Review – Anthony Phillips – Slow Dance 2CD Jewel Case Edition – by John Wenlock-Smith

Anthony Phillips is the forgotten former member of Genesis who was there at the beginning but due to his extreme fear of being on stage, quit the band after the ‘Trespass’ album, leaving the door open for a certain young Steve Hackett, whose story is widely known.

Anthony is not the first musician to quit or to struggle with stage fright as many others, like Eddie Van Halen and Ozzy Osborne have also suffered through its clutches. Andy Partridge of XTC is also a fellow sufferer, although that is more with anxiety though but still, it is similar in nature and has an a debilitating effect. Many others also are affected, more than you would imagine really. Anthony simply wasn’t able to function in this realm and he decided to leave the group he had helped found and devote himself to a more classical direction, he was also a qualified music teacher for a while and he also studied orchestration.

All of which leads me to this newly remastered and extended version of his 1990 album ‘Slow Dance’ which is heavily classically influenced and gives rein to his wonderfully inventive playing and orchestrations. There is more than a hint of 1977’s ‘The Geese And The Ghost’ album which has a similar style.

Whilst I am not a classical buff by any means, other than the basics and well known classics, I find there is much to appreciate in this fine reissue. I think of it more as a tone poem or score and as such, it is definitely a case of repeated listening to get the subtle moments of brilliance that are on display here. The main album is in 2 parts, although the extra tracks on the second CD are also interesting, mainly being edited portions of the entire main album.

I actually prefer Slow Dance Part One for some reason, I especially like the repeated gentle motif that reappears throughout the piece. This music is gentle, delicate and beautifully crafted, when you read in the accompanying booklet of the trials and tribulations that had to be stared down to enable its completion, you will, like me, no doubt be in awe of both the vision and commitment employed whilst making this album come to life. It really is a sumptuous piece of music, uplifting and life affirming in equal measure. It is a triumph of talent, perseverance and, above all, a towering testament to the grace and beauty of the music it contains.

Did I mention that it is totally instrumental? That said there is a wealth of creativity here. Slow Dance Part One is of twenty four minutes duration whilst Slow Dance Part Two is twenty six and a half minutes in length and has more orchestrations, strings and synths than part one does. The synths are all very 1980’s in tone and, whilst good, sound slightly dated in parts. I also feel that part two lacks the same emotional depth as part one, although that may be my perception having heard part one more than part two.

Let’s explore each part in greater depth shall we?

Part One begins with washes of synthesisers laying down a great sound and setting the stage for a delicate acoustic guitar motif that will be repeated at frequent intervals. The synths swell again before a fingerprinted guitar line is played and the opening melody is played on synths. I really like the gentleness of this pastoral sounding section, it is very satisfying to hear such gracious and gentle tones amidst all the synthesised backing. A stronger note then ushers in an almost pizzicato played part along with woodwind and a chopsticks sounding piano section that returns to the main melody played once again. Lush strings return to the chopsticks sounding part and a clarinet leads to orchestrations. There is then a sectionis reminiscent of the main theme of ‘The Geese And The Ghost’ album as it has a similar sound to it, not identical but definitely similar in sound. We then enter a section of syncopated percussion elements which is very effective, after which we return to the main theme once again. The final section of part one is a keyboard along with a drum machine playing and whilst it doesn’t affect the quality, it does date the music to the era in which it was recorded, this piece then ends with a few more syncopated piano notes.

Part Two is decidedly different and more keyboard focused with the major portion being concerned with keyboard orchestrations, there are less guitar parts in this as a result, although this does give the whole piece room to evolve naturally, again the drum machine plays its part in keeping the pace of the piece. As we get further in a sequenced section begins with woodwind playing alongside it most effectively, the theme from part one reappearing in a slightly different form. The vast orchestrations are introduced to the sound interspersed with the sequenced section and a harder section with guitar fills is added but soon gives way to the orchestrations once again. This is where I feel the piece lacks a little focus and is merely using synthesisers to swell the sound without much substance. The sequenced part returns with string flourishes which actually sounds really good, although a bit like 1980’s Tangerine Dream in places. After this section ends we return to the main theme through sweeping strings and synth orchestrations, I’m hearing the open sweeping soundscapes of ‘Stratosfear’ by Tangerine Dream once again but this proceeds at a stately pace. It is all very epic and measured, the final section returns to little piano and keyboard runs to good effect. Part Two ends on gentle notes before fading away in the distance with a final play of the central melody.

