Five years ago, Joan Jett was on the circuit promoting the documentary that chronicled her life up to that time in her life. She summarized things by saying;
My lot in life is to battle… You win it with mental fortitude, with being able to do what you say you can do.”
Joan Jett
That is the essence of the film ‘Bad Reputation’ and it literally defines a career that is half way through its fifth decade.
For Joan Jett, it was rock and roll or bust, in an industry that was predominantly male. Joan Jett has been the model of perseverance. She is an intriguing example of how crucial it is to be an astute observer of trends in order to enjoy success in any area of business.
It all began with The Runaways in the mid ‘70s.
Essentially, the roadmap to success had been drawn; they just needed to look at it through a different lens. For this vision they have their visionary, Kim Fowley to thank.
When we were putting the Runaways together it was based on Darwin. Let’s start with the evolution of a man in show business. The guys just kept getting more and more and more and more feminine. Elvis was feminine. Sinatra was feminine. Bing Crosby was feminine, but if you keep getting more and more feminine, you’re going to make (?) a female. D’uh!”
Kim Fowley
This is what came through in The Runaways presentation when they exploded onto the scene. Check out the lyrics of ‘Cherry Bomb’ from 1976.
Can’t stay at home, can’t stay in school Old folks say, “You poor little fool” Down the streets I’m the girl next door I’m the fox you’ve been waiting for
Hello, daddy, hello, mom I’m your ch-ch-ch-cherry bomb Hello world I’m your wild girl I’m your ch-ch-ch-cherry bomb”
Joan Jett and Kim Fowley
The world was ready for this. They just didn’t know it.
The map unfolded and from there it happened quite naturally, in a spontaneous combustion of rebellion.
Cherie Currie showed up to audition, and she had no song to sing. So, Kim said we’re going to write you a song. Kim and I went in the other room, and he said, just start playing me something, play a riff. I started jamming on the “Cherry Bomb” riff, and he started with the chorus — “hello Daddy, hello Mom.” I’d say 20, 25 minutes, we came back and said, “Sing this.” It was great to be in that creative process, happening right there for a specific person. But it was her representing all of us — it wasn’t just necessarily about Cherie. I was trying to represent all girls.”
JOan Jett
In Kim Fowley’s words The Runaways were;
An all-girl answer to Grand Funk.”
Kim Fowley
And for The Runaways and Joan Jett, that train just kept on rolling.
It was a turbulent ride and sometimes it derailed, but for Joan Jett it always got back on track and it all came together with her recognition as a member of the Rock and Roll Hall of Fame in 2015.
Over the years, Joan Jett has come up on several occasions in Ted Tocks Covers features. It begins with the fascinating story of ‘I Love Rock and Roll’ and moves on to some really interesting cover versions of songs that have defined our listening experience over the past forty years.
Before moving on to a couple of cover version of ‘Cherry Bomb’ here is an interesting recreation by original Runaway, Cherie Currie and her twin sister Marie. When Kim Fowley invited Cherie Currie to audition to be the lead singer of The Runaways she brought Marie and was promptly told;
I’m not interested in a sister act.”
Kim Fowley
Cherie auditioned and got the job.
This is the sister act and it is pretty good. It was the closing track on a re-release of Cherie Currie’s second solo album called ‘Messin’ with the Boys. This goes back to 1980. As part of the re-issue Cherie invited Marie to join her to record seven bonus tracks. One of them was what Cherie and Marie considered to be The Runaways signature song, ‘Cherry Bomb’.
To add to the star power, several tracks on this album feature Steve Lukather and Waddy Wachtel on guitar.
Sometimes when I see certain names pop up in a list of cover versions, they demand attention. Jayne County, who in their early days performed as Wayne County and the Electric Chairs (see ‘Rebel Rebel‘ and ‘Night Time‘) released a version of ‘Cherry Bomb’ in 1995. This is from the album ‘Deviation’ under the name Jayne County.
Jayne County has the distinction of being rock’s first openly transgender singer. She transitioned from Wayne County to Jayne County in 1979 after moving to Berlin. During a tour of Holland in 1977, Wayne County and the Electric Chairs were supported by a relatively unknown act called the Police. Following the tour, Wayne County and the Electric Chairs went in to the recording studio to record their first album which was appropriately called ‘The Electric Chairs’. In order to recreate their live energy, they added a rhythm guitar player to their roster. His name was Henry Padovani. You may recognize him as the original guitar player for the Police. He had recently been let go in favour of Andy Summers.
