Gavin Chappell-Bates – We Are The Ones

GCB_RingMasterReview

The beginning of the year saw British singer songwriter/guitarist, Gavin Chappell-Bates unveil the video for new track Refugees. It was an ear catching offering also providing a teaser for the Cambridge musician’s forthcoming debut album. Now the release of We Are The Ones is upon us and fair to say if that earlier proposition spiced up the tastes buds there is plenty more highly flavoursome goodness to be found and feasted upon in the thoroughly enjoyable album.

The musical desire and devotion of Chappell-Bates is said to go back to the age of eleven and being inspired by Sgt. Pepper, an ‘awakening’ backed by “ his musical friends and a few early lessons by Ezio’s Booga.” Learning his craft playing in various local bands  which included Bokaata, The Deadlines, We Are Godzilla, and Up & Atom , Chappell-Bates decided to pursue a solo career in 2014, drawing on influences listed as The Beatles, Feeder, Aerosmith, Buddy Holly, The Bee Gees, Smashing Pumpkins, Our Lady Peace, and majorly Manic Street Preachers for his own creative adventures. The following year saw first EP, Black Holes released. Its attention provoking presence was followed by the singles 95 and We Are The Ones, each luring more eager ears the way of his emergence. Equally live he has been sparking strong praise and support around the UK, playing venues such as Bury St. Edmunds’ The Hunter Club, The Rescue Rooms in Nottingham, and in London the likes of Hoxton Bar and Sebright Arms.

Already earning strong radios play on BBC Introducing, BBC 6 Music, and XFM among many others and being was nominated for Best Male Solo Artist in the 2015 NMG Awards, Chappell-Bates is looking to now spark national awareness, something We Are The Ones certainly has the potential to give a potent nudge to. Produced by James Coppolaro, who with drummer Rob Gibiaqui (Sergey Lazarev, The Pinker Tones) plays alongside Chappell-Bates on the release, the album swiftly has ears keenly attentive with opener Church Of Rock ‘N’ Roll. A rousing and contagious slice of sound boisterously living up to its title, the song springs punk riffs and spicy hooks on ears as Chappell-Bates’ vocals lead its lively anthemic pull. It is a punchy and infectious start setting up an eagerness to hear more which the following All Ways more than satisfies.

Art_RingMasterReviewThe second song equally has an infectious swing to its presence whilst pursuing a more melodic/alternative rock imagination in its energetic persuasion. As with many songs there is a familiarity to the sound and nature of the song but equally a fresh essence that highlights Chappell-Bates’ own invention, the following 95 another example. It carries an air of the decade of rock spawning its title yet casts a vibrant pop ‘n’ roll flavouring which has the catchiness of modern rock pop flirtation. Its pleasing presence is matched in success by Refugee next, its initial gentle melodic caress growing in weight and intensity as keys shimmer in the background. Soon that brewing intent erupts in a fiery crescendo and chorus before repeating the cycle to engaging effect with Chappell-Bates’ vocals again a potent hue to his songwriting and its colourful realisation. A more subtle but increasingly provocative texture is provided by guest violinist Prue Ward and cellist Anna Scott, their evocative and here melancholic imagination a great spicing colouring a handful of tracks hereon in.

The album’s title track is another; its melodically reflective balladry evolving into a warm and inescapably catchy rock pop canter framed and steered by a robust and tenacious web of beats before making way for the acoustic tempting of Writing In The Sand and in turn the delicious spirit sparking incitement of Black Holes. The first of the songs has a sunny air to its infectious gait and a smouldering intimacy to its vocal and lyrical embrace whilst the second immediately has ears and imagination gripped with its opening throaty bassline and subsequent tone. A Nirvana-esque feel coats the beginning of the song whilst its emerging virulent stroll lies somewhere between Weezer and The Presidents of the United States of America, all essences combining to colour an encounter whipping hips and voice into eager involvement as it takes favourite song accolades on the album.

Dead End Disco Streets brings a great electronic spicing to its magnetic and physically buoyant temptation, indie and electro pop flavours uniting to embrace and dance with the equally spirited vocals before Follow The Light unveils its own animated serenade which dances with ears rather than laying sentimentally upon them though it is certainly emotively shaped and fuelled. As if any more proof was needed, the song is further evidence that Chappell-Bates knows how to write pop and rock songs which simply stir attention, proof swiftly backed by The Finest Hour and its Big Country like landscape of melodic and folkish hues.