In summary a most interesting but, possibly for most, not essential release with a great booklet explains the background to the album. I am very glad to have heard this for myself as I really enjoyed it even it lies outside of my normal listening material.

Released 26th January, 2024.

Order from Cherry red Records here:

Anthony Phillips: Slow Dance, 2CD Jewel Case Edition – Cherry Red Records

Reviews – Esoteric Reissues Round Up Part 3 – Blonde on Blonde, Anthony Phillips and Tim Blake

This time round, those busy people at Esoteric have been rooting out some of the best albums you’ve never heard to continue building an amazing archive of lost acts, those who were fantastic and never quite made it.

For every Yes, there’s about half a dozen no’s littering the path, who, for whatever reason (bad management, no record label support, right album wrong time), never hit the history books.

Blonde On Blonde – Rebirth

Released in 1970, ‘Rebirth’ was the second album from Welsh prog band Blonde On Blonde. Having returned to Newport after they weren’t making enough cash in London, the band signed with Ember records (home of BB King & Glen Campbell at the time) and with new vocalist, 18-year-old David Thomas, the band set about crafting this masterpiece.

With effusive sleeve notes on the original album from the effusive Tommy Vance (who was a big supporter of the band) this experienced live act, who had played the Isle of Wight Festival twice, brought all their skills honed on the road into the studio.

As the band freely admit in the sleeve notes the opening Castles in the Sky (written by Eve King & Paul Smith) was included on the album at the behest of a BBC producer John King who had got the band a showcase performance on a BBC Bristol TV show, and his wife wanted to be on the album. Blonde On Blonde (yes, they were named after that Dylan album) didn’t feel it representative of them, though overall as songs go, it is of it’s time. However, if you feel it jars then we have the beauty of the CD skip button.

The band had been compared to the Moody Blues but that did get used quite a lot when you have a band who are rock in their outlook and symphonic in their vision.

The band, Gareth Johnson on guitars, Richard Hopkins (bass, organ) and Les Hopkins on drums, had a wide musical palette to draw from, having been influenced by the R’n B scene and with taut instrumentation, great vocals and an ear for a melody, I find they fit into areas Wishbone Ash would sit in. With some sublime extended work outs on tracks like Colour Questions and Time is Passing, they showed a maturity of song writing, whilst the closing piano driven You’ll never Know Me/Release, with it’s wonderful vocal refrain and driving beat, is a real delight for anyone who appreciates good quality classic rock and the powerful musical coda is up there with anything else recorded in this period.

These guys were the real deal, and as the band grew in musical power they really pushed the boat out on their next album.

https://www.cherryred.co.uk/product/rebirth-remastered-and-expanded-edition/

Blonde On Blonde – Reflections on a Life

Released in 1971, the epic ‘Reflections on a Life’ saw another change in personnel as Richard Hopkins moved on to be replaced by Newport based guitarist Graham Davies who also added bass, acoustic guitar, banjo and vocals.

Now with the music written by both Thomas and Johnson, this epic collection of tracks that widens their musical horizons more with blues, country music and more, is a conceptual song cycle telling the story of someone’s life from birth to death. Recorded at the legendary Rockfield studios and on a tight budget, the band utilised all their creativity and, indeed, turned in a fantastic collection of songs dealing with some seriously dark lyrical matter tied to some wonderful rock. The powerful driving rock of I Don’t Care, all about incest, contrasted with the wonderfully mellow blues folk of Love Song.

The band really took the ball and ran with it, despite, or because of, the disdain of the record label. They threw everything into this album and, with tracks about family murder (the nicely ironic Happy Families), the incredibly experimental Gene Machine and some suitably iconic artwork, it makes for a fantastic listening. The addition of Graham Davies helps widen their sound, bringing a fantastic vibe to tracks like Bar Room Blues and The Bargain.

This has some fantastic musical moments throughout and a great set of lyrics as well, superbly observed and well written. From it’s striking cover to it’s brilliant contents, this is a fantastically well-made record and was, musically, the last recorded statement the band made. Having lacked record label support, slogged their hearts out on the road and never achieved the success they deserved, the band had dissolved by 1972.