Just one more cover, and it is a name you will recognize. Once again, it speaks to the influence of Joan Jett and the Runaways. Here is a slightly abbreviated live cover by Miley Cyrus.
On her 65th birthday Joan Jett continues to live her life, her way. In a New York Times article five years ago, she spoke out against people who were demanding that she be more open about her sexuality.
People aren’t going to tell me what to do. I’m not going to be told how to live and how I can be myself — “You must say it.” It’s like, the more you want me to say it, the more I won’t say it. I’ll just do it. I’m telling my story every day onstage, loud. And if you choose not to hear it because you want me to do it in the way you want me to do it? Fine, I’m not going to make you happy then. If this isn’t for you, bye. But I think I declare every day, all day long.”
Joan Jett
In other words, she doesn’t give a damn.
I don’t give a damn ’bout my reputation Living in the past, it’s a new generation A girl can do what she wants to do and that’s what I’m gonna do”
Joan Jett
While the world’s in trouble and mediums of communication have become garbled, Joan Jett carries the torch for a new generation.
Her message matters, because one day one’s sexuality and gender identity won’t matter.
When Mick Jagger begged for humanity to ‘Gimme Shelter’ at least a portion of that plea spoke to our ability to take refuge in music.
In that case you can gimme the late ‘60s and early ‘70s era of The Rolling Stones any time.
It was right around this time in 1969 that the band hunkered down with producer Jimmy Miller to create the album that would become known as ‘Let it Bleed’. Today’s feature song is the album’s title track. If any Stones song points to their image as the keepers of the ‘Sex and Drugs and Rock and Roll’ throne, this would serve well. It is bedraggled raunch in a country, rock and blues package.
Everything about it speaks to perfection. If you don’t like it, you need to check for a pulse, or perhaps a vein.
It’s time to tap, and ‘Let it Bleed’.
Until then you can listen and sing along to this, over and over. Do yourself a favour and focus on a different element of the song each time. Every player is at their best. Mick Jaggers’ vocals put an accent on the lyrics. Few can deliver in such a convincing way. Keith Richards’ acoustic and slide guitar work is a perfect blend of his primary influences. A little bit country, a dash of blues with a rock and roll punctuation mark. Bill Wyman adds a solid bass-line, but doubles down with a track featuring the autoharp. This is noteworthy because the autoharp had been one of Brian Jones’ many instrumental roles. Finally dependable Charlie Watts brings it all home with a perfectly timed drum contribution.
But, no mention of ‘Let it Bleed would be complete without discussing Ian Stewart’s piano part. This would be Stewart’s only contribution to the ‘Let it Bleed’ album, but is pure quality on every level.
The only thing missing is a contribution from Mick Taylor. This is simply a matter of timing. At the time of recording, he was not yet a member of the band. Sadly, Brian Jones was missing in action. His decline is well documented.
Clearly, the lyrics to ‘Let it Bleed’ are not for the faint of heart. The song lays out a series of hard core drug and sex references before Mick invites the his audience to dream, cream, bleed and cum all over him.
But hey…That’s just Mick. In his defence, the way he portrays the lyrics, the overtly sexualized and drug oriented phrases are a cleverly disguised message to us all to be available to each other in these troubled times.
It is a call out to us all to be someone’s emotional crutch.
The use of double entendres are employed in fine form here.
Classically unique, or were they playing a little cat and mouse with their friendly rivals?
The similarities between the song titles of this Rolling Stones offering and The Beatles ‘Let it Be’ gave rise to the idea that the two groups were responding to each other in some way. The Beatles recorded the song ‘Let it Be’ just a few months before the Stones hit the studio. Conversely, The Rolling Stones album hit the streets in late November of 1969, which was a few months ahead of The Beatles single, which began to fly up the charts in March of 1970 amid rumours that the group was in disarray.
Keith Richards is quite duplicitous on the subject. He begins by acknowledging The Beatles song which they were aware of long before its release.
We dug that song so . . . maybe there was some influence because Let It Be had been kicked around for years for their movie, for that album. Let it . . . be something. Let it out. Let it loose.”
