All right, I confess I know ‘jack’ about this band other than they kick serious ass. This could be a pretty short feature!
I stumbled across Froggy & The Ringes on Bandcamp and instantly felt compelled to help spread the word. When their new full length release ‘Ringe Rock Pond Scum’ appeared on the player, little did I realise the artwork was more an actual portrait of the band.
Yes – it apears the band do perform like this – hence not very much info is readily available. Indeed, their Discogs listing makes mention of the fact that they are a ‘mysterious UK garage punk band with several releases in unbelievable small quantities. No one ever bothered to put them in the discogs database. Five labels were needed to convince the band to release their first “major” release (300 copies) in November 2020.’
The natural reaction for some, would be to instantly condemn them to ‘novelty’ status. And let’s be honest it would cost a small fortune to hire a defence lawyer and successfully argue against that assertion, given the circumstantial evidence.
But wait! Check out the sounds! This is hardcore garage punk of the highest order – yeah even if it is a sort of ‘concept’ album based on pond life!
Growled vocals, most un-frog-like, rage over the old school, late ’70s punk driving bass and pounding drums. There’s also room for some whining, Stranglers-esque organ squeezed in amongst the chaos. It’s all so frantic. And wonderful!
I dare you not to tap your foot . Or at least nod your head.
‘Growin’ Grapes‘ opens with a sort of USA evangelist rant; ‘Tadpoles’ starts with the sound of gurgling water /tadpoles ‘talking,’ and ‘Fuck You, Kermit!’ contains the fantastically image inducing line “Oi! Oi! Ribbit! Ribbit! Oi! Oi! Ribbit! Ribbit!”
It’s just so silly, especially set against the anger of the ten songs on the album. It made me laugh, anyway.
But the bottom line for me is the music and energy. And in my book, if you can successfully combine genuinely excellent punk rock with a touch of humour, then you’re onto a winner!
Methinks these guys have been hiding their talent under a pond lily way too long.
I’m usually a bit reluctant to go out on a limb and make what inevitably turn out rash and ill considered predictions:
… my team will definitely win the league this season;
… this ‘music streaming’ thing will never catch on;
… Boris Johnson is telling the truth this time.
And here I go again, but I’m absolutely confident this time I won’t be left with egg on my face. You’re going to love Manchester six-piece band HONK. In fact, given time, I reckon they’ll become the new darlings of indie-based radio stations. And festivals.
As a token of my faith, I’ve even pre-ordered their forthcoming debut EP, ‘Grand Opening‘ which is due for release on 4th August. And this on the strength of of the only track so far made available, ‘Let the Dog See The Rabbit.’
Describing themselves as a ‘trash can country’ outfit they remind me in a way of a mix between Alabama 3, The Nude Party and Glasgow band, ‘Jacob Yates & The Pearly Gate Lockpickers.’ (Yeah, it is kinda difficult on the basis of only one song, I know.)
Honk recently played The Flying Duck venue here in Glasgow. This was one of my favourite ‘alternative’ bars, with much the same vibe as The Old Hairdressers, where some years ago an unknown band with a distinctive sound graced the stage – Fat White Family.
And they didn’t do too badly, did they?
I have a similar feeling in my water!
(I struggled to find much info on the band at this point, but will post an update once the EP has been fully released.)
On occasion, though, some bands and artists stand out even above the ‘good’ music. It’s hard to define, but some just have that extra ‘something.’
This Liverpool based, psychedelic rock band may have only released three tracks to date, but I’ll stick my neck out right now and predict you’ll hear a lot more of Cothel. With band members from United States, Mexico, Korea, Norway and England, there’s a lot of diverse influences being brought to bear in their music – and it seems to be working a treat.
Latest release, ‘And You Know’ is a slow burning, psych anthem with prog tendencies, moving through different moods and levels of intensity. This is not one to be judged from listening on your phone. It really should be belted out with the benefit of at least half decent speakers for the full effect. It’s also a ‘grower,’ so don’t be too quick to judge either. It has yet another different feel to the first two tracks released by the band last year, illustrating the band’s versatility.
‘When You’re Insanely High‘ was Cothel’s second release, in November 2021. It’s an eclectic mix of rock riffs and funky beats, delivered with spiky, punk attitude. Think along the lines of a heavier version of Adequate 7 from the early noughties, and you’ve got it.
