Ozzy Osbourne, Tony Iommi, Geezer Butler, Bill Ward,– four names that resonate throughout rock’s recorded history as clear and sublime as the bell that tolls the opening to the bands eponymous debut album from 1970.

Collectively, they formed Black Sabbath and forged the most haunting and hypnotic rock sound of all time. From humble beginnings, the Birmingham quartet enslaved the minds and souls of millions of rock fans around the world and continue to do so into the new millennium. The musical genre they created inspired countless musicians and spawned countless bands. Such has been their influence; they have been inducted to the Rock and Roll Hall of Famein 2006 and were included among Rolling Stone’s list of the 100 Greatest Artists of All Time.

“Iron Man: The Best of Black Sabbath” is a 14 track collection of classic tracks from across the bands first eight albums – including tracks from 1970’s debut “Black Sabbath” and follow up “Paranoid”, 1971’s “Master Of Reality”, 1972’s “Volume 4”, 1973’s “Sabbath Bloody Sabbath” and 1978’s “Never Say Die”. The album brings some of the best loved and most influential rock songs of all time together on one album – including such classics as “Paranoid”, “Iron Man”, “Black Sabbath”, “Sabbath Bloody Sabbath”, “War Pigs” and “Changes”. The release is a must have for any self respecting music fan…

Full Tracklisting (including original albums):

1 – Paranoid (Paranoid)
2 – Iron Man (Paranoid)
3 – Changes (Volume 4)
4 – Fairies Wear Boots (Paranoid)
5 – War Pigs (Paranoid)
6 – Never Say Die (Never Say Die)
7 – Children Of the Grave (Master Of Reality)
8 – The Wizard (Black Sabbath)
9 – Snowblind (Volume 4)
10 – Sweet Leaf (Master Of Reality)
11 – Evil Woman (Don’t Play Your Games) (Black Sabbath)
12 – Sabbath Bloody Sabbath (Sabbath Bloody Sabbath)
13 – Black Sabbath (Black Sabbath)
14 – N.I.B. (Black Sabbath)

The band are also playing an intimate show at the Birmingham’s 02 Academy on 19th May.

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Coventry boys The Enemy will be playing two hometown headline shows at Coventry Cathedral Ruins on 21st and 22nd May to coincide with the release of their third album on 21st May.

We have two pairs of tickets to give away to the gig on May 22nd. To be in with a chance of winning just email us with the answer to the following question:

What is the name of the new Enemy album, due out this month?

Email the answer to steve@brumlive.com

Deadline for entries is May 17th.

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You may yet to have heard of The Coronas, but, in their native Ireland, they are a seriously big deal. Their previous album beat U2 and Snow Patrol to the Meteor Best Album Award and in December they will headline Dublin’s 14,000 seater O2 venue, the largest indoor venue in Ireland!

The Midnite Bonfires started proceeding on a very entertaining night – a four-piece band playing catchy, witty and edgy music. “Misbehave”, “Runaway” and the song that got the biggest reaction on the night, “Wait”.

After quite a wait, a guy comes on stage and says, “Sorry guys, my band mates went for a walk and have not returned”. He started by singing a song called “Pot Of Gold”. Looking confused with what to do next he started talking to the crowd. “Erm what do I say? I am Murray James” said Murray. He then started performing “Blue Today”. Half way through song two guys rushed the stage. “Its Jessie and Joey” James said. His band mates had arrived and it was interesting to see the other two members of the band grabbing instruments and synch with the music being played already, watching a drum kit being screwed together and joining in. It was an interesting build up to the good music they played.

I think the Irish every so often export something that takes the world by storm – Guinness, U2, Colin Farrell… and The Coronas will be the next big output. They are sharp, with great stage presence. Their music really has meaning and is played with soul and vigour. The small venue at The Ballroom was packed with fans, singing word for word back songs such as “Listen Dear” “Mark My Words” “Tony Was An Ex Con” and title track to their album “Closer To You”, being released in a month. The Coronas really rocked the Ballroom. I would be terribly surprised if they played a venue that small after they release the single in England. Then again, this was their first UK tour.

They returned for an encore and an audience member shouted out a request, “Close To You”. “It was the song I fell in love to my girlfriend to”. The band fulfilled the request, dedicating the song to the couple and showing the strong rapport they had with the audience.