The album concludes with firstly Last Angel, an emotionally intense country spiced ballad featuring the guest vocals of Kathryn James and keys of Jamie Brooks, and finally the acoustic/folk pop sparkle of Starlight. Both songs have brightness to their sentiment loaded proposals, especially the last which with a hug of strings is edgy and provocative as the best pop ballads always are.

Certainly some songs ignited more lusty reactions than others, but from its first note to last syllable, We Are The Ones is a proposition that can only be enjoyed from an artist with the potential to made big strides in the UK rock/pop scene.

We Are The Ones is released April 8th through R*E*P*E*A*T Records and @ https://gavinchappellbates.bandcamp.com/album/we-are-the-ones

http://gavinchappellbates.com/   https://www.facebook.com/GavinChappellBates   https://twitter.com/GChappellBates

Pete RingMaster 07/04/2016

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Create To Inspire – Home Is Where My Heart Dies

 

CTI_RingMasterReviewBuilding on the success of their debut EP, British melodic hardcore quintet, Create To Inspire, are poised to release its successor in the rousing shape of Home Is Where My Heart Dies. It is the band’s first offering since signing with Basick Records at the turn of the year; a pungent roar of emotion and imposing sound showing potent depths of invention and imagination beneath its impressing surface.

There are no major ground-breaking moments in the band’s new EP, the release more of a confirmation and expansion on the potential already offered by predecessor Halfway Home, yet predictability is noticeable by its absence while freshness in confrontational textures and accomplished craft is a persistent persuasion. From emerging in 2012, it is fair to say that the Essex hailing band has perpetually and increasingly drawn attention and praise their way; a success, it is easy to expect, set to reach another pinnacle with their latest release.

2014 saw the band win the Red Bull Studios Live At Download competition, subsequently playing alongside the likes of Aerosmith, Linkin Park, Avenged Sevenfold, and more, before the Halfway Home EP really stirred up ears and appetites. Since then they have toured alongside While She Sleeps and Giants, they particular highlights of a busy 2015, and following the release of Home Is Where My Heart Dies, Create To Inspire are set to make their debut tour into Europe in support of Skywalker, before returning to again hit the road with While She Sleeps. 2016 is looking another eventful year for the band starting here with Home Is Where My Heart Dies.

art_RingMasterReviewThe EP opens up with History and immediately has ears under a rhythmic cosh with predatory riffs for company. Thereafter the song uncages a tide of hungry riffs amidst the vocal ire of Sean Midson, subsequently expanding and blossoming its catchy rhythms and melodic endeavour with every lyrical snarl and sonic scythe.  The hefty swipes of drummer Luke Taylor continue to punctuate the track whilst inciting ears alongside the similarly intrusive tones of Dan Fuller’s bass. They also make a forceful impact on the senses whereas the imagination is held by Midson’s potent mix of attack and the web of enterprise cast by guitarists Jack Morris and Connor McLeod. The track is a potent start to the release; an ear grabbing proposal lining familiar hues and flavours with the band’s own stirring invention.

Counting Days steps forward next and instantly reveals its punk origins with its hardcore bred opening, a bracing bellow of voice and sound. Forceful as it is, the song also keeps one hand on the reins so melodic endeavour can flow seamlessly from within its brooding tempest. As aggressive and abrasive as it is melodically and harmonically infectious, the track is a striking roar of volatile and emotive intensity, and the EP’s strongest moment.

A gentle melodic caress brings Don’t Let Go into view next, its melancholic charm joined by the rawer expression of Midson’s vocals as beats land with determination. It is a highly suggestive start which is only accentuated by the infectious hooks and swinging energy which follows before the process is repeated with an even more irritable air coating the song’s subsequent energetic expulsion. It is another memorable encounter, maybe the one which lingers most from the EP though it’s title track has plenty of creative and catchy moments to its storm that hang around in thoughts and enjoyment.

It is another inflamed proposal of sound and emotion which masterfully shows off the vocal variety and sonic resourcefulness of the band , and the rhythmic imagination which steer the songs. As the EP generally, the closing track is not rich in ear catching surprises but has a multitude of alluring sounds and ideas in its equally pleasing body. Home Is Where My Heart Dies as a whole is an impressive continuation of the first Create To Inspire EP and confirmation that this is a band with the potential to make great strides within the UK music scene.