Now this can be reappraised and enjoyed, especially by anyone who likes a well written, tightly produced exciting journey, that mixes musical genres and showcases the bands versatility.

https://www.cherryred.co.uk/product/reflections-on-a-life-remastered-and-expanded-edition/

Anthony Phillips – Invisible Men

Esoteric are continuing their extensive and comprehensive reissue of the Anthony Phillips back catalogue and this release, originally from 1984, marries up the two versions of ‘Invisible Men’ including the respective tracks missing from the American and UK edition, as well as a second disc containing alternative songs and demos from this period in Ant’s career.

Persuaded by his management that he needed to do something a touch more commercial, Ant and collaborator Richard Scott had developed an excellent working relationship and the use of a drum machine to underpin the songs.

As a result, the lush orchestration of some of Ant’s earlier albums is replaced here by a harder edged sound that is entirely of it’s time. However, don’t let that distract you from the music as Ant has always been a fantastic songwriter. Writing with Richard Scott, the two developed an excellent working relationship, and this album is well worth investigating.

From the incredibly 1980’s cover which mixes their promo photos with all the visible skin removed and the bright colours, to the programmed drums, this also sees Ant taking vocals on for the first time and he has a fantastic voice which really comes to the fore on the lovely Traces.

Meanwhile, influenced by outside events, both The Women were Waiting and Exocet (the latter featuring the sample of Iain MacLeod) are highly charged comments on the Falklands War, whilst the wonderful Going for Broke is proper old school prog, with some fantastic guitar work for Ant, and is a successful mix of the old and the new.

The blend of guitar and flugelhorn on Falling for Love provides a sublime musical moment whilst Sally is a slice of pure 80’s power pop that has a great blend of synth sounds, vocal power and a pure 80’s sax solo, it could have been used in any number of 80’s movies.

The second disc (complete with the copious sleeve notes) has some interesting different versions of album tracks like Falling For Love, Golden Bodies and My Time Has Come. Other tracks recorded over the same period are just as fascinating including tracks like Darling and Shadow in the Desert, being almost finished and never heard before.

Whilst this might not be the first place to start looking into the work of Anthony Phillips, it certainly shows his experimental side and that, as a musician and performer, he isn’t prepared to stand still. Whilst sometimes the drum machine does slightly jar (and you wish for some real live drums), overall this is a fantastic collection of complex pop/rock songs that are very much of the era they were made and yet still shine over 30 years later.

https://www.cherryred.co.uk/product/invisible-men-remastered-expanded-2cd-edition/

Tim Blake – Noggi ‘Tar

Influential electronic musical pioneer Tim Blake has performed with both Gong and Hawkwind and is, to my mind, more influential in electronic composition than his French contemporary Jean-Michel Jarre.

Blake released some fantastic albums in the 1970’s and in the current century worked again with both Gong and Hawkwind. He decided that, on this album, he should be the lead guitarist on an electronic record with no guitar, hence the title, a wonderful little pun, and, whilst this was originally recorded and released back in 2012, it never had a physical release, being a digital only album.

Marrying the old and the new is something Tim has always been good at, right from his Crystal Machine and Blake’s New Jerusalem days, where he was at the cutting edge of electronic music (if you don’t own those albums, hunt down the Esoteric remasters, they are essential to any fan of electronic music).

The four tracks on here are, again, the pinnacle of how electronic music should be done, the conceit of using the keyboard as lead guitar is one that works so well and, of course, we know what a Master of Music Blake is.

It could have ended so differently had Blake not survived the car accident, the resuscitation and the subsequent three-day coma that Blake references here in The Blue Light Zone, where he pulls all aspects of his subconscious together in a sublime electronic journey.

The songs, over less than 40 minutes, are ambient, transcendental and are a real musical journey. Working hard here he makes it seem effortless as The Arrival of Migratory Cranes segues into Absent Friends, rounding out with Contemplating the Southern Cross.

There might be no guitar on here but, putting the keyboard in place of the guitar is a masterpiece, he uses it to create riffs, runs and moments, and front the whole album, whilst the mighty wall of synth sounds that washes over you is sublime.

This is electronic music at its finest, a fantastic example of how composer and instrument can become one and take you on a sonic journey that leaves you exhilarated and wondering where the time went.

