlin and Nina Hagen. Xtian @ Eskimo Kiss, PO Box 3603, Wilmington, NC 28406 |
Get Fucked – s/t CD 8/17:13 Yowza! Frigging intense exciting screamo hardcore from South Philly that’ll peel the paint off the walls as it blasts out of your speakers. Next time someone says hardcore is dead just slap this on; either said person will see the error of his/her ways and repent or run out of the room like the clueless poseur that s/he really is. David @ www.level-plane.com |
Ghost Orchids - "The King Is Dead" CD 12/43:48 This album could be thought of as San Francisco's two cents in the whole electro movement so popular with the kids these days. Unfortunately it's mediocre at best. These guys have a little too much self-confidence and not enough talent. There are moments of aggressive and attractive dirty bass, but the crap on this album overshadows the good parts. That and the "seductive" female breathy lyrics are more annoying than arousing. They get a couple brownie points in my book for randomly quoting the Smiths, but instantly lose them for inserting the brilliant lyrics in a suck ass song. Mona @ www.ghostorchids.com |
Ghosts and Vodka - "Addicts and Drunks" CD 16/52:03 This contains all of the previously released works of this math rock band, plus one previously unreleased song. One of the bands that formed out of the ashes of Cap'n Jazz, they produced a series of instrumental tracks that carry the Capp'n Jazz style; angular rock songs that have plenty of noise and melody. The thing is, I keep waiting for vocals; it's not like these songs have a different structure; they simply run verse/chorus/verse. It's like they wanted to be the jam band for the emo vertical striped shirt crowd and didn't want any lyrics getting in the way. I suppose there are moments when you just want to nod your head and do one of two things: a) not have a thought in your head, or b) imagine yourself as a lyricist for this type of music and figure out what sort of angst ridden stuff you could come up with yourself. I know I could conjure up all kinds of stuff for a songs entitled "Andrea Loves Horses" or "Mechanical Bull Rider" or "Nicholas Prefers Dinosaurs". OK, I'll get my mind out of the gutter. Well...maybe not. So get your bobbleheads all in a line and start them nodding; it's about all you'll want to do with this. Steve @ www.sixgunlover.com |
Giardini di Miro - "Punk not Diet!" CD 9/44:56 So pretty. So very very pretty. I could find very little information about this, other than that it hails from Rome. And oh yeah, have I mentioned it's very pretty? Melodic post-punk just the way I like it. Fall asleep to this and have sad sweet dreams. Sharon @ www.2-nd.com |
Giardini di Miro - "The Academic Rise of Falling Drifters" CD 8/41:07 This release is made up entirely of remixes of songs by the Italian band Giardini di Miro. Since I’ve never heard the original band, I cannot comment as to how this release sounds in relation to the original compositions. As far as a stand alone record, it’s not bad. I’m not normally an electronic/remix kind of person, but this CD is a nice, smooth listen; if I were still in school it would be a great record to put on if I were studying. Artist doing the remixing here include Dntel, Styrofoam, Opiate, isan, and more. The entire thing sorta blends together in a seamless fashion that accentuates the album as a whole. Not a bad release to check out if you happen across it and want something mellow to kick back to. Jake @ www.2-nd.com |
Giddy Motors - "Make It Pop" CD 8/34:55 Out of London, Giddy Motors is the two man songwriting team of Gaverick de Vis (guitar/vocals) and Manu Ros (drums/bass). Make It Pop is their debut album, and I'll be damned if it isn't a great one. I would liken it to Drive Like Jehu with elements of Morphine, Jesus Lizard, Victims Family and maybe some old Jane's Addiction. Live they play with bassist Gordon Ashdown, and in the studio they had a few guest musicians add sax, cello, and vocals to select tracks. Steve Albini recorded it, and it has that Steve Albini "immediate" and "raw" sonic quality to it. The 8 songs here are all over the place in both tempo and temperament. Some are slow, some fast, some angry, some sad, some exuberant. All are good, and the whole album just work. The opening and closing tracks are both amazing, and you get a full and flavorful musical meal in between. I'm really, really liking this one. And they namedrop Caesura in their press kit. Man, nobody namedrops Caesura. Manny @ www.giddymotors.com |
Gift Machine - "...Don't Turn Me Off" CD 14/46:42 Dave Matthies, frontman of The Gift Machine, has the right credentials: he's collaborated with The Microphones, Karl Blau, Little Wings and other Pacific Northwestern indie rock notables. In The Gift Machine he turns his gaze on more gritty objects: guitar-damaged sludge-rock, lo-fi acoustic numbers, and personal statements on America's convoluted and paradoxical popular culture. Drawing textures and moods from Sebadoh, Hayden and his peers, Matthies produces 14 tracks of dense, sneering guitar pop with purpose. The range of songs on "...Don't Turn Me Off" is enough to keep the listener from getting bored, unless Matthies' mildly grating vocals (which are invariably double or triple-tracked) are too much for you. It's respectable but not especially groundbreaking rock that ironically recalls some of the Northwest's 90s pioneers like Nirvana and Mudhoney. Take that for what you will. John @ www.aampromo.com |