This though, contrasts with the sneering vocal delivery and more grunge feel of their first release, ‘That Feeling You Get.’ I say ‘grunge’ but there’s more – there’s also a manic sixties, psychedelic sound to this. It’s like a swirling nightmare … in a good way of course.
Hector were a four-piece Glam Rock band from Portsmouth, England. Check: technically they are now regarded as ‘Junkshop Glam’ – a band that basically followed the the UK Glam Rock scene of the early Seventies, but for whatever reason, failed to attract the attention they merited and other more media favoured bands achieved.
Details of the band’s history are scant. Even the sleeve notes accompanying ‘Demolition,’ the 2021-released album comprising the band’s two singles, outtakes, demos, live and rehearsal recordings make little reference to the band’s beginnings.
It would appear they were hard gigging and they weren’t totally without media backing. They had the’look’ for their genre – a cross between Geordie and Slade is how they come across from the press photos – and indeed their PR staff made sure their words and faces were included in all the teen music papers and magazines of the time.
They even appeared on TV with Wings and T. Rex in a recording of the popular ‘Lift Off With Ayshea‘ when promoting their debut single, ‘Wired Up.‘ A second slot on that programme was secured to promote the follow-up ‘Bye Bye Bad Days,’ and this time also appearing on the show were, Sunny and The Scaffold.
They kept good company; they had the look; they had the publicity.
Yet the public simply didn’t buy in. Perhaps, or very likely, because Radio 1 were not convinced and resultantly, the sound of Hector failed to reach the ears of the masses, and their two singles were condemned to the Junkshop buckets.
Hector folded in 1975, having released only two singles, on the realization they were not going to compete with the established Glam Rock bands. Of course the trend by that time was moving away from that genre, so it was all stacked against them at that point.
The band’s album, ‘Demolition’ is the result of a chance meeting between the band’s Phil Brown (vocals) and Alan Gordon (drums) and Tim Orchard. Tim was co-hosting a book launch. ‘Wired Up’ was the book’s title and featured garish picture sleeves from records released in the Glam Rock genre. The Hector lads were featured in the pages and attended the party as guests.
One thing led to another and the three kept in touch. When, some years later, Phil moved house, the long lost rehearsal and demo recordings, together with the reel to reel recorder, were rediscovered,
The album is a fun, entertaining trip into the past. ‘Bye Bye Bad Days‘ is very much in the Bay City Rollers mould and elsewhere you could draw reference to other big hitters from the time. ‘Gypsy‘ a demo recording, is a favourite of mine. A real stomper, so yes, I guess you could draw comparison to early Slade. Title track, ‘Demolition‘ which was an unreleased third single, has a soulful feel to it. More gentle in its delivery, it has a really catchy hook and altogether softer hook.
Taking the three tracks identified for single release on their own, I have to say I’m really surprised as to how Hector were not more of a household name back in the early ’70s.
Phil Brown – Vocals / Piano Pete Brown – Lead Guitar Nigel Shannon – Bass Alan Gordon – Drums
In various guises and line-ups, Goliath were around for the best part of fifteen years. THIS Goliath, for there have been / were several bands to have used this name, originated in Terre Haut, Indiana during 1964 as The Checkmates.
Instigated by Peters brothers Steve (drums) an Bill (bass) the band had some local success and recorded their first single on Bogan Records. However, inordinate delays in pressing the record resulted in the band having moved on, changed name and changed personnel before the single became available.
It was in fact released under the name, Sounds of Sound.
With the introduction of guitarist David Graham, the band moved to a more to a psychedelic / Hendrix influenced sound and once again changed their name a again, this time to Goliath. They began working with agent / manager Irving Azoff (who would later represent likes of Christine Aquilera, Eagles and Jon Bon Jovi among many others) and gigs were booked across Mid-West America.
Unfortunately, this early incarnation of the band fell apart when drug and substance abuse got the better of ‘star’ guitar player Graham. However, with contractual obligations remaining unfulfilled with Azoff’s company, Steve and Bill Peters put together a new line-up, comprising former members of recently disbanded local groups, Kicks and the XL’s.
One final change, with Paul, ‘Doug’ Mason replacing Ted Bennet on Hammond Organ, and the line-up that would record this particular Goliath album.
