March 26, 2015

Progressive Rock Review: Nth Ascension-Ascension Of Kings

Release Date: 15th December 2014
Label:  Sonic Vista Records

Following on from a debut album, Frequencies Of Day And Night, which was made available as a free download on Aurovine, the band, Nth Ascension, have recently released album No 2, Ascension Of Kings. The music on the debut album, released in 2011, had been likened to such bands as Grey Lady Down, Arena and Pallas.

The band, when the 2014 album, Ascension Of Kings was recorded, was a 5 piece unit comprising Martin Walker (guitars), Gavin Walker (bass), Craig Walker (drums, percussion), Alan “Spud” Taylor (vocals) and Daniel Treece Birch (keyboards). Unless there is a huge coincidence in the names, I might hazard a guess that the first 3 band members might be related.

The album, Ascension of Kings, is an 8 track release with a total running time of around 57 minutes. The final track, “Vision,” is the longest track at 18:44 minutes and track 2, “Return Of The King” is the shortest at under 4 minutes (3:44). Tracks 4, 5 and 6, although separate, form parts of a trilogy, with “Overture,” “Realm With A Soul” and “Seventh Rider” being subtitled Clanaan Parts 1, 2 and 3 respectively.

“Fourth Kingdom” (6:21), the opening track on Ascension Of Kings, starts with a little soundscape with wind whistling, but quickly moves into some excellent work on the drums and bass and a little hook being played on the guitar. The feeling of the track is reminiscent of Thin Lizzy and the guitar riff, and drum/bass powerhouse hinted at a subdued Black Sabbath. This is an excellent track that moves along with a feeling of aggression bubbling just under the surface, but the great achievement is that this “hidden” aggression is controlled and never allowed to “escape,” which results in a very classy piece of work to open the album. In the latter half of the track, the keyboards are allowed some time in the spotlight and this just adds the perfect finishing touch.

Tracks 4, 5 and 6, “Overture” (6:08), “Realm With A Soul” (3:51) and “Seventh Rider” (4:00), as mentioned earlier form the Clanaan Trilogy. “Overture” is the scene setter with a superb soundscape being “painted.” The sound builds with keyboards playing a subtle little theme, with synths adding flourishes now and again. An almost choral effect is generated and the listener is left to use their imagination as to what they think is happening. At around the 2:30 minute mark the drums enter and the track moves up a gear. The simple theme is repeated, morphed slightly and then returns, all the while emanating waves of magnificence. As the music moves into “Realm With A Soul,” it initially seems to be setting a darker style piece of work, but with a sudden synth flourish, an acoustic guitar takes up the reins and is joined by some very gentle delicate vocals. This is a passage of great harmonizing with some superb synth fills in the background. The final part of the trilogy, “Seventh Rider,” bucks the general trend of multi-sectioned tracks by refusing to become a full blooded reprise of the early theme, and instead makes the third part a thing of delicate beauty. Some superb playing with excellent guitar flourishes makes the final part of the trilogy little short of stunning. Increasing intensity builds the music before the guitar theme reappears. These three tracks flow together so well and show that Nth Ascension have the writing ability and instrumental techniques to become one of the bigger players in the world of progressive music.

The final, and longest, track, “Visions” (18:44) once more starts off by setting a barren, sparse scenario, but without any warning, the track abruptly changes to a full band workout. This is a track that initially drives along with touches of light and dark and a powerful vocal. Slight touches of the metronomic drumming style appear, but the excellence of the music refuses to let the track flounder on this. From around the 6 minute mark there is a long instrumental section, driving guitars, soaring keyboards and synths and amazingly solid power being generated from the drum/bass duo. A more acoustic passage is escorted around the 11:30 minute mark, just prior to the reappearance of the vocals at 12:00 minutes. Another 30 seconds and there is more guitar work with a “wind” in the background, and this continues to wash along taking the track on an elongated exit. A louder vocal kicks back in around the 17 minute point as the albums second tour-de-force is allowed to slowly fade into nothingness.

I always look upon my reviewing as a chance to come across some excellent new material. Reviews for well-known bands are great, but one is aware of the standing of the band and to some extent, this “colors” the expectation. Once in a while, a new name just nails it and literally blows you away. Ascension of Kings by Nth Ascension, is just such an album, where from the word go, you are pulled into the places the band want you to be and treated to an amazing statement of musical skills, each track seeming to take you further into their world. The advice is again simple, you should clear a small space on your CD shelf, as I can guarantee, with close to 100% certainty, that once Ascension Of Kings has been heard, you will immediately part with the necessary shiny coins to allow you to own it.