Girl With The Replaceable Head - "Ride My Star EP" CD 3/13:25 Wistful, almost narcotising folk/rock minstrelsy courtesy of a young lady from Newcastle-upon-Tyne, England. A touch of Alison Stratton, a nod (out) to Nico, delicately strummed electric guitars and the occasional bit of percussion make for a perfect soundtrack for any gray urban afternoon of the listeners’ choice. MLH @ www.thebusstoplabel.com |
Girlboy Girl - “Forget the Ladder, Climb the Wall” CD 14/49:43 I don’t know if you can picture a combination of Belle and Sebastian and Sleater-Kinney, but somehow this album reminds me of both. The dueling not quite on key female vocals that pop in on occasion, well that’s very S-K, but there’s definitely a twee thing going on in more than a few songs. Some acoustic guitar. A little bit of everything calm and good, I suppose. I’d certainly listen to this CD again. Sharon @ www.2vu.com/girlboy.girl |
Girls Are Short – “Early North American” CD 14/44:49 If one were to judge this band strictly by its name, a sloppy, childish punk band would be the expectation. That’s why it’s always smart to actually listen to the product, because every now and then you get a pleasant surprise where you thought you had a throw away disc. This Canadian duo create stylized, bedroom electropop goodness. It’s upbeat and engaging, flashy and hyper while remaining mellow-minded, and stays away from thud-thud bass and gratuitous noise. It makes me think of Sea and Cake’s “Two Gentlemen” melded with Richard D. James’ moments of kindness to the average listener, plus a handful of prescription strength antidepressants, and keeps getting better with every listen. Xtian @ www.robotandproud/girlsareshort |
Girls – “Live at the Rathskeller – May 17, 1979” CD Not too many people have heard of this Boston outfit, which is a cryin’ shame indeed. Caught in front of a hometown crowd (and opening up for the Lyres!), this release features some primal vintage “art-punk” with as much “punk” as “art” and not afraid (indeed, more like willing and eager) to make some noise (their single “Jeffrey I Hear You” gets even more intense in the live environment). Unlike too many other bands (Screamers and Suicide aside) they used their synths as weapons instead of mere window dressing. They were probably labeled “Art-fags” by the wannabes of the era, but the fact remains that this sounds just as vital now as it did 24 (!) years ago which is more than you can say for too many bands from that era. Pick this up today! David @ www.abatonbookcompany.com |
Girls On Top – “Ovulater” CD 13/36:45 Right off the bat it strikes me as quite British. Singer Vicki De Vice channels several identifiable females that have come before, maybe through no fault of her own, because she has that kind of accent. They try everything, sleazy punk, “Fuck Head”, “He’s Been Around” , “exotic” new wave, “International Menu”, schizophrenic slow burn into Toy Dolls, “Barbie Is A Smackhead”, a mix of Thunders and power pop, sort of, “Get Vicious” and cool post-punk, “Auto Pilot.” It’s all done as well/better than a ton of American bands in the same milieu. Brits are sometimes just more authentic, even B-grade outfits like this. Why? Maybe it’s just an involuntary response. It’s not a record I’d spend a lot of time with, but some girls just want to fuck and go. That can be okay too. Evidently this came out in Britain on Riverside Records in 2002. Anthony @ www.riversiderecords.com |
Girls – s/t CD 10/29:08 Fairly good wave-pop-punk, with a singer not dissimilar to a teenage Rozz Williams before he got into all that goth stuff. Could use more in the way of hooks, but at its best it could make for a soundtrack for a car-ride through the seedier side of town. But that Kajagoogoo haircut has GOT to go! David @ www.dirtnaprecs.com MP3 Download |
Girlush Figure – “Rotten To The Core” CD 10/32:28 Chugga chugga ugly punk from this female trio. It’s all blood, guts, and rock and roll, although Snap-Her, Squat, and L7 have all done this type of estrogen-fueled punk more distinctively. However, since none of those bands are around anymore (I think) Girlush Figure has room to romp and roam. Lyrics included, rad! Hopefully their next record will be a little more distinctive- while this is fine, rude, and loud, it doesn’t quite rise to the level of the aforementioned bands’ best moments. Jesse @ Rodent Popsicle, PO Box 1143, Allston, MA 02134 |
Glass - “Concorde” CD 8/45:52 Holy crapturd, I love it when a band seemingly appears from out of nowhere and blows my ass out of the water with their beautiful songs! Well, count Tennessee’s The Glass as one of the few who have done that. They play what I like to call “cosmic country” – a stupid name, sure, but meant to indicate those who play that odd mix of spacey, psychedelic sounds with traditional slide guitar and country-style vocals. Other than The Glass, groups who fall under this moniker are Canyon, Holopaw, My Morning Jacket, and even some of Jay Farrar’s more recent output. I can’t recommend this release any more highly. Jake @ www.makeshiftmusic.com |