Unfortunately, and details are scarce, this eponymous album, recorded in 1970 at the Allen-Martin Studios in Louisville, Kentucky never saw the light of day until it was re-mixed and re-mastered in 2009 by Jay Petach.
A second (effective ‘first’) album was released however in 1975. By then, Phelps (guitar) Egy (vocals) and Mason (keyboards) had moved to Atlanta to form Raven, leaving the brothers Peters to start from scratch, yet again.
They were still signed with Triangle Talent who had been pushing the band hard to record jingles and songs so that the rights could be sold. They did however, eventually relent and allow the band to record an album on their own Bridges label.
With only a few weeks to prepare, and a ‘new’ band to boot, the album is described by the Peters brothers as being nothing more that a patchwork of previously unfinished songs. Probably not the strongest of recommendations!
Although Steve and Bill did manage to keep the band going in some form or other throughout the ’70s, no more recordings were forthcoming.
For readers lacking the patience to sit through the whole album as displayed at the start of this post, I can say this:
in all honesty, it’s nothing ‘spectacular.’ But while there’s no immediate impact moments, it is a really enjoyable listen. The feel is of pared-back, hard, bluesy rock, Some songs vary like, ‘I Feel Like I’m Gonna Die’ retains the blues sound, but with more a ‘lounge / club’ inflection; ‘Its Your Land’ is pretty much Gospel influenced, while ‘In The Summertime’ to me at least, seems to have rubbed off on DJ Jazzy Jeff & The Fresh Prince – certainly on the arrival of the chorus!
On other tracks, I’m reminded of early Uriah Heep (that’s probably down to the organ sound as much as anything) and overall, yeah, a good addition to my collection.
George ‘Charlie’ Egy – Vocals Steve Peters – Drums Bill Peters – Bass Paul ‘Doug’ Mason – Hammond B3 Organ George Phelps – Guitar
Haymarket Square are yet another example of the brilliant, psychedelic sounds coming from the USA musical underground of the late ’60s through the early 1970s..
Like many other bands featured here on Loud Horizon, they would record only one LP in their time together. But boy – what a doozy! Copies of the original pressing have been sold via Discogs from between £1500 and £2700!
The band came about with the demise of Chicago garage band, The Real Things. As the young band parted for college and other personal reasons, drummer John Kowalski and rhythm guitarist Bob Roma decided to form a new outfit.
Auditions were advertised in their University of Illinois newspaper and other local rags. Guitarist Marc Swenson immediately impressed with his ability to play in the style of The Kinks‘ Dave Davies. No question – he was hired right away!
With an impressive guitarist in place, Bob moved over onto bass. There was now just one integral position to be filled – that of vocalist.
Desperation was setting in on the three young players (John & Bob were 18, Marc, just 17) when out of the blue, Bob received a phone call from the twenty year old, tall, blond Gloria Lambert. She was at that time singing in a Folk band but was looking for something a bit more ‘electric;’ something more raucous and exciting. Gloria, as you can hear on the tracks here, was so strong in her delivery and had that sort of Grace Slick, psychedelic feel to her tone.
It was the perfect match.
This was 1967, and female singers taking on lead vocals in rock bands was at this point, still relatively unusual. The band were already almost one step ahead of other Chicago bands.
Now for a name. Civil disobedience was rife amongst the US student population at this point, and when John Kowalski saw a statue marking a labour riot back in the early 1900s he adopted the name of the location – Haymarket Square.
It wasn’t long before the band’s name and reputation grew to such level that they were opening in the city’s larger venues for established acts like, The Yarbirds, Cream and H.P. Lovecraft.
Shortly thereafter, they were writing their own material with subject matter ranging from various psychedelic topics to the occult. Their sound has a very distinctive feel with the guitar, bass and drums all sharing the heavy load. What struck me though was the drumming – at times very ‘surf’ inspired, and others, more of a pounding, hard rock style. The guitar wails with a fuzzy tone throughout and the bass is played with a real, distinctive bounce. And of course, there’s no getting away from Gloria’s vocals giving an air of Jefferson Airplane.
Only one of the tracks on the album is a ‘cover’ – an outstanding version of Tiny Bradshaw’s ‘Train Kept-A-Rollin’.’ This version tops those of Johnny Burnette and Aerosmith in my opinion.
There are only six tracks on the album too – but with only one coming in at less than seven minutes, there is that wonderful sense of tripped out jamming on the others.
