Monthly Archives: August 2009
AC/DC – Back In Black
AC/DC – Back In Black [Remastered] (2003, Epic Records)
Original Release: 1980, Atco Records
1. “Hells Bells” … 5:09
2. “Shoot to Thrill” … 5:14
3. “What Do You Do for Money Honey” … 3:33
4. “Given the Dog a Bone” … 3:30
5. “Let Me Put My Love into You” … 4:12
6. “Back in Black” … 4:13
7. “You Shook Me All Night Long” … 3:28
8. “Have a Drink on Me” … 3:57
9. “Shake a Leg” … 4:03
10. “Rock and Roll Ain’t Noise Pollution” … 4:12
Band:
Brian Johnson – Lead Vocals
Angus Young – Guitar
Malcolm Young – Guitar, Backing Vocals
Cliff Williams – Bass, Backing Vocals
Phil Rudd – Drums, Percussion
Produced by: Robert John “Mutt” Lange
In keeping with my initial intent to catalog and comment on all of my albums and not necessarily review, this one’s going to be short and sweet because there’s not really much to say about this album that hasn’t been said a millions times by millions of other people. I do think it’s a tad overrated, but it is still a classic and should be in every rocker’s collection. I mean, it has sold over 22 million copies in the United States alone and a whopping worldwide total of 49 million. If you don’t own this already, don’t you think it’s time you do?
This was one of a handful of albums I listened to extensively the last year or two of high school. I was just discovering the rock & metal scene and AC/DC was one of the first bands I fell in love with and I walked home many times from school playing this one in the ol’ Discman! I was fascinated and tinkled pink by “Given the Dog a Bone” at the time.
I originally had an older issue of this on CD for years, but when I was a member of Columbia House Music, they shipped this to me by accident, so I ended up getting to keep it PLUS they took the charge off my account. Pretty cool!
Highlights: All of it.
KISS – Unmasked
KISS – Unmasked [Remastered] (1997, Mercury Records/Casablanca Records)
Original Release: 1980, Casablanca Records
1. “Is That You?” … 3:57
2. “Shandi” … 3:35
3. “Talk to Me” … 4:01
4. “Naked City” … 3:50
5. “What Makes the World Go ’round” … 4:12
6. “Tomorrow” … 3:16
7. “Two Sides of the Coin” … 3:15
8. “She’s So European” … 3:30
9. “Easy as It Seems” … 3:24
10.”Torpedo Girl” … 3:44
11.”You’re All That I Want” … 3:02
Band:
Gene Simmons – Lead Vocals, Bass
Paul Stanley – Lead Vocals, Guitar, Bass
Ace Frehley – Guitar, Lead Vocals, Bass
Peter Criss – Drums (credited, did not play)
Additional Musicians:
Anton Fig – Drums (uncredited)
Vini Poncia – Keyboards, Backing Vocals, Percussion
Holly Knight – Keyboards (“Shandi”)
Produced by: Vini Poncia
There’s not a single KISS album that I don’t like. KISS is my favorite band and despite the disco pop found on this album, I still like it. It’s funny because if this was released by an actual disco/pop act, I’d have no interest it it. So, I know, I know… I’m biased. If pressed, I will admit that this is my least favorite KISS album, but it’s a guilty pleasure and I’ve always enjoyed the goofy comic book cover. Unmasked would’ve been a great album title for Lick It Up. Given that it would be another 3 years before they actually did unmasked, the title doesn’t really make a lot of sense (and all suspense that the title would bring is erased by the cover art).
With the success of “I Was Made for Lovin’ You” from Dynasty, KISS basically decided to an all album full of “I Was Made for Lovin’ Yous” and Dynasty producer Vini Poncia was back again to help the band achieve that.
This was the final album from the original four members, until the reunion. Peter Criss was not involved in the recording/writing of this album at all and he was gone from the band shortly after Unmasked was released (Anton Fig recorded the drums and Eric Carr would play on the ensuing tour).
Many of these songs could have actually been solid rockers had the album’s production not been given a disco pop sheen. I especially think “What Makes the World Go ’round” and “Easy As It Seems” could’ve been great traditional KISS rockers.
Though the album went gold in the U.S. in short order, it was not a success at all and the album’s lone single, “Shandi” failed to break the Top 40. Apparently, the album went over well internationally and “Shandi” was a HUGE hit for the band in Australia (where they played it every time they tour there).