The Coronas performed to the fans and showed what is lacking from many modern day live performances, genuine connection with the paying fans and great music to match.

Review – Chadwick Jackson
Photos – Alex Dean

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Boy bands are big business at the moment and Mindless Behavior is no exception to the hype. According to the all-singing, all-dancing American teen quartet, their group name represents self-expression, and it’s this combination of talent and confidence that have allowed them to sell out shows in both the US and the UK. MB – formed of Prodigy, Roc Royal, Ray Ray and Princeton (all aged between 14 and 15) – played to an audience of mainly pre-teens (and their parents) at Birmingham’s HMV Institute and, hand on my ‘I-heart-mindless-behavior’ t-shirt, they did not disappoint.

But let’s start at the beginning: the support acts.

Upon entry the crowd were entertained by a five song set courtesy of North London rapper PW. While concert-goers filled the 600 capacity venue, PW, also known as Akheim Allen, treated us to a head-bopping, hand-throwing performance of ‘Red Bottom Beech’ (yes, it’s really called ‘Red Bottom Beech’), a track that boasts about a lady and her love for Louboutin footwear.

Before closing his set with his latest single, the Mark Asari-assisted track ‘On My Way’, PW engaged in a bit of crowd participation, asking the audience: “Who’s got Twitter? Who’s got Facebook? Who’s got BBM?”. After throwing a ‘#TeamPW’ t-shirt into the crowd, and the small scramble that followed, PW left the stage, leaving behind a satisfied audience.

Assuming that the first support act succeeded in warming up the crowd (which I’m sure he did!), it wouldn’t surprise me if they cooled right back down again, considering the time consuming set changes. Nonetheless, it was worth the wait because when the next support act arrived, he was accompanied by a full live band.

Brighton-born Conor Maynard needed no introduction, literally. As soon as he hit the stage, he jumped straight into his first track of the night: ‘Take Off’, treating us to a couple of dance moves during the intro. Towards the end of the song: “For those of you who don’t know, my name is Conor Maynard” clarified his existence to the audience who, for the the most part, knew exactly who he was, judging by the screams and the fact that he played a sold out show at the same venue only a few days prior.

It’s no secret that Maynard has become a somewhat ‘cover song connoisseur’ over the past couple of years, and his on-stage ode to Drake seemed to be much appreciated by the audience, who sang along to every word of the nineteen year-old’s rendition of ‘Marvin’s Room’ – the same track responsible for over 4 million of his Youtube views. However, this doesn’t, by any means, discredit his artistry, and while cover versions of popular tracks are usually a miss for some artists, for Conor, they further exemplify his obvious talent and vocal ability. Other cover tracks on the bill included Frank Ocean’s ‘Miss You So’, where Conor carried the audience into a slightly calmer place, showing off his soulful vocals in the process.

After a performance of ‘Animal’, which he declared “was made to blow the roof off”, he performed his top ten hit ‘Can’t Say No’.

Now it was time for the headlining act: Mindless Behavior. But not before another lengthy changeover time, which led to humorous, impromptu chants, such as: “Mind-less Be-hav-ior hur-ry up!” and discrete mother/daughter debates along the lines of: “No, Mom! It’s Roc Royal, not Ric Roc!”.

The headlining set began with a short role play to tease the crowd. With the band off stage, the audience overheard: “Aye Prodigy you ready? Ray Ray, is he ready? Roc Royal where you at? Aye Roc, will you make sure Princeton’s got his hair done?”, causing the audience to scream in anticipation throughout the entire introduction. Once the four-piece made it onto the stage, pandemonium ensued and the band performed over a prerecorded version of ‘No.1 Girl’, an infectious Pop/ R’n’B/ Dance hybrid, accompanied by full choreography where the guys worked the entire breadth of the stage.

Following ‘No.1 Girl’, the group performed ‘Future’, a track where we had the pleasure of hearing about how well they plan to treat their No.1 Girl once they find her. With super-sweet lyrics such including: “Girl I got a future. When I’m older imma know just what to do with ya”, it’s clear why they are are such a hit with their young, female fanbase.

Every song thereafter, unsuprisingly, had a reoccurring theme: girls – leaving a girl, in ‘Gone’; being talked about by girls, in ‘Girls Talkin’ Bout’ and being in a relationship with the right girl, in ‘My Girl’.

