1. Rare Collectives Vol 3 Rar Australian Full

The younger brother of producer/composer Dave Grusin, Don Grusin is an excellent keyboardist who has had his own solo career. He originally avoided music (not wanting to be in his brother's shadow), becoming an economics professor and not becoming a full-time musician until 1975. At that time, he put together a band to tour Japan with Quincy Jones, freelanced in Los Angeles, and headed the group Friendship which recorded for Elektra in 1978. Grusin recorded a few albums for JVC in the early '80s; and in 1988, with Sticks and Stones (a collaboration with brother Dave), Don Grusin began recording regularly for the record company GRP, playing music that (although influenced by pop) is also somewhat adventurous within the crossover genre.

The discography of the Smashing Pumpkins, an American alternative rock band formed in Chicago, Illinois, consists of ten studio albums, four live albums, one digital live album series, seven compilation albums (including box sets and promotional releases), five extended plays (including promotional releases), 42 singles (including promotional releases), four video albums, 29 music videos,. The Royal Australian Regiment (RAR) is the parent administrative regiment for regular infantry battalions of the Australian Army and is the senior infantry regiment of the Royal Australian Infantry Corps.It was originally formed in 1948 as a three battalion regiment; however, since then its size has fluctuated as battalions have been raised, amalgamated or disbanded in accordance with the.

Don Grusin During the '80s, Grusin performed with and/or produced albums for a wide array of artists including saxophonist Watts (on the 1985 Grammy-winning Musician), Brazilian singer/songwriter Milton Nascimento, pianist David Benoit, and Patti Austin, Sergio Mendes, Oscar Castro-Neves, Zoot Sims, Dori Caymmi, Sadao Watanabe, Frank Quintero, Brenda Russell, Gerald Albright, Nelson Rangell, Jim Hall, Gilberto Gil, Flora Purim, Airto, Larry Carlton, Lee Ritenour, Leon Ware, and many others. On his own, Grusin has recorded for several labels, most notably GRP, releasing such albums as 1990's Raven (featured here), 1991's Zephyr, 1992's No Borders, 1993's Native Land, and 1994's Banana Fish. Grusin received a Grammy nomination for his 2004 live album The Hang, and played keyboards on Paul Winter's 2008 Grammy-winning album Crestone.

Grusin continues to perform, record and produce music internationally and also teaches a multidisciplinary course at the ATLAS Institue at the University of Colorado. He released the solo album Piano in Venice on JVC in 2008. Album Review As he proved in his production of David Benoit's 1989 smash Urban Daydreams, Don Grusin is a master at texturing various synth textures with the acoustic piano. On his solo debut 'Raven', Grusin once again does a remarkable job of this, mixing up his styles along the way to include bits and pieces of funk, Brazilian and mainstream jazz, along with healthy doses of the obligatory pop jazz formulas. Though the ballads here, such as 'Oracle,' are likable, Grusin the player is most at home on funky and frisky numbers like the stealthy 'Catwalk,' which features some tasty acoustic improvisations layered sparingly amidst a contagious synth groove. The best cut is another funkfest, 'Graffiti Bird,' which features the very punchy solo chops of saxman Eric Marienthal.

The horns of Gary Herbig, Gary Grant, and Jerry Hey brass up this cut, as well as the softer line of 'Light in the Window,' while Sal Marquez's trumpet (which added so much to The Fabulous Baker Boys) adds a mainstream touch to songs like the title cut. The Brazilian vocalizing by Djavan makes 'Two Lives' a memorable experience as well. And let's not forget kudos for the solid back beat by bassist Flim Johnson and skinmaster Tommy Brechtlein.

GRP was the smooth jazz mecca for many years, but once in a while the label released a project like this which added a lot of twists to the tried and true. My favourite tracks are 'Flight Of The Raven' and 'Catwalk' and everything in between - this is a great album! I like Don's style of playing. He is a bit more percussive a player than his older brother Dave, but is still very melodic.

Don also uses a battery of acoustic and electronics keys. This is a great introduction to Don Gusin as a stand alone artist. GRP In 1976, Grusin/Rosen Productions was formed by composer, arranger, producer, keyboardist Dave Grusin, and entrepreneur, musician, producer, recording engineer, Larry Rosen. The purpose of the Company was to produce recording artists for major record labels, and discover, sign, and produce new artists for Grusin/Rosen Productions, and release the resulting albums through major record distribution systems.

