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Rocking Hippie Party in Shepperton — LAUGHING STOCK FESTIVAL

The wonderful Jagger family of Shepperton again organized a super fun-packed day of music, peace and love in the Laughing Waters this weekend.

Remarkably, the sun managed to shine for the afternoon…

The wonderful Jagger family of Shepperton organized a super fun-packed day of music, peace & love…

The first LAUGHING STOCK FESTIVAL was held in 2005, when the Jagger family invited a few friends for a summer picnic by the river.

The event has grown over the years and raises funds for charities such as the Diabetes Society, Multiple Sclerosis Society, Eagle Radio Trust and Woking and Sam Beare Hospice.

The Woking and Sam Beare Hospice provides inpatient and community care to approximately 1,400 patients each year. They looked after Linda Jagger’s dad when he got very sick.

The hospice hopes to raise an additional £1.9m to deliver a new hospice service in the heart of Surrey that will be support generations to come.

JJ band – squelchy blues and authentic rhythm and blues…

The party started with some chilled sounds from Heids with acoustic support from the Jagger family’s own function & party outfit — the JJ BAND.

They also played a gladdening and cheerful full-electric set later in the day.

The full band comprises of Linda and Heidi on vocals, JJ and Al on guitars and with Byron and Tim providing the powerhouse bass and drums.

The outfit plays squelchy blues and authentic rhythm and blues, plus breathtaking soul and crackling pop. You can check them out at The Red Lion, Shepperton on Sunday 27th August.

Rifftakers – street-rock boogaloos…

Next up were THE RIFFTAKERS who play their own rhythm and blues brand in the tradition of The Rolling Stones and Yardbirds.

With fuzzy guitars, dynamic beats and party vibes, their street-rock boogaloos, accelerated rhythms and energetic performances provided the motivating force of the afternoon and soon the revelers rose from ground-sheets and picnic chairs to dance in unison.

Next was the super-smooth and super-efficient 8-piece GROOVELINE offering jazz, acid jazz, soul and disco  and who played a swish and dishy collection of funky hits culminating in the wonderful “Blame It on the Boogie” — got to be everyone’s favourite uptempo party-time number.

Grooveline – swish and dishy…

It was Grooveline singer Amy Nicholls’ last appearance with the band (for a while, any-ways) and bass-player Adam was taken sick [we wish him an early recovery] so he was replaced “last minute.”

After a very successful auction and raffle the three-piece roots band MANTIC MUDDLERS, from Petersfield, Hampshire, played some home-style, unfussy blue-grass and rhythm & soul numbers with exuberance and joy.

The lads will be playing the Victorious Festival in Portsmouth on 25th August. You should check them out…

The festival welcomed back the immensely talented local 5-piece rock-reggae band TREE HOUSE FIRE.

Tree House Fire – sonic damage deep down in your Mondongos —

This band are always a big hit, with bouncy, boom-boom songs and a bass line that walks impulsively down-the-line.

At Shepperton they delivered their lumpy, low-noted ditties, intrepid vocals and giddy-paced rhythms with verve and panache.

As we said before, this band causes, “sonic damage deep down in your Mondongos —”

We’ve often thought that experiencing the !DAFT!  cover band is as pleasurable as playing on a kids bouncy-castle wearing nothing but clotted cream…

Their hi-energy rock-covers are salacious & stimulating and at Shepperton the band played an unrestrained, rip-roaringly successful set that magnificently complemented  all the high-jinks and romping frolics at Laughing Water.

!Daft! — a celebratory mix of modern garage rock, post-punk and guitar pop rock…

Their delivery and execution was superb. No wonder they are  justifiably known as the best party band on the circuit.

Their celebratory mix of modern garage rock, post-punk and guitar pop rock is influenced by mid-1980s indie bands — but they easily and successfully turn their hands to garage rock, rock ‘n’ roll and even country when the time is right. And the band’s instinctive ability to “read the crowd” and recognize what is best to keep an audience on their feet is the hallmark of their success.

This was another gleeful and jubilant affair at Laughing Stock

A day of beads and feathers, flower power and gentle people — and, of course, lots ‘n’ lots of love.

LAUGHING STOCK FESTIVAL

Words & Images by @neilmach 2017 ©

Mantic Muddlers – exuberance and joy…

STACEY CRONIN + Asylum Affair at Staines Riverside Club

It’s been a while since the “Harlech Hurricane” sashayed her stuff on the Staines stage, accompanied by her conspicuously talented bandmates.