The album is a direct result of the band liaising with two professors from The University of Illinois who put together the ‘Baron & Bailey Light Circus’ which was a dynamic combination of music with changing light patterns. In the summer of ’68, they teamed up with Haymarket Square and the album was exhibited as a living work of art at the Museum of Contemporary Art in Chicago.
However, shortly after the album was recorded, original member Bob left the band and was replaced on bass by Ken Pitlik. At the same time, they decided to augment their sound with the addition of a rhythm guitarist, Robert Miller.
Haymarket Square continued as a five-piece for another six years before they finally broke up in 1974, the members all going heir own ways.
Sadly, and I’m afraid I don’t know why, there were no more recordings. But if you’re going to leave just a one-album-legacy, then I guess ‘Magic Lantern‘ is about as good as it gets.
(*Band details and history have been gleaned from the additional sleeve-notes to the ‘Magic Lantern’ album, written by drummer and founder member, John Kowalski.)
Gloria Lambert – Vocals John Kowalski -Drums Bob Roma – Bass (’til late ’68) Marc Swenson – Guitar + from late ’68
For every ’70s rock band that became stadium headliners, there must be hundreds of ‘would-have-beens / should-have-beens.’ Sadly Goshen, Indiana band Magi are one of the latter.
It’s scant consolation that forty-eight years following the release of their only LP, ‘Win or Lose,‘ they are receiving the more geographically widespread plaudits their hard-rock debut merited.
As was / is so often the case, it was a matter of either not being in the right place at the right time, or as happened with Magi, the wrong place at the wrong time.
Formed in 1973 from the backbone of another ‘local’ band, Skull, the name was changed to Magi, and their first four-song emo was laid down on tape. (Two of these early compositions would, three years later, appear on the ‘Win or Lose’ album.)
They gigged extensively throughout Michigan, Ohio and Indiana, playing University campus shows and festivals as well as clubs and smaller venues.
Their sound was solid. Hard rock at its heaviest. To match this, they built their own oversized speakers and lugged them around to shows, blowing the ears and minds of audiences!
By this stage,the gigging was onerous and bass player Larry Hertzler left the band to take up at college. He was replaced by Tom Stevens – who would later play with The Long Ryders.
Seeking to capitalize on the success of the stage performances, Magi decided the time was right to record their first album, Further demos were put together, extending the length of the tracks on their earlier effort and now including three songs that would eventually appear on the album: ‘Win or Lose’, ‘Every Time I’m With You‘ and ‘I Didn’t Ask You.’
Although all the songs had been written prior to Tom joining the band, the demos were very much a team effort, with Tom and drummer Jerry Wiggins contributing to the arrangements of the tracks principally put together by the two guitarists, Larry Stuzman and Steve Vanlaningham. Lyrics in the main, were composed by vocalist / frontman, John Gaut.
Attracted by the ‘offer’ of 40 hours recording time, with 1,000 LPs and 1,000 singles for $1000 at Kalamazoo, Michigan’s Uncle Dirty’s Sound Machine Studios, the band got down to recording their debut album in the first week of August 1976.
Unfortunately, they did not really hit it off with ‘Uncle Dirty’ aka Bryce Roberson and cutting to the chase, Magi were left somewhat disappointed by the finished, pressed LP.
Fans acknowledged the LP didn’t capture the band as they appeared in a ‘live’ environment, but fortunately having built up a substantial local following, the initial run of albums was sold out over the ensuing months.
Buoyed by the sales, local TV appearances followed and gained them further recognition with some high profile support slots followed -like with Brownsville Station, for example.
By now, they had outgrown their local scene – the High School shows were presumably going to bands more of that age – and Magi were playing city centre bars and clubs.
Then came blow #1: the drinking age reverted from 18 to 21 in 1978, changing the gig landscape drastically. Additionally, winter in the mid-West is pretty unforgiving for touring bands.
So when the offer came from Larry Stuzman’s uncle Danny (one of the first Contemporary Christian Music – CCM – artists signed to a major label in the early ’70s) to move out to California – they jumped at the chance.
Then came blow #2: uncle Danny was tad out of touch with the rock scene. Punk had taken over L.A. big time. Magi‘s music was already ‘dated’ and although they changed their name to The Charge and hastily wrote a few New Wave style songs, they couldn’t even bring in enough money to cover their rent. Day jobs had to be sought and their hopes and aspirations were evaporating fast in the Californian dust and heat.