The partners began their long list of successes with albums for artists Jon Lucien, Patti Austin, Lee Ritenour, Noel Pointer, and Earl Klugh. In 1978, the Grusin/Rosen team signed a multi-year label deal with Arista Records president Clive Davis. Under the logo Arista/GRP, Grusin and Rosen discovered signed, produced, recorded, and launched the careers of Angela Bofill, Dave Valentin, Tom Browne, Bernard Wright, Jay Hoggard, Scott Jarrett, and produced and recorded the first totally non-classical digitally recorded album, Dave Grusin's 'Mountain Dance.' Grusin and Rosen gained immediate success with music fans bringing sales of Tom Browne's hit 'Funkin' for Jamaica' to over 1 million units, and Angela Bofill's sales to over 500,000 units, while playing a pioneering roll in the music industry by leading the way to the digital storage of audio products. Don Grusin In 1982, the duo launched GRP Records, known as the 'Digital Master Company,' as an independent label adopting an 'all digital' recording philosophy being the first in America to record and release all titles on compact disc.

GRP went on to become Billboard magazine's #1 contemporary jazz label worldwide for five consecutive years and its artists were nominated for over 80 Grammy Awards. GRP's artist roster included Chick Corea, Lee Ritenour, Diane Schuur, Patti Austin, Dr. John, Dave Grusin, Spyra Gyra, The Rippingtons, David Benoit, Tom Scott, Gary Burton, B.B. King, Ramsey Lewis, Sergio Salvatore, Dave Valentin, Arturo Sandoval, Diana Krall, Michael Brecker, Randy Brecker, Yellowjackets, Don Grusin, Kevin Eubanks, GRP All-Star Big Band, and many more.

In 1990, Grusin and Rosen sold GRP Records to the Universal Music Group. From 1990 to 1995 Grusin continued to record for the label and Rosen continued as president and CEO of GRP Records.extract from the This post consists of MP3 (320kps) ripped from my CD copy and includes full album artwork for both CD / Vinyl. I'm a big fan of Jazz Rock / Fusion (ie. Mahivishna Orchestra, Al Di Meola, Jan Hammer, Weather Report, Lee Ritenour to list a few) and this album fits in nicely with these artists. If you enjoy this album, then take a look at a release by his brother and others called, also posted on my blog Track Listing. On Australia Day we come together as a nation to celebrate what's great about Australia and being Australian.

It's the day to reflect on what we have achieved and what we can be proud of in our great nation. It's the day for us to re-commit to making Australia an even better place for the future. Australia Day, 26 January, is the anniversary of the arrival of the First Fleet of 11 convict ships from Great Britain, and the raising of the Union Jack at Sydney Cove by its commander Captain Arthur Phillip, in 1788.

With respect to Australia's Music Industry, we can be very proud of the contributions that our Aussie Musos have made in entertaining people from every nation with music and song, with many of our artists achieving world wide acclaim. Therefore, I would like to celebrate Australia Day by posting this Party Classic by one of our country's well known and respected T.V / Radio celebrities from the 70 / 80's. I hope you enjoy it and have a great Australia Day! Barry McKenzie has a really beautiful singing voice! I first suspected this around 1965 when he warbled a ditty called The Old Pacific Sea in the 'Private Eye' comic strip, and he absolutely bewitched them with his native woodnotes wild — and with that raunchy no-holds-barred lyric about the simple joys of chundering whenever the spirit, or the beer, moved him. It was a notable first; a comic strip character with a really good voice. Mandrake might gesture hypnotically, Popeye consume his spinach, Snoopy could actually talk, but none of them could hold a tune.

When it came to transposing Bazza to the silver screen we had long ago cast Barry Crocker in the star part; he looked like Bazza, given a script crammed with timeless archaisms he could talk like Bazza, he could even be persuaded to act like Bazza. The problem which vexed us sorely was: could he SING as well as Nick Garland's drawing?

Crocker has not convinced you of his musical prowess up till now, either accept the judgement of one of the 200,000 connoisseurs who have purchased his albums over the past few years or hearken to this one. He is Joan Sutherland in a Bond's singlet, Candide with an Akubra, Childe Roland in Young and Jackson's Galahad in Gomorrah, Gulliver in the Realm of Lillibet, Hamlet in Hammersmith, Alice in Chunderland.

