Tag Archives: Cover Songs

Velvet Crush: Pre-Teen Symphonies

VelvetCrush_PreTeenSymphoniesThe genesis of a rock classic

Although Paul Chastain and drummer Ric Menck recorded a number of singles as Choo Choo Train, Bag-O-Shells and The Springfields, they first came to wider notice as Velvet Crush with 1991’s In the Presence of Greatness. Critics and fans latched on, but it wasn’t until they released 1994’s Teenage Symphonies to God, with U.S. distribution by Sony, that they made their biggest splash. Three years and a change of producers (Mitch Easter replacing Matthew Sweet) between the two albums left a gap bridged by a few singles and an EP. The post-album afterward yawned even wider as the band mostly parked themselves, recording with Stephen Duffy, and didn’t re-emerge as Velvet Crush until the release of 1998’s Heavy Changes.

Omnivore’s sixteen-track collection helps fill the gaps, offering up Teenage-era demos and live performances. The first eight tracks cherry-pick demos previously released on the out-of-print Melody Freaks. Included are early versions of six album tracks, plus the otherwise lost “Not Standing Down,” and a cover of Three Hour Tour’s “Turn Down.” For listeners whose neurons have been organized by repeated spins of Teenage Symphonies to God, the demos provide an opportunity for renewal. You know these songs, but then again, you don’t. The pieces are there – lyrics, melodies and guitars – but not the final polish; but what the demos give up in nuanced construction they redeem in initial discovery. It’s the difference between a candid snapshot and a posed portrait – they each say something about the subject, but they also say something about each other.

Mitch Easter helped the band wring more out of their songs, and while the demos provided templates for the master takes, the album cuts provided the same for the live performances. The eight live tracks, recorded in a November 1994 opening slot at Chicago’s Cabaret Metro (and previously released on Rock Concert), show the band to be a ferocious live act. With Tommy Keene added as lead guitarist, the band goes all out to win over the crowd with their thirty minute set, and as Ric Menck said, “we got ’em by the end.” No small feat, considering they were opening for the Jesus and Mary Chain and Mazzy Star. The live set includes numbers from both Teenage Symphonies and Presence (“Window to the World” and “Ash and Earth”) and a closing cover of 20/20’s “Remember the Lightning.” This is a terrific companion to Teenage Symphonies, and an essential for the album’s fans. [©2016 Hyperbolium]

Robert Rex Waller, Jr.: Fancy Free

RobertRexWallerJr_FancyFreeStellar covers album from I See Hawks in L.A. frontman

After seven albums with I See Hawks in L.A., singer-songwriter Robert Rex Waller, Jr. decided it was time to step out for a solo album. But unlike singer-songwriters who want to work a cache of songs that weren’t right for the band, Waller endeavored to escape his own writing by waxing an album full of cover songs. The album rambles through well known hits and deep album cuts, drawing a picture of Waller’s personal musical tapestry. Among the best known titles are a lovely piano arrangement of the Kinks’ “Waterloo Sunset,” a Casio-based take on the Oak Ridge Boys’ “Fancy Free,” a synth backed version of the Hollies’ “The Air That I Breathe,” and a Waylon-esque vocal on Dylan’s “She Belongs to Me.”

Cover songs are a unique opportunity for an artist to both pay tribute to and fuse with their influences. In the best case, the cover neither replaces nor leads inextricably to the original, but illuminates new dimensions of the song, its writer and its covering artist. And that’s exactly what we get as Waller takes us for a ride through the formation of his musical consciousness and into his present day imagination. He samples from the songbooks of Utah Phillips, Neil Young, Daniel Johnston and Mike Stinson, filling out a mythical jukebox that would keep you at the bar for a few more rounds. This is a deeply personal collection that will resound strongly with Waller’s fans. [©2016 Hyperbolium]

Robert Rex Waller Jr.’s Home Page

The Rave-Ups: Town + Country

RaveUps_TownAndCountryOverdue reissue of country-punk-rock ‘n’ roll shoulda-beens

Originally from Pittsburgh, this hyphenate country-punk-rock ‘n’ roll band regrouped and restaffed a few times before making their mark in the clubs of Los Angeles. This 1985 full-length debut was a college radio hit, and led to a high profile appearance in the film Pretty in Pink (but not, alas, on the soundtrack album), and a deal with Epic. Their major label debut, The Book of Your Regrets, failed to capitalize on the band’s momentum, and after an uptick with their third album, Chance, the band was dropped, and broke up a few month later. But not before providing TV’s David Silver the soundtrack for his contest-winning dance moves on the Spring Dance episode of Beverly Hills 90210.