Highlights: “Is That You?”, “Shandi”, “Talk to Me”, “Naked City”, “What Makes the World Go ’round”, “Easy As It Seems”
BLACK SABBATH – The Eternal Idol
Black Sabbath – The Eternal Idol [Remastered] (2004, Sanctuary Midline – UK Import)
Original Release: 1987, Warner Bros. Records
1. “The Shining” … 5:58
2. “Ancient Warrior” … 5:34
3. “Hard Life to Love” … 5:00
4. “Glory Ride” … 4:48
5. “Born to Lose” … 3:43
6. “Nightmare” … 5:17
7. “Scarlet Pimpernel” … 2:07
8. “Lost Forever” … 4:00
9. “Eternal Idol” … 6:35
Band:
Tony Martin – Vocals
Tony Iommi – Guitar
Bob Daisley – Bass
Dave Spitz – Bass (Credited, but did not play)
Eric Singer – Drums
Geoff Nicholls – Keyboards
Additional Musicians:
Bev Bevan – Percussion
Produced by: Jeff Glixman, Vic Coppersmith-Heaven, Chris Tsangarides
Black Sabbath keeps rolling through the ’80s! Ozzy? Who needs him! It’s amazing to me that this band has really only been successful when Ozzy Osbourne or Ronnie James Dio are fronting. Black Sabbath has done some great hard rock & metal without those guys, but us rock ‘n’ rollers have a thing about accepting and embracing change.
Actually… I should say Tony Iommi has done some great rock & metal, he was the one constant force and always kept the band filled with talented musicians and it’s his peserverance and the high quality songs he kept writing for the band during the lean years that have really proven what a rock legend he really is. Given the scrutiny the Gillan, Hughes and Martin albums have been under, it’s a miracle the band made a successful transition when Dio replaced Ozzy.
With Ray Gillen standing in for Glenn Hughes (who was fired due to awful live performances) on the remainder of the poor-selling Seventh Star tour, Gillen was made the official singer for Black Sabbath. He got as far as recording demos for what would be The Eternal Idol, but reportedly “mismanagement and miscommunication” amongst the band led to his exit.
Enter little known vocalist Tony Martin, who starting with this album, would have the second longest tenure of any Black Sabbath singer (Ozzy, of course, being the first). How much work Martin had to put into this album is up for debate. Some sources state The Eternal Idol was fully recorded with Gillen on vocals and Martin was rushed into the studio to replace those vocals, but the only extent of Gillen’s involvement that can truly be confirmed are the demos that are floating around. According to Martin, Gillen’s laugh was left on “Nightmare”, but everything else was erased.
In recent years, some critiques of the Martin-era have softened and the Tony Martin albums are starting to be accepted and praised and rightfully so. The guy sings his butt off here and his voice has similarities to Dio (especially on the album’s opener “The Shining”). I’m sure this fact more than helped him get the gig and is perhaps what has helped people “cope” with having someone in Sabbath not named Dio or Ozzy.
Despite quitting during recording, Dave Spitz is still credited as bassist. It worked out for the best though because ex-Ozzy bassist (!) Bob Daisley was brought in, re-recorded all bass parts and then helped with writing the album. According to Daisley, Spits remains credited because Daisley never intended to join Black Sabbath and it was done in the name of continuity.
Sure enough, Daisley would end up leaving before production on the album wrapped. Eric Singer would end up leaving before the album’s release. Bassist Jo Burt and drummer Terry Chimes were brought in for the ensuing tour, but as far as I know, their association with the band was never intended to be long term and they were official members.
Anyway, despite the chaos behind the scenes, this is a great album and it finds Black Sabbath employing the popular sounds of the day (American rock/metal) splendidly and adding a dash of Dio Sabbath. This isn’t my favorite Martin album, but it was a great debut and introduction to him.