About five songs in, the stage lights disappeared and show ended abruptly – or at least appeared to end. That was until DJ Soundwave, the band’s DJ, in role-play mode, told Ray Ray: “Now, we did not get on an eight hour flight to leave like that” and, to be honest, I’m pretty sure the audience felt the exact same way.

Before leaving the stage for the final time, Prodigy, Roc Royal, Ray Ray and Princeton performed their UK debut single “Mrs. Right”, which was greeted by a chorus of screams and followed by plenty of sing-along activity.

While Prodigy appears to take the lead, all four members have an undeniable star quality and a certain stage presence that can only be acquired through practice, dedication and hard work. Taking their young age into account, you can’t help but see them and think: ‘Wow! These are some really cool kids’.

Review – Kamara Bennett
Photos – Katja Ogrin

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Hannah and Sophia Johnson are sisters from Birmingham, who front the band The Toy Hearts. Together with their father Stewart, they play their own blend of bluegrass and western swing. I spoke to the sisters backstage before a recent show….

So it’s the Glee Club in Birmingham tonight. A bit like playing on your home ground again?
We’re very excited about this show, and that we have the album to launch here in our hometown. We first played this venue about 3 years ago, when we opened for Imelda May, and I remember thinking wouldn’t it be great to headline our own show here. So we’re really proud and excited about tonight.

Given the large number of music festivals over the summer months in the UK, are you now coming up to your busy period of live gigs, or is it year round?
Things are really kicking off for the next couple of months with this tour to launch the new album, and dates are filling up over the summer. We just get out there as much as we can really. We usually have a busy summer, but we do tour all year round. We love to perform, so we are happy to be on the road as much as possible. There aren’t quite as many festivals as last year, due to the Olympics

You seem to be doing a big variety of events, from small venues like this, to huge things such as the Cambridge Folk Festival
We are at a weird point in our career where we are outgrowing a lot of the places where we have been playing, and stepping up into the bigger ones. It is a bit odd playing a 500 capacity arts centre one night, and a 50 capacity pub the next. Our music is at its best when played in a smaller, packed room, and we are not fans of huge stages. We like it when we can stand close together, though it would be stupid to say we don’t like bigger gigs, as that’s obviously where we are hoping to be.

I see from your website that you have landed the support slot for Robert Plant’s concert in May
That came completely out of the blue, only last week, and we are really looking forward to it, if a bit overwhelmed. He’s launching his new band, the Sensational Shape Shifters, which will be very eclectic, lots of world music and also stuff influenced by Appalachian music, and things from Louisiana, so our music should fit well with that as an opening act. Either way, we are just chuffed to bits.

Your 4th album Whiskey is due out very shortly. The first one came out in 2006, how long had you been together at that point ?
We started in 2000, it was just a fun thing to start with. We didn’t really write, and we were just learning to play bluegrass as a band. We had a weekly residency at the Ceol Castle, and we played the Roadhouse quite a lot, but when we started writing, that’s when it changed from being a fun jam band into something more serious, and to something with a bit more longevity.

Your last album was all done in Nashville, whereas the new one was recorded at home, but mixed over there. Why the change ?
When we did that album in Nashville, we quickly realised that the unique skill that they really have to offer is in the mixing and the post production. We saw how they miked up the band over there, and it was almost identical to how we did it at home. Recording it here frees us up from all the logistical hassles of getting over there, recruiting support musicians and booking studio time etc. We could just focus on doing the best performances possible, and then send the audio to Nashville, for Ben to do his magic with, and we are absolutely thrilled with the result.

The new album features 6 original songs and 6 covers. That’s a big change for you as the first 3 albums were all self composed.
This is our 4th album now, and perhaps we felt the pressure was off for us to prove ourselves as songwriters, so we chose some of our favourite songs to play on this one. They aren’t particularly well known songs that we’ve covered, just ones that we absolutely love. We haven’t changed them radically from the original versions, we’ve tried to keep the same feel to the songs, though we may have upped some of the tempos slightly.

It’s quite well documented how you two got into bluegrass by listening to your dad’s records, but how did he discover this very American style of music?
His father was in the RAF and was stationed in Germany in the early 60’s, where everyone listened to the American Forces Network radio station. This was around the time that the Beatles were playing in Hamburg, and our dad got together with his brother and formed a band playing American roots music. The stuff they played was much more left field than most, as dad really loved things like delta blues (he’s got a huge pile of delta blues records)and of course bluegrass.