The band’s Epic albums were previously reissued as a two-fer, but their debut EP and album for the Fun Stuff label have remained maddeningly out of print. Until now. The vault door has finally swung wide open, providing not only the album’s original ten tracks, but eleven bonuses that include live radio performances and material produced by Steve Berlin and Mark Linett for a scrapped second album. Over 78 minutes of vintage Rave Ups that sounds as vital today as it did thirty (30!) years ago. Stephen Barncard’s production has none of the big studio sounds that have prematurely aged so many mid-80s records, and the band’s timeless rock ‘n’ roll foundation was cannily woven with potent threads of country, punk and blues.

“Positively Lost Me” opens the album with a memorable rhythm guitar lick and the boastful kiss-off “you lost a lot when you lost me.” The bravado appears to crack as the forfeiture is inventoried in a pedestrian list of ephemera (“six paperback books and a dying tree”), but it’s a setup, as the real price is lost confidence and broken trust. Singer-songwriter Jimmer Podrasky was full of great lyrics and catchy vocal hooks, and the band stretched themselves to find deep pockets for his songs. There’s a punk rock edge to the square-dance call “Remember (Newman’s Lovesong)” and the Beach Boys pastiche “In My Gremlin,” and an improbable demo of “If I Had a Hammer” is cannily wed to a La Bamba beat.

The Dylanish “Class Tramp” (which is about breeding rather than schooling) is complemented by a cover of Dylan’s “You Ain’t Going Nowhere,” and the album closes on a rockabilly note with “Rave-Up/Shut-Up.” The bonuses include radio performances of “Positively Lost Me” and Merle Travis’ rewrite of Charlie Bowman’s “Nine Pound Hammer,” early versions of songs that turned up as B-sides and later LPs, and several titles that never turned up again. There’s some excellent material here, but the album, recorded in stolen moments in A&M’s studios, is the fully polished gem. The Rave-Ups deserved more success than fickle industry winds blew their way, but at least Omnivore’s reissue blows this terrific debut back into print. [©2016 Hyperbolium]

Jimmer Podrasky’s Home Page

The Kingbees: The Big Rock

Kingbees_TheBigRockRockabilly revivalists’ 1981 sophomore outing w/bonus tracks

Omnivore’s bonus-laden reissue of the Kingbees debut album is now matched by a reissue of the band’s lesser-known follow-up. Originally released in 1981, the album stalled amid label problems and the band’s breakup. Lead bee Jamie James recorded four more tracks with a new rhythm section, and they’re included here as bonuses along with fresh liner notes, photos and a period press release. As on their debut, the band remained grounded in rockabilly, but never allowed themselves to become enslaved by retro fashion. Their goal was to make “short, snappy and punchy rock ‘n’ roll songs,” and though James, bassist Michael Rummans and drummer Rex Roberts took inspiration from the stand-up style of rockabilly, they weren’t limited by it.

What’s especially impressive is how the group recorded rump-shaking rockabilly with a crisp ‘80s studio sound, without surrendering to the era’s sterility. James’ original songs thread seamlessly with covers of Charlie Rich, Buddy Holly, Carl Perkins and Jerry Lee Lewis. The bonus tracks, three originals and a cover of the Burnettes’ “Tear it Up,” were recorded the following year with bassist Lloyd Stout and drummer Jeff Donovan, and appeared briefly as singles on James’ indie label. The extras expand a great album that was saddled with lousy timing. This is an essential companion to the band’s debut, and well worth the shelf (or disk) space of rockabilly connoisseurs. [©2016 Hyperbolium]

The Kingbees’ Home Page
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The Traveling Wilburys: Collection

TravelingWilburys_CollectionStandard, deluxe and vinyl re-reissues of the Wilburys catalog

Originally released in 2007, this 2 CD + 1 DVD set collects together the Wilbury’s two original albums, a quartet of bonus tracks, a 25-minute documentary, “The True History of the Traveling Wilburys,” and all five of the group’s music videos. It’s a testament to Rolling Stone’s assessment that the Wilbury’s were “one of the few rock supergroups actually deserving to be called either super or a group.” The group’s debut, Volume 1, shot up the charts to #3 in 1988, while the follow-up (which was recorded after Roy “Lefty Wilbury” Orbison’s passing), just missed the Top 10 two years later. With the original albums having gone out of print in 1995, the pent-up demand sent the original 2007 issue of this set to the top of the UK charts and into the U.S. Top 10.