Highlights: All of it.
www.blacksabbath.com
www.heavenandhelllive.com
www.myspace.com/heavenandhelllive
www.tonymartin.net
www.myspace.com/officialtonymartin
BLACK SABBATH – Seventh Star
Black Sabbath featuring Tony Iommi – Seventh Star [Remastered] (2004, Sanctuary Midline – UK Import)
Original Release: 1986, Warner Bros. Records
1. “In for the Kill” (3:48)
2. “No Stranger to Love” (4:28)
3. “Turn to Stone” (3:28)
4. “Sphinx (The Guardian)” [instrumental] (1:12)
5. “Seventh Star” (5:20)
6. “Danger Zone” (4:26)
7. “Heart Like a Wheel” (6:36)
8. “Angry Heart” (3:06)
9. “In Memory…” (2:36)
Band:
Glenn Hughes – Vocals
Tony Iommi – Guitar
Dave “The Beast” Spitz – Bass
Eric Singer – Drums
Geoff Nicholls – Keyboards
Additional Musicians:
Gordon Copley – Bass (“No Stranger to Love”)
Produced by: Jeff Glixman
I usually don’t mess with imports because there’s usually a high cost involved, but at $14 and some change, how could I resist owning one of my favorite Sabbath albums when all I had before was a bootleg?
Everyone knows the story of Iommi originally intending this for a solo album and the label forcing him to slap the Black Sabbath name on the cover, thus giving us the added “featuring Tony Iommi” bit as a compromise between Iommi and Warner Bros. In fact, some Sabbath fans refuse to even recognize this as an official Sabbath release. Whatever helps you sleep at night. I don’t have any real connection or affinity for the Ozzy era, so I’m able to accept this album as another quality release in the Black Sabbath catalog, regardless of Iommi’s intentions. In fact, I’ll happily take any non-Ozzy Black Sabbath album, thank you very much. The band delivered all the way up until they dumped Tony Martin in favor of the Ozzy reunion.
Some more back story on this album: Glenn Hughes was not the initial choice to sing… or was he? Jeff Fenholt (who later became an evangelist and hosted programs on the Trinity Broadcasting Network) claims he was a member of Black Sabbath the first half of 1985. Tony Iommi has disputed this claim saying Fenholt was “trying out” for his solo project. Reportedly, Iommi says Fenholt didn’t get the job because he couldn’t come up with any decent lyrics, but Jeff blames his exit/not being hired on arguments with then Black Sabbath manager Don Arden. Eric Singer backs up Iommi’s side of the story. Either way, there is a bootleg of demos floating around titled Star of India featuring Fenholt on vocals and the rest of the Seventh Star line-up playing the songs that would later evolve into Seventh Star.
Seventh Star is right up there as one of my favorite Black Sabbath albums. I love Glenn Hughes’ voice and as I said before I’m not bothered by the change in style. The sound here is influenced greatly by the blues and the L.A. metal scene at the time and it’s working for me. There’s not too many uptempo songs, but given Hughes’ soulful it all works out on songs like “Heart Like a Wheel”, “Angry Heart” and “In Memory…”.
It’s unfortunate Iommi & Black Sabbath seemed so cursed in the ’80s: only a handful of shows into the Seventh Star tour, Hughes was fired due to extremely poor performances (the side effects of a nasty drug habit). Future Badlands vocalist Ray Gillen stepped in and finished up the tour.
All told, this is a pretty impressive Sabbath lineup. Eric Singer would later go on to play in Badlands, KISS and with Alice Cooper, Dave Spitz (brother of ex-Anthrax guitarist Dan Spitz) has worked with Lita Ford, Great White, Nuclear Assault and White Lion and then of course, we have Geoff Nicholls getting his first official credit as a Black Sabbath member!
Highlights: All of it.