Right now, on this record, he's having a few quiet tubes with his mates in Earl's Court and singing an artless ballad or two with some of the thirstiest choruses ever written. Melodies grave and gay, they'll set your thongs a'flapping and the sheilahs down the far end of the room are welcome to join in too, NO RISK. The original ODDS & SODS album was compiled by John Entwistle and in what was seen as an innovative move at the time, the titles of the songs were written in Braille on the rear sleeve. Sadly, my Track Record print does not have these interesting feature.

A poster and lyric sheet were included in the package, together with extensive liner notes by Pete Townshend which took the form of a track-by-track explanation (see below), and a longer form of which was published in New Musical Express, issue dated September 21, 1974. The remixed and remastered CD consisted of a single disc but expanded by 12 bonus tracks. The intent was to make a number of compilations redundant while keeping with the original spirit of collecting together various Who curios.

With the large number of bonus tracks possible on the CD format, the original sequence was changed to attempt to follow the chronological order of recording. The original recordings were produced by The Who, Pete Townshend, Kit Lambert, Jack Baverstock and Chris Parmenter (see individual tracks for details). The reissue was produced by Jon Astley with remixes by Andy Macpherson at Revolution Studios. ODDS & SODS reached #10 in the UK and #8 in the US. Original sleeve concept by Roger Daltrey. Design and photography by Graham Hughes. While Roger Daltrey was groping round the Tommy film set playing (rather masterfully) the part of the deaf dumb and blind kid himself, while Keith Moon was dressed in a dirty raincoat drinking Guinness with a raw egg and flashing at passers by, while I was ensconced in its studio, John Entwistle, with a little help from his friends, was rooting about in the mountain of unmarked tape boxes at Track Records.

He came up with this remarkable collection of unreleased oddities, impulsively labelled 'ODDS & SODS' by Roger. I'm going to tell you all why they were never released in the first place. Postcard is a John Entwistle song about touring on the road.

He describes in luscious detail the joys and delights of such romantic venues as Australia, America and Germany. Listen out for the field sound effects actually recorded in the countries we toured. Postcard was originally recorded in my house for a maxi single. They were EPs that only cost as much as a single. Ours unfortunately never got released! I engineered this one with one hand on the controls and the other on the guitar.

That's why I only play one chord throughout the whole song. Now I'm A Farmer is from the same bale of hay, recorded at home for the EP. It's a song, all about the good life out in the fields growing those fantastic ornamental gourds that you can use to. To make gorgeous fruit bowl arrangements. See if you catch the immensely subtle reference to the 'Air' in this song. This track is from the period when The Who went slightly mad, we put out several records called 'DOGS', and at least one about finding 'ones' inner self. Gourds mate, that's the secret of life.

Pure And Easy. This you might know from my solo album. This is the group's version. Not all of the group's versions of my songs are as faithful to the original demo as this one, but as usual the '00' make their mark. Another track from the abortive LIFE HOUSE story.

It's strange really that this never appeared on WHO's NEXT, because in the context of stuff like SONG IS OVER, GETTING IN TUNE and BABA O'RILEY it explains more about the general concept behind the LIFE HOUSE idea than any amount of rap. Not released because we wanted a single album out at the time. Original recording produced at Philips’ Studio, London, in June 1964 and produced by Jack Baverstock and Chris Parmeinter. The Whos first single, released on 3 July 1964 when they were known as The High Numbers. The lyrics were written by their then publicist Meaden and set to the melody of Slim Harpos GOT LOVE IF YOU WANT IT. It failed to make the charts and Fontana did not take up the option on a second single by The High Numbers.

I’M THE FACE was part of the original ODDS & SODS in 1974 and was reissued as a single on Polydors Back Door label in 1980. The original single on the Fontana label, however, has since become a valuable collectors item, with mint condition copies selling for vast sums of money. The fact that this is one of the very few recorded shows the Doors haven’t released commercially tells you all you need to know really. Recorded by the Doors Road Manager Vince Treanor, the actual performance was an ill tempered affair with Morrison drunk and off target for most of the show. The 15,000 venue was just a third full with the crowd hostility seemingly throwing Morrison off track. Sound problems dogged the concert with long breaks between songs doing nothing to help the crowd tensions. This post consists of 68 minutes of solid show that compares well with the many other live Doors performances available.