But this week we again enjoyed the power and potency of Asylum Affair with Stacey Cronin on lead vocals as they played their evocative power-ballads to an eager crowd at Staines pre-eminent music venue, the Riverside Club.

The line-up included John Lawrence (guitar) Gar Lando (drums) Colin Payne (bass guitar) and “the claw”     aka Mark ‘Wilko’ Wilkinson who recently “broke his arm” so couldn’t provide us with any sax on the evening but nevertheless still wizzed the keyboards.

The eighties make you feel nostalgic just thinking about them — and the charm of songs from that era live on in our hearts. Who does not love Belinda Carlisle, Whitesnake, Foreigner and The Bangles?

Songs are accompanied by sensitive organ ripples, flexible bass waves and foamy ridges of guitar…@neilmach 2017 ©

So Stacey sings lusty songs about breaking up and/or uncontrollable longing and all her hearty canzones are  accompanied by sensitive organ ripples, flexible bass waves and foamy ridges of guitar.

Some songs have been removed from the set-list since the last time we saw the band play in Staines…

However many of our favorites, such as “Love Is a Battlefield” (Holly Knight with Mike Chapman and made famous by Pat Benatar) have survived the cull and demonstrate the extraordinary power and finesse of Stacey. She has a distinctively soft, warm and raspy voice of sandalwood & bourbon whiskey.

A new number is “Stop!” the Sam Brown song (Brown, Sutton, and Brody 1988) brought with it with layers of sentiment. This was overwrought, almost highly-strung — and had a sense of neurosis surrounding it. The performance at Staines was so frenzied and nuanced that it left Stacey exhausted. She collapsed in a corner to recover while the band played a musical number.

Their old bossa nova piece “Parisienne Walkways” has been replaced with another number that allows the band to show off their expertise and effectiveness. It’s been traded for the funkier “Let’s Dance” (Bowie, 1983) with John pulling-off the Stevie Ray Vaughan solo at the end with flair and confidence.

the band showed off their expertise and effectiveness…
Here John Lawrence w Colin Payne @neilmach 2017 ©

Soon after “Alone” – the ‘Heart’ chart hit – written by Billy Steinberg and Tom Kelly – Stacey announced that “We’ll play the ‘other’ Heart song too…” — thus neatly summarizing the Wilson sisters career.

So the band lunged into the next head rush song with enthusiasm. We were reminded of the low tones of Grace Slick (perhaps not surprising, since the Starship’s trooper was known for contributing to Heart’s recordings) and also the flavor of Steve Nicks

Never Tear Us Apart” (INXS 1988) was another superlative addition to the repertoire, with drama and passion in each corner and layer-upon-layer of ritzy synth.

Stacey Cronin and Asylum Affair at Staines Riverside Club @neilmach 2017 ©

Perhaps most enjoyed were the Fleetwood Mac songs, and especially “The Chain” from Rumours (1977) with its well-known instrumental section associated with Formula One.   And “Rhiannon” a first-half closer — taken from the predecessor album, Fleetwood Mac (1975.)

Purple Rain” (Prince, 1984) in the second half – also gave room for John’s extended solo.

And this time the ‘Giant of the Bass’ Colin stayed in his seat (he’s still recovering from a medical procedure, we wish him a full recovery) but managed to provide undoubted fervour and gusto to the rhythms along with the über-talented Gar Lando on drums.

This was a dazzling and magnificent concert with Stacey as radiant and charming as always and the band playing at its very best.

Intoxication and rhapsody in every heartbeat.

Words & Images: @neilmach 2017 ©
Link: https://www.facebook.com/asylumaffair/

SKUNK ANANSIE — Scholarship Recipient Announced at ACM

In June it was reported by AD PONTES that The Academy of Contemporary Music (ACM) in Guildford, Surrey had announced the launch of their first ever SKUNK ANANSIE SCHOLARSHIP.

The recipient of this prestigious award receives a fully funded place on one of the academy’s reputable degree courses, worth up to £27,000…

The recipient of the prestigious award would receive a fully funded place on one of the academy’s reputable degree courses, worth up to £27,000.