I love this and highly recommend it.

https://www.cherryred.co.uk/product/tim-blake-noggi-tar-re-mastered-edition/

Review – The Gift – Why The Sea Is Salt – by Leo Trimming

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Let’s get straight to the point – ‘Why the Sea is Salt’ is a truly exceptional album, and deserves to propel The Gift in to the higher echelons of current British Progressive Rock Music. Simple as that – it really is that outstanding. Very few albums indeed have the potential to attain the status of a potential ‘classic’ album, which will live long in the memory like ‘Why the Sea is Salt’. This is a work which greatly appeals to the heart and mind in equal measures, and similarly beguiles and stimulates in its beauty and drama.

This album is a considerable step up in ambition and achievement by a band that has evolved very significantly over the last year. Commencing as a studio project by Mike Morton and Leroy James in 2006, The Gift released promising debut anti-war album ‘Awake and Dreaming’, then went to sleep for a few years due to other life commitments. Morton then teamed up with talented song writer David Lloyd to re-form The Gift and record the excellent album ‘Land of Shadows’ in 2014 as one eclectic label Bad Elephant’s first ever releases (The third to be precise). This hard working band has been playing live over the last couple of years to develop their sound, skills and audience at venues across the UK and even a first trip to Europe in 2014 to play in the Netherlands. Stalwart Stefan Dickers has been their rock on bass for that period. They successfully appeared at last year’s Summer’s End Festival in Wales, and it was clear then they were on an upward trajectory.

The Gift have wanted to take a different and more ambitious musical approach requiring some changes in personnel, with no disrespect to their able predecessors. They recruited new drummer Neil Hayman from BEM label mates progressive hard rockers, Konchordat. He definitely adds more experience, creativity and power to the band. Leroy James also ‘came home’, rejoining the band late in the writng process of this album and just before recording started, adding his deft guitar skills and a more rock oriented approach to David Lloyd’s subtle flowing guitar work. The last but possibly most significant piece in bringing The ‘New’  Gift Jigsaw puzzle together was the recruitment on keyboards of an Italian bona fide Classical Music star, Gabriele Baldocci, who performs piano recitals around the world, alongside teaching at the Trinity Laban Conservatoire in Greenwich. Morton heard that Baldocci loved Genesis, Queen, Yes, Beatles, Crimson, Camel and Tull, and wanted to use his classical skills in a progressive rock band. The Gift were delighted to recruit him, and on the evidence of this album it is clear that his undoubted incredible keyboard skills, eminent classical background and love of great rock music adds something really special to the mix. He is a real gift to The Gift!

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‘Why the Sea is Salt’ is a rich presentation of musical styles and sounds, social commentary,  mythological references, and touching expressions of personal feelings of loss and mourning. This is an album with very strong and distinctive individual songs. However, ‘Why the Sea is Salt’ has even more impact if consumed as a whole with lyrical and musical themes threading through the tapestry of the album, producing a remarkably consistent and resonant piece of work. The focus is upon man’s sad disconnection from life’s real meaning, with the poetic sense that in human existence our collective tears ‘salt’ the sea. This description may make it sound like a ‘weighty’ piece of work, but crucially The Gift never forget that the Song is Key, and it is filled with memorable melodies and harmonies which make it accessible, entertaining and interesting for a wider audience. In fact, this album is notable for the balance between lyrics and music. They compliment each other, but crucially the lyrics allow enough space for the music alone at times to breathe and convey the spirit of the song.

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The song which may inevitably attract the most attention from some is The Tallest Tree, featuring contributions from Anthony Phillips and Steve Hackett of Genesis fame, alongside the more recent emerging talent of Peter Jones from Tiger Moth Tales. Anthony Phillips provides characteristically beautiful and shimmering 12 string guitar with Peter Jones playing a touching Irish whistle to add suitable pathos to the intro. This is a heartfelt song of loss about the passing of vocalist Mike Morton’s father with deeply felt and succinct lyrics, based on a poem Mike Morton wrote for and recited at his father’s funeral. Towards the end Steve Hackett perfectly reflects the elegiac feeling with a tasteful and distinctive guitar solo, and then perhaps appropriately the song fades away wistfully into the distance. I do not mind sharing with you that the first hearing this song reduced me to tears as it touched on my own parallel loss of parents with Morton. Memories of holding my own mother’s hand as she passed away were reflected in similar images of Morton taking his father’s own hands towards the end:

‘I Take Your Hands… Now as Fragile as a sigh,

As through this Veil of Tears, We say our last Goodbye

 Now the Tallest Tree is Falling, Our Faces Feel the Rain,

As Darkness Turns to Morning, Love is What Remains’

It is unusual for this reviewer to share such a personal memory in a review, but it is done to show how The Gift’s lyrics and music can truly touch the listener. Such is the simple beauty of the music and honest expression of deep emotions, which will touch many listener’s hearts, that it seems clear this song could become regarded as a classic.