Gloryholes - "Want a Divorce" CD 13/33:38 Seat of the pants garage punk rock, emphasis on the "garage" and the "rock." If the Hi-Fives had balls-and a good punked-out Marshall stack- they'd be the Gloryholes. Oh yeah, and there'd have to be more screaming harmonies and tunes called "Pig Fucker." Great packaging art by "Hate" artist Peter Bagge is icing on the cake! I swear, this would be the soundtrack to a TV show called "When Sweet Baby Goes Bad," and the footage would show the Gloryholes smoking speed in the dressing room and being busted by the cops. When busted, they'd be wearing nothing but wife beaters and stained tightie whities. It would be great, especially since the last shot would be them, clean-shaven, sober, and boring, playing in a Blink 182 cover band to 10 people at a christian youth center somewhere in Eastern Oregon. Thankfully, that reality show is not a reality, and we can all rock out with our cocks out when the Gloryholes come to our town! Jesse @ Dirtnap, PO Box 21249, Seattle, WA 98111 |
Go Kart Go - “Flying” CD 12/40:30 SF band’s third record, produced by Kevin Army, and it’s pretty righteous at the outset with “Flying… is better than these walls”, a swell piece of genuine rock candy that lifted me out of the doldrums I’m currently wallowing in. We’ve all heard dozens of bands who try to sound like this, right down to the songs about relationships gone sour. It’s not easy to traverse indie rock, garage pop, post-punkisms, etc. and come up with your own sound. Not every song lives up to the promise of the opening, but they all take off on their own and at least try to fly somewhere. I gotta do the same. Until next time. Anthony @ www.housecatrecords.com/gokartgo.com |
Go-Betweens - “Bright Yellow, Bright Orange” CD 10/39:01 Forster and McLennan’s second record since their 2001 comeback “The Friends of Rachel Worth” finds the duo at their most relaxed since “Liberty Belle & The Black Diamond Express”. The songs are airy and sedate, driven mostly by acoustic guitar and plaintive vocals. While “Bright Yellow” lacks the urgency and anxiety of the G-Bs best work, it does possess a sort of stillness that the group never managed (or even attempted) before. It adds a few chestnuts to the group’s spectacular canon: “Caroline & I” is warm and winning, “Too Much of One Thing” is a giddy back porch near-country song and “Crooked Lines”, with it’s refrain “Gotta learn to give, gotta learn to live” is oddly rousing and inspiring. Forster and McLennan may not be the nervous young men they once were, but BYBO finds them aging with grace and class. J Edward @ www.jetsetrecords.com |
God Star Social – “A Queer Sultry Summer” CD 6/17:03 It don’t get more DIY than this, a trio of guys in very, very lo-tech mode thrash in what sounds like a basement or living room (that’s what the photo shows, anyway). It’s a bit of a slow start as the listener gets used to the muddy, lack-than-crisp sound. And by the end, with a song using lyrics by Sylvia Plath (whose photo also graces the cover), they seem to be more into their own. Yeah, I’d like to hear them with just a twitch more tech behind them, but in the meanwhile, it’s a fun listen, even though sometimes takes some imagination to picture how they actually sound. RBF @ 517 Citation Lane, Seymour, TN 37865 |
God Star Social - “Decidedly Lo-Fi/Revolution and Static Sky” CD 12/64:12 When they named this record “Decidedly Lo-Fi” they weren’t joking. There’s an obvious Sonic Youth and Lou Reed influence running throughout this record, but not enough so to save it from the doldrums. There are a few decent songs, or sometimes just parts of songs, but for the most part it’s the kind of forgettable where I couldn’t tell you what I just listened to five minutes from now. Songs drag on for way too long most of the time, and even when on the decent tracks you have to inevitably wade through some less than stellar parts. They might be an interesting live band, but they’re just not cutting it for me on record. Jake @ www.godstarsocial.com |
Gogogo Airheart – “Love My Life, Hate My Friends” CD 12/30:40 Let’s applaud GSL for re-releasing Gogogo Airheart’s second full-length disc from way back in 1998. Admittedly, I (like just about everyone else outside San Diego) missed this disc when it was released, but it still rings true as a fine assemblage of funk-driven experimental pop songs today. Compared to GGGAH’s current sound, this is plainly “way out there”. The vocals are audibly screech and shout, there is more keyboarding and strings, and the overall delivery is unabashedly trashy. The band has since moved in a direction that is more rock-oriented and equally great, but it’s a treat to have access to the past. Xtian @ www.goldstandardlabs.com |