One by one, the members gravitated back to their home State
The dream was over.
But, boy! What a legacy!
John Gaut – Vocals Larry Stuzman – Guitar Tom Stevens – Bass / Vocals Steve Vanlaningham – Guitar Jerry Wiggins – Drums
Five Proud Walkers were initially an R&B band from North London. Formed in 1963, they gigged around the city, establishing a good, strong, reputation and developing their sound to include some of the Jazz and Beat influences that were emerging around the capital.
When vocalist Terry Elliott left in early 1966, he was replaced by Dave Terry from The Impacts. Dave was more of a showman and the band’s stage show became much more theatrical and image conscious.
By the end of that year, the band were in demand not just within the London scene, but across the country. The decision was taken to pack in the day jobs and go full time professional band. Bass player John Treais couldn’t commit, and so left at this point, being replaced by John Ford.
It was now 1967. With their more extravagant stage show and appearance, and the music scene in general taking a more psychedelic turn, it was agreed a new era for the band merited a new name.
Guitarist Colin Forster explains: “It came out of the dress sense, really, with the clothing an the hair. John Ford worked in a shop in Carnaby Street, so he started getting some interesting clothing, so various things developed from that, like Regency styles of clothing. Elmer (Dave Terry) got this hat and cape and somebody said that he looked like Burt Lancaster in that movie ‘Elmer Gantry,’ and we just added ‘Velvet Opera.’ We never knew about the Velvet Underground, but velvet was ‘in’ an ‘Opera’ was the fact that we were doing an act on stage.”
(Dave Terry hadn’t actually planned on becoming ‘Elmer Gantry’ but as the frontman, people would just make the assumption. The band found it funny and would take the mickey, and so the name stuck.)
The band’s first single, ‘Flames,’ gained a lot of radio play and was a favourite of the young John Peel on his ‘Top Gear’ shows. Although it didn’t quite chart, the track was included on the CBS ‘sampler’ album, ‘The Rock Machine Turns You On,’ which also featured Bob Dylan, Moby Grape, Spirit, The Byrds and The Zombies.
Selling at half the price of a standard LP, the compilation reached the Album Chart Top 20, ensuring the band’s music was now being heard by a massive new audience.
Impetus created and momentum building, the band headed into the studio to produce an album of their own. The eponymous named debut is a fantastic mix of psych-pop, raga, soul, harder rock and Vaudeville, I don’t think I’d be far off saying Elmer Gantry’s Velvet Opera were like a proto Sensational Alex Harvey Band. They were also ‘punk’ before Punk formally announced itself nine years later.
Sadly, this would be the band’s only album release with this line-up, with guitarist Colin Forster leaving in April 1968, his place being taken by Paul Brett. They continued gigging but the chemistry had been upset and having been coerced by their label into recording a single ‘Volcano’ that did’t really meet the band’s profile, Elmer himself left.
Elmer Gantry’s Velvet Opera were no more, though Hudson, Ford and Brett added Johnny Joyce as singer / guitarist and recorded one album, ‘Ride a Hustler’s Dream‘ in 1969 as Velvet Opera.
Elmer himself formed the Elmer Gantry Band before joining the cast of ‘Hair,’ then in the Seventies joining the band Stretch and recording with the likes of Jon Lord, Cozy Powell and the Alan Parsons Project.
Hudson and Ford would go on to success with The Strawbs, before their #8 hit single, ‘Pick Up The Pieces‘ as Hudson-Ford. They also had another two top 40 singles and released several albums as a duo.
ELMER GANTRY’S VELVET OPERA
Elmer Gantry – Vocals Colin Forster – Guitar John Ford – Bass Richard ‘Hud’ Hudson – Drums
Stone Harbour were a duo from Ohio who typified the DIY ethos of rock’n’roll in 1974 with the original release of their now critically acclaimed album, ‘Emerges.‘
Aspiring songwriter and multi-instrumentalist writer, Ric Ballas owned a 4-track reel to reel recorder; singer songwriter Dave McCarty could also play a bit on drums. Additionally, he had ‘a pleasant voice’ and so between them, with all bases covered, they began to write collaborate in writing some music and recording.
Though their equipment was not exactly state of the art, they recorded a few songs to tape – more or less all in one take, with the occasional over-dub.