Keith Richards
Then he contrasts this statement to some degree by saying it was all just a weird example of synchronicity in the following passage
Just a coincidence because you’re working along the same lines at the same time at the same age as a lot of other cats. All trying to do the same thing basically, turn themselves and other people on. ‘Let It Bleed’ was just one line in that song Mick [Jagger] wrote. It became the title . . . we just kicked a line out. We didn’t know what to call that song. We’d gone through ‘Take my arm, take my leg’ and we’d done the track.”
Keith Richards
One version related to the origin of the song title suggests that Keith worked so hard on perfecting his parts that his fingers began to bleed.
All this being said it is just interesting to note that despite the fact that the lyrical content couldn’t be more different, the two songs became the title tracks for the respective albums.
All a startling coincidence? Maybe!
Whatever the case may be…
“Bleed it alright.”
Here you go.
Well, we all need someone we can lean on And if you want it, well, you can lean on me Yeah, we all need someone we can lean on And if you want it, well, you can lean on me
She said, “My breasts, they will always be open Baby, you can rest your weary head right on me And there will always be a space in my parking lot When you need a little coke and sympathy”
Yeah, we all need someone we can dream on And if you want it, baby, well you can dream on me Yeah, we all need someone we can cream on And if you want to, well you can cream on me
I was dreaming of a steel guitar engagement When you drunk my health in scented jasmine tea But you knifed me in my dirty filthy basement With that jaded, faded, junky nurse Oh what pleasant company Come on
We all need someone we can feed on And if you want it, well you can feed on me
Take my arm, take my leg, oh baby don’t you take my head
Yeah, we all need someone we can bleed on Yeah, and if you want it, baby, well you can bleed on me Yeah, we all need someone we can bleed on Yeah, yeah, and if you want it, baby, why don’t you bleed on me
All over
Come on, babe
Ah, bleed it alright, bleed it alright, bleed it alright You can bleed all over me Bleed it alright, bleed it alright, you can be my rider You can cum all over me
Bleed it alright, baby, bleed it alright, bleed it alright You can cum all over me
Bleed it alright, baby cum all over me Bleed it alright Bleed it alright”
Mick Jagger and Keith Richards
Typical to everything The Rolling Stones did during this period they managed to capture a sense of turmoil that may have emanated from their inner sanctum, but they projected outward onto the political landscape both locally and globally. Ultimately, everyone who connected felt an affinity to every song on ‘Let it Bleed’. Here is a perfectly brilliant quote from Gavin Edwards of Rolling Stone.
Whether it was spiritual, menstrual or visceral, the Stones made sure you went home covered in blood.”
Gavin Edwards
Edwards’ statement captures the notion that any time spent listening to this era of the greatest rock and roll band left you feeling just rebellious enough to be subversive enough to exact at least some positive change.
Just one more astute opinion about this era of The Stones from Steven Van Zandt is offered below. This prominent guitarist, songwriter and radio host agrees with my sentiment that the four albums by The Rolling Stones including ‘Beggars Banquet’ in 1968, ‘Let it Bleed’ in 1969, ‘Sticky Fingers’ in 1971 and ‘Exile on Main Street’ in 1972 exist as “the greatest run of albums in rock and roll history”.
It is here that every Rolling Stones fan should raise a glass to Jimmy Miller.
Just one more interesting anecdote related to the ‘Let it Bleed’ album speaks to the cover art, because album covers used to really matter. For a certain generation of music fans, they are etched in our minds.
So, what’s the deal with the cake?
The ‘Let it Bleed’ album cover shows a gaudy cake with layers made of a tire, a clock face, a film canister, a pizza and a frosting adorned with candy. Figures portraying Rolling Stones members sit on top of the cake which is set on a record player. One side of the cover features a cracked Stones album on the turntable. Keith is the only band member left standing, although he is knee deep in frosting.
This was all designed by Keith Richards’ friend Robert Brownjohn. The concept began when the working title for ‘Let it Bleed’ was ‘Automatic Changer’.
And this is how fate changed the life of a home economist, baker and cookery writer for the Daily Mirror named Delia Smith. Brownjohn turned to Smith to bake the cake to his odd specifications. She complied and it was only as she delivered it to the studio that she realized it was intended to be a part of a shoot that would be connected to The Rolling Stones.
I was working then as a jobbing home economist with a food photographer who shot for commercials and magazines. I’d cook anything they needed. One day they said they wanted a cake for a Rolling Stones record cover, it was just another job at the time. They wanted it to be very over-the-top and as gaudy as I could make it.”