To go back to the album’s beginning, ‘Why the Sea is Salt’ commences aptly with the suitably nautical and mythical At Sea, premiered to great acclaim at the recent ‘Power of Three’ gig in London. Mainly written by David Lloyd, this acts like an overture for the album as Gabriele Baldocci shows his classical piano excellence with a softly undulating piano solo with hints of Ravel as we start our musical voyage, leading onto Lloyd’s gently floating guitar. Like a sudden storm rising, the tempo and power suddenly builds with Hayman pounding away and Baldocci running a sinuous synth line above the backing in a scintillating instrumental section. The guitars and keyboards intertwine to great effect, and then Dickers’ melodic bass line leads us into a short but expressive guitar solo, before we settle back into a piano section… and after six minutes a ‘Becalmed’ singer Mike Morton finally enters the fray. Quite an opening to an album.  This is Morton as Greek chorus with sonorous  but vulnerable vocals, setting the scene including some mythic images (… but have no worries, this album is no corny ‘sword and sorcery’ epic!) The finely judged concluding guitar solo completes the ‘overture’ and takes us on into the main body of the album.

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The Gift next take us into a horror story with Sweeper of Dreams, a baroque intro leading into a powerful song full of characterisation reminiscent of Alex Harvey.  This is a dramatic ‘story’ song with lyric writer Morton singing menacingly in character as ‘The Sweeper’. One can only imagine what Morton will do to portray this scary character in concert. Baldocci and Morton wrote the majority of the musical themes, Gabriele showing that he can really rock alongside his classical skills, as the song alternates between hard rock and scary ‘evil clown’ carousel sounding interludes. Writer Neil Gaiman was pleased to permit The Gift to use the theme and name of one of his short stories for this song. Fittingly, the images evoked by the memorable music and lines such as ‘Dispose of the Debris, Lying around in your Brain’ may well enter the dream worlds of many listeners.

The Gift take us in a very different direction with the touching and delightful Tuesday’s Child , based on a lyrical idea from Baldocci, shaped and developed by Mike Morton, telling a personal story of an older sad man woefully looking back to the beautiful but forsaken joy and innocence of childhood. The Road of Ashes instrumental opening draws us in beguilingly with keyboards creating a lovely soundscape for an emotionally delicate, floating guitar line. Acoustic guitar then takes us into a beautiful sung lyric in the First Flower section. This is subtle, intelligent and heart felt lyric writing, characteristic of Mike Morton, and for which he should become much more well-known. He makes the connection between emotions and the sea in touching but catchy choruses :

‘Someone’s been waiting for me, somewhere not quite light enough to see

Is this the one I used to be? Cast adrift amongst the Shadows and Salt Waters, That Flow from Me’

Alongside such insightful and emotive lyrics this song of redemption and self-realisation is also expressed perfectly with finely crafted music  as the bass and drums deftly back Lloyd’s flowing and sensitive concluding guitar solo – demonstrating the skill of The Gift in marrying words and music together with skill and insight in conveying the ‘feel’ and message of a song.

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The main inspiration for the album title ‘Why the Sea is Salt’ comes originally from a Norse legend in which a man finds a mill that grinds out anything he wants. However, he gets too greedy, and when he asks it to grind out salt for his food, the power behind it grinds endlessly, swamping him and everyone. The mill then falls into the sea, where it still churns, thus making the sea salty. This mythological source is re-interpreted by The Gift on this album as modern man’s  greed for ‘stuff’ which consumes and hurts us.  Nowhere is this better expressed than on the epic song cycle of All These Things, a piece largely written mainly by Lloyd and Morton. Apparently this song cycle was originally called Black Friday but that title was felt to be too specific as the piece had a wider perspective. Lloyd’s love of Jethro Tull and early Strawbs is demonstrated by the opening acoustic guitar and vocal harmony section in The Vow, portraying marriage as a transaction, a swapping of rings, underlining society’s pre-occupation with possessing things, including each other. Church organs resound as a slight dig at organized religion before we flow into the Harvest of Hollow. The use of understated flamenco guitar shows that The Gift are not afraid to stretch their boundaries. Indeed, it appears that this is a band who wanted to avoid simply repeating previous patterns as they used previously unexplored sounds and styles.