The Home Is Where My Heart Dies is released March 25th via Basick Records.

https://www.facebook.com/createtoinspireuk

Pete RingMaster 23/03/2016

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Voodoo Vegas – Hypnotise EP

vv3_RingMaster Review

A rock ‘n’ roll holler to reinforce their growing reputation as one energy rousing proposition, UK stompers Voodoo Vegas release the Hypnotise EP offering four songs that bellow and tenaciously stomp through ears from start to finish. Instantly it is a thickly enjoyable encounter which just hits the spot time and time again to give body and satisfaction a very healthy workout.

The successor to their well-received 2013 debut album The Rise Of Jimmy Silver, the Hypnotise EP is a potent build on its success and introduction to those new to the Voodoo Vegas roar. There are no major surprises unearthed by band and encounter but with the accomplished craft and open imagination of the band coursing songwriting and sound, the EP is more than just a solid proposition to support their rich live stature earned over the past couple of years or so. 2014 saw the quintet play a special guest slot for Status Quo in Holland, share the stage with Y&T on their UK/European Tour, and play a host of their own shows across the UK and Europe, as well as play a host of festivals. This year Voodoo Vegas played an acclaimed performance at the Camden Rocks Festival 2015 amongst many shows and with producer Will Maya (The Answer, Breed 77) record Hypnotise. It has been a busy time for the band east to expect being matched as their EP does the rounds tempting fans and newcomers alike.

VV2-cover-flattened_RingMaster Review   Hypnotise opens with its title track, swiftly creating a blaze of tangy grooves around antagonistic riffs and spiky rhythms driven by the strong vocals of Lawrence Case. Almost as quickly the song slips into a less imposing but no less magnetic stroll around an early entering chorus, undulating its intensity and attitude thereon in with fluid and pleasing prowess. The guitars of Merylina Hamilton and Jon Dawson provide a constant web of enterprise throughout the song which keeps ears happily fed whilst the bass of Ash Moulton brings its own throatily seductive groove.

It is a potent start with numerous rewards for the appetite and imagination to get hold of but soon eclipsed by its successor, Tied Up. From its first breath as a blaze of guitar, the track strolls with a predatory nature and tone, entwining it with fiery and feisty endeavour from across the band whipped up into extra zeal by the rapier swings of drummer Jonno Smyth. Hard and glam rock ‘n’ roll but with plenty more essences boiling in its belly, the song is a perpetually magnetic captivation with a simultaneous snarl and creative glint in the eye.

From one highlight to another in the blues seeded shape of Round & Round, a swagger of a stomp that just gets stronger and more inventive with each passing minute and rewarding listen. The harmonica skills of Case bring new intoxication to the song around midway, though bass and guitars had already whipped up a greedy lick of the lips for their devilish imagination by that point anyway.

The two songs offer the peak of the release but closing track Killing Joke has plenty in sound and anthemic imagination within its more intimidating canter to leave ears and pleasure ripe. As throughout Hypnotise hooks and grooves are forcibly appealing, being perfectly backed by feisty riffs as vocals alongside rhythms expose the pungent heart in a fine end to the EP.

As suggested, the Hypnotise EP is open in its inspirations, most likely Aerosmith, Guns ‘n’ Roses, and AC/DC amongst them, and does not venture into the unknown but for thick invigorating rock ‘n roll it, and Voodoo Vegas, leave no one wanting.

The Hypnotise EP is out now on iTunes

Upcoming Live Shows:

23rd Oct – WESTBURY, UK – Charlies Bar

24th Oct – EVESHAM, UK – Iron Road

21st Nov – BOURNEMOUTH, UK – The Cellar Bar

28th Nov – POOLE, UK – Mr Kyps

12th Dec – IPSWICH, UK – The Music Room (with Gilby Clarke)

13th Dec – LONDON, UK – The Underworld (with Gilby Clarke)

14th Dec – BILSTON, UK – The Robin (with Gilby Clarke)

http://www.voodoovegas.com    https://www.facebook.com/VoodooVegas/

Pete RingMaster 14/10/2015

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Braddock Station Garrison – A Hint of Recognition

BSG_RingMaster Review

Last year US rock band Braddock Station Garrison gave a strong and enjoyable introduction to their rock ‘n’ roll with debut EP/mini album High Water. Exploring all the best bits of that release whilst honing other potential but previously less striking elements in their sound, the Washington DC quartet has recently unveiled its successor, A Hint of Recognition. Still carrying a flavoursome Americana tang to their no frills rock ‘n’ roll, Braddock Station Garrison have produced another highly magnetic and creatively organic proposition with their second full-length to thoroughly enjoy. It is probably not a game changer in stirring major awareness of the band by wider spotlights, though it has enough to make a stir if given the chance, but A Hint of Recognition is definitely going to entice new fans as they show they are heading in the right creative direction for bigger rewards ahead.