Delia Smith
One year later, she wrote a best-selling book called ‘How to Cheat at Cooking’.
Delia Smith went on to become one of the most popular celebrity chefs in Great Britain. She took on various journalistic roles as a columnist, and layered this outreach with appearances on the BBC where she became their resident cook. Over 50 years, Smith’s ability to present the most basic of ingredients and turn them into something palatable became her trademark. Ultimately her captivating influence became known as the ‘Delia Effect’.
At the age of 81 she is still revered and known simply as ‘Delia’.
She and her husband Michael Wynn-Jones, who was her first editor back in 1969 when the call came to bake the famous cake, are part owners of the Norwich City Football Club.
To get a sense of the type of person ‘Delia’ is, read this excellent article by Rachel Cooke of The Guardian.
The cake I baked for her was delicious, and can she please have the recipe?”
Delia Smith as told by Rachel Cooke
Everything comes back to the cake it seems.
Before we move to the cover versions of today’s feature let’s have a look at a couple of quality live versions that feature The Rolling Stones with some gifted musicians.
Here they are in 1995 during their ‘Totally Stripped’ show at L’Olympia in Paris, France. This is Ronnie Wood’s opportunity to shine on the slide guitar and Chuck Leavell’s piano work is outer-worldly.
This is fun. Watch as special guest Dave Matthews strolls out of the darkness to join Mick on the vocals. Just a neat moment from a guy who oozes cool.
Alright, let’s have a look at a run of five cover versions of ‘Let it Bleed’.
To begin we will head back to 1973 and this raw version from the great Johnny Winter. This is from his album ‘Still Alive and Well’. Nothing but straight-forward rock and roll with Johnny’s trademark slide. So good.
Here is another one I really enjoyed. Joan Jett professed that she loved rock and roll a decade earlier, and on this cover, she puts a stamp on that proclamation. Jett released this version of ‘Let it Bleed’ on her 1990 album ‘The Hit List’.
Moving on to the mid ‘90s here is Sheryl Crow at the 1995 Concert for the Rock and Roll Hall of Fame. This was the year the Stones were inducted. Remarkably Mick, Keith, Ronnie and company are still touring about 28 years later. Listen for yourself, but if it wasn’t for the slide player this version would be nothing more than a bar band cover. I put it in the underwhelming category.
Speaking of ‘Crowes’ here is a quality cover from 2011 featuring the Black Crowes. This is from their album ‘Crowing Stones’. Yes! Now we are back on track.
Here we have the evolution of the ‘murder of Crowes’ motif. This is a stellar cover by the Chris Robinson Brotherhood. Gimme that piano/slide guitar combination any day. This is live from The Shed in 2018. Mic drop.
Through the years, Ted Tocks Covers features have developed into somewhat of a formulaic pattern. Lead with the original song then tell a bit of a back story. If I find the lyrics particularly interesting, I share them because when I distill my love of music down to the foundation, I am a word guy. Once I get through that portion, I may share some personal reflections if they are at least moderately relevant or relatable. From there, I introduce any number of cover versions before offering some form of conclusion.
The order of all of these components may vary somewhat but this has become the format. It was never by design; it just flowed in this way, and to some degree it works, at least in terms of helping me organize my thoughts.
So today, I sit at somewhat of a loss as to what more I can say. Unofficially, I can say that my features that include a Rolling Stones song likely number in the neighbourhood of fifty. Every time I begin, I think I may have run out of things to say, yet on each occasion I find just a bit more. All of this being said, you might think the Stones are my favourite band.
Nope
If I sat down and did a John Cusack, Jack Black ‘High Fidelity’ style exchange and hammered out my personal top 10 ranking, I concede they would likely exist in the bottom half of that list.
The thing is, when the Rolling Stones were at their best, there were few better in the entire history of music. That’s what this post is all about. So here is the full album for your listening pleasure.
Here are two other Ted Tocks Covers posts that featured songs from ‘Let it Bleed’.