5/5 Stars

Key Tracks: Fourth Kingdom, The Clanaan Trilogy, Vision

Fourth Kingdom
Return Of The King
Strange Dreams
Overture (Clanaan Pt 1)
Realm With A Soul (Clanaan Pt 2)
Seventh Rider (Clanaan Pt 3)
Weight Of The World

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk

March 26, 2015

Review Provided By Prog Rock Music Talk

March 23, 2015

UK Prog Icons Karnataka To Release New CD 'Secrets Of Angels' Featuring Epic 21-Minute Opus!

London, UK - 'Secrets of Angels' is the eagerly anticipated new album from UK rock ensemble Karnataka. Featuring eight brand new tracks and showcasing a more dynamic and symphonic direction, the new album propels the band to powerful and majestic new highs. Recorded at Peter Gabriel's Real World Studios and Quadra Studios in London the new album explores themes from despair, anguish and the futility of war to love across cultural divides and culminates in the 21-minute opus and epic title track, “Secrets of Angels”. The music was written over a period of two years following on from the band's last tours in 2012. The new tracks showcase a more dynamic and symphonic direction.

The album embraces several interlinked themes - temptation, lust, secrets, darkness, division and betrayal but with a constant underlying message of searching for an inner strength, to battle through when hope is lost or emotions are at their weakest, 'to step free from shadows cast'…. a sense of defiance that always wins through. Says bassist Ian Jones, “There are threads running through the album. The title track 'Secrets of Angels' has a theme of war through the ages – the futility of war – told through the eyes of two people. The despair and anguish experienced. 'Secrets of Angels' refers to the secrets a person takes to the grave… 'Road To Cairo' is a love letter to Egypt as a country but it also has a personal theme about love across religious and cultural divides. ‘Forbidden Dreams’ is about temptation and passion. ‘Poison Ivy’ is about betrayal, anger, danger...

The album features guest appearances from Nightwish's Troy Donockley on uilleann pipes and whistles, one of Ireland's top young harpists Seána Davey and a string section from the Royal Philharmonic Orchestra.

Karnataka rose to the forefront of the female-fronted symphonic progressive rock scene with the release of their landmark album 'Delicate Flame of Desire'. Their follow up and critically acclaimed album 'The Gathering Light' won best International Album at the World Prog awards.

The band features an international line up of world class musicians. The beautiful voice of enigmatic lead singer Hayley Griffiths (Riverdance, Lord Of The Dance), the virtuoso fretwork of Italian guitarist Enrico Pinna, the melodic driving bass of Ian Jones, the innovative and symphonic orchestrations of Turkish keyboard player Cagri Tozluoglu all powerfully driven forward by the dynamic drumming of French sticks man Jimmy Pallagrosi. Together they create a beautiful tapestry of sound that transcends musical boundaries and showcases the band‘s sublime songwriting and musicianship all of which have won plaudits from Radio 2's Bob Harris, Rick Wakeman and many others.

The band's powerful live performances have entranced and captivated audiences across the UK, USA and European mainland and also seen them perform alongside prestigious artists such as Robert Plant and Porcupine Tree. Karnataka will be launching the album with a full UK tour in March 2015.

Road To Cairo
Because of You
Poison Ivy
Forbidden Dreams
Fairytale Lies
Feels Like Home
Secrets of Angels

In closing Ian has this to impart, “We hope you enjoy listening to the new album as much as we enjoyed making it. Every Karnataka album is a labour of love and 'Secrets Of Angels' is no exception. We’re very proud of our new creation – time to let it loose! We've explored some darker themes in the new album… temptation, lust, secrets, darkness, division and borders and betrayal but also war… we're all living in a time of constant war… many experience the loss and anguish first hand… for others it has become a white noise constantly in the background of our lives. Writing about war is a sensitive and difficult issue – the temptation is not to try… but we didn’t feel we could ignore it. The title track 'Secrets of Angels' is about the futility of war - the anguish and despair – war through the centuries seen through the eyes of two people. A repeating theme is division and borders… both personal and cultural – another theme that is touching many today.”