Gogogo Airheart - s/t CD 17/36:38 An “it” band now that their brand of PiL-influenced post-punk has become all the rage, Gogogo Airheart have actually been making music since 1997. Their debut, just reissued on GSL, is a collaboration between the band and San Diego electro artist The Spacewurm. The results are as bizarre and uneven as this kind of hybrid might suggest. The record is constantly pulled between two equally stubborn extremes. On the one end are the tracks clearly created by Spacewurm. These are grim, dubby affairs with slithering basslines, odd electronic whistles and minimal vocals. They work in the same way many of those old electro acts worked (see early Tuxedomoon or even ESG) - they set up a simple rhythm and allow it to summon a trancelike mood. More confusing are the tracks in which the band suddenly kicks in full-throttle. Gogogo Airheart had clearly not worked out its bugs, and the Spacewurm is in no position to help them round the corners. What it ends up sounding like is someone playing a post-punk record one one turntable while spinning ‘The Man-Machine’ on the other. The two styles never really congeal, resulting in half-hearted no-wave punctuated by distracting electronic squiggles. The record is interesting as an artifact of a band in their germinal stages, but offers little to return to beyond that. J Edward @ www.goldstandardlabs.com |
Goin' Places - "Girl Songwriting 101" CD 14/32:33 I think you'll get the lyrical idea by noting that 10 of the 14 tracks have the word "girl" in the title. And the ones that don't are about girls too. From Staten Island, they take a familiar pop punk sound, much like the mid tempo Queers material (Joe Queer does the guest lead vocals on one track) or MTX ("Cut-Off Jeans Girl" could easily have been on "Love is Dead"), add some very well placed keyboards, and some occasionally funny lyrics, and you've got the archetype for a pop punk record. Nothing earth shattering, but it's a fun listen that will certainly give you your required does of Ramones-core pop punk. Steve @ www.coldfrontrecords.com |
Goldstars - "Gotta Get Out" CD 12/37:33 This album has "gotta get out" of my stereo. The vocals sound like a disconcertingly mediocre Elvis Costello, while the music remains a sick (not sick in a good way, but sick in the i'm gonna vomit way) blend of bad surf, garage, and Reno jam band. These Chicago kids need to stop making music now. Mona @ www.thegoldstars.com |
Goner - “How Good we Had It” CD 12/40:22 This album from the newcomer trio actually starts off with an organ riff reminiscent of Clinic, although the rest of the album is, sadly, far less than interesting than anything that band has done. Cool album and song titles (“Laura’s Conversion - Heat + Light” is a good example) aren’t enough to balance the fact that the hooks simply aren’t here. Ryan @ www.gonertheband.com |
Good Charlotte - "Young and the Hopeless" CD 14/45:52 Safe anthemic pop punk, with big production sugar coating lyrics about being the different kid on the block. The first song in fact is called "Anthem", and it asks the age old question "do you really wanna be like them, do you really wanna be another trend?" Funny that they should ask, since bands like this certainly were part of the latest trend about 2 years ago; the Blink 182, Sum 41, Green Day influenced style of pop punk that has since been usurped by the new garage bands. Most of the songs follow the same formula, decent pop tunes that sometimes don't match up with the angry meaning of the lyrics, stuff that would appeal to kids who don't get along with their parents, yet not threatening enough to totally alienate either the parents or folks who control the radio airwaves these days. Hell, even Letterman loves them, based on their performance on his show that I saw last night. Steve @ www.epic.com |
Good Riddance - "Bound By Ties Of Blood And Affection" CD 14/29:58 One of the better anti-Bush bands on Fat, these guys cross lines that include HC, garage rock and street punk and have a strong sense of song as they rip through tunes like the Bukowski derived "More Depalma, Less Fellini", "Boxing Day", "Black Bag Confidential" and "There's No I In Team". There are a thousand bands doing this but when it's right it jumps out at you. Russ Rankin's vocals are above the norm and the songs move beyond mere derivation. Anthony @ www.fatwreck.com MP3 Download |
Good Riddance - "Cover Ups" CD 10/23:26 All cover versions here, including pop stuff that's been covered a million times like Modern English's "I Melt With You", "Come Dancing" by the Kinks, and "Leader of the Pack, originally done by the Shangri-Las. They also handle Kiss' "I Stole Your Love", "My War" by Black Flag and songs by Government Issue, Battalion of Saints and others. Designed to show off the hardcore and pop elements of the band, and I guess it does that, but a good cover version should stamp the song that's being covered with something unique and most of these songs sound fairly similar to the originals. Maybe a little more punked up on the guitars and speed, but otherwise there isn't anything they've done to make them their own. These songs have, with the exception of Chron Gen's "Outlaw" been available on other releases, so unless you are a big fan of the band and don't already have these songs, give it a pass. Steve @ www.loreleirecords.com |