For many fans of The Kinks, ‘Celluloid Heroes’ stands as one of many classic compositions by the band and more specifically, Ray Davies. With ‘Celluloid Heroes’ you get an example of Ray Davies at the peak of his lyrical brilliance. While it is a lesser known piece for casual fans of this essential act from the British Invasion, it holds a special place in the hearts of anyone lucky enough to see The Kinks live. In the lexicon of rock and roll there are few acts who can orchestrate their audience as masterfully as Ray and Dave Davies and The Kinks. While songs like ‘You Really Got Me’, ‘Where Have All the Good Times Gone’, ‘All Day and All of the Night’ and ‘Lola’ bring the fans to a euphoric crescendo, ‘Celluloid Heroes’ had the ability to bring the listener back to a moment of personal reflection. The version I included to launch this post is a live performance from The Kinks ‘One for the Road’ tour, recorded in 1979/80. This contemplative piece of rock and roll poetry is the subject of today’s Ted Tocks as the music community celebrates Ray Davies’ birthday.
‘Celluloid Heroes’ first appeared on The Kinks ‘Everybody’s in Show-Biz’ album in 1972. The song is a lament for the lonely plight of stardom experienced by some of the early stars of Hollywood. The list of actors Ray Davies cites are Greta Garbo, Rudolph Valentino, Bella Lugosi, Bette Davis, George Sanders, Marilyn Monroe and Mickey Rooney. Here is the studio version of ‘Celluloid Heroes’ which includes all of these icons. The live version eliminated a verse that mentioned the latter three.
For The Kinks, ‘Celluloid Heroes’ was a bit of a departure on the formula that had generated a series of radio friendly hits. It was timed at over six minutes. When it was released as the album’s single, radio stations struggled with how they should approach it. In the United States an edited version which clocked in at a full two minutes less, managed to get some airplay in the U.K. the song failed to reach the top 20. As is so often the case radio audiences of the day were hopelessly conditioned to shorter songs with an immediate hook. This was to their own detriment. The song stands as another in a long line of classics by The Kinks. The ones who hung around to listen were rewarded.
Here are the lyrics:
Everybody’s a dreamer and everybody’s a star And everybody’s in movies, it doesn’t matter who you are There are starts in every city In every house and on every street And if you walk down Hollywood Boulevard Their names are written in concrete
Don’t step on Greta Garbo as you walk down the Boulevard She looks so weak and fragile that’s why she tried to be so hard But they turned her into a princess And they sat her on a throne But she turned her back on stardom Because she wanted to be alone
You can see all the stars as you walk down Hollywood Boulevard Some that you recognize, some that you’ve hardly even heard of People who worked and suffered and struggled for fame Some who succeeded and some who suffered in vain
Rudolph Valentino looks very much alive And he looks up ladies dresses as they sadly pass him by Avoid stepping on Bela Lugosi ‘Cause he’s liable to turn and bite But stand close by Bette Davis Because hers was such a lonely life
If you covered him with garbage George Sanders would still have style And if you stamped on Mickey Rooney He would still turn round and smile But please don’t tread on dearest Marilyn Cause she’s not very tough She should have been made of iron or steel But she was only made of flesh and blood
You can see all the stars as you walk down Hollywood Boulevard Some that you recognize, some that you’ve hardly even heard of People who worked and suffered and struggled for fame Some who succeeded and some who suffered in vain
Everybody’s a dreamer and everybody’s a star And everybody’s in show biz, it doesn’t matter who you are And those who are successful Be always on your guard Success walks hand in hand with failure Along Hollywood Boulevard
I wish my life was non-stop Hollywood movie show A fantasy world of celluloid villains and heroes Because celluloid heroes never feel any pain And celluloid heroes never really die
You can see all the stars as you walk along… You can see all the stars as you walk down Hollywood Boulevard Some that you recognize, some that you’ve hardly even heard of People who worked and suffered and struggled for fame Some who succeeded and some who suffered in vain
La la la la….
Oh, celluloid heroes never feel any pain Oh, celluloid heroes never really die I wish my life was non-stop Hollywood movie show A fantasy world of celluloid villains and heroes Because celluloid heroes never feel any pain And celluloid heroes never really die”
Ray Davies
In what is considered by many to be Ray Davies’ lyrical opus, the song manages to juxtapose the world of Hollywood legends with people who are living their ordinary everyday lives. In six minutes of melancholy the listener goes from adoring fan to a star in their own ‘non-stop Hollywood movie show’ and back again. Ultimately, Davies’ manages to portray every artist as a vulnerable everyday citizen, and every listener as a vital player in the film they call life. On that stage we are all equals.