These recordings were taken to the Peppermint Productions studio in Youngstown, Ohio where they were mixed down to two-track. The aim was these tracks would form a demo that the lads could hawk around to impress and recruit others to join their band.
Most players didn’t have reel-to reel facilities, however, so Ric decided to have five hundred copies of the resultant tracks transferred onto vinyl – this was the minimum run amount.
With their very limited budget now blown, Ric sketched a few picture, had it reproduced five hundred times and then pasted them to cardboard jackets.
And that was about it. A full, live and touring band did come about. They played to mixed responses and after a couple of years, disbanded. (A follow-up album was partially recorded, but the studio was destroyed by fire, and the master tape with it.)
But as happens so often with these ‘lost’ LPs, somebody somewhere is impressed, word gets around, and original copies become sought after treasures. A copy of this sold on Discogs for over £1000 last year!
The music is varied in nature, ranging from folky psychedelia to rock-out proto grunge style. It’s pretty lo-fi in nature, but has a real innocent charm about it.
The album has been re-leased, most recently by Geurssen Records’ Out-Sider imprint. Definitely one to check out.
Twink (real name John Alder, though I believe he converted to Islam around sixteen years ago and is also known as Mohammed Abdullah) has played integral parts in two of my favourite bands, The Pretty Things and The Pink Fairies. I’ll get to them both at some point, I’m sure, but it’s as a solo artist he’s celebrated here.
John Alder, as he was simply known as at that time, started drumming for local Colchester R&B band Dane Stephens & The Deep Beats in 1963. On signing a deal with Decca, they changed their name to The Fairies and cut three singles, each of which are now well sought after.
Following the ban’d split, John joined The Santa Barbara Machine for a while, before drumming for the third line-up of The In Crowd who would soon morph into Tomorrow.
It was with Tomorrow, one of UK’s foremost psychedelic bands of the era, that John (having by now adopted the nom de stage of ‘Twink,’) began to make a name for himself. (This was the band that featured future Yes guitarist Steve Howe and Keith West – he of he legendary ‘Excerpt From a Teenage Opera‘ which reached #2 in the UK singles chart in August 1967.)
Sadly, for all their Swinging Sixties ‘cred,’ Tomorrow didn’t last out the psychedelic era and disbanded in April 1968. Twink the formed Aquarian Age a psychedelic band featuring Nicky Hopkins who would go on to play piano with so many bands, most notably perhaps The Rolling Stones.) They released just one single in the UK, ‘10,000 Words in a Cardboard Box,’ a reworking of which appeared on Twink‘s solo album ‘Think Pink‘ and is showcased below.
As seemed to be the pattern, Twink’s involvement with a band didn’t last very long and when Aquarian Age folded, he was on the move again.
By chance, and by being conveniently available at just the right time, he was asked to join The Pretty Things for a gig in Germany …. he remained with the band for about eighteen months!
During that spell with The Pretty Things, Twink was approached by Seymour Stein, the founder of Sire Records, with a view to recording a solo album. And so it was in 1970, using some experimental demos and an unpublished Aquarian Age track – ‘Tiptoe On The Highest Hill‘ – the wonderful ‘Think Pink‘ album was born, with the help ofMick Farren (The Deviants) and close pal, Steve Peregrine Took (ex- Tyrannosaurus Rex.)
In fact, those three were the early incarnation of The Pink Fairies, though after a disastrous start to their gigging career, Twink dispensed with his two friends’ services and hired the remaining Deviants players: Paul Rudolph (guitar); Russell Hunter (drums) and Duncan Sanderson (bass.)
And the rest, as they say, is history – I’m sure I’ll come back to The Pink Fairies somewhere down the line, here on Loud Horizon!
Although Twink released only one solo album, it’s an absolute belter! My copy of ‘Think Pink‘ is actually a Limited Edition repressing on the Akarma label and includes a second LP, ‘Sound of Silk: Demos & Rarities’ which is also on pink vinyl,
The two albums are an amazing mix of psychedelia, poetry and tales of fairies and Gandalf! The musical experimentation includes; tortured wailing; hypnotic drumming; scratchy guitar; chanting; conventional rock music and just about everything early Seventies, tripped out hippy culture could throw at it!
It truly is glorious – not a duff track in sight. Or sound.