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Robert Wyatt

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Robert Wyatt Shleep album cover
3.87 | 171 ratings | 11 reviews | 25% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 1997

Songs / Tracks Listing

1. Heaps of Sheeps (4:56)
2. The Duchess (4:18)
3. Maryan (6:11)
4. Was a Friend (6:09)
5. Free Will and Testament (4:13)
6. September the Ninth (6:41)
7. Alien (6:47)
8. Out of Season (2:32)
9. A Sunday in Madrid (4:41)
10. Blues in Bob Minor (5:46)
11. The Whole Point of No Return (1:25)

Total Time 53:39

Bonus tracks on 2008 Domino double LP reissue:
12. Te Recuerdo Amanda (3:34)
13. Yolanda (4:12)
14. When Access Was a Noun (3:28)
15. Fridge (3:45)
16. Salt/Ivy (4:18)
17. Signed Curtain (Plus Cornet) (2:53)
18. September in the Rain (2:21)
19. I Wonder How Your Breath Can Last (3:51)

Line-up / Musicians

- Robert Wyatt / vocals, keyboards, trumpet (3,4,8,11), bass (1,4,6,8,9), Polish fiddle (2), percussion, producer (excl. 1)

- Jamie Johnson / guitar (1), backing vocals (11)
- Philip Catherine / guitar (3)
- Phil Manzanera / guitar (7)
- Paul Weller / guitar & harmony vocals (5,10)
- Brian Eno / synthesizer (1,2,9), synth bass (9), backing vocals (1), arranger & producer (1)
- Evan Parker / soprano (2,9) & tenor (6) saxophones
- Annie Whitehead / trombone (6,8)
- Chikako Sato / violin (3)
- Chucho Merchan / double bass & percussion (3), bass & bass drum (7)
- Gary Adzukx / djembe (7)
- Charles Rees / backing vocals (11)
- Alfreda Benge / voice (4), backing vocals (11)

Releases information

Artwork: Alfreda Benge with Phil Smee (layout)

2LP Domino ‎- REWIGLP45 (2008, UK) With 8 bonus tracks

CD Hannibal Records ‎- HNCD 1418 (1997, UK)
CD Domino ‎- REWIGCD45 (2008, UK)

Thanks to ProgLucky for the addition
and to projeKct for the last updates
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Buy ROBERT WYATT Shleep Music

ROBERT WYATT Shleep ratings distribution

(171 ratings)
Essential: a masterpiece of progressive rock music(25%)
Excellent addition to any prog rock music collection(49%)
Good, but non-essential (22%)
Collectors/fans only (4%)
Poor. Only for completionists (1%)

ROBERT WYATT Shleep reviews

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Collaborators/Experts Reviews

Review by Sean Trane
5 stars 4.5 stars really!!!

By the end of the 90's, Wyatt had left rough Trade to join 60's legend Joe Boyd's label Hannibal records and this was good news for Wyatt, as he would produce some much more inventive records than OR or Dondestan. Recorded in Manzanera's studios with a batch of usual suspects, a few unknown newcomers, plus some surprising appearances such as Belgian JR/F guitarist Philip Catherine and The Jam's Paul Weller. With an Alfie booklet illustration throughout, the Sleep happens to be a delightful walk through the event of Wyatt's life at that moment.

And to say that Shleep had not started well, beginning with the album's weakest song, a Gabriel-esque tune, where Eno adds pop touches not really fitting Robert's personae. Much Wyatt-er is Duchess, filled with gurgling/bubbling/seesawing noises (courtesy of Eno), with Parker's (not Bird, you wisearse) difficult sax and Robert's unsettling piano. The album really starts with the mesmerizing Maryan, a superb Catherine-Wyatt composition, where Wyatt gives a Spanish twist with his trumpet, while Sato's violin is jerking tears from you. Emotions ala Rock Bottom; and it's not about to change with the poignant Was A Friend (Hopper co-writes with Robert). Past the strange intro, Wyatt's voice directly takes you to lands abandoned over two decades ago, with Robert playing all instruments. Last Straw is just around the bend, here!!! Awesome. The power of evocation is overwhelming, as you cannot help but thinking of RB in the lengthy sustained finale...The following Free Will & Testament didn't stand a chance matching the predecessor's dramatic greatness, but Paul Weller pulls a good Gilmour-ian guitar, while Wyatt contributes piano, organ and emotions.