www.blacksabbath.com
www.heavenandhelllive.com
www.myspace.com/heavenandhelllive
www.glennhughes.com
www.myspace.com/glennhughesonline
Buy SEVENTH STAR at Amazon.com
THIS IS ’80s HAIR METAL
This Is ’80s Hair Metal (2003, Deadline Records/Cleopatra Records)
Disc One: STUDIO FUELED
1. “Cherry Pie” by Warrant … 3:05
2. “Someone Like You” by Bang Tango … 4:24
3. “Cum on Feel the Noize” by Quiet Riot … 4:38
4. “Smooth Up” by Bulletboys … 5:03
5. “Pissed” by Dangerous Toys … 4:10
6. “Sex Action” by L.A. Guns … 3:53
7. “Leather Boyz With Electric Toyz” by Pretty Boy Floyd … 4:07
8. “Bathroom Wall” by Faster Pussycat … 4:58
9. “Little Teaser” by Jetboy … 3:14
10. “Love Removal Machine” by Great White … 4:29
11. “Make It Go Away” by Michael Monroe … 3:01
12. “Tooth & Nail” Lynch Mob … 3:24
13. “Mean Street Machine” by King Kobra … 4:24
14. “River Gold” by Hurricane … 4:04
15. “Black Out” by Love/Hate … 2:56
Disc Two: LIVE & DANGEROUS
1. “Gypsy Road” by Cinderella … 3:39
2. “Kiss Me Deadly” by Lita Ford … 4:21
3. “Living Loving Maid (She’s Just a Woman)” by Great White … 2:38
4. “One More Reason” by L.A. Guns … 3:49
5. “(You Can Still) Rock in America” by Night Ranger … 5:37
6. “Hollywood” by Junkyard … 2:50
7. “Dressed Up Vamp” by Bang Tango … 4:30
8. “Around Again” by Union … 5:53
9. “Teas’n, Pleas’n” by Dangerous Toys … 4:41
10. “Ain’t Talkin’ Bout Love” by L.A. Guns … 2:18
11. “Wrathchild” by Paul DiAnno … 2:48
12. “Somebody Save Me” by Cinderella … 2:57
13. “Ramble On” by Great White … 4:36
14. “What You Say” by Saigon Kick … 3:49
Disc Three: POWER BALLADS
1. “Every Rose Has Its Thorn” by Bret Michaels … 4:49
2. “When the Children Cry” by White Lion … 6:17
3. “Headed for a Heartbreak” by Kip Winger … 2:56
4. “Ballad of Jayne” by L.A. Guns … 5:15
5. “House of Pain” by Faster Pussycat … 7:50
6. “Ready for Love” by Great White … 4:40
7. “Sometimes She Cries” by Warrant … 4:38
8. “Don’t Know What You’ve Got (‘Til It’s Gone)” by Cinderella … 5:39
9. “Dream On” by Ronnie James Dio & Yngwie Malmsteen … 4:28
10. “Sister Christian” by Night Ranger … 5:15
11. “Close My Eyes Forever” by Lita Ford … 5:02
12. “Lights” by Tuff … 3:11
13. “Still Lovin’ You” Steve Whiteman & George Lynch … 4:52
14. “Here I Go Again” by Bernie Shaw & Bernie Madsen … 4:01
15. ??? … 3:59
Oddball hair metal compilation that I picked up from FYE shortly after it’s release. I can’t remember how much I paid for it, but I don’t think it was too much. Maybe around $15 or so, which is a good thing because as you can expect from an indie hair metal compilation — these are not the original recordings. In some cases, not even the original artists are used! Ex-Dokken guitarist George Lynch and his band Lynch Mob sub for Dokken on “Tooth & Nail”, Bret Michaels stands in for his own band Poison and then there’s the odd inclusion of Great White’s cover of The Cult’s “Love Removal Machine” (this cover has apparently made its way around many a compilations). Another odd bit is that for some reason, Love/Hate’s “Black Out in the Red Room” is now simply called “Black Out”.
Back to the re-recordings, I actually like some of these versions better than the originals (though I think it’s also possible some of these songs were demos). Working on a small budget and stripped of the overproduction that was common in the ’80s, many of these songs sound fresh, raw and energetic compared to the originals. Disc One is nothing but studio recordings and Warrant’s re-recording of “Cherry Pie” is my favorite track and I think I actually like it better than the original version. Not all of Disc One is as enjoyable though– Joe Leste and Marq Torien struggle to hit their notes on “Someone Like You” and “Smooth Up”, respectively. Then there’s the awful industrialized version of “Bathroom Wall”. Look, why does this industrial garbage version of Faster Pussycat keep getting work on these hair compilations? If Taime Downe doesn’t want to represent the music in an accurate manner, I’m sure most hair metal fans would rather Faster Pussycat is not included at all.
Disc Two is nothing but live songs. The quality (and performances) vary greatly. Disc Three is power ballads, re-recordings again, but there’s some live versions as well. On Disc Three, there is a 15th track that I cannot find any info on (my slipcase/jewel case are in storage), but the song definitely does not belong here. I’ve never heard it before and it sounds like some mellow acoustic rock/pop you’d hear on the pop stations. I’m sure there’s some hair metal connection, but sonically, it’s not there. Anyone know the song title and artist?