Between the 3 of you, you seem to do just about everything, as regards running the band. How does that pan out when you’re not touring?
During the day, dad tends to handle the logistics side of the band, and we are on our laptops looking after the social media and promotional side of things. We tend to rehearse in the evening. If we need to structure some time for writing, we head out to our mum’s house out in the country, to get away from other distractions. In fact several of the songs on the new album were written there, on one of those trips.

Any thoughts of moving to America?
We’d love that. Find us some nice Americans to marry and we’d be there in a shot. It is really hard to get over there, but we’d love to move to Austin, Texas. That’s got to be a goal, somewhere in the distance.
I then asked a rather convoluted ‘not trying to insult you’ type question about reality TV shows as a shortcut to fame, but as neither they nor me watch this type of show, or have any interest in them, it rather fizzled out. Some ideas look better on paper.

For more info on the band, or to buy their new album, go to thetoyhearts.com

Interview – Alan Carruthers

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One of the truly original English Synth pop acts and a major influence on everyone from Hot Chip to Metronomy, Blancmange play Birmingham’s Academy 2 on May 19th.

After plying their big electronica sounds across Europe last summer, including a triumphant Bestival appearance, Neil Arthur, Graham Henderson and Pandit Dinesh return to Birmingham with their catalogue of leftfield pop classics. Equipped with trademark fat analogue synth sounds and a bag of classical Indian percussion, Blancmange will be performing tracks from their latest album ‘blanc burn’ alongside timeless new wave classics like ‘Living On The Ceiling’, ‘Waves’ and ‘Don’t Tell Me’. They may even dust down their infectious cover of Abba’s ‘The Day Before You Came’.

Click here for tickets.

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Four-piece dubstep outfit Modestep were reduced to two for tonight’s show due to injured drummer Matt Curtis, so brothers Josh and Tony Friend took to the stage for a DJ set rather than the live performance intended. They played an onslaught of heavy bass, and a varying paced mixture of old and new chart-topping dance samples combined with an influence of reggae and rock infused dubstep. It’s certainly an interesting mix that really divided the crowd. With some joining Vocalist Josh’s requests for a mosh pit, others looked on waiting for it to end.

Tracks such as “Feel Good”, “To the Stars” and up and coming single “Show me a Sign”, showcased more original work and Josh’s strong vocals, however with tracks rolling into each other, it was difficult to differentiate when one song ended and another began, especially for someone more unfamiliar with this type of music. I was expecting more of a rock influence tonight than what materialised and perhaps the missing live performance was the reason for this. There were the odd metal influenced screams, but they seemed quite random and for me, not really in keeping with the music. As a rock fan, it was a difficult hour and left me wondering why they were in support tonight, however for those who like this type of music, it was a high energy set from DJs that were accomplished, enthusiastic and knew how to interact with the crowd. It was however, a shame that they could not play live.

Showcasing their recent release “Weapons”, Lostprophets opened to a packed out Academy with “Bring ‘em down” to an ecstatic reception. Their 19 song set displayed tracks old and new, from across five albums and twelve years, from “shinobi vs dragon ninja” to new songs “we bring the arsenal” and “better off dead.” It is difficult to really pinpoint the crowd favourites tonight as there were so many. The crowd sang and danced the whole night. It was a definite greatest hits performance with a well thought out set. There was a great variety in pace, switching between a mellow tone and more meaty metal riffs, from “Another shot” and closing song “sway” to screamers “to hell we ride” and “we are Godzilla, you are Japan”.

It did seem to take a few songs for Watkins’ voice to take dominance over the strong drums and distortion; and at times he got a little lost behind the big sound behind him. However, with the crowd knowing every word of their songs, the atmosphere remained electric regardless. Watkins got the crowd singing Guns and Roses classic “sweet child of mine” before launching into “Where we belong”. The opening riff of “Last summer” was greeted by one of the loudest cheers of the night and “rooftops (a liberation broadcast)” and “burn burn” inspired an excited reaction.

You can tell these guys have been doing this for years, they’ve got a great chemistry on stage; they seemed relaxed and were clearly having fun. Watkins played with the opening riff to “rooftops (a liberation broadcast)” by playing the top part of the fret board, before the song went into full swing. He smiled and danced throughout the set and had a great connection with the crowd. He is a charismatic front man that you can’t help but like. They played hit after hit and even those less familiar with their music would have recognised and enjoyed most of the tracks they played, reminding everyone of their tremendously successful career to date.