From the group’s start, George Harrison was the ringleader, with close connections to Orbison, Dylan, Petty and Lynne. And it was Harrison’s need for a B-side that sparked the group’s genesis. But when the initial results proved too good for a B-side, and the time together proved so enjoyable, the quintet went back into the studio (actually Dave Stewart’s home studio) to fill out an album. The results had an off-the-cuff aliveness that exemplified music made by musicians who were friends first, and the singles, “Handle With Care,” the track originally intended as a B-side, and “End of the Line,” both rose to #2 on Billboard’s mainstream rock chart. Together with “Last Night” and “Heading for the Light,” the album spawned a quartet of Top 10 hits.

The group’s second album, humorously titled Volume 3, was recorded in 1990. Though not as surprising as the debut, and with Orbison’s passing having changed the group balance, the album still resounds with the informal chemistry of friends who also happen to be top-flight music pros. The singles “She’s My Baby,” “Inside Out” and “Wilbury Twist” all charted mainstream rock, and the album went platinum (though not the triple platinum of the debut) in the U.S. It was to be the last group Wilbury outing, though Harrison would use the Wilbury name for a producer’s credit on a 1992 live album. With Harrison’s passing in 2001, any hopes of a Wilburys tour was dashed, and it was another six years until official reissues of the two albums were released by Rhino.

The initial 2007 issue of this set came in four flavors, and the 2016 reissues replicate the standard, deluxe, vinyl and digital (standard and deluxe) editions. The standard CD+DVD edition comes in a four-panel digipack with a 16-page booklet that includes Mo Ostin’s 2007 liner notes, original album liner notes by Hugh Jampton (a/k/a Michael Palin) and Professor “Tiny” Hampton (a/k/a Eric Idle), album credits, and pictorial instructions for dancing the Wilbury Twist. The deluxe CD+DVD edition adds a linen-cloth slipcase, a 40-page booklet, souvenir postcards, photocards and a sticker, as well as a numbered letter of authenticity. The vinyl edition necessarily drops the video content, but adds a third LP of bonus tracks. The digital editions match the discs, and differ from one another by the inclusion of the video elements in the deluxe edition.

All of the reissue editions include the same bonus tracks as the 2007 CDs: the previously unreleased “Maxine” and “Like a Ship,” the benefit album title song “Nobody’s Child” and a remixed B-side cover of Del Shannon’s “Runaway.” The vinyl edition, as in 2007, adds extended versions of “Handle With Care” and “End of the Line,” and the remixed version of “Not Alone Anymore.” You can scare up the extended versions on CD singles if you search, but they would have made a nice addition to complete the digital re-reissues. But that’s a nit, the music is terrific and the DVD showcases, in Tom Petty’s words, “a bunch of friends that just happened to be really good at making music.” If you didn’t pick this up in 2007, you now have a second chance! [©2016 Hyperbolium]

The Traveling Wilburys’ Home Page

The Bangles: Ladies and Gentlemen… The Bangles!

Bangles_LadiesAndGentlemenTheBangsThe Bangles’ Rosetta stone is their fans’ holy grail

For anyone who latched onto the Bangles before their major label makeover on Columbia, the first half of this CD remains the band’s Rosetta stone. Though hits and international fame would come later, the eight tracks released in 1981-2 remain the group’s purest statement of their 60s-tinged harmony rock. They never wrote, played or sang with more elan, and the youthful effervescence of this early work is as compelling today as it was thirty-five years ago. The group first appeared on vinyl as The Bangs with the fan club single “Getting Out of Hand” b/w “Call On Me.” Its local circulation left most listeners to meet the band, renamed as The Bangles, on the compilation Rodney on the ROQ, Vol. III, and then retroactively track down the single’s more widely circulated reissue.