There is some sound bleed-through or tape hiss in the quieter portions but there are not many of those and unless you are using headphones they should not be of concern. Overall this is a decent quality recording with very strong organ including the bass range and there are some notable lead guitar parts. Apart from the location (Seattle Centre Coliseum), list of tracks, source (KRAB-FM) and date (5th June 1970) there is no background information or booklet. The audience is active but not intrusive and expletives are minimal. Recalling the performance during an interview with the Vancouver Sun, Manzarek said, 'It was exciting. Albert King was going to be playing the blues with Robby Krieger, while Jim Morrison sings.' Going into greater detail, the keyboardist remembered, 'A large audience, lights shining in my eyes, can't see the audience.

The Doors are excited because Albert King is coming onstage, so we played great. Then Albert comes on, and we played even better.

We played dark and deep and funky. Morrison was just transfixed by Albert King's manual dexterity and adroitness on the guitar, so he was in blues-boy heaven. There was some experimenting going on in Vancouver. The Doors seemed to be pushing the limits of rock or at least stretching the limits between rock and the blues. At first it sounds like the Vancouver show is more sedate (not sedated) than the Felt Forum shows a few months prior.

Upon a closer listening you can see The Doors were going for more of a bluesy feeling than a hard rock sound, and this explains why Morrison, in introducing Albert King, gives a quick tutorial to the audience about the two main indigenous forms of American music — blues and country — coming together in rock ‘n’ roll. He‘s tipping the audience off as to what they’re doing. The instrumentals in most of the songs highlight the bluesy feeling, as in “Five to One” and “Light My Fire.” While they didn’t change the song substantially, during the instrumental of “Light My Fire” Morrison comes in using “St. James Infirmary” as a starting point and slips in some bucolic, blues-tinged imagery from “Porgy and Bess” to highlight the bluesier aspects of The Doors’ usual repertoire: “the fish were jumping, and the cotton is high.” What band today of the same caliber as The Doors would or could risk such onstage experimentation? That’s not to say The Doors didn’t delve into their psychedelic roots, as they played “When The Music’s Over” and an interesting rendition of “The End.” Early in their career The Doors were interested in dissonance for their experimental journeys, but in Vancouver they show that assonance had taken over their experimental interest. “The End” in Vancouver is a mature rendering of that song; it isn’t as frantic as earlier versions, The Doors let it play out like a noir film, with Morrison stacking the familiar images upon each other until the dramatic crashing climax, creating a movie for the mind of the audience.

These Bright Midnight releases are great for fans like me who didn’t have the connections to get bootlegs but still longed to hear the shows they’ve long heard about. The Bright Midnight releases are like raiding The Doors’ archives without having to worry about the quality; the sound is crisp and clear. The liner notes give you some background, right from The Doors’ own pens that’s more reliable than second generation legend. This bootleg release of “The Doors Live in Vancouver” will make a nice addition to your collection. Extract from. Originally published in 'The Doors Examined' by Jim Cherry. Both of these performances go exceptionally well. The first show includes a live rendition of 'Love Street' and the second an infrequent take of the Brecht/Weill composition 'Prologue: (Ballad Of) Mack The Knife' the introductory overture from Threepenny Opera.

The entire late show is outstanding-a fine representation of the Doors live performances at the time. Both the early and late show are recorded in their entirely for broadcast on Stockholm's Radiohuset radio station, from which the original tape are taken from. On September 20, 1968 The Doors played two concerts the Konserthuset in Stockholm, Sweden and gave permission for both to be broadcast on radio station Radiohuset. The resulting recordings give a prime example of the band at the height of their collective powers and are the source for many bootlegs. On vinyl the shows have been released as The Beautiful Die Young (MIW Records 19) featuring parts of both early and late shows, The Complete Stockholm ’68 Tapes (DOORS 68) and deluxe 3 lp set containing both the early and late shows, Little Games (Shotgun Records 13010) that is a mix of both early and late shows, The Stockholm Tapes (unknown label) another 3 lp set packaged in a box with a deluxe cover. On CD there have been releases as Live In Stockholm (The Swinging Pig TSP CD-004-2) that featured both early and late shows on a 2CD set, Live In Stockholm ’68 Vol.