The ACM have now announced that CYREEZ LEWIS will be the first ever recipient of the exclusive scholarship. Cyreez will receive his entire three-year Vocal Degree programme, fully funded at the Academy’s London campus.

After an intense judging process, Skunk Anansie, their management, and ACM tutors agreed that Cyreez Lewis should be awarded this prestigious prize.

Skin, vocalist in Skunk Anansie, had this to say, “Cyreez’s performance really resonated with me. You could feel his drive and passion which reminded me of why I first got into music. It’s fantastic to be able to offer Cyreez this opportunity in partnership with ACM and I believe it will make a real difference in his career. I’m really looking forward to seeing Cyreez progress as a vocalist and can’t wait to see the bright future that lays ahead of him...”

Chosen for his talent and dedication, Skunk Anansie were pleased to award CYREEZ LEWIS

Chosen for his talent and dedication, Skunk Anansie were pleased to award such a deserving candidate with the first ever Scholarship in their name.

As one of the most successful UK charting bands pioneering British Rock, Skunk Anansie have a wealth of musical experience under their belt making them ideal role models for the next generation of the music industry housed at ACM.

Ace, the guitarist in Skunk Anansie and ACM’s Head of Creative Industry Development, broke the news to Cyreez who was ecstatic to have received the inaugural award, “It was brilliant to break the news to Cyreez…” said Ace. “He was clearly over the moon and it feels great to make such a difference to this talented musician’s life. I’m really excited to get started on working with Cyreez in my Industry Link role at ACM this September…

Cyreez said: “Winning the scholarship means the world to me, I am so grateful, excited and privileged that I was chosen as the winner, thank you. Music is all I want to do with the rest of my life and winning the Scholarship gives me the chance to write, produce and share my music with the world. I play keyboard, guitar and use the loop pedal to record my backing sound, so the opportunity that the Scholarship has provided me with will give me the chance to improve and become the best I can be. I look forward to my time at ACM and cannot wait to learn from some of the best tutors and just do what I love doing daily.”

ACM has been building sustainable, long-lasting careers in the music industry for over 22 years. With campuses in Guildford, London and, new for September 2017, Birmingham, the Academy prides itself on delivering a unique approach to education which focuses on learning by doing. Looking for hard work and passion, ACM is proud to now offer more than £100,000 worth of Scholarships to ensure that their sought-after courses are more accessible than ever.

Limited spaces are still available at ACM’s Guildford, London and Birmingham campuses for study this September, to find out more or apply through Clearing please call the Admissions team on: 01483 500 841

Link: https://www.acm.ac.uk/

ACM LIVE — Summer Concert

On Thursday we attended the industry evening of ACM Summer Live. The series of concerts in Guildford, Surrey held this year at the Electric Theatre lasts four days (with matinee performances) and boasts over 60 new acts.

This years event was organized in collaboration with Eagle 3 Radio [Surrey and Hampshire ] and benefited MUSIC SUPPORT a charity that provides help and support for individuals in the United Kingdom Music Indsutry who suffer from alcoholism, addiction or emotional or mental health problems.

Mardhys, the 5-piece groove-orchestra…

The acts were introduced by Eagle 3 Radio presenter Jack Johnson .

First on stage were the Guildford five-nation five-piece groove-orchestra MARDHYS who are an experimental alt-folk collective fronted by the talented dreamer & chief songwriter Melatti Braam.

Songs such as “Old John” (an anti-bullying number) possessed scratched rhythms, sparkling vowels and a wriggle of violin that eeled its way through the haunting veil of harmonies. Think of English art-rock band the Moulettes playing Dylan songs to Tusk-era Fleetwood Mac beats.

The four-piece CHINA BEARS from Guildford (they seem to have mislaid Rosie along the way) provided bumptious bass-lines and kite-running anthems.

Hyrda” has seaside chirpiness with nostalgic melodies and suggestively breezy vibrations. They reminded us of Ohio indie rockers The National.

China Bears – seaside chirpiness with nostalgic melodies…

Guildford based alternative indie rock band NEON ISLANDS brought bold ‘n’ fruity tropical bass-lines and lots of fizzy guitar textures with frantic rhythms to go with flirtatious numbers.