Sept 9th is a mostly instrumental song with the returning Whitehead (remember RISTR?) and Parker adding dramatic horns to an already emotion-filled track. Again we are nearing the sublime of RB, with Whitehead's trombone wracking your guts out. Alien is again striking n the same area of your brains, Manzanera pulling a superb guitar solo over impeccable percussions and Merchan's fabulous bass. Wyatt's emotional voice again reminds of the poignant album resulting of that accident that put him a quarter a century ago in a wheelchair. The short Out Of Season has rob doing the whole instruments, except for Whitehead's trombone drones and is again aiming directly into your soul. Based on an Alfie visit to her parents in Spain, Sunday In Madrid has some stunning moments, with Eno's quiet synth underlines giving some excellent background tension (a bit reminiscent of Van Morroson's St Dominic's Preview), while Wyatt's constant wordy vocals is amazing. But nothing compared with his rap (that's right Robert raps superbly!!!!!) in the awesome Blues In Bob Minor. With Weller pulling some splendid guitar lines, if progheads ever had a problem with rap, BIBM might just be the key to open that door. A phenomenal bet successfully achieved, the album can only lets itself die out with the short Weller-penned instrumental Whole Point Of No Return, a dreamy drone where a trumpet evades to heaven.

Yes, Robert was on a creative high at this point, further help by the movie Little Red Robin Hood, produced by Italian enthusiasts DiLoretto and Bevilacqua, doing a documentary on Robert's activities. Shleep is definitely one of Wyatt's high point, the highest since Rock Bottom for sure and it'll take a complete miracle for him to top Shleep in terms of pure inventiveness. Sleep is just missing on the fifth star, because of a weak bonus track and a shaky start, but outside that, it's really a wonderful trip into Robert's brains.

Review by Trotsky
SPECIAL COLLABORATOR Honorary Collaborator
3 stars As compelling as he can be when he's making dense, emotionally-laden material a la Rock Bottom, there's something to be said for Robert Wyatt's ability to see the light side of life. The man may know how to make you cry, but he's no slouch in the humour department either, and Shleep generally sees him in sardonically jovial mood. Although I enjoy his work enough to be called a fan, the most recent album I had heard Wyatt on (before Shleep that is) was 1975's Ruth Is Stranger Than Richard. This 1999 album shows that time has done little to dim the man's unique vision.

Oddly enought, the pieces I enjoyed most on this album weren't really the most proggy ones. Free Will And Testament is a totally brilliant Lennon-esque song and Heaps Of Sheeps is a cheery ditty that actually reminds me of a Blondie song from time to time (you wouldn't believe me if I told you it was Heart Of Glass, would you?). Maryann is a languid folky reverie with a great violin solo stuck in the middle (and enough of those quirky melodic changes to keep you from getting lost inside the song). The highlights from a prog point of view would probably be the jazzy, largely instrumental September The Ninth and the dark Latin-inflected piece Alien.

Other songs of note include The Duchess, which borrows from the Grand Old Duke Of York to create a strange dysfunctional nursery rhyme, Was A Friend (which kicks off with a wierd little excerpt from another track I can't identify) and the strangely New-Wave sounding (I think the synth drum sound is probably responsible) Blues In Bob Minor, although I must confess that this album ran on a little bit too long to sustain my interest.

I have perhaps been a little harsh on my overalll rating of this album in that I think the material is generally impressive, but that it's more important that one visits his early 70s albums, both solo and with Soft Machine and Matching Mole, before coming here. I think this album is one of the finest to emerge from the generally barren 90s but having heard so much of what the great man has done before, it's hard to call this one anything except good, but non-essential. ... 58% on the MPV scale.