2 (Black Panther CD 30/31) that were copies of the Swinging Pig title, The Lizard King (Vulture Records 002) a mix of both early and late shows on a single disc, Red Walls Blue Doors (WPOCM CD 1288D012-2) featuring only the late show, The Stockholm Tapes (DR 010) featuring only the late show, Sneaking Out The Backdoor (The Last Bootleg Records LBR SP 001/7) features both early and late shows, and Apocalypse Now (Kiss The Stone KTS 267), an excellent title featuring the late show. For this new release Banana showcases the late show from September 20, 1968 from the master tape. What does this mean you ask? A huge improvement in sound over the older titles.

It is the same recording as other bootlegs but is much clearer and has a brighter sound, the distortion on Jim’s vocals is still there but does not bleed in the recording like the old Swinging Pig titles and simply sounds wonderful. Since The Doors started releasing live titles under their Bright Midnight label, fans have been clambering for this show, since we will likely never see that, this title more than makes up for it. A real highlight of this recording is the bands rendition of “Your Lost Little Girl”, rarely played on stage the melancholy playing of Robby Krieger is wonderful and Morrison turns in a beautiful vocal for the song, no screaming and yelling on this song. “Love Me Two Times” from the Strange Days record was a true Krieger song, the lyrics much more about simple love and curiously would prove to be The Doors most radio friendly songs. A true centerpiece of most all Doors shows is “When The Music’s Over”, dense with mysterious lyrics and some of the most powerful music the band would ever explore it features Morrison at his most dramatic.

All three musicians solo at one time or another, they blend the instruments as an accent to the lyrics. John Densmore goes from keeping simple time to answering Morrison in a point blank response accentuating message.

The lyrics are expansive, moving from psychedelia to powder struggles to a commentary of the abuse of resources, all leading to a demand of “We Want The World and We Want It NOW “, Morrison keeping the audience on edge before finally letting out a huge yell in true dramatic fashion. The song again garners a huge ovation with the audience clapping and shouting their approval, one can only agree. Curiously the band play an early version of “Wild Child”, a song that would not find its way onto a Doors record for close to a year until the release of 1969’s The Soft Parade.

It started appearing in the bands set early the prior month of August 2nd at the band’s chaotic performance at the Singer Bowl in Flushing Meadows, New York. This version is much subdued to that version largely due to the circumstances, but we are treated to a superb rendition of the song and is nice to be able fully enjoy. The set concludes appropriately as Morrison asks for the lights to be lowered and only use the blue lights, there is a small language barrier with the operators and the band chants “turn out the lights” before Jim lets out a quieting “sshh” and Krieger hits the opening chords of “The End”. The song has much evolved from its early incarnations of a song of loves departed; now it is an apocalyptic masterpiece of theatre set to music.

The song clocks in at close to 15 minutes in length and features a variety of lyric poems by Jim that culminates with the Oedipal section, perhaps it most moving yet frightening piece that polarized listeners as far back as the groups pre record deal days at the Whisky A Go Go. Live versions of this song are always an event, this is certainly one, if not my most favorite version (the Singer Bowl is awesome too). The end of the set and of a most successful European tour as the band leaves the stage amid respectful applause.

extract from. They performed “Moonlight Drive” first on a multi-level stage complete with a smoke machine and planetary stock footage overlayed onto the performance. The performance of “Light My Fire” was odd to say the least. The band was set up amongst a series of poles with spaghetti wire strung between them, and throughout the performance the producers added a wavy effect to the video, plus showed a red police siren as Jim sang.

To top it off, at the end of the song, Jim leaps into a section of the wires and pulls a portion of the set down on top of him. extract from. The Doors rehearse the Smother Brothers Comedy Hour television performance on the 5th of December, and record on the 6th.

Filmed in color, the band performs 'Wild Child' and 'Touch Me' featuring Curtis Amy and the Smothers Brothers Orchestra. Robby is sporting a black eye during the filming, and Tom O'Neal is on site photographing the rehearsals and recording session. Broadcast on December 15th, George Carlin and The Committee are also guests on this episode. CBS cancelled this show on June 8th, 1969.

The Doors are primarily an instrumental trio with a lead singer, but Jim Morrison is not so much a singer per se, as he is a shouter, as horn section, sometimes a lead instrument. He doesn't sing in the dictionary sense of the word; rather, he punctuates with his voice. Tying all of the elements together—the organ, the drums, the vocals— is the fluid thread or Robby Krieger's guitar, slow, spare, thoughtful, unifying. Krieger's thought processes for guitar, interestingly enough, did not come from blues but from flamenco, a fact that makes his guitar playing totally individualistic in the rock field.