Release Date: 9th March 2015

Feb 27 Bury The Met Theatre
Feb 28 Lowdham Hall
March 7 Derby Flowerpot
March 8 Bilston Robin 2
March 13 Edinburgh The Voodoo Rooms
March 14 Chesterfield Classic Rock Society
March 20 Bristol BierKeller
March 21 Worcester Huntingdon Hall
March 22nd Leamington Spa (special guests of Arena)
March 26th Norwich Arts Centre
March 27th Milton Keynes The Stables
March 29th Southampton The Brook
April 12th Swansea The Scene
April 17th Leicester Y Theatre
May 9th London Islington Assembly Hall

Press inquiries: Glass Onyon PR, PH: 828-350-8158,

March 22, 2015

Progressive Rock Review: Kaukasus-‘I’

Release Date: 4th May 2014
Label:   Autumn Song Records (Burning Shed)

This release arrived on my desk a short while ago for review, but I was already aware of the band, Kaukasus, and indeed, had already aired a couple of tracks of ‘I’ on my radio show. The band was initially formed as an experimental project into the Krautrock style of music, but evolved into modern, dark, Nordic progressive rock, containing subtle, and sometimes, not so subtle hints at Krautrock, Art Rock and World Music. Influences have been drawn from such diverse bands as Japan, Genesis and Can, to name only a few.

Kaukasus comprises Ketil Vestrum Einarson (alto/soprano flutes, tenor horn, treated flute, hulusi, electric piano and EWI synthesizer), Rhys Marsh (voices, electric guitar, acoustic piano, bass guitar, Fender Rhodes, mellotron, drum machine and pedal steel guitar) and Mattias Olsen (drums, percussion, mellotron, orchestron, moog Taurus, VCS3 and Mother Modular System, baritone guitar and bass marimba). The three musicians are very well known and respected progressive musicians, Ketil as part of Jaga Jazzist and Motorpsycho, Rhys as part of Autumn Ghost and Opium Cartel and Mattias as part of Anglagard and White Willow.

‘I’ is a 7 track release with a total playing time of around 47 minutes. Track 5, “Reptilian,” is the longest on offer at 9:10 minutes, with track 6, “The Witness” being the shortest at just over 4 minutes (4:11).

The opening track to the album, ‘I’, “The Ending of the Open Sky” (5:34) has some very atmospheric flute as an introduction, together with some synths in the background. The drums then enter and some breathy vocals before there is a great riff on the guitar. Rhys vocals are amazing, so clear and powerful and riding high over the background. The drums continue to underpin the track and drive the music along. Around the 2:30 minute mark there is a little passage that almost enters the discordant with the sax playing but the general feeling of excellence is maintained. There is then a return to the flute led passage and back to the vocals by Rhys. There is then a little bit of double tracking on the vocals, the drumming by Matthias is superb throughout the track and the flute, and saxophones, provided by Ketil are excellent. Around the 5 minute mark the vocals and the drumming disappear and an atmospheric soundscape takes the track out.

Track 2, “Lift The Memory” (8:53) sees Matthias’ drumming providing the start point for the first 30 seconds before the track bursts into life. Rhys vocals are again clear and powerful and the lyrics are easily followed. Around 2:30 minutes there is a total change with the instruments dropping away and the track then moves into a very jazzy veined section powered by the drums and Rhys vocals continue to drive the track along. This track is certainly one that conjures up thoughts of David Sylvian (especially when he recorded as Rain Tree Crow). The sound that these 3 musicians can generate is excellent. This track has quiet passages, but every so often, it seems to throw in some “killer” hooks. The breathy whispered lyrics, which are just about understandable at points adds to the atmosphere. Around the 5 minute point there is an aural soundscape which takes over with a plaintive passage and a synth that enters and leaves in the background. This is a simply stunning section of a magnificent track. By 6:30 minutes, the track is into some heavy riffing and then into the main theme again before the track takes its leave with a gentle fadeout for the last minute or so.

“Stillness Of Time” (5:57) starts with the piano, bass and terrific drums with Rhys voice over everything. There is very simple drumming with synths appearing initially and then the power kicks in with a heavier, almost muddied, background. A return to the sparse drumming, which also conjures up the sound a train generates, and the piano, heralds the return of the vocals. Around 3:30 minutes there is a terrific synth passage which drifts into a gentle soundscape. Atmospheric is a word that comes to mind frequently and this soundscape takes the track out with some extraneous sounds away in the background.