Setlist
1. Bring ‘em down
2. It’s not the end of the world, but I can see it from here
3. Better off dead
4. Can’t catch tomorrow (good shoes won’t save you this time)
5. A town called hypocrisy
6. Another shot
7. Make a move
8. Where we belong
9. 4:AM forever
10. Jesus walks
11. Last summer
12. Rooftops (a liberation broadcast)
13. Shinobi Vs. Dragon ninja
14. We bring an arsenal
15. To hell we ride
16. Last train home
17. Burn burn
Encore
18. We are Godzilla, you are Japan
19. Sway

Review – Karen Trenbirth
Photos – Michelle Ballard

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They look good, they sound great, their musicianship is exemplary. So after 12 years and 4 albums, why aren’t The Toy Hearts packing out the NEC? Quite simply, the musical field in which they dwell is a field of bluegrass, which puts them well off most people’s radar.

The Toy Hearts are fronted by the Johnson sisters, Hannah & Sophia on mandolin/vocals and guitar/vocals, backed by their father Stewart on dobro/pedal steel, and tonight Howard Gregory on fiddle, and Al Gare (from Imelda May’s band) on stand-up bass. They played 2 sets at a reasonably full Glee Club, the first one filled with favourites from their first 3 albums, and in the second they played almost their entire new album ‘Whiskey’. From the moment that they start, I realise that my preconception of bluegrass is all wrong. In my mind it was a yee-hah, knees-up sound that I was expecting, but this has much more subtlety, depth and style.

Stand out songs from the first set were a beautifully performed cover of Kate Mackenzie’s ‘Carolina’, and their own standout composition ‘The Captain’. Both these songs appeared on their 3rd album Femme Fatale, the former harking back to their residency at the Ceol Castle over 10 years ago, and the latter a confirmation of how mature their song-writing has become over the years. It was dedicated to the UK bluegrass community, with whom they seem to have a mutual antipathy. The opening lines telling all ‘Who are you, to tell me what to do……’. All the songs were well received, but there was a cathedral like quiet during the music. In fact halfway through the set, Hannah chided the audience ‘You can make a noise you know, it’s not a folk club’. This isn’t the first time I’ve heard an artist making such a comment at the Glee Club. Possibly it’s being seated in full view of the stage, in such intimate surroundings, that makes the crowd so reticent to relax.

For the second set Toy Hearts were joined by Dean Beresford (Richard Hawley band) on drums. Evidently bluegrass purists would find this an absolute outrage. Not sure why, but Dean’s playing (mostly with brushes, I think) augmented the music well, without detracting from the overall blend. ‘Whiskey’ consists of 6 originals and 6 covers, and Toy Hearts played 10 of these in the second set. Perhaps the greatest compliment would be that there was no appreciable difference in the quality of the songwriting of either the originals or the covers.

Alcohol seems to be a recurring theme in the Toy Hearts songs. In the first set we had ‘Tequila And High Heels’ and ‘Pass The Jack’, and now a cover of Dinah Washington’s ‘Me And My Gin’ and the title track from their new album ‘Whiskey’, which finishes with the haunting line ‘…and whiskey won’t take the taste of heartbreak from my mouth’.

A thoroughly enjoyable night, with a highly polished, talented band of musicians. Catch them ‘live’ if you have the opportunity.

Review – Alan Carruthers

Photos – Alex Dean

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In 2012, R&B superstars don’t come much bigger than a man called Drake. The Canadian rapper has sold out two consecutive nights at Birmingham’s LG Arena and the excitement in the crowd could not be much more obvious.

As the lights go down, the huge screen behind the stage displays a wall of faces, and then there he is, silhouetted with a single spotlight as the screams from the arena reach fever pitch. Lord Knows and Underground Kings set the pace for the night as Drake (Aubrey to his mom) stylishly delivers a barrage of slick rhymes, connecting well with his audience.

Tonight, Drake is backed by an accomplished 5-piece band who help deliver the polished sound he’s become known for. They don’t move from their designated spots, except for his guitarist who gets to share Drake’s limelight once or twice during the set.