In 1982, amid the the Salvation Army’s self-titled debut, Green on Red’s debut EP, the Dream Syndicate’s Days of Wine and Roses, the Three O’Clock’s Baroque Hoedown, and the Rain Parade’s first single, there was the Bangles’ self-titled five song EP on Faulty. The EP’s four original songs were the perfect lead-in to a scorching cover of the La De Da’s “How is the Air Up There?” Though reissued by IRS, the EP was mostly lost to fans the band picked up with their major label debut, All Over the Place, and even more so in the full rush of fame brought by Different Light. Bits and pieces of the EP reappeared as B-sides and on compilations, but the full EP remained unreissued until this collection was released as MP3s in 2014. Now on CD, the EP can be heard without compression.

Filling out this disc are four full-fidelity demos, a pair of 1984 live tracks, and a commercial for No Magazine. The demos include early takes of “Call On Me” and “The Real World,” a harmony-rich cover of the Turtles’ “Outside Chance” and a tough take on Paul Revere and the Raiders’ “Steppin’ Out.” The live cuts are “Tell Me” (from All Over the Place), and a cover of Love’s “7 & 7 Is.” The disc closes with 1982’s “The Rock & Roll Alternative Program Theme Song,” a tune the group recorded for George Gimarc’s pioneering radio show. The only thing missing is the promo-only 12” remix of “The Real World,” but that’s a nit. This is the holy grail for Bangles fans, especially those who never completely cottoned to the commercial polish of their Columbia years. [©2016 Hyperbolium]

The Bangles’ Home Page

Bob Woodruff: The Year We Tried to Kill the Pain

BobWoodruff_TheYearWeTriedToKillThePainA 1990s Nashville artist finds his soul down a rough road

Singer-songwriter Bob Woodruff garnered good notices for his mid-90s major label country albums Dreams & Saturday Nights and Desire Road, and then fell largely out of sight. He finally resurfaced for an indie album in 2011, and recorded and released the original version of this album in Sweden in 2013. Luckily, Woodruff’s soul- and country-tinged rock is timeless, and a 2016 reintroduction to this release is as welcome as the less-widely circulated first blush three years ago. Returning to music after several years of hard living, Woodruff not only sounds seasoned, but full of life experience to funnel into both the words and melodic tone of his songs.

As good as Woodruff’s originals are – and we’ll get to those in a minute – his slow, country-soul crawl through the Supremes’ “Stop in the Name of Love” is revelatory. The song’s opening guitar figure gives no clue as to what’s coming, but as Woodruff launches into the lyric’s plea with a slight hitch in his voice, the guitar turns to chords whose familiarity will provoke the listener’s memory. The tempo is similar to Jonell Mosser’s cover from the film Hope Floats, but underlined by Clas Olofsson’s pedal steel, Woodruff’s vocal mourns a relationship that’s already finished, rather than one that might be saved through confrontation. Among the song’s many varied renditions, this one’s a tour de force.

Woodruff sounds a bit like Bob Delevante, and a bit like Willie Nile, pulling in rock, country, soul and blues influences that range from the Byrdsian “I’m the Train” to the New Orleans funk “Bayou Girl” to the crooned southern soul “There’s Something There.” The opening “I Didn’t Know” strikes a tone of recovery, with happy memories reawakened by a second chance. The title song recounts rougher years, resolving to remember the past without getting stuck in its decaying trajectory. Woodruff longs for connection to others, to a better self, to a past whose fissures were of his own making, and most of all, to the salvation of hope.

The path from self-pity to self-examination to self-confidence is drawn in the personal reckoning of “So Many Teardrops,” with a breakdown that keys the song’s emotional turn, and the album closes with an impromptu live performance of the wishful “If I Were Your Man.” One might think the album’s material is solely a product of Woodruff’s wilderness years, but several of the songs, including the title track, are drawn from his earlier albums. The repurposed material is transformed by its distance from ‘90s Nashville, freed from the confines of the city’s sound. This is the record Woodruff had in him twenty years ago, but not yet the miles on his soul or the independent distribution to deliver. [©2016 Hyperbolium]

Bob Woodruff’s Home Page

Holly Golightly and the Brokeoffs: Coulda, Shoulda, Woulda

HollyGolightlyAndTheBrokeoffs_CouldaShouldaWouldaHolly Golightly and Lawyer Dave keep the flame burning

On her eighth album (in nine years!) with the Brokeoffs, and two-dozen albums into her career, Holly Golightly still sounds enthused. Hot on the heels of her throwback album, Slowtown Now, comes a new volume of the Brokeoffs lo-fi rhythm and blues. Together with Lawyer Dave, Golightly essays blues, soul, gospel, tango and waltzes, all with the rhythmic underpinnings that have become the duo’s trademark. The album’s percussion is more musical than the junkyard clang of earlier releases, and the arrangements more developed, but the performances still have the sheen of first takes. Golightly handles most of the lead vocals, though Lawyer Dave has just the right level of self-sorriness to lead “Jump in the River.”