Carlos de los Santos provided voice and more front than Harrods, while Jamie Hayes on bass guitar was simply bloody sensational and Nico Narbona (keys) offered a smooth atmosphere. Rhythms were expertly clouted out by Sam Lawson on drums. Their irrepressible charm and unmistakable ego was perhaps more significant than the total sum of their parts and outpourings, but hey! that’s what rock ‘n’ roll is all about.

London urban pop artist and singer-songwriter CHINCHILLA [Daisy Bertenshaw] who studied at the ACM Metropolis Studios academy campus in Chiswick has a mezzo-soprano range and raps in silvery cockney bursts. At SUMMER LIVE it was as if Ms. Dynamite had met Lily Allen in an Archway launderette to discuss men and moan about the weather. Last year’s wordy and grumbly “Playing With Fire” is a powerful hymn to pain and salvation. She’s unquestionably a rising star and one-to-watch!

Nabsora – exceptional

NABSORA (Brian Alejandro) is a rapper and producer originally from Colombia but is now based in London. He brought us a blast of interwoven social commentry through poety and hip-hop. His message relied on peace, love and understanding rather than rebellion.

As a poet he’s exceptional. As a rapper and lyricist he’s outstanding. His “Proud” has deep ridges of sound and is a profound crisis of contemplation set amongst vast expanses of forgiveness The vocal work is fast but accessible with elegant rhymes and melodic-hot songcraft.

Danish alternative electro-pop artist AIA creates marvelously colorful ear-tonics with decisive decency in her lyrics, taking in intertwisting rhythms to add to the drama of her performance.

AIA – intrepidly hypnotic…

She’s a fine tunesmith and an intrepidly hypnotic artist. (She reminded us of American synth-pop artist Halsey )

Also at the ACM Summer Live concert on Thursday were the Southampton based dramatic & punchy electronic duo UHURU consisting of singer/songwriter & producer Connor Daniel with Rob Jones on guitar and keys.

Plus soul and gospel singer JULY JONES and the distinctive indie-pop troupe THIS ROSE

It was a stunning evening of variety, discovery and five-star talent.

Words and pictures: @neilmach 2017 ©
Main Picture: CHINCHILLA
Link: https://www.facebook.com/acmuk/

The Academy of Contemporary Music (ACM) is a music academy in Guildford, Surrey [with sites in London and Birmingham] that offers full-time courses for guitar, bass, drums, vocals, keyboards, music production, artist development & songwriting, radio broadcasting, creative sound design, tour production & management and music business.

Little Shop Of Horrors at Magna Carta

Concorde Productions presents Little Shop of Horrors

This week we went to see the rock musical Little Shop of Horrors [music by Alan Menken] at the excellent Magna Carta Arts Centre in Egham put on by Concorde Productions, directed by Craig Howard.

Most people are familiar with the 1986 movie and recall Rick Moranis as Seymour and Steve Martin as the dentist. In fact, the film directed by Frank Oz features an assortment of recognizable faces.

The story first came to the public as a cult film in 1960…

This famous musical has lived an inverted existence… the story first came to the public as a cult film ( in 1960, with Jack Nicholson.)

This was later envisioned as an off-Broadway stage musical in 1982 and had a five-year run, with shows in London’s West End in 1983, then the big production movie in 1986 before finally moving to Broadway production.

The story is about a pitiful florist shop worker who fancies his glamorous but trashy co-worker, and raises a plant that feeds on blood and human flesh. The plant grows during the show and and although it resembles a classic “window-sill plant” cultivated by amateurs — a cross between a Venus flytrap and one of those avocados you try to grow from the stone — it eventually becomes a monster that dominates the entire stage.

The story begins in Mushnik’s Flower Shop in Skid Row where the audience is introduced to the miserly and miserable old shopkeeper (played convincingly by John Wesson.) The glamorous blond bombshell shop assistant Audrey (played by Georgie Glover) arrives late and with an injury on her face (it later becomes clear that the shiner was given to her by boyfriend Orin, the sadistic dentist played by Billy Reynolds.)

The plant grows during the show and resembles a classic “window-sill plant” cultivated by amateurs. Photo Credit: Concorde Productions

The hero of the story, Seymour (played by a lanky Christopher Blackmore who seems very Brad Majorish in this production) appears from the back-room where he’s been raising a little plant he discovered. It’s a surprisingly odd looking thing so Audrey invites Mushnik to put it into the shop window to draw-in custom. The moment they do, a woman comes in to enquire about the odd looking plant and, while there, places a huge order.