The Gift are not afraid to make political points of social commentary, with Morton particularly animated by his distaste for the current politics of the UK as a ‘crop of bitter weeds’. The Gift direct their focus on the futile emptiness of materialistic consumerism, leading to endless acquisition but never enough to satisfy:

‘So which of us is satisfied? Tell me, are you satisfied?

The Roulette spins in empty eyes, Our Hungerbeasts prowling and growling inside

It’s an unhealthy appetite, Take another bite… Having is Nothing, Hunting is All’

This song cycle takes an ever darker turn as we enter Feeding Time in which The Gift have never sounded so brutal and menacing with an angry and coruscating guitar duo between David Lloyd and Leroy James – the instruments cinematically telling the story as powerfully as any words. In contrast, the next lilting section The Jackdaw, Magpie and Me commences with bird sounds and a gentle acoustic guitar motif as Morton intones with such clarity about the selfishness and emptiness of collecting things trinkets like magpies.  Dickers and Hayman’s subtle bass and drums underline the piece with skill, showing that they are not all about power. The animal imagery is carried on into the gentle re-birth or turning point of the Swan and Butterfly section, with perhaps even a subtle or subconscious reference to previous album’s highlight The Willows.  The lyrics encourage the notion that if we reconnect with Nature, both its external aspects and our inner selves, we have no need to complete ourselves through ‘things’.  The gentle pastoral feel of this section with piano and flute sounds accentuate this as a more meditative section in which the song’s protagonist realises he is as free as creatures of both water and air if he chooses to free himself of the distractions of the media and possessions and reconnect with the earth he walks upon.

As this reviewer is rather melancholic at times I did have some initial reservations about the finale to this song section as Heartfire concludes this piece on a more celebratory almost hymnal note, an echo to the ecclesiastical hints in the opening part, The Vow. However, with repeated listenings it became clear that The Gift were right to conclude this remarkable song cycle with a more upbeat conclusion after the gentle pastoralism of the previous section. Morton urges us to ‘come to your senses’ , encouraging us to let the world outside fill our senses because there is enough joy and thrill in those experiences to keep us fulfilled all our lives. Cleverly, all five senses are lyrically engaged with the sight of ‘silver cloak of winter’, the touch of ‘summer heat’, the ‘taste of joyful tears’, the ‘scent of gardens’ and hearing ‘whispers in the dark’. These positive feelings are evoked by sun filled backing which skips along with a joyful synth line, and harmonic backing vocals, concluding ‘Take Heart’.

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The coda to this album is the haunting Ondine’s Song. Baldocci’s eerie synth soundscape backs Morton’s mournful vocals, bringing us full circle to the sea based and mythically imbued lyrics of the opening At Sea. Ondine is a legendary elemental being associated with water, whom has inspired an opera by Debussy, a ballet by Henze and even The Little Mermaid by Hans Christian Anderson… and now a song by The Gift! The story involves her marrying a human to gain immortality, but if the human is unfaithful they are fated to die. On a more fundamental level in this song Ondine stands for the essential nature of Water as Life itself, and a plea not to pollute the world – without water there is no life, leading to the elegaic fading refrain:

‘Every Mortal Breath, By Her Grace Alone…. By her Grace Alone…’

In the legend the man’s infidelity breaks Ondine’s heart, and in this song Ondine’s heart is broken by Man’s treatment of the world. Her sorrow and man’s sorrowful salt tears run into the oceans. Once again the music sensitively expresses the flowing almost wraith like feeling of this piece.

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The Gift have really stepped up a few levels with this remarkable album. They have not stretched the boundaries of music – very few artists truly do that. What they have undoubtedly done is skilfully and  beautifully draw upon a variety of influences, inspirations and ideas and artfully crafted them into an imaginative and enjoyable musical experience that touches the heart and stimulates the mind. What more could one want from an album?! Do yourselves a favour and just go and buy it!

Released 28th October 2016

Buy ‘Why The Sea Is Salt’ from Bad Elephant Music