Formed by vocalist/guitarist Steve Schillinger and lead guitarist Tom Soha in 2011; Braddock Station Garrison take inspirations from the likes of Tom Petty, Neil Young & Crazy Horse, Cheap Trick, Aerosmith, Johnny Cash, and The Smithereens into their openly growing sound. Completed by drummer Michael Chapman and bassist Michael Haddad, a line-up in place since mid-2014, the band released High Water last year to keen responses. Its fusion of classic and modern sounds was a highly appetising if unspectacular proposal which left a richness of pleasure in its wake. A Hint of Recognition continues the groundwork it laid but with more inventive tenacity, bolder imagination, and depth of sound. It is still not the offering to make an explosive impact but it definitely guarantees a thoroughly enjoyable time with every listen and who can say no to that.

cover_RingMaster Review   The album opens with Forgotten Teenage Dream, a contagious little number with jangly riffs and a great alluring bassline alongside the ever distinctive and appealing tones of Schillinger. With crispy beats adding to the easy going stroll, the song rather than providing a big splash to start things off is more a catchy coaxing, a warm up to bigger and brighter things. Nevertheless grooves and melodies offer a pleasing tempting which the more relaxed and emotive She’s Too Cool employs with relish in its more fifties rockabilly seeded stroll. As in its predecessor and the band’s sound generally, there is a masterful simplicity at work; leanness to the invention which ensures only the choice cuts of sound and imagination get involved in the song whilst avoiding unnecessary embellishments.

Things really takes off from the album’s third track, Lies, where once more a fifties breeding is carried by the tantalising air of the song, and initially through another tasty bass lure and the rich vocals. It is a flavour continued by sultry melodies and welcoming riffs cast by the guitars whilst a raw cascade of intensity only adds to the drama and unrelenting addictiveness of the song. Its success seems to spark something extra in its following companions too, Hey Cindy spinning a web of sonic tendrils across its body within a great rhythmic beckoning next. To this the guitars spray a creative smog like contrails behind a plane, with both Chapman and Haddad laying down gripping bait before Never In Danger emulates the earlier Lies with its own dark rock hues, though this time they touch upon a R.E.M. colouring in the song’s evocative swing. Infectious from first breath to last, the track is a reserved but lively seduction adding more warmth to the satisfaction already brewed by A Hint of Recognition.

More heady bass temptation brings a grin to lips as Any Day Any Way opens up, the enticement persistent as guitars spread fuzzy causticity across a punkish encounter unafraid to change tact and energy at the drop of a note. More inventive and fiery with each passing minute, the track is another striking high point which Stop and Reflect struggles to match right after, though its country twang and melodic smoulder only feeds a happy appetite before Johnny Stone Stole My Girl brings things to a rocking close. Its unsurprising yet irresistibly catchy shuffle feeds all wants from a slice of rock ‘n’ roll, especially with more of that flavoursome old school fifties tone to please personal tastes; a pursuit of which would definitely go down well and add something more to future Braddock Station Garrison songs it is easy to suggest on the evidence of A Hint of Recognition. More of the very solid and enjoyable sounds found on the band’s new album would be quite fine too.

A Hint of Recognition is out now via the Braddock Station Garrison Bandcamp.

https://www.facebook.com/BraddockStationGarrison   https://twitter.com/BSGRockNRoll

Pete RingMaster 29/09/2015

Copyright RingMaster: MyFreeCopyright

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City Of Thieves – Incinerator

CoT_RingMaster Review

We just cannot say no to a rousing slab of rock ‘n’ roll at The RR and that is exactly what UK hard rockers City Of Thieves uncage with their debut EP, Incinerator. It is five tracks of varied, no frills heavy rock which may not carry too many big surprises but potently feeds the instincts to roar and brawl with revelry. After the first minute of its opener you will kind of know and certainly welcome what you are going to get thereon in, but with a formidable freshness and passion to it too, it quickly shows why there is a thick buzz brewing up around the band; Incinerator inciting heavy satisfaction as it sonically lives up to its name.