Goodwill - "That Was a Moment" CD 10/39:48 Here's another band with musical ability wasting it by playing cut and dried new school garbage. These five guys know their instruments, but it sounds like they have never listened to anything but emo, indie and pop punk. There is no sign of a greater musical education, no blues or rock or country or any of the root forms that fueled the original punk explosion. Drop this disc directly into the bin with all the other pretty, inoffensive, generic acts cluttering up the scene these days. Mark @ Negative Progression, PO Box 193158, San Francisco, CA 94119 |
Grabass Charlestons – “The Greatest Story Ever Hula’d” CD 13/28:17 Not quite sure as to the story behind the title, since this ain’t so much Hawaiian stylee that Don Ho would be proud of as it is melodic punk that’s closer to post-Leatherface than any of the MTV pseudo-heroes, with a bit of grit to it. If not quite up there with, say, Gunmoll’s latest for such goods it’s still worth more than a gander. David @ www.noidearecords.com |
Graham Parker - "The Official Art Vandelay Tapes" CD 18/60:18 As someone old enough to remember the fuss kicked up in some quarters by Parker’s ’76 debut LP - was he the next Van/Dylan/Springsteen? - one has to extend due respect to GP, not just for having emerged from the stinky end of such hype relatively rose-scented, but also for the tenacity with which he’s pursued his path as a pop/rock troubadour of no small quality. This is the second in a series collating assorted GP outtakes and curios over the span of his career, including some sweet, surprising covers reach back as far as the British Invasion, and as recent as the Smithereens. If nothing else it serves as a reminder that, whether he waxes romantic or riled-up, Parker remains one unshakeable talent. MLH @ www.lemonrecordings.co.uk |
Graham Parker - “Your Country” CD 11/43:39 GP is back in fine form with a strong batch of C&W influenced tunes. “Cruel Lips” is an excellent duet with Lucinda Williams. “Almost Thanksgiving Day” is also a standout, a slow tune with a great lap steel guitar riff between verses. It’s nice to see a performer still writing consistently good tunes after 25 years. Mel @ www.bloodshotrecords.com |
Graham Smith – “Final Battle” CD 13/42:38 Graham is the astonishingly prolific mind behind Kleenex Girl Wonder, and his “Ponyoak” record, which I’ve never heard, is hailed by some as a post-mod classic. This record is loaded with great hooks and eclectic structures that are beyond quirky. “The Heat” is amazing, and will definitely remind you of Neutral Milk Hotel, partly because his voice can easily lapse into something akin to Jeff Mangum’s (see also “2Guitars” and “Can You Do It Quickly Enough?”). “Lots of Love & A Long, Long Ladder” heads in a different direction but with equally stellar results, as does “Let The Eagle Soar.” His hyper-literate songs are worthy of spending a lot of time with, not unlike a woman I met recently and have fallen in love with already. I can tell this thing is going to take months, perhaps years, to absorb with any degree of depth. That’s a sign there’s more there than just infatuation. I read that Kleenex Girl Wonder co-founder Adam Blake died this spring and Graham’s current drummer was recently struck and killed by a car. Sounds like he’s got more to write about. This may well make my Top Ten Albums of the Year. Check this guy out if you like music of any kind. Anthony @ www.marchrecords.com MP3 Download |
Grand Mal - “Bad Timing” CD 11/40:48 Grand Mal’s latest is a case of bad timing, indeed - this may have sounded fresh two years ago, but the Strokes/Hives/Stripes revolution has left bands like this in the dust, still peddling the same old riffs. Sure, “Bad Timing`” is great, swaggering fun, but the rest of the album plods along at a steady rock pace that has neither the Strokes’ style nor the Hives’ vitriolic abandon. The result is just another middle of the road “new rock” CD that will find plenty of fans but few devotees. Ryan @ www.arenarockrecordingco.com |
Grandaddy – “Sumday” CD 12/52:27 Perhaps the worst thing I can say about Modesto-based Grandaddy’s third full length is that I can’t find much to say at all. “Sumday” is a carefully crafted mix of bucolic psychedic rock and electronic noodling that explores ideas associated with the everyday clash of humans and hard drives. “Sumday,” as compared to their previous exploits, has an undeniable sheen to the production. Furthermore, the sheer isolation of the “The Sophtware Slump,” which made you feel the emotional gap of the technological age is largely absent here. Don’t get me wrong, this is probably their most consistent and accessible record through and through. And its renewed effort towards hooks makes it a less frustrating listen than their prior two. But the regurgitation of old ideas in a shiny new coat makes this more of a retread than a revelation. Scott @ www.grandaddylandscape.com |