Personally, I wouldn’t really say “this is ’80s metal”. Not when there’s so many cover songs (by Great White alone!), re-recordings and original artists are missing. The inclusion of Union alone is enough to strike down that this is a tribute to the ’80s (they didn’t formed until 1997)! Basically, the album is hit-or-miss. It’s an inconsistent three disc set, but despite the shady marketing, I still think this is a decent collection for anyone who is heavily into the hair metal scene. There’s enough gems here to make up for having to dig through the garbage to get to them.
Highlights:
Disc One: “Cherry Pie”, “Pissed”, “Sex Action”, “Love Removal Machine”, “Tooth & Nail”, “Mean Street Machine”
Disc Two: “Gypsy Road”, “(You Can Still) Rock In America”, “Hollywood”, “Ramble On”
Disc Three: “When the Children Cry”, “Ready for Love”, “Dream On”, “Still Lovin’ You”
Buy THIS IS ’80s HAIR METAL at Amazon.com
L.A. GUNS – Tales from the Strip
L.A. Guns – Tales from the Strip (2005, Shrapnel Records)
1. “It Don’t Mean Nothing” … 5:07
2. “Electric Neon Sunset” … 4:41
3. “Gypsy Soul” … 3:04
4. “Original Sin” … 4:25
5. “Vampire” … 4:22
6. “Hollywood’s Burning” … 3:44
7. “6.9 Earthshaker” … 4:07
8. “Rox Baby Girl” … 4:12
9. “Crazy Motorcycle” … 4:20
10. “Skin” … 3:11
11. “Shame” … 4:53
12. “Resurrection” … 3:46
13. “Amanecer” … 3:13
14. (Can’t Give You) Anything Better Than Love” … 4:45
Band:
Phil Lewis – Lead Vocals
Stacey Blades – Guitar, Backing Vocals
Adam Hamilton – Bass, Backing Vocals
Steve Riley – Drums, Backing Vocals
Produced by: Andy Johns
When Tracii Guns jumped at the chance to form Brides of Destruction with Nikki Sixx in late 2002, the rest of L.A. Guns decided they weren’t going to sit around and wait until Guns turned his attention back to the band he had originally formed. The band rebounded by selecting ex-Roxx Gang guitarist Stacey Blades to step in for Tracii Guns (They brought a knife to a gunfight?) and releasing the covers album Rips the Covers Off in 2004.
With this album, they released their first slab of original post-Tracii material and it stands up quite well. The absence of Tracii hurts, but Blades jumped right into the creative process and every song was written by the band as a whole (and isn’t that how it SHOULD be?).
If this is how L.A. Guns is going to sound without Tracii, I think they’re doing just fine. I must have had a lot going on in my life when this first came out, because I didn’t give it an extensive listen but this album rocks! Phil Lewis is still one of rock’s vocalists and this is L.A. Guns churning out the same solid L.A. sleaze they’ve been doing since their 1988 debut, and they’ve retained that modern/old school sound Waking The Dead had. So, c’mon, guys– when’s the next album coming out?
The one thing that I found humorous about this album is that it’s a concept album about that world-famous Sunset Strip. Is that really much of a concept? Isn’t that the dominant theme of practically every hair metal album released in the 80s?
It’s sad to not see Tracii in the “real” L.A. Guns. Especially after his final work in the band was the awesome Waking The Dead, which was a great blend of old school Guns and modern hard rock. To me, it seems like the second chance at stardom went to his head and he decided L.A. Guns, his own band, was beneath him. Karma got him in the end though because Nikki himself ditched Brides for a better gig by reuniting the original Motley Crue and now Tracii is stuck with his own unofficial version of L.A. Guns, which seems to change members by the month. I’m sure he’ll eventually reunite with Phil & Steve, but when will so many of these “80s” rockers realize they’re better off working together than feuding together?