The London quartet emerged in May of 2015 and as soon as their sounds hit ears and their feet stomped on stage, City Of Thieves began stirring up rich attention. Their live debut was an acclaim awarded introduction at his year’s Camden Rocks Festival, whilst debut single and now EP title track Incinerator, saw the band play listed on the New Rock Show on Planet Rock Radio for 7 weeks. Since then the band has found itself booked for this year’s Hard Rock Hell, Legends Of Rock, and Rockstock Festivals, played Bloodstock, and seen their EP already covered in plaudits.

EP Artwork_RingMaster Review     Recorded with producer Toby Jepson (Little Angels, The Answer, The Virginmarys), mixed by Mike Fraser (Metallica, AC/DC, Slipknot, Aerosmith), and mastering by Simon Francis (Kodaline, Kaiser Chiefs, Primal Scream), the Incinerator EP starts with a bang and never looks back. That first single opens things up, enticing ears and teasing an instant appetite with its initial predatory prowl of riffs, they courted by the swiping beats of drummer Will Richards and the gnarly tones of Jamie Lailey’s bass. Pretty soon things have ‘relaxed’ into a fiery stroll as the guitars of Ben Austwick and Adam Wardle spin a melodic web of grooves and spicy riffs , and Lailey unveils his sandy, slightly grizzled vocal tones. Like an old buddy, a familiarity entwines with the sonic enterprise and stalking rhythms, and like a returning friend it only pleases as it comes further alive with individual prowess and a creative energy which many bands never ascend to, especially within a debut.

The great start continues with Buzzed Up City, a mellower and warmer grab of the senses but one not scrimping on vociferous snarls within its fiery heart as the band embraces a more classic rock tone with eighties hues in its infectious rock ‘n’ roll. It hits the spot with accuracy though is still eclipsed by its predecessor and the following Lay Me To Waste, the best track on the release. From the almost carnivorous tone of the bass, the rebellious nature of drums and riffs, and grooves which flirt like a lithe seductress, the track smoulders and blazes with a virulence and enterprise which swiftly captures the imagination, and of course greedy ears.

Here Comes The Shot is more of the same infection in its individual way. Its bluesy air and rumbling rhythms also immediate persuasion as vocally again Lailey, like the song and indeed EP, brings a ‘this is how it is, take it or leave it’ attitude and the taking is the only reply possible to the rousing anthem.

A live acoustic take of Mr 50/50 brings the release to a fine end, the song a closing reminder of the core craft and qualities of City Of Thieves always lying beneath the full on riotous sound of other tracks whilst providing a last shot of aural liquor complete with boozy harmonica.

The bottom-line here is that there are few BIG surprises with Incinerator but an unbridled dose of fun and rousing rock ‘n’ roll, and who is never up for that?

The Incinerator EP is available now via Townsend Records / Monster Box Music

Pete RingMaster 23/09/2015

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Imicus -The Libertine

Imicus Online Promo Shot

They may have left us all hanging after their impressive first chapter and debut album, but after a two year hiatus UK melodic metallers Imicus return with a new line-up and single soaked in the same invigorating qualities and invention as before. The Libertine is a striking comeback, two tracks reminding us of how the Luton hailing band gripped attention and emotions first time around whilst providing a new expanse and depth to their fascinating and provocative sound.

Before the original line-up disbanded in 2012, Imicus was stirring up keen praise and eager support straight away from their first single Visceral, which was released on Transcend Records in 2009. Eagerly swooped on by radio and its video by the likes of Kerrang! and Scuzz TV, the song’s success was surpassed by debut album Animal Factory the following year. Alongside this success, Imicus equally drew strong responses with their live performances which across the years has seen them share stages with the likes of AC/DC, Bullet For My Valentine, 30 Seconds to Mars, Rage against The Machine, The Stone Temple Pilots, and Aerosmith as well as make successful appearances at festivals like Download, Hellfire, Hammerfest, and The Bulldog Bash where they played with such bands as Breed 77, Sepultura, Opeth, Skindred, Saxon , Motorhead, Status Quo, The Damned, and many more.