Gravy – “Fourteen” CD 10/36:51 Somewhere along the way, this band went terribly wrong. They sound like, in some nascent form, they may have been a struggling punkish outfit, and then sold their souls to the mainstream gods. There remains an edge that rears its head, but mostly it’s solid MTV land. Could be my wishful thinking – perhaps they were conceived to sound this plastic. It appears that if they wanted, they could be quite interesting. In the meanwhile, when dealing with lack of balls, the rest is gravy. RBF @ www.gravyrock.com MP3 Download |
Gravy Train – “Hello Doctor” CD 10/24:20 Think of an ESG from Mr. Mxyzptlk’s dimension with lyrics that would make Zappa cringe and you’ll have an idea of what you’re in for. If this isn’t quite the consistent slab of geek-rawk-disk-o their release on S.P.A.M. was (a few of these tracks almost seem like filler) this is still guaranteed to be of absolutely no redeeming social value whatsoever, and as such still recommended for listening and family bonding experiences, provided the counselor’s not charging you overtime... David @ www.killrockstars.com |
Great Kat – “Wagner’s War” CD 7/11:10 Dude…I don’t even know anymore. Once I think I’ve heard the new extreme in music something like the Great Kat comes along and pisses me off. See what she does is play like all of the instruments here, sings about “War”, “Terror”, “Punishment” and “Humiliation” with lyrics such as “Heel! Kneel!/Get on all fours/Lowlife!/Fetch my boot/You peon/Pathetic slime!” and does these weird metal transitions from Wagner and Liszt. And she does a lot of screaming. Plus the music is ridiculous and way fast. Actually, it was kind of fun. Not to mention, the Great Kat is kind of hot. But she scares the living crap out of me. Imagine dating this girl and having her be all crazy and recording this kind of warped noise? Awesome! Whittaker @ www.greatkat.com |
Great Redneck Hope – “'Splosion”” CD 9/12:21 Good post-Locust screamo tweaked-arse hardcore, the kind that would go over quite well if they ever played a show with said Locust and An Albatross, with similarly poetic titles. Only lasts about twelve minutes or so but what they lack in length they make up for in intensity. Pretty tasty. David @ www.thinkerthoughtwrong.com |
Green Pajamas - “Through Rose Colored Glasses: The Best Of” CD 14/59:02 Quick, name two Green Pajamas songs. Ok, then, just name one. Can’t do it, can you? Then I ask you...why in the bloody hell am I sitting here listening to a 14-song greatest hits of this band? The answer is self-evident - the songs here just aren’t very strong. It turns out that this band is best known for writing “Kim the Waitress,” a semi-hit for Material Issue, although I still fail to see how that warrants a greatest hits package. A lot of this type of watered-down pop-rock ends up falling through the cracks, and for all the right reasons - there isn’t a song here that demands repeated plays, although to be fair I gave it a few spins. Nothing, zip, nada. These “hits” are all misses. Ryan @ www.parasol.com |
Greg Ashley – “Medicine Fuck Dream” CD 10/41:13 Not unlike Lone Pigeon and many other contemporaries, this record is Greg Ashley’s way of telling the world that he really, really likes Syd Barrett. According to the website this is “a collection of 10 songs pretty much about 10 girls”, and I’d have to say that seems about right from what I’m hearing. Not a terrible record by any means, but it does tend to drift into the background from time to time. The combination of “Deep Deep Down” and “Lost Highway” probably account for the best part of the CD, the latter sounding like a long lost cowboy song gone psychedelic. Certainly worth checking out if you’re already a fan of such music, but don’t come hunting me down it doesn’t hold your ear – I warned ya. Jake @ www.birdmanrecords.com |
Gregory Issacs - "The Best Of Gregory Isaacs" CD 11/40:00 It seems like we've reviewed a G.I. release every issue of SP. To recap, the Jamaican superstar has a catalog of treasures that would rate him with any soul singer ever. There are however, at least a dozen greatest hits packages on the market. I wish I could tell you which is the most definitive of the bunch. I can't, but I can tell you that with 9 studio tracks and live versions of "Substitute" and "The Border" this one is a mere introduction. Mel @ www.hip-o.com |
Grey Does Matter – “How to Make Millions in Real Estate” CD 13/39:50 While there was a lot of really decent music coming out in the 1980s, the prevalent style was guitar/synth-fueled pop, which sounded cookie-cutter and totally castrated. In 2004, one-man-band Jason Crawford reproduces this style to perfection. If you have fond memories of these retro sounds, you will definitely be in hog heaven. If you want something that kicks ass, well, look elsewhere. RBF @ www.jackomatic.com |
Greyfield - "Soundtrack to the Summer" CD 6/21:05 Another group of cute guys with Hot Topic haircuts make a cheezy pop record. Somehow, the planet does not shake with their arrival. It is hard to find anything to say about this disc, because it is so ineffectual as to be nearly nonexistant. The tracks have names like "Note to Self", "Party After the Show" and "Sunrise". Get the picture? Mark @ www.searchandrescuerecords.com |