“Starlit Motion” (5:21) is a synth led haunting melody, with the synth “painting” a scenario which seems very bleak, until another synth can be heard bubbling away underneath and this is soon joined by some superb flute from Ketil. The sound is very reminiscent of the Snow Goose era Camel. Ketil continues to push the track along before more synths build up a melody again, again joined by the flute and the feeling is that of very early Kraftwerk territory. This is the type of instrumental that pulls the listener deep into the track and demands that they hang around to enjoy everything the track has to offer.

“Reptilian” (9:10) is the longest track on the album and starts in a sort of Eastern style which merges into drums and saxophone prior to the entry of the vocals by Rhys, which moves from channel to channel on alternate lines. Synths carry the track along with more Mattias magic on the drums and the sound builds into a mélange of Eastern bits and pieces. Breathy, almost inaudible lyrics paint another excellent soundscape before the track builds up again and into the mélange mentioned earlier. The shift in the use of percussion in different areas is stunning in its simplicity. Guitars, from Rhys, help to build the atmosphere in the track. If there is one area that is slightly disappointing with this particular track, it is the very repetitive vocalization which can “drag” a little. From 7:30 minutes, there is the setting of another haunting aural soundscape which escorts the track out.

The penultimate track, “The Witness” (4:18), is the shortest track and starts with guitar and flute with the synth adding little flourishes. The deep, clear vocals provided by Rhys explain the tale of the witness and the addition of a pedal steel guitar passage adds another level to the track. The feeling within “The Witness” is that of a sparse barren scenario, but at just over 4 minutes, it appears close to perfection.

“The Skies Give Meaning” (8:06) is another chunk of haunting atmospherics, with flute, drums and percussion all dovetailing into place. The track slowly builds with layers appearing and disappearing until around 3:30 minutes when a “cloak of heaviness” descends. This time, Rhys voice seems to be in a battle with the instruments to determine the victor. “Reptilian,” as mentioned, was a little disappointing. “The Witness” turned that around into near perfection leaving the final track a lot to do to keep the flow going, but unfortunately for some reason, it misses the bull’s-eye. This last track just seems to lack the “je ne sais quoi” that was apparent in most of the earlier tracks.

Despite the bit of a letdown with the final track, this is a superb album. Very few albums can claim to be “perfect” throughout, apart from some Greatest Hit albums, and ‘I’ is no exception. ‘I’ needs to be listened to several times to fully appreciate what these 3 musicians have achieved. Both stickers appear on the cover of the Kaukasus album, “One to Buy” and “The Experience will last Forever” and my simple advice on ‘I’ is “get out there and buy this album,” settle into a comfortable chair and let the stunning artistry that is ‘I’ I wash over you.

4/5 Stars

Key Tracks: Lift The Memory, Starlit Motion, The Witness

The Ending Of The Open Sky
Lift The Memory
In The Stillness of Time
Starlit Motion
The Witness
The Skies Give Meaning

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk

March 22, 2015

Review Provided By Prog Rock Music Talk

March 19, 2015

Italian Prog Ensemble Not a Good Sign To Release Sophomore Album “From a Distance” On Fading Records/AltrOck

Milan, Italy – Italy's Fading Records/AltrOck will be releasing the highly anticipated second album by the Milan-based band Not a Good Sign, who acquired a worldwide following thanks to their catchy, dynamic, dystopian versions of prog-rock merged with pure rock. The new album is titled “From a Distance,” and in these tracks many will recognize the 'old school' Prog from the '70s, but in a modern key, with a pinch of hard-rock and psych. Resonant vocal melodies and lyrics complete the gloomy but colorful imagery of the band.

Says Not a Good Sign, “For every band, a second record is a great achievement and at the same time an occasion to focus on past experience and visions. We expect we'll satisfy all the people who enjoyed our first work and we hope to gain new fans, even amongst people who don’t like progressive rock.”