Review by Fishy
3 stars Robert Wyatt is a strange bird. For newcomers the music of the leftfield founder of Soft Machine may come across as a mixture of jazz, progressive and singer songwriter. Every album has an impressive list of well known musicians making guest appearances. This proofs the man's fabulous reputation in the rock scene. Here we have Brian Eno, Phil Manzanera, Philip Catherine & Paul Weller just to name a few of the guys that accompany him on several albums. Too bad so little people do know his work but those who do won't mind that at all. To me, his music is like therapy, after a long day of hard work it enables me to set my mind on ease and allows me to dream. A track like "Alien" seems to be extremely suitable for this purpose. Based on a fluid keyboard, Wyatt vocals seems to drift on the waves of latino rhythms and easy listening piano. I must admit not being focussed all the time while listening to this album but isn't this the reason why it was conceived for ? The atmosphere on this album is captures you from the first notes but some tracks pass without noticing. A delicate song like "Maryan" is the first one that wakes me up. The acoustic guitar, the vocals and harmonies remind me on Floyds "fearless" but clearly the beautiful violin line is the most remarkable aspect of this track. On "Was a friend" the lyric of old friendship is substantial. The lush keyboards and jazzy drums don't do much more than to create the atmosphere but it works. How on earth is it possible to create something that beautiful with so little notes of music. Sometimes less is more, I guess. Wyatt's sax is the jewel on the crown. Great track ! "Heaps of Shleeps" is the opening track but as the only real pop track on this album it doesn't represents the overall feel of this album. This doesn't mean this isn't enjoyable, its pop nature hides multicoloured keyboard parts, some good melodies and typical British vocals. "Free will and testament" is another lazy track reminiscent to early Floyd, no wonder Gilmour pops up on some other Wyatt's records ; here the voice of Wyatt sounds just like him. "A sunday in Madrid" is a remarkable track where you'll find Wyatt more talking than singing on a solid musical bed of sounds that are structured in a cool way. Please notice the blues influences in the piano parts. The up-tempo "blues in Bob minor" could easily be the one that pleases prog ears the most. The keyboards, piano and electric guitar pump the rhythm on and on..

The career of Robert Wyatt is spawning more than three decades but little albums were released in that time. As I listen to his album only once in a while, one release in seven years may be enough. Also this enables him to keep the quality of his compositions constantly high. Wyatt's high voice may sound strange at first but after you get used to it, it becomes quite appealing. More than once this sounds quite chaotic but when you take a good listen you'll realize it's not. The compositions seem to be well crafted musically, more than once the combination of instruments are combined in a mathematical way. Strange enough this doesn't mean there's no emotion, it breaths emotion mainly due to the vocals. But it's never getting pathetic in any sense. Even though "Shleep" isn't sounding old fashioned the atmospheres are quintessential mid seventies ; the sound refers to the time when "Rock bottom" was released which is his best album ever. This album is another one of the finer efforts of Wyatt. This needs several spins before you'll start to discover the unique charm of the tracks. At first they all sound alike but in fact there quite different. This is not an album for every day use but when you're longing to find some peace and you like some jazzy atmospheres in prog, try Shleep and soon you'll be out of this world.3,5 stars

Review by fuxi
5 stars SHLEEP may sound less avant-garde than ROCK BOTTOM (and far less sad; it's Wyatt's most upbeat album) but so what? As a collection of songs, it works equally well, perhaps better. Right from the beginning (with the Eno-like "Heaps of Sheeps") we find ourselves in the special kind of dreamworld only Robert Wyatt can evoke. "The Duchess" is a sly, very Canterbury-esque update of a traditional nursery rhyme, and "Maryan" (based on a gorgeous tune by Philip Catherine, who also plays guitar) might just be the most heart-melting melody Wyatt ever sang. In "Free will and testament" Wyatt surprises us with philosophical ruminations on the nature of, erm, Free Will. On "September the Ninth" and "Out of Season" he collaborates with some of Britain's most admired jazz musicians: Annie Whitehead on trombone and Evan Parker on sax. "Blues in Bob Minor" is a gorgeous update of Dylan's "Subterranean Homesick Blues", with rocking guitar by Paul Weller. The tracks I haven't mentioned are also far above average, and all the lyrics (some of which were written by Wyatt's partner, Alfreda Benge) are intelligent and classy. Only a small elite of rock musicians who started out in the 1960s came up with an album as daring and refreshing as this in the 1990s. A masterpiece, beyond any doubt.
Review by Slartibartfast
COLLABORATOR Honorary Collaborator / In Memoriam
4 stars "Be in the air, but not be air, be in the no air." This album has a sleep and dream theme.