Grover – “Tiny Blue Sparks” CD 10/46:30 This sounds like two of my favorite wrestlers, Senor Shoegaze and Mr. Postrock, clashing in the ring for the title of Head Musical Influence over the Midlands, UK band Grover. This group has been around in one form or another for around 10 years, and they currently feature the former bassist of Godflesh Steve Hough. Fans of Mogwai and Billy Mahonie will probably like this release, and possibly even some folks crossing over from the shoegazer side of things might find something worth listening to. I quite enjoy this record more and more each time I listen to it, and hopefully you’ll feel the same way. Jake @ www.bearos.co.uk |
Gruesomes – “Gruesomology, 1985-89” CD 25/61:17 This Montreal group was among the best of the neo-‘60’s garage revival bands. They not only had the hairy look down, they also had the trashy sound and the ultra-snotty spirit. Best known for lots of original two- to four-chord punkers with primitive lead breaks and belligerent vocals (such as “No More Lies”, “What’s Your Problem”, “Time’s Gonna Come”, and “You Said Yeah”), they also did psycho instrumental and vocal covers (like “Je Cherche” and “Jack the Ripper”), moody numbers (like “Things She Does To Me”), and tough R&B (like “I’m Glad For You”). Sundazed has done a great job selecting songs, and it turns out that the Gruesomes’ materials fully stands the test of time, just like that of their obscure mid-’60’s heroes. Jeff @ www.sundazed.com |
Gruk – s/t CD 12/14:21 Straight outta Chico, this be superior snarling DIY punk with screaming female vocals and Blatz (both band and beer) running through their bloodstream. All in all good music to Fuck Shit Up by and more proof (as if it were still needed) that there’s still signs of intelligent (if not always sober) life in the twilight world of DIY punk. David @ www.geocities.com/ryanlallbaugh/plato.html |
Guided By Voices – “Half Smiles of the Decomposed” CD/LP 14/42:20 “A second spurt of growth will come about me / don’t doubt me,” sings Robert Pollard near the end of Guided By Voices’ zillionth and final album. It’s not just a request, it’s a warning. With another solo double-disc already in the can, it’s likely Pollard is stopping only long enough to regain his breath before running full-steam into a solo career. So what’s to miss, if Guided By Voices is essentially Robert Pollard, and he’s still going to be releasing albums? Plenty. “Half Smiles of the Decomposed” not only boasts some of the strongest tunes Pollard has ever penned, it’s also a tantalizing last snapshot of the collaborative spirit that brought us such classics as “Game of Pricks,” “I Am a Scientist” and “Teenage FBI.” Nothing on “Half Smiles” quite lives up to those mid-’90s pinnacles, but that doesn’t mean it’s lacking the infectious, sing-a-long rawk qualities of every good GBV release. The first six songs on the album, from the melodically lithe “Everybody Thinks I’m a Raincloud (When I’m Not Looking)” to the gorgeous “Girls of Wild Strawberries,” are as good an A-side as Pollard has ever penned. The disc strains a bit to regain its footing near the middle (especially on the languid, repetitive “Tour Guide at the Winston Churchill Memorial”) but overall “Half Smiles” puts most bands half Pollard’s age to shame. From Doug Gillard and Nate Farley’s complementary picking to Chris Slusarenko’s acrobatic bass work to Kevin March’s dry, nimble drumming, there’s nary a loose end. Pollard’s voice is a bit thinner than it was in the 20th century, but drinking a case of beer and playing three-hour concerts every other night will do that to you. Willfully obscure (as of late, anyway) and incomparably prolific, Guided By Voices is the most maddeningly contradictory, brilliant group of Midwestern dreamers the world has seen. Pollard will solider on, and many of us will follow him, but for now he’s left us “Half Smiles of the Decomposed.” I’m not sure, but I think there’s a wink somewhere in there too. John @ www.matadorrecords.com |
Guided By Voices – “The Pipe Dreams of Instant Prince Whippet” CD 10/23:03 The drawback of being a prolific songwriter is that, after you’ve cranked out pop tune #356, the public begins to perceive your work as disposable. It’s the old law of supply and demand: songs that come from a bottomless trunk don’t seem as precious or valuable as ones that trickle out every five years or so. The only man alive who can trump Ryan Adams in superfluous productivity is Bob Pollard. So plentiful is his backlog of verse-chorus-verse that he created a whole label – Fading Captain – to serve as a conduit for songs that didn’t end up on proper GBV outings. That the series was started two years ago and is already up to volume 24, speaks volumes about Pollard’s compulsive tunesmithing. And how are the songs? Fine, but not especially exceptional. “Visit this Place” is a barnburner of an opening, but many of the other tracks seem stalled or perfunctory. “Swooping Energies” and “Action Speaks Volumes” are mired in sludge, both lacking the trademark Pollard fairy-dust chorus. The title track strings along a simple “Aaah” chorus, which should be child’s play for Pollard. Mostly the songs are serviceable but not very memorable, and it’s clear why Pollard saved them for this fan-centric collection. Maybe it’s just oversaturation or familiarity, but “Instant Prince” ultimately comes off a bit rote. J Edward @ www.gbv.com |