Highlights: “It Don’t Mean Nothing”, “Electric Neon Sunset”, “Original Sin”, “Vampire”, “Hollywood’s Burning”, “Crazy Motorcyle”, “(Can’t Give You) Anything Better Than Love”
www.laguns.net (Phil Lewis’ version, AKA – “the real one”)
www.myspace.com/lagunsofficial
www.lagunslive.com (Tracii Guns’ version)
www.myspace.com/losangelesguns
DANGEROUS TOYS – Dangerous Toys
Dangerous Toys – Dangerous Toys (1989, Columbia Records)
1. “Teas’n, Pleas’n” … 3:11
2. “Scared” … 4:03
3. “Bones in the Gutter” … 3:26
4. “Take Me Drunk” … 3:56
5. “Feels Like a Hammer” … 4:10
6. “Sport’n a Woody” … 3:28
7. “Queen of the Nile” … 3:27
8. “Outlaw” … 3:21
9. “Here Comes Trouble” … 3:21
10. “Ten Boots (Stompin’)” … 3:12
11. “That Dog” … 3:29
Band:
Jason McMaster – Lead Vocals
Danny Aaron – Guitar, Backing Vocals
Scott Dalhover – Guitar
Mike Watson – Bass, Guitar, Backing Vocals
Mark Geary – Drums
Produced by: Max Norman
Another online grab of mine from years back. I had heard so many good things about Dangerous Toys years before even picking this up, but it was one of those albums where I kept putting it off or would find something else to order instead.
Well, despite the freaky tribute to Killer Klowns from Outer Space, this is a great release and it definitely deserved the gold status it achieved. Jason McMaster sounds very much like Axl Rose at times and it’s fitting, because the Texas-based Dangerous Toys have a ‘Guns ‘N Roses or L.A. Guns meets Southern rock’ vibe going. Don’t get me wrong, this is no Appetite for Destruction, but it’s a great blend of the South, sleaze and glam.
Supposedly, guitarist Danny Aaron did not play on the album and had actually left the band before recording even began. He is still credited and pictured though, so maybe Dangerous Toys knows a bit more about the situation than any gossipers would.
Metal band Shadows Fall did a cover of “Teas’n, Pleas’n” for the Japanese pressing of their album The War Within.
Highlights: “Teas’n, Pleas’n”, “Feels Like a Hammer”, “Sport’n a Woody”, “Queen of the Nile”, “Outlaw”
DIRTY LOOKS – Slave To The Machine
Dirty Looks – Slave To The Machine [Remastered] (2009, Perris Records)
Original Release: 1996, BH Records
1. “Murder For Money” … 4:14
2. “Slave in the Machine” … 4:12
3. “Droperidol” … 4:06
4. “A Better Way” … 4:18
5. “Anesthesia” … 3:28
6. “The Hole” … 3:51
7. “Feelings of Dread” … 4:10
8. “Quite So High” … 3:06
9. “Getting Even” … 3:35
10. “Jaw Breaker” … 4:13
11. “The Rotten Kind” … 3:16
12. “Last Crack” … 3:53
13. “Better Off Dead” … 3:22
BONUS TRACKS
14. “It’s Gonna Be Alright (live)” … 9:35
15. “Let There be Rock (live)” … 6:10
Band:
Henrik Ostergaard – Vocals, Guitar
Mike Ondrusek – Guitar
Mike Smith – Guitar
Jassen Wilber – Bass
Ron Sutton – Drums
Slave To The Machine has been out of print for quite some time, but Perris Records has reissued it (though Dirty Looks’ website claims it’s also a remaster), switched up the track listing and has included two bonus tracks that previously were only available on the original German pressing of this album.
This was the last Dirty Looks album for 11 years, so by this point, the band had already done a number of indie releases (after releasing two albums for Atlantic Records) and frontman Henrik Ostergaard was the only original member left. According to Dirty Looks’ own website, who exactly played and produced this album is even a mystery to Henrik, though it’s generally accepted that Mike Ondrusek, Jassen Wilber, Ron Sutton and ex-Limp Bizkit (!) guitarist Mike Smith were the players. As for who produced— ??? The world may never know. Anyone want to step up and take credit?
To the songs themselves, there is a much heavier, somewhat grungy/alternative vibe and if anyone was looking into Dirty Looks, I would suggest their search does not being with Slave To The Machine. Is it terrible? No, and it does show some signs of the band’s fun trademark of sleaze, glam and AC/DC, but it’s just a bit too heavy, dark, pessimistic and angry for me. Just take a listen to “Feelings of Dread”, possibly the worst Dirty Looks song ever and it’s pure anger ‘n’ gloom alternative metal (complete with Henrik attempting a nearly black metal cookie monster voice at times).
An album only for the hardcore Dirty Looks fans.
Highlights: “Murder For Money”, “Droperidol”, “A Better Way”, “Quite So High”, “Better”
www.dirtylooksmusic.com
www.myspace.com/dirtylooksmusic
www.perrisrecords.com