Everybody’s a dreamer and everybody’s a star And everybody’s in movies, it doesn’t matter who you are There are starts in every city In every house and on every street.”
Ray Davies
Nobody said it better than Ray Davies.
‘Celluloid Heroes’ is not only an essential song by The Kinks, it is an artistic masterpiece, and it stands among my all-time favourite songs. There have been many times I listened to this song and found tears welling up in my eyes. I suppose in that sense, Ray Davies and I have made a personal connection. I suspect I am not alone.
Thank you Ray!
Here is a cool version of ‘Celluloid Heroes’ by Joan Jett who released this song on an album of cover songs known as ‘The Hit List’. This is a great cover. It puts Joan Jett’s talent on full display.
Here is a Ted Tocks Covers first. I am featuring a cover of ‘Celluloid Heroes’ by Jon Bon Jovi. Admittedly, I have gone through approximately 900 posts without featuring Bon Jovi in any form. Simply stated, I just don’t get the hype and I don’t buy into the pseudo ‘David Cassidy’ adoration. It’s cheap. One thing I will always give him credit for is his incredible philanthropy. For this he has my complete respect. Jon Bon Jovi and Richie Sambora appeared on a Ray Davies album called ‘See My Friends’ in 2010. This live version features Jon Bon Jovi in London in 2002. He brings out a special guest and the result is pretty special. A wonderful concert moment even if it suffers from Jon Bon Jovi’s ‘over singing’…He sings every song like it is an extension of ‘Wanted, Dead or Alive’.
Also, from 2002, here is another incredible version of ‘Celluloid Heroes’ by Steve Vai. This is from his album ‘The Elusive Light and Sound Vol. 1’. This combines a strong vocal performance with Steve Vai’s guitar prowess.
Everybody’s a dreamer. Everybody’s a star.”
Ray Davies
Make your life a non-stop Hollywood movie show. It doesn’t need to be fantasy…and ideally it will exist without pain.
Today’s post is a classic ‘60s song by Tommy James and the
Shondells. ‘Crimson and Clover’ is an important song both for this act as well
as music in general. It signified a change in the Tommy James sound and it was
part of a movement toward more studio treatment in many recordings of this era.
The interesting thing about ‘Crimson and Clover’ is it should not have been
released as the song we know. The song we are all familiar with was a studio
experiment that was leaked by a radio station. This accidental release turned
into pure gold as it hit #1 fifty years ago today. It goes down as Tommy James
and the Shondells best selling song, selling over five million copies. It also
went on to inspire two notable covers which will be revealed after I speak to
the composition and recording that we all know so well.
As noted, Tommy James was determined to move from a single
oriented style to a more album-based performer. This decision came on the heels
of ‘Mony Mony’ which was extremely successful. In short, he wanted to be taken
more seriously within his network of artist peers, as more album-oriented. The
trend at the time was moving toward
album oriented artists being seen as more influential in the late ‘60s music
scene. Part of this movement saw Tommy James take over the writing and
production of his own songs. His record company, Roulette Records gave him
complete creative license. The creation of ‘Crimson and Clover’ stemmed from an
idea that came to Tommy James as he woke up one morning. It is a simple
combination of his favourite colour and favourite flower. The title begat the
song which James ultimately wrote with his drummer, Peter Lucia Jr.
‘Crimson and Clover’ was recorded over the course of a day
in late 1968. It is thought to be one of the earliest songs written on 16 track
recording equipment which speaks to the very experimental nature of the
recording. If you listen to ‘Crimson and Clover’ it is notable for the tremolo
effect on the guitar which vibrates in time with the rhythm of the song. Tommy
James and the Shondells liked the instrumental effect so much that they
extended it to the vocals as they repeat the well known phrase “Crimson and
clover. Over and over” as the song closes.
In 1982, Joan Jett released a version of ‘Crimson and Clover’ that did extremely well in both Canada and the United States; reaching top 10 in both countries.
‘Crimson and Clover’ was also notably covered by Prince in
2009. Here is Prince putting on a dazzling guitar clinic on an episode of the
Ellen Degeneres show. This is incredible. Ten years ago…and now he too is gone.
What a loss.
Fortunately, we still have the music to enjoy. The
versatility of this artist is among his greatest attributes.
Ted Tocks Covers 