Yes, the Doors are mystical (hailing from Los Angeles, to preserve their sanity, perhaps they have to be). But they can talk common sense, too. Here is Robby: 'Most groups today aren't groups. Here, we use everyone's ideas. In a true group, all of the members create the arrangements among themselves. This group is so serious. It's the most serious group that ever was, that ever will be.'

And Ray: 'All of us have the freedom to explore and to improvise within a framework. Jim is an improviser with words. We've all shattered ourselves a long time ago.

That was what early rock was about: an attempt to shatter two thousand years of culture. Now, we're working on what happens after you've shattered it.'

The band played a lot of blues at the Matrix, including Allen Toussaint's 'Get Out of My Life Woman' and Slim Harpo's 'I'm a King Bee' that rarely turned up again in the repertoire. They did an instrumental version of 'Summertime,' a piece Botnick never heard the band play again.

The group introduced new material that would eventually find its way to the second album - 'People Are Strange,' 'Moonlight Drive' - while Morrison expanded and elaborated the ending of the already epic 'The End' as recorded on the first album. The shadowy, echoey recording sounds like being in the dingy, rundown nightclub. The tiny room and handful of strangers in the crowd give off a palpable presence on the tape. All 10 people applaud madly. extract from. The Hollywood Bowl didn't look as famous in the daylight as it did at night, but unfortunately the night light didn't save our performance. We were worried about the acoustics at the outdoor amphitheatre, where there were no wails to bounce the sound off.

We had played outdoor conceits successfully before, but you couldn't hear the sound coming back to you and it could be difficult to judge how loudly to play. We didn't want to take any chances, so Vince, our dedicated and obsessed road manager, built additional amplifiers, fifty-two speakers in all, with seven thousand wans of power. For a four-piece band! We wanted to reach the back of the Bowl and we didn't want to get caught shorn As it turned out, the people who lived in the homes behind the Bowl had complained about noise the previous month or so, and the Bowl had hired a sound man to walk around the theater during performances and check volume levels on a portable meter.

The sound level was not to exceed eighty decibels, or he would pull the plug. Robby was very unhappy.

Typical—a guitar player. 1 was actually pleased, because as a drummer I always fought to be heard. Whenever Ray and Robby turned up a knob, I had to use more muscle. Unfortunately, eighty decibels was not enough to fill eighteen thousand seats with the punch we relied on. Thinking die Bowl would be an important gig, we also had a movie crew of old UCLA film school friends of Ray and Jim's shooting 16 mm color and sync sound.

A small crew had been following us around on tour for a documentary we were making. For the Bowl we had a couple additional cameramen. (Although I wasn't into guys, I noticed how strikingly handsome one of the new crewmen was. And he had a weird name: Harrison Ford.) we got a call from Jimmy Miller, the Stones' producer, and he said that he and Mick would like to come to the Bowl. We were impressed until they drove up in front of our office to go to dinner with us.

Robby said, 'John, look at the car they're driving.' It was a Cadillac, and not even an old one. Was Mick selling out? I excused them because it was probably a rental, but still I thought, Couldn't they have had more taste?

Our entourage went to Mu Ling's Chinese restaurant on Sunset Boulevard and unfortunately, since there were too many people in our group, we sat at two separate rabies. Mick sat at the other table. Jimmy Miller talked up a storm, but I wanted to hear the interaction between the two lead singers, and maybe put my two cents in. As we drove to the back of the Bowl, it felt like attending a huge baseball game. I felt a twinge of nervousness looking at the crowd as we walked into the dressing room.

I got a piece of paper and we agreed to the first three or four songs. Out of the corner of my eye, I could see Mick watching very attentively.

Jimmy Miller and Jagger snuck around to one of the reserved boxes, and we went out onstage to eighteen thousand roaring people. 1 wanted to show the Stones' lead singer how good we could be. I wished we were better. Several close friends were right in the front seats and I couldn't even look at them. Jim wore a cross and smoked a lot of cigarettes, which seemed out of character for him.

Rare Collectives Vol 3 Rar Australian Full

He wasn't born again and it was the first time I ever saw him smoke. I detected some self-conscious image-building.