It was one of those fortunate coincidences that my truck cassette player had quit working and I was forced to listen to radio. I was driving home from work and one of the few stations I could stand to listen to was a public radio one. I caught a National Public Radio piece on Robert Wyatt. I was somewhat familiar with his work with early Soft Machine. I had a few LP's and one CD, but was totally unaware of Robert's solo albums.

The biographical stuff was rather interesting, but it was the excerpts from Shleep that really blew me away. I ordered a copy first thing when I got home. This album stands out as one of the most impressive releases of 1997 I've heard, even though looking at my collection there's a lot of cool stuff that I didn't become aware of until several years later.

I was already familiar with three of the guest musicians: Philip Catherine, Brian Eno, and Phil Manzanera. Good friends to have, indeed.

The opening track Heaps of Sheep is rather humorous piece about trying to fall asleep and the sheep he's counting piling up. Eno contributes vocals and synthesizer.

Duchess is a song about his wife, sort of a rap or beat poetry style singing. Eno's here again on synth and Wyatt plays something he calls a Polish fiddle. There may actually be such a thing but I suspect he's taken a page from Eno/Fripp and naming the playing style of an instrument as a new instrument in and of itself.

Maryan is a really beautiful track about water. It's the one with Philip Catherine. Nice and peaceful though the lyrics: "Back through the wavering weeds And the turds In the way Riversmell On the route"

Was A Friend has Hugh Hopper with a co credit but not a musician's appearance, lyrics I'm guessing. A song about a dream about an old friend. Wyatt on all the instruments except for a vocal from his wife.

Free Will and Testament is rather touching. I'm going to take a chance here and quote the whole lyrics because I found them and still do find them very moving:

"Given free will but within certain limitations, I cannot will myself to limitless mutations, I cannot know what I would be if I were not me, I can only guess me.

So when I say that I know me, how can I know that? What kind of spider understands arachnophobia? I have my senses and my sense of having senses. Do I guide them? Or they me?

The weight of dust exceeds the weight of settled objects. What can it mean, such gravity without a centre? Is there freedom to un-be? Is there freedom from will-to-be?

Sheer momentum makes us act this way or that way. We just invent or just assume a motivation. I would disperse, be disconnected. Is this possible? What are soldiers without a foe?

Be in the air, but not be air, be in the no air. Be on the loose, neither compacted nor suspended. Neither born nor left to die.

Had I been free, I could have chosen not to be me. Demented forces push me madly round a treadmill. Demented forces push me madly round a treadmill. Let me off please, I am so tired. Let me off please, I am so very tired."

September the Ninth is a cool jazzy piece with Robert's wife apparently contributing the lyrics. About a woman taking flight..

Phil Manzanera joins in for Alien, more lyrics from his wife, quite surreal. About alienation and not space aliens. It has a djembe player on it, too.

Out of Season is a short New Orleans Jazzyish piece about a little bird. Lyrics by Alfie (Alfreda Benge) again.

A Sunday in Madrid has a rambling set of lyrics, just a lazy day on the weekend. Eno's back with synth and synth bass.

Blues in Bob Minor is a tribute piece, of sorts, to the music of Bob Dylan.

The album wraps up with The Point of No Return, a short somber ethereal instrumental. Well, it does have vocals as instruments but no lyrics.

Review by ghost_of_morphy
3 stars We've all had that experience where we hear an album, appreciate the artistic qualities in it, and finally end up just not liking it. Gentle Giant's In A Glass House is a good example of that for me. I can listen to it and I'll end up thinking that sure this is something I SHOULD like, but I just don't.

Anyhow, we are talking about the much rarer opposite phenomenon today. I know that I should detest Robert Wyatt's Shleep, but something keeps bringing me back to it.