Highlights include the stompin’ single Forever which sees a sea of waving hands throughout the venue. It’s impressive to see how many people can sing along with his rhymes word-perfectly, especially considering how quickly he spits lyrics out on occasion.

The last time he played this room, Drake was opening for Jay-Z, but whereas Jay-Z brings the party vibes, Drake is more about laid-back jams with a groove that keep the boys’ heads nodding and the girls’ hips swinging. Personally, I’d choose Jay-Z every time.

After a while, watching what is basically a one man show does become a little monotonous from a visual perspective. Drake walks from one side of the stage to the other and does well to connect with individuals in the audience but, other than the projected visuals behind the stage, there’s not much more to keep your attention. Of course, that doesn’t seem to bother many in tonight’s packed out venue as they dance and grind to every solid beat.

He talks about the after party he’s hosting later that night and teases the girls on the front row, many of whom are being pulled out by security looking like they’re about to pass out. Whether that’s due to being squashed in the crowd or because they’re overcome by Drake’s good looks is up for debate!

As the intro to Headlines fills the room, the volume of screams reaches even higher levels. Drake stands smiling at the lip of the stage as the beat kicks in and the whole arena seems to move to the beats. It’s the perfect ending to an accomplished set and the well-dressed crowd leaves more than satisfied.

Review & photos – Steve Gerrard

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Dressed like pre-glam Slade, wearing turned up tight jeans and t-shirts, but trading the skinhead haircuts for floppy fringes and long wavy locks, Bombay Bicycle Club either by coincidence or design move even higher up in my estimations as they express their gratitude to our Black Country heroes through fashion. And despite not quite yet reaching the dizzying heights of Slade’s success, they certainly have picked up their knack of writing clever, catchy and well-arranged songs.

I did have reservations that this small band of rakish young north Londoners could have the presence and strength of performance to do justice to some of their more hard-edged studio recordings. I did not doubt that they could run through ‘Flaws’ with ease, as the accompanying live street versions of the songs on the deluxe album show how talented they are at this more folky style, but I was amazed to see how much more powerful and aggressive their harder/faster songs made the transition to stage.

“What If”, “What You Want“, “Cancel On Me”, “Emergency Contraception Blues “, “Always Like This” and “Shuffle” flowed effortlessly between their softer songs; “Still”, “Beggars” “The Giantess“ and “Dust On The Ground”. Already this young band have shown immense maturity and strength of character to so easily live up to their position of Britain’s most talented best kept secret.

Lead singer Jack Steadman is so much more than the soft voice on their albums; stronger in the flesh than the overtly emotional and often haunting recorded vocal would let you think. Sometimes Steadman sings like a blown up balloon being quickly deflated, and at other times like the balloon has just been popped. His movements are awkward and often jerky as if he has been shot by a machine gun. As strange as it sounds though, it is utterly captivating.

The other members of the band, including guest backing singer Lucy Rose allow Steadman the room to express himself, whilst supporting him with stunning musicianship and absolute consideration. It is helped that the songs are so well written and arranged that there is never a sense of the space being overcrowded by unnecessary noodling or bravado. The songs build and become dismantled only to be set up again: no better example is “Lights Out, Words Gone”, where guitar lines meld with keyboard phrases and wondrous sets of vocal and backing vocals, harmonies and counterpoint harmonized rhythmic sets… it sounds complex on record, and is a triumph to pull it off live.

Throughout the set, the crowd is with the band; right from the first track “How Can You Swallow So Much Sleep”, they are singing along. Later, as the sound gets harder, so does the mosh.. small groups of fourteen year olds on cider, square up to each other, the pushing and slamming soon escalating into some bizarre ritual of boys becoming men. Even the singer notes the excess of testosterone in the room – I am happy to be sitting up in the balcony. But the audience lift the band, and the band’s confidence shines and grows with every track. Steadman even remarks that they should have come to Wolverhampton ages ago. Let’s hope they come back sooner than later; their live set is unmissable.

SET:
How Can You Swallow So Much Sleep
Your Eyes
Dust On The Ground
Bad Timing
Leave It
What You Want
Lights Out, Words Gone
Rinse Me Down
Ivy & Gold
Evening/Morning
Cancel On Me
Lamplight
Beggars
Still
Always Like This
The Giantess / Emergency Contraception Blues
Encores:
Shuffle
What If

Review – Al Neilson
Photos – John Bentley

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