The duo can still harmonize like an amped-up, down-and-dirty version of Richard & Mimi Farina, preaching the garage gospel of “Heaven Buy and Buy” and grinding through the blues “Little Mule.” But the duo have expanded their musical reach, and though they maintain the feel of the Brokeoffs, a few of these songs could have fit equally well on Golightly’s solo album. The title track has a good beat, is easy to dance to, and includes a terrific guitar solo from the Brokeoffs neighbor (and Guadalcanal Diary co-founder), Jeff Walls. The ballad “What He Does,” sung here as plaintive country, includes a double-tracked vocal that suggests a connection to girl groups.

The album features two covers, starting with Mr. Sunshine & His Guitar Pickers’ 1951 stringband number “Marijuana, the Devil’s Flower.” Sung here with banjo and fiddle, the performance is ready to stoke a fit of temperance. But it’s the album’s second cover, “Karate,” that could really break the band worldwide. The 1967 original (whose lyrics were rewritten by Carlos Santana for “Everybody’s Everything”) didn’t ignite a martial arts dance craze (and not for want of trying, but the honor goes to Carl Douglas’ mid-70s “Kung Fu Fighting”), but who’s to say the time isn’t ripe for a comeback? In a just world, the Brokeoffs would be siphoning off some of Psy’s 2.5 billion YouTube views with a video that features Elvis’ on-stage katas in Las Vegas.

The album’s other option for infamy is the closer, “Christmas is a Lie,” a ballad that’s readymade for misinterpretation and fundamentalist backlash, and a worthy bookend to the stinging rebuke of the opening “Heaven Buy and Buy.” Taken together, it seems unlikely the Brokeoffs will be invited by Ryan Seacrest to appear on New Year’s Rockin’ Eve, though given their iconoclastic content, maybe Pitbull will step up and ask them to Miami to appear on Revolution. But even without those mainstream platforms, the Brokeoffs should expand their fan base with this album’s mix of fuller electric numbers, and their unique combination of blues, whimsy and hellfire. [©2015 Hyperbolium]

Holly Golightly’s Home Page

King Curtis: The Complete Atco Singles

KingCurtis_TheCompleteAtcoSinglesSuper collection of King Curtis’ Atco singles – A’s and B’s

King Curtis’ saxophone may have been better known to record buyers than King Curtis himself. In an extensive career as a session musician, his horn provided iconic hooks and solos on singles by the Coasters (“Yakety Yak” “Charlie Brown”), Buddy Holly (“Reminiscing”) and LaVern Baker (“I Cried a Tear”). Curtis’ “Hot Potato,” originally released by the Rinkydinks in 1963, reissued as “Soul Train” by the Ramrods in 1972, and re-recorded by the Rimshots, was used as the original opening theme of Soul Train. But Curtis was also a songwriter and bandleader who produced dozens of singles under his own name, most notably “Soul Twist,” which he waxed for Enjoy, “Soul Serenade” for Capitol, and a number of hits for Atco, including “Memphis Soul Stew” and covers of “Ode to Billy Joe” and “Spanish Harlem.”

While at Atco from 1958 to 1959, and again from 1966 to 1971, Curtis released a broad range of singles that crossed the pop, R&B and adult contemporary charts. His sax could be tough, tender, muscular, smooth, lyrical and humorous, and his material included originals, covers of R&B and soul tunes, contemporaneous pop and country hits, film themes and even Tin Pan Alley classics. He recorded with various lineup of his own Kingpins (though perhaps never a better one than with Jerry Jemmott, Bernard Purdie and Cornell Dupree), but also with the players of the Fame and American Sound studio. He teamed with Duane Allman for the Instant Groove album, kicking out a Grammy-winning cover of Joe South’s “Games People Play,” and recorded “Teasin’” with Eric Clapton.