Now, why should I detest Shleep, I ask. Let's start with the vocals. Wyatt's vocals are odd to begin with, and he makes them odder still by simulating an unsure and confused voice in appropriate parts of the songs. Add to this some extremely faux naive lyrics and you have vocal performance where everything seems to run out of control in an amateurish way. We could call the vocals dreamy, but they are the opposite of the kind of dreamy that, say, Jon Anderson does in Prince Rupert's Lament. Everything here is plodding, uncertain, and barely on course. And yet it works, in a weird way.

Now the second thing about Shleep that I really should hate is all of the odd sounds in it. There is nearly always a basic background that sound fine (usually piano or guitar backed by percussion) but then there is usually a layer over it of sounds that appear to be odd and amateurish. Sometimes it will be the violin, sometimes the trumpet, sometimes some extra percussion, but it's nearly always present. The Duchess is probably the best example of this, as the odd sounds eventually end up taking over the song in the middle, and we have something like The Waiting Room off of The Lamb Lies Down On Broadway, although with the intention of being a song instead of an interlude. I should find this extremely annoying, but I don't. There's some kind of simple charm in following those odd, jazzy, eccentric riffs. And while they sound amateurish, they aren't (although Wyatt would be better served by letting somebody else play trumpet.)

Ok, I've mentioned all of the negative stuff, so let me try to explain what the charm of this album is, even though I barely comprehend it myself. All of the things that I mention add up to some extremely interesting but subtle musical plays against a soothing, repetitious, almost chant-like atmosphere. The album drones on and on, but there is always something interesting to pay attention to at any given time. This is an album that really rewards careful listening. If it is just playing in the background, people won't even begin to understand why I am saying that it is a good album. And it is a very good album.

I'm giving it three stars. It's a good album and definitely worth a spin, but it's not going to be a gem in your collection. Instead, it's going to be a guilty pleasure that you listen to more than you think you should.

Review by Mellotron Storm
4 stars Robert Wyatt is very thankful in the liner notes towards Phil Manzanera for his generosity. This was recorded at Manzanera's studio and Wyatt is thankful he could relax and not have one eye on the clock the whole time. Robert gets lots of help on this album from Manzanera, Eno and many others. Compared to the last several records he put out, this one is more upbeat and less political. Check out the picture of Wyatt smiling. Priceless. It's more personal with some observational tracks that were written with his wife Alfie that remind me lyrically of the "Dondestan" album.

"Heaps Of Sheeps" sounds so unlike Wyatt.This is an upbeat pop song really. It's pretty much impossible for me not to like it though. Eno sings on the chorus and provides the synth work. "The Duchess" is one of my all time favourite Wyatt tracks. The lyrics are hilarious ! I love the avant gard elements throughout as well. This has to be heard to be believed, Robert even plays the fiddle. Best song on the album. "Maryan" opens with gentle guitar and trumpet(Wyatt). Vocals and piano a minute in. Violin before 2 1/2 minutes,and after 5 minutes. Beautiful tune. "Was A Friend" was co-written by non other then Hugh Hopper. It opens with a sample of "The music of Robert Wyatt by an astute Austrian band" before almost spoken words come in with piano and drums.Trumpet after 1 1/2 minutes. More trumpet after 4 minutes as the song gets intense to the end. Great track.

"Free Will And Testament" is a very laid back, vocal dominated song. "September The Ninth" is jazzy with sax, trombone, piano and light drums. No vocals until after 4 minutes. "Alien" features mesmerizing vocals from Robert with lots of percussion and some guitar from Manzanera 2 1/2 minutes in. "Out Of Season" is led by trombone, trumpet and piano. Vocals a minute in. "A Sunday In Madrid" features vocals that are almost spoken with a good melody. I really like this one. "Blues In Bob Minor" is uptempo with fast paced vocals. Some good guitar too. Very catchy. "The Whole Point Of No Return" is very cool sounding with the trumpet melodies along with these deep vocal melodies from a 4 member choir.

Another winner from Wyatt. I haven't been disappointed with any of his recordings so far. He's a treasure.

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
3 stars "Shleep" is the 6th full-length studio album by UK progressive rock artist Robert Wyatt. The album was released through the Thirsty Ear label in November 1997. After two albums ("Old Rottenhat (1985)" and "Dondestan (1991)") where Robert Wyatt basically sang and played all instruments, he opted to include quite a few guests on "Shleep". A decision that ultimately provides this album with a very different sound compared to it´s two predecessors.