So the plant, baptized by Seymour as Audrey II [ voiced by Trevor Begley and with puppeteering by Shaun Lati] becomes a permanent feature in the window and its not long before it starts to bring good fortune to the store, and in particular to Seymour.

But, like a malicious genie, the talking plant soon starts to demand a price for the wishes it grants. And, because it’s a carnivore, the price is blood. To begin with, occasionally, its a drop from Seymour’s fingertip. But soon the cultivar gets more demanding and that’s when things get horrific.

An exemplary spectacle, a fun evening, and a slick show…

This was an excellent production with great staging and superior music. We loved the Phil Spector-style Peppermint Lounge singing group comprising of Ronette (Helen Tang-Grosso) Crystal (Julie Antoniou) and Chiffon (Cate Baines) and who drive the story and act as semi-narrative detractors. The dance (choreography by Honor Lily Redman) was spot on. And their inflections clearly accentuated.

Georgie Glover played the bimbo with a heart and she was perfect. She never let us down, although the moving aria, Somewhere That’s Green could have been given more prominence.

But our favourite song from the show, the duet Suddenly, Seymour, was perfectly rendered.

The music is largely rock and roll and doo-wop and seemed to be far more Jewish-sounding at Magna Carta than I recall, making Mushnik a recognisable Fagin character. The voice of Audrey II and the puppet-work was impeccable. The only truly amateurish scene was the final song, where the cast return with petals around their faces and was perhaps supposed to be a whimsical mockery of music-hall troupes, but actually looked pretty lame.

Photo Credit: Concorde Productions

There are several sub-texts lurking under the fundamental premise. One is the proposal that fame and fortune always costs. Sometimes the cost can be dear.

Another subtext is that when a man grows something its not so easy to control that thing and the thing can’t easily be pushed back into its container.

The story is also judgemental about the haves and the have-nots (although I couldn’t help thinking that if the musical was set in May’s Britain neither Seymour nor Audrey would still be employed by Mushnik or they would be signed to zero hours contracts.)

The other vituperative attack is on domestic violence and how, often, it’s the female partner who thinks she’s somehow “to blame” and finds it difficult to escape the brutality.

This was an exemplary spectacle, a fun evening, and a slick show. It had just the right amount of tongue-in-cheek humour and some excellent song and dance. Wonderful.

Words: @neilmach 2017 ©
Link: https://www.facebook.com/TheConcordePlayers/

Formerly known as The Concorde Players the friendly amateur dramatics group called Concorde Productions was initially for friends and colleagues of British Airways. Following the closure of the Concorde Centre in Heston, they have now moved home to the Magna Carta Arts Centre in Staines-upon-Thames, Surrey for their productions.

If you’d like to be part of their team both onstage and off you should contact them.

JAZZ KNIGHTS ORCHESTRA — STAINES

Drummer Cliff Longhurst has played with Matt Monro, Frankie Laine, Bert Weedon , Anne Shelton, Helen Shapiro, Nat Gonnella, Tony Hatch and Jackie Trent (among many others) and has toured with Herb Miller (Glen’s brother) — in addition to working as musical director for several well-known television shows. His JAZZ KNIGHTS ORCHESTRA came to Staines this week to put on a fantastic spectacle at the famous Riverside Club.

The orchestra delivered power and determination as they put on an extraordinary performance that rewarded us with the sounds & moods of Woody Herman’s big band era — the 1930s and 1940s.

A golden syrup of sax – Photo Credit: @neilmach 2017 ©

Starting with a complicated arrangement of “The Good Earth” composed by jazz trumpeter Neal Hefti, we were treated to a golden syrup of sax and beautifully chromatic trumpet — the ambitious number was endowed with attitude, passion and enormous scope.

Herman’s “The Preacher” was a cluster of sound textures with an excellent solo by Nick Charles.

Richard Rodgers’ “Sound of Music” found on Herman’s “My Kind of Broadway” was a first-class re-telling with zestful vibraphone and potent walking bass.

Rattling rhythms from Longhurst himself – @neilmach 2017 ©

The 15-piece Jazz Knights also treated the audience in Staines to lighter pop numbers such as “Killing Me Softly” [Charles Fox] and “Light My Fire” [the Doors] and a wondrous version of the Beatle’s “Hey Jude.”