King Curtis’ singles catalog was filled with interesting selections, including superb covers of Big Jay McNeely’s “Something on Your Mind,” Rufus Thomas’ “Jump Back,” Buddy Miles’ “Them Changes” and a warm take on Mel Torme’s “The Christmas Song” that was lifted from Atco’s Soul Christmas. Curtis’ originals were just as good, including the twangy “Restless Guitar,” the go-go “Pots and Pans,” the manifesto “This is Soul,” the funky “Makin Hey,” and the frantic “Pop Corn Willy.” Of particular interest to collectors are the many singles that didn’t appear on original King Curtis albums, including eight of the first ten tracks on this set. Other non-LP singles include the guitar-centered “Blue Nocturne,” an early rendition of Donny Hathaway’s “Valdez in the Country” titled “Patty Cake,” and the yakety-sax oldies medley “Rocky Roll.” Of paramount interest is Curtis’ previously unreleased final Atco single, “Ridin’ Thumb,” which closes disc three and includes a rare King Curtis vocal.

With more than a third of these tracks having been originally released only as singles, this set will fill a lot of gaps, even for fans who’ve collected Curtis’ albums. The quad-panel digipack includes a 16-page booklet with liner notes by Randy Poe, photos, label reproductions and discographical detail. It would been great to get detailed session data, particularly on the bands and session players (and particularly the excellent guitarists), but such note taking wasn’t always on a producer’s mind in the 1960s. Curtis’ sides for Enjoy and Capitol are essential elements of his catalog, as are his early dates as a sideman; those new to his catalog might start with a multi-label best-of, but once you’re hooked, this collection of Atco singles (in pristine mono!) is a must-have. [©2015 Hyperbolium]

Peter Case: HWY 62

PeterCase_Hwy62Socially astute singer-songwriter tours modern-day America

Born in Buffalo, just a few blocks from U.S. Route 62, Peter Case made his way to San Francisco to busk on the streets, then to Los Angeles where he spearheaded the late-70s power pop movement with the Nerves and Plimsouls. He’s since taken a more solitary road, touring with just his songs and guitar, gathering stories for his writing. Though not literally itinerant – he’s still homed in Los Angeles – his travels have traced the trails of those who inspire him. His latest collection of songs is titled after the northeast-to-southwest highway that runs through his hometown, and that his childhood eyes saw as a “connection to the world I wanted to live in, the American West”

The productions step back to a folkier vibe from the electric blues of 2010’s Wig!, but retain the underlying power of drummer D.J. Bonebrake, and add the instrumental voices of guitarist Ben Harper and bassist David Carpenter. The songs wind through a variety of musical landscapes, just as Route 62 winds through Bobby Fuller’s El Paso, Buddy Holly’s Lubbock, Sonny Throckmorton’s Carlsbad, Woody Guthrie’s Okemah, Ronnie Hawkins’ Fayetteville, the Everly Brothers’ Central City, and Phil Ochs’ Columbus. The social consciousness of Guthrie and Ochs’ are evoked in the opening “Pelican Bay,” as Case questions the industrialization of America’s prisons and the particular harshness of solitary confinement.

A broader palette of social injustice is on Case’s mind as “Water From a Stone” segues between the travails of undocumented aliens, corporatism, global warming, the appropriation of Native American lands, rising eviction rates, crushing educational debt and outsourced manufacturing. Justice is called into question again in both “Evicted” and “All Dressed Up (for Trial),” with the latter suggesting that final judgment isn’t necessarily a mortal matter. That same leveling in the afterlife provides redemption for the existential lament “The Long Good Time,” and turns the gravesite of “Bluebells” into a pastoral place to leave behind one’s foibles.

Case is often described as a troubadour – a wandering singer who collects and transports stories – and the slow blues “Waiting on a Plane” takes this role into the jet age. Though the lyric describes a thief whose escape is blocked, one can’t help think this was written during an unintended tour stop in an airport terminal. A more scenic view of blue highways and club dates is painted in “New Mexico,” with Harper’s electric guitar painting a shadowy late-night mesa. Case’s songwriting is in fine form, but his most full-throated passion comes on a cover of Dylan’s “Long Time Gone,” closing out the lyrical portion of this excellent (and long overdue) new album. [©2015 Hyperbolium]

Peter Case’s Home Page