Not a Good Sign are proud and full of hope. Their second release, “From a Distance”, follows up where their 2013 self-titled debut album left off. Released, like their first work, by Fading Records/AltrOck, one of the best known and most appreciated Italian record labels, priding itself on the innovative quality of its products, “From a Distance” starts from the best parts of its predecessor and presents new developments and solutions. The Milan-based band, created in 2011 by Paolo “Ske” Botta and Francesco Zago (Yugen) along with producer Marcello Marinone, has a renewed line-up. During the February 28th album presentation, Not a Good Sign introduced to the fans their new guitarist Gian Marco Trevisan, replacing founding member Zago who left the band after the recording of “From a Distance.”

Not a Good Sign began as a project by AltrOck and some members of bands signed to the label. Marcello Marinone, Paolo “Ske” Botta and Francesco Zago, after a successful collaboration in Yugen and Ske, propose a new blend of their musical attitudes. The result is an ominous, fascinating sound melting vintage keyboards, powerful guitars and voice, besides ethereal and autumn nuances, supported by a compelling rhythmic drive. In 2011 Botta and Zago began to write the music, and Zago provided the lyrics too. Soon G. Guidi Colombi and Alessio Calandriello, from La Coscienza di Zeno, joined the band.The drummer Martino Malacrida completed the line-up in 2012. Alessandro Cassani joined the band in 2013 after the release of the first album.

Different from the classics in the progressive genre, “From a Distance” doesn't feature long suites, being instead limited to ten songs of medium length in which various souls merge – from the most melodic to the hardest. One of the aspects that makes Not a Good Sign stand out is their new interpretation of the progressive rock musical language, often labelled as unable to renovate itself. “We are unable to consider Not a Good Sign simply a creature of its time: our music features too many references to the 1970s – the golden age of progressive. At the same time, there are a lot of much more recent references, particularly for what concerns the production; some of them even stray from rock. Our originality is in a honest approach, derived on one side from the present days on the other from the memory of an unforgettable period in music history.”

The five-piece is supported by Maestro Maurizio Fasoli (Yugen) on the piano, Eleonora Grampa on oboe and English horn, Jacopo Costa on glockenspiel and vibraphone, and Gian Marco Trevisan on guitar. “The band, on 'From a Distance', is more mature, more aware, and its vision is clearer and easier to understand. There is a deeper melodic research that highlights the shadow play. The guest musicians and their instruments enrich the band’s sound and occasionally take center stage.” Not a Good Sign also filmed a clip for “Flying Over Cities”, a video highlighting and strengthening the contrast between the dystopian lyrics and the musical dynamism.

After the February 28th showcase, the band will perform on the following dates:
March 1st – Arlecchino Club (Vedano Olona – Varese); March 2nd – Live Unplugged Radio Lombardia; March 13th – Floyd (Legnano – Milan); March 27th – Musicolepsia (Melegnano – Milan); May 29th – live unplugged Radio Cernusco Stereo; August 20th – Crescendo Festival (St. Palais sur Mer, France).

“From a Distance” studio personnel:
Paolo “Ske” Botta, keyboards
Alessio Calandriello, vocals
Alessandro Cassani, bass
Martino Malacrida, drums
Francesco Zago, guitars

Maurizio Fasoli (Yugen), grand piano
Eleonora Grampa, English horn/oboe
Jacopo Costa, vibraphone/glockenspiel

Live 2015 line-up:
Paolo “Ske” Botta, keyboards
Alessio Calandriello, vocals
Alessandro Cassani, bass
Martino Malacrida, drums
Gian Marco Trevisan, guitars

To purchase Not a Good Sign's “From a Distance” CD:

For more information:

Fading Records/AltrOck:

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA),

March 15, 2015

Progressive Rock Review: Gong- I See You

Release Date: 17th November 2014
Label: Madfish Records

While I am very aware of the existence of the band, Gong, especially having reviewed Steve Hillage releases as Steve was a member of the band in the early days. What I was not aware of was the fact that the band is still on the go. I See You is a new release and makes the number of studio albums released by Gong now reach 23, from the debut album in 1969, Magic Brother, to the previously issued release, 2032, out in 2009.

This new album, I See You, will delight the die-hard fans of the band, Gong, but the information also recently released on the website will have been devastating. Original member, Daevid Allen, who contributes gliss guitar and vocals, had indicated that he had a terminal illness with only months remaining and just passed on March 13th.