The stand-out number was, perhaps, the band’s touching rendition of Sid Tepper and Roy C. Bennett’s romantic “Red Roses for a Blue Lady” made famous by singer Vic Dana. This nostalgic piece had a full-on big-band ‘feel’ with rattling rhythms from Longhurst himself and some articulate trumpet.

This was a joyful evening of swing-era jazz, a little bebop, gentle fusion and sophisticated pop — brilliantly polished, propellant and propulsive — yet relaxed in all the right places.

Thanks again to the Staines Riverside Club for hosting another unforgettable evening.

Words & Images : @neilmach 2017 ©

Link: http://www.jazzknightsorchestra.com/

MOODY MAAS + GLEN — Live in Staines

This week MOODY, MAAS and GLEN played a tasty selection of emotionally soul-stirring songs from their recent album Black & Chrome live in Staines, Surrey.

We went along to see.

Black & Chrome – Ali Maas & Micky Moody

The collaboration of Ali Maas and Micky Moody started in 2014 as a songwriting project that quickly developed into some excellent album work. Another album is on the way.

Their musical union results from a shared admiration for blues, soul, Americana, palpitating rhythms and captivating melodies.

Aside from his well-documented time with Whitesnake, Micky Moody was also a member of Juicy Lucy, Roger Chapman and the Shortlist, Snakecharmer and others.

Ali Maas was lead singer and writer for critically acclaimed band McQueen.

Their highly accomplished studio band comprised of a group of luminous musicians that included the amazing drummer Jimmy Copley, who sadly died this month.

The British harmonica player Alan Glen — who was a member of Nine Below Zero (1991-1995) as well as The Yardbirds — was also involved.

Their pruned-back live-show boasts that same trio — Moody, Maas and Glen. We saw their concert at the Staines Riverside Club on May 18th. Other dates have also been announced.

Ali Maas- Frequent cloud-bursting highs…

Ali Maas took centre stage at the Riverside, with the master-musicians at the flank.

Her vocal style was reminiscent of Alannah Myles with many velvety, sorrowful layers and frequent cloud-bursting highs. The light accompaniment from Moody & Glen reminded us of stripped-back Fleetwood Mac.

Moody, who told the audience he suffered from bad back, “caused by a dishwasher incident...” created delicate and fanciful guitar notes.

In particular, his slide guitar-work was skilful. And even though there was no drummer on stage, he frequently provided percussion through clever touches and slaps of the guitar body and picking the strings.

Glen played electric rhythm guitar for the most part, often adding rich and expressive lyrical moments to songs with his blues harp or providing intense emotions via those howling solos.

The show began with the magnificently melancholic “A Change In Everything” with thoughtful contemplations behind every loose-toned reflection and haunting lyrics like, “Sometimes we are better off alone...”

And then we enjoyed “Woman Be Wise” with those warning words: “Don’t Advertise Your Man…

Ali Maas suggested she suffered from “fried egg” after a cold — although her vocal was rich and satisfying, and did not seem fatigued or overly mucoid. Moody remained perched on his stool for the duration — maybe his back felt a little sore.

Excellent covers included the excellent “In My Girlish Days” [Memphis Minnie] and the syncopated standard “San Francisco Bay Blues” [Jesse Fuller] made famous by Eric Clapton, Bob Dylan and more.

Dusty’s “Son of a Preacher Man” went down particularly well with the Staines crowd. The interpretation by this talented trio was lunar and majestic.

The soft-shoe number “Emotional Powder Keg Blues” was apparently written by Ali when she was going through what she described as a “bunny-boiler phase…

This number had pat-a-cake rhythms and expressive guitar-lines provided by Alan Glen.

Towards the finale we had “Big Mama” Thornton’s 12-bar blues song “Hound Dog” that has been recorded over 250 times and is one of the world’s best ever sellers…

The MOODY, MAAS and GLEN rendition had all the impudence & euphoria we appreciated in the original.

This was a thoroughly pleasurable evening filled with artistry and flair.

Words & Pictures: @neilmach 2017 ©
You can read a recent interview with MAAS & MOODY here: https://rawramp.me/maas-and-moody
Black & Chrome by Ali Maas & Micky Moody ‎is OUT NOW via Armadillo Music
Link: https://www.mickymoody.com

Moody, Maas & Glen – expressive lyrical moments…