The "band" feel with lots of brass and the bit surprising addition of guitar mean that the melancholic atmosphere that was dominant on previous albums is a bit less melancholic in nature on "Shleep" (there´s even a touch of latin influences in the music at times, which is almost happy sounding). The material on the album are of a good quality but generally lacks the emotional depth of Robert Wyatt´s more introvert and melancholic albums. There are great tracks featured on the album though and a track like "September the Ninth" is proabably the best example of a highlight. Robert Wyatt´s distinct and fragile sounding vocal style is as unique as always and the great humour that all his albums feature in varied doses is more than present on "Shleep".

The sound producion and the musicianship are of high class. "Shleep" features a pleasant and organic sounding production and the music is delivered by skilled and passionate musicians. As mentioned above I don´t think "Shleep" is Robert Wyatt´s most deep album and neither his best, but it´s still a good quality and innovative progressive rock album (with a touch of jazz) that´s definity worth a listen. A 3.5 star (70%) is deserved.

Review by Rune2000
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Shleep is Robert Wyatt's return to his ambitious roots with a long list of musicians lining up to give him a hand and add new interesting layers to the sound of this album. Among these contributions are such renowned names as the two ex-Roxy Music collaborators Brian Eno and Phil Manzanera, who adds an unexpected guitar layers to the otherwise completely guitar-less Wyatt universe.

The music featured on the album is just as ambitious as the lineup by shifting styles between experimental and more relaxed compositions but this time with the new sounds and styles that seem to breath new life to the artist's generally stripped down composition style. To me, it almost sounds just like a mix between the melancholic and personal performance on Rock Bottom but with a feel of a full band setting that was especially memorable on Ruth is Stranger Than Richard. Just add the fact that most of this material was written by Wyatt himself and we finally get the great follow-up album that I have been waiting for ever since his 1974 career highlight.

Even though the music shifts gear on many occasions throughout the album it all has been carefully arranged not to feel out of place with the rest of material, which was somewhat of a problem for me on Robert Wyatt's previous releases. Songs like upbeat Blues In Bob Minor, that I believe is a tribute to Bob Dylan, wouldn't really have worked in a stripped down arrangement on any of the other Wyatt albums but here the cloudy synthesizer sound completely removes this problem providing the composition with a smooth and quite original sound. The music on Shleep is arranged into gorgeous dreamlike soundscapes that are especially notable on tracks like Free Will And Testament.

This is a great return to form by the artist that most progressive rock fans have given up on since Rock Bottom. If you're one of these people than I strongly suggest giving Shleep a go since this is the best recording that Robert Wyatt have released since his heydays back in the '70s!

***** star songs: September The Ninth (6:42)

**** star songs: Heaps Of Sheeps (4:58) The Duchess (4:20) Maryan (6:13) Was A Friend (6:13) Free Will And Testament (4:14) Alien (6:49) Out Of Season (2:33) A Sunday In Madrid (4:43) Blues In Bob Minor (5:48) The Whole Point Of No Return (1:25)

Review by Warthur
4 stars Wyatt spent about a decade tinkering a way with compilations and EPs before bringing out his sole studio album of the 1990s, the sunny and benign Shleep. It opens with a jaunty tune about Wyatt's imagination running away from itself, which is a rather good summation of the album; with the aid of legendary guests such as Brian Eno and Paul Weller, Wyatt (and, for most of the tracks, his songwriting partner and wife Alfreda Benge) produces a range of tunes ranging from whimsical pop to free jazz/ambient fusion nursery rhymes and everything in between. In other words, it's a mature and relaxed revisit of most of the different musical territories he has visited in his long career, and it's hard not to be won over by it.

Latest members reviews

4 stars Listening diary 22nd April, 2022: Robert Wyatt - Shleep (canterbury/art rock, 1997) A strange record from a strange man, but Wyatt has this odd ability to be totally compelling with his strangeness, even when writing about sleep. I hear a lot of Richard Dawson in this, and I have no doubts that ... (read more)

Report this review (#2739169) | Posted by Gallifrey | Sunday, April 24, 2022 | Review Permanlink

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