Guild League – “Private Transport” CD 13/47:07 All hail the mighty Guild League – all 16 of them – for bringing fun back into indie rock! Seriously, though, these guys give something rarely scene in the underground scene: a little swing, a little flourish, and the feeling that they know they’re making you dance. As Pavement proved for years, having a little attitude in your indie is fine, as long as you back it up with some serious songwriting chops. The Guild League do just that and more, taking the listener on a bumpy boat ride through a CD with the vocals of a Belle & Sebastian but the moxy of Jarvis Cocker. What could be a novelty act turns into a surprisingly cohesive effort – even the nearly a cappella “A Faraway Place” works in its own way. The Guild League roll the dice, and come up snake eyes nearly every time on this impressive debut. You’re hipster friends might make fun when they hear it, but they’ll at the record store the next morning – count on it. Ryan @ Matinee Records |
Guitar Gangsters - "Another Day in Pleasantville" CD 16/51:13 These guys have been at it for awhile, and as their name implies, they definitely assault your ears with plenty of ringing guitars. Formed out of the ashes of the Untouchables, the vocals are working class Brit all the way; but with none of the Oi!, Oi!, Oi! you'd expect, as the songs all have a strong pop hook. The band they probably come closest to sounding like is Social Distortion, the songs have a similar pacing and more traditional rock n roll feel; they even covered George Thorogood's "Bad to the Bone". I have to admit to liking these guys more in the past; at 16 songs, this all starts to run together after awhile, but this trio gets a huge sound out of a guitar, bass and drums and songs like "Safety Pin Through My Heart" are classic '77 style punkers that are sure to stick in your brain. Steve @ www.captainoi.com |
Guitar Wolf – “UFO Romantics” CD 13/40:14 What, you think they’re going to turn pop-punk or Vans-core on us? This is the eighth slab of Guitar Wolf’s patented brand of intense distorted-scuzz-rock-n-roll, as usual with all levels in the red and ready to stomp some pseudo-garage pretenders into the dirt. Thanks to Narnack for returning these lads to our humble shores. David @ www.narnackrecords.com |
Gun Club – “Fire of Love” LP 11/40:15 At long last the GC’s first and finest is back on vinyl, and 220–gram vinyl at that. Might seem quaint today to some, but trust me, unlike too many modern-day blues-influenced punk acts, Jeffrey Lee and cohorts were capable of sending gen-u-ine chills down your spine without resorting to B-movie antics. Do yourself a favor, pick this up today. David @ www.munster-records.com |
Gunmoll – “Board of Rejection” CD 13/36:31 Have long dealt with Leatherface and Jawbreaker comparisons (favorable ones, might you) thrown at them, they definitely come into their own here. Passionate gravely lived-in vox fronting equally passionate punk rock that manages to strike a chord with the listener. If it’s true they’ve called it a day at least they went out on a high note, which is more than you can say about too many other outfits out there. David @ www.noidearecords.com |
Gurus – “…are Here” CD 17/41:59 This is a mixed, Eastern-influenced bag, kaftans and all. A creation of would-be rock Svengali Ron Haffkine, a local jeweler, the Gurus were a NYC “concept band” that incorporated exotic, Middle Eastern instruments and melodies into a psychedelic rock sound, not unlike the (US) Kaleidoscope sometimes did. The results are often very cool, as on “Come Girl,” “It Just Won’t Be That Way,” “Blue Snow Night,” “Everybody’s Got to Be Alone,” and “Mystic,” but at other times it falls flat (e.g., on the horrible, speeded-up cover of “Louie Louie”) and the high-pitched male lead singing is at times extremely annoying. Still, it’s great that Sundazed has made this rare and much-in-demand album available again, as its best moments are a real treat. Jeff @ www.sundazed.com |
Gurus - s/t CD 15/47:11 After hearing this disc, I run the risk of sounding like one of those punk didactics in old issues of Slash or Max RnR, ranting about the smart pop of bands like the dB's. But honestly, there's only so much Beatles-inspired psych throwbacks one can stomach, especially nowadays, before you feel like you're existing on a diet of blancmange-flavored blotter acid. In other words, the Fabs damage incurred by this present-day Barcelona trio is nearly irreparable, with only two songs here evidence of possible recovery: the joyously slashing rocker "Good Morning", and the electronica-daubed "Gerundula". MLH @ www.rainbowquartz.com |
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