Last year saw the end to the break which followed for the band, when co-founder and vocalist Miller decided to take the band out of storage with a new line-up and intent in sound and invention. The Libertine is the first offering from the PromoImageband’s second chapter, and recorded with Russ Russell the single is a gripping incitement swiftly revealing evolution in songwriting and imagination of the band.

The Libertine swiftly encloses ears in thick layers of rugged riffs and sonic enterprise punctuated by punchy beats. It is a captivating web given further strength by the vocals of Miller and the hazy atmosphere sculpted by the skilled melodic designs cast by guitarists Matt Turnbull and Al Hutton. Expulsions of muscular attitude and intensity equally add to the compelling encounter whilst Miller sets brawling roars alongside his flowing melodic delivery and the rhythms of bassist Bradley Beech and drummer Antony Cardinal bring a predatory breath through their attack. Technically as enthralling as it is creatively melodic, the song is a rich blend of explosive textures and bracing atmospheric tension, and a mighty return from the band.

Its companion track is Medusa, a song bred from the same melodic and inventively tenacious template as its predecessor whilst uncovering even stronger evocative potency to its depths against sinews seemingly finding seeds in the likes of Stone Sour and Killswitch Engage. There is a definite feel of Johnny Wore Black to the track’s emotive hues and insightful expression whilst elegant melodies and direct passion feverishly drive its imaginative persuasion.

Both tracks combine for an imposingly pleasing and impressive comeback for Imicus, and the breeding of real anticipation for the band’s new album scheduled for next year. The band may have been away but it did not stop its potency and potential growing, as well as expanding with the influx of new creative blood.

The Libertine is released worldwide on CD and digitally September 26th from all major digital outlets as well as @ http://imicus.bigcartel.com/

http://imicusband.com

RingMaster 21/09/2014

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Hollywood Heads – Self Titled EP

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Sauntering out of Moscow, Hollywood Heads is a band with a swagger to their presence and lustful intention to their heavy metal exploit. Formed in 2011, the quartet has powerfully awoken the eager attention of their local underground scene but now with the help of their self-titled debut EP, the band is ready to break out into a wider spotlight. Inspired by the likes of Aerosmith, Guns N’ Roses, Motley Crue, Alice Cooper, and Zakk Wylde, their sound is not one bursting with startling originality but it offers boisterous and dirty rock ‘n’ roll which easily lights ears and appetite.

Line-ups changes, as with many bands, has been part of Hollywood Head’s emergence but the EP finds the band at its strongest yet with founding members in bassist Yeti and drummer Dan Mark alongside vocalist Gine King and guitarist Cross_Cover_Hollywood_HeadsFox. The successor to the well-received single Blood City, the EP rocks without any thought of respect or restraint from its first rousing track, the feisty Hollywood Heads. It does not make the most dramatic start but with riffs stirring up air and rhythms prowling with predacious intent, the song makes a strong enough invitation before exploding into a fiery slab of rowdy rock ‘n’ roll with glam rock urges. The slightly wayward tendencies of vocals only add to the energy and excitement brewed in the track whilst guitars unveil a potent craft of sonic endeavour to add fuel to the fire. There are no surprises with the song but plenty to get feet and ears rigorously engaged.

The following Aerogrill is the same, not making shocking statements but igniting body and thoughts with its excellent punkish twang and feverish vivacity around more of those addictive unique vocals. The best track on the release it shows a riveting twist of adventure to the band’s sound. Hooks seduce and grooves bind the senses whilst the virulent stroll of the song takes a hold of the passions. It is not ground-breaking but wholly addictive as it awakens a greedy hunger for the band’s creative brawl.

The EP comes to a close with Game, a proposition showing yet another side to the band’s invention. It is the heaviest track on the release; riffs prowling with weighty enticement as rhythms crisply spear their intensity as vocals roar with lusty relish across their canvas. Lit with an additional blues hue, the song is an accomplished and magnetic close to a fine release.

Hollywood Heads are at the start of a potentially dramatic ascent and success. They have still to evolve their own distinct voice but the EP makes a highly satisfying and pleasing base to start from.

The Hollywood Heads EP is available now

https://www.facebook.com/hollywoodheadsofficial

8/10

RingMaster Review 12/09/2014

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