The band for the recording of I See You comprises Daevid Allen, Orlando Allen (drums, vocals), Dave Sturt (bass, computer samples), Kavus Torabi (neoprog smart guitar), Fabio Golfetti (guitars) and Ian East (saxophone, flute). Kavus Torabi is also a member of the band Knifeworld, and also joining as guests on the album are Gilli Smyth (sprinkled space whisper) and Mark Robson (keyboards).

I See You is a 12 track album with a total playing time of around 63 minutes, with consecutive tracks, numbers 10 and 11, “A Brew Of Special Tea” and “Thank You,” being the shortest, and longest, at 1:22 minutes and 10:35 minutes respectively. An interesting aside is that the members of the band were recording in different places, Australia, Brazil, Israel and the UK, and then the results seamlessly merged to produce the 12 tracks on offer.

The opening, and title, track, “I See You” (3:24) opens with some spoken word passages and a distinct jazzy feel to the music. The vocals put me in mind of the style of David Byrne (Talking Heads) and the track merges horns, guitars and synth swirls in a fairly pleasant, in unremarkable, manner. This is an easy going track to set the album in motion.

“Occupy” (2:51) almost shouts out “King Crimson,” with some frenetic horn work and sudden unexpected time changes which certainly kept this listener on his toes. As the track moves into its fade-out sequence, it is awash with Gilmour/Floydian style sounds.

Track 3, “When God Shakes Hands With The Devil” (5:36) has almost rap-like vocals and the excellent drumming, guitars and flute contribute to a very interesting track.

“The Eternal Wheel Spins” (7:07) has a soft spoken intro by Gilli and then proceeds to drive along in a manner not unlike an in-form Hawkwind. Some amazing guitar from Fabio is a real highlight of this track and its 7+ minute length seems to fly by. This is my personal favorite track from the first third of the album.
“Syllabub” (4:30) is one of those “stop-start” musical pieces which really never grabbed this listener. The constant time changes prevented the track from flowing. “This Revolution” (3:44) is a hard hitting diatribe on revolution set amidst horns and a “spacey” style background. “You See Me” (3:44), which is possibly linked to the title track, shows the King Crimson style again, especially with that bands characteristic time shuffles.

A change of style sweeps in with “Zion My T-Shirt” (6:09) with some excellent choral styled chanting setting the scene. Subdued drumming, subtle guitar and a set of breathy styled vocals make for a very atmospheric track. The longish spoken section of lyrics sits within the track well.

Next up is a real piece of whimsicality with “Pixielation” (4:43). The sections within this track are separated by very atmospheric music, and the result is a very clever track that embeds itself in the mind.

The very short “A Brew Of Special Tea” (1:22) is a mainly sound effect track with an old style radio type vocals in the background, but grabs the listeners attention.

The longest track on offer “Thank You” (10:29) is one of those hypnotic drone style tracks which builds in intensity very slowly with some excellent synth guitar. Just prior to the 4 minute mark, the track becomes very sparse, before building again with some more excellent guitar, but I did find that the “atmospheric” sounds in the background proved more of a distraction than adding to the soundscape. This section seems a little too long, going on as it does to around the 7+ minute point, before the track moves into a simple chant like vocal, but the magic generated by the first 4 minutes seems to have vanished. This genuinely sounds like the final track of an album so it is interesting to see how the band do close the album.

“Shakti Yoni and Dingo Virgin” (9:32) veers in another direction, being built up of atmospheric and ambient soundscapes, instrumental in nature, apart from the “sprinkled space whispers” supplied by Gilli.

I See You is an album that will sell well to Gong enthusiasts, as here we have a band that, while recreating some classic Gong style music, have refused to simply “go through the motions.” There are huge hints at the contents of some early classic Gong albums, but the motivation and enthusiasm of the musicians involved ensure that this is a “new” Gong. I See You could also pick up sales from music aficionados keen to sound out Gong, and several listens to this album could well see them search out early back catalogue material.

4/5 Stars

Key Tracks: The Eternal Wheel Spins, Zion My T-Shirt, Pixielation

I See You
When God Shakes Hands With The Devil
The Eternal Wheel Spins
This Revolution
You See Me
Zion My T-Shirt
A Brew Of Special Tea
Thank You
Shakti Yoni and Dingo Virgin

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk

March 15, 2015

Review Provided By Prog Rock Music Talk