As a classic rock and true crime fan, I love seeing rock bands reference true crime and exploring the connections bands have to true crime. When I got an email asking if I wanted to interview 80s The Jack Rubies and talk about their latest music and re-release of 1988’s Fascinatin’ Vacation and 1990’s See The Money In My Smile, I was intrigued. The name caught my eye and as soon as I played the music, I was impressed. Lately, I’ve been listening to a lot of 80s music and one of my favourite things about the decade is the revival of jangly guitars of the 60s as heard in bands like The Smiths and The Stone Roses. I also liked the dark qualities of The Jack Rubies’ music.
The Jack Rubies had success in the US, opening for groups like They Might Be Giants and Modern English. The band broke up over 30 years ago when grunge was at its peak and the band members split up with some staying in the US and pursuing other careers, while other members worked on other music projects. During lockdown, The Jack Rubies decided to go back to music, write some new songs, and record some new music. Their latest album Clocks Are Out of Time came out on the 16th of February and it has an updated sound, but one that stays true to their 80s roots. Some highlights from the album are “Hark!”, “Heaven Shook Me”, “Corrupted”, “Poltergeist”, “Read My Mind”, “Shark Attack”, . With the 80s and 90s still being in style, it’s a great album for people who love that time period.
For those who want a throwback, finally after so many years of being out of print and then the band having to get the rights to their music back, it’s back on Spotify for old fans to reminisce over and for new fans. Their debut, Fascinatin’ Vacation is an excellent starting point for new listeners and is a solid album. My favourite tracks on it are “Be With You”, “Lobster”, “Over My Head”, “Falling”, “Foolish Boy”, “Here Comes Love”, and “Dallas Blues”.
We are lucky to have lead singer and guitarist Ian Wright and drummer and producer Peter Maxted with us on the blog to talk about their music, so without further ado, here’s the interview:
Angie Moon: How did The Jack Rubies get started?
Ian Wright: In our first incarnation back in the day, first of all I should say two of the Jack Rubies I met when I was an art student, two Steves in the band, Steven Ineson or we call him SD Ineson – he’s the other guitarist and songwriter. He was an art student with me in the town of Reading in the UK and Steve Brockway who played bass in The Jack Rubies was from Reading and the three of us, obviously I met Steve Ineson at the art school and Steve Brockway was sort of on the local band scene. We were in all different bands and later Steve Ineson and I formed the band at college. Anyway, long story short, when I finished my art school course, me and Steve Brockway, the bassist, we had not played in a band together, moved to London together to seek our fortunes, who knows? We just thought that’s the next thing we’re going to do, we’re going to go to London and see what’s going on. And we had the intention of forming a group, I had a few songs and we tried to find a drummer and eventually after a few false starts we managed to hook up with Max [Peter Maxted] here. There was a trio, just rehearsing, we didn’t do any gigs, I don’t think. Around that time, this was about ’85 or ’86, I think it was late ’85, we ran into the other Steve again, who’d also moved to London. He had a little band going that he started, which included a percussion player, which was quite unusual, called Lawrence Giltnane, and one day we were all using the same rehearsal facilities, one day some of his band members didn’t show up but those two were there, him and the percussion player Lawrence and we all had a kind of a jam group practice and we realised all of us, almost instantaneously that there was quite a magical chemistry there and we pretty much from that moment on or within a few weeks of that rejigged the idea of The Jack Rubies from a trio into a five piece and we went from there.
Angie: What bands and artists are your biggest influences?
Peter Maxted: We ended up having a lot of different influences to be honest with you. I think we had kind of common roots in glam rock so we all grew up with bands like T. Rex and with Bowie, so hard really to avoid that. I would say also a soft place in my heart for bands like Slade as well. That’s just my childhood and I love that stuff. Because I play the drums I kind of gravitate towards stuff with a really strong beat and so I’ve been greatly influenced by things like James Brown and Funkadelic and stuff like that and that always was in the background along with a lot of early hip hop, when it came to choosing some of the rhythms I would play. That’s probably a bit different to Ian, but some touchpoints, probably The Velvets and The Stooges, big fan of Lou Reed as well, et cetera. But for me the beat is the thing that always kind of brings me back.
Ian: Yeah for me, UK glam rock when I was a kid, same thing, Bowie, very much David Bowie, T. Rex, Sparks, Slade, all that kind of thing and then being a young teenager going into the punk period and new wave, very much the left field bands like Wire and the Buzzcocks, I love the Buzzcocks, not that they’re actually left field, but great pop music. Echo and the Bunnymen, going into Television and that kind of stuff. Those were formative influences on me and I love all those artists still.
Angie: What was the music scene like in London in the 80s?
Peter: You know what? There were so many venues you could play in, that’s the thing I remember about it, there was such a great circuit of places to play. And lots of small to mid-size venues as well, so you were never really short of a gig. That’s what I remember about it. There was a lot going on. You could always every night, you could go out and see a great band at lots of different places. The circuit, I think, made it really quite an exciting time to be playing in a band.
Ian: I mean, ’85, ’86 when we started, we coincided with a huge upsurge in suddenly everyone was in a band. There were bands springing up everywhere and I think part of that, Margaret Thatcher was in power then, young people were un-empowered, if that’s a word, even if you had a college degree it was very difficult to get a job and the whole atmosphere was sort of anti-youth and quite authoritarian and one of the things that happened in response to that, almost organically, was that young people suddenly started doing their own thing, they didn’t have much money so they started their own venues, they started bands, a lot of alternative comedy started around that time. People would do standup and there were various art events. Generally there was a very artistic rebellion from young people in sort of ’85 and ’86, and the other thing that happened of course was very big bands like The Smiths emerged out of that whole scene. Which kind of put indie music on the map as well.
Peter: I was going to say, things I remember about it was there was a very big squat scene and usually, in those communities, some of which were whole streets or whole neighbourhoods, there was kind of like a strong artistic drive as well. I remember we played at quite a few places that were basically clubs that squatters that had made out of an empty house and things like that and it was very much kind of like DIY ethos I guess. A lot of people just decided that there wasn’t really point trying to get a job because you couldn’t so you might as well do your own thing and enjoy yourself and perhaps start a club or something like that. That was good.
Angie: Do you see a repeating of history or any similarities in the present compared to then?
Ian: I’m not sure if I do. I think that was really a time, I was alive in the late 60s, but I was obviously a very small child, I would have loved to have been around in the late 60s, experiencing Swinging London and in the same way that’s a moment in time that can’t be repeated. The sort of mid 80s London scene, that’s where we all lived, the London UK scene was a moment in time and I don’t know if that can actually be replicated, so I’m not sure.
Peter: It was a very different time because things were not as connected as they are now [Ian interjects: pre-internet, pre-cell phones]. Pre-cell phones, so really everything was word of mouth and it was who you knew. You had to delve to find music. It was much more social networking of the non-online variety, seeking out communities of people that perhaps have similar musical taste, stuff like that. You could spot people just by how they looked, you’d walk down the street and think, ‘yeah they look like someone who listens to the same records I do.’ We’d see people walking around with a record and you’d wanna quiz them for what they were listening to. So there was a lot of that and it feels really different now because really, you can find almost anything online. I guess the other big thing was if you wanted to make a record or stuff like that, you needed to find a studio, you needed to have lots of cash to do it. So it kind of imposed different sort of artistic constraints. I mean, now we can record stuff easily just using sort of commodity computer technologies, stuff like that. It’s really different. Distribute stuff ourselves as well. You could do all of those things. It’s very different.
Angie: Your band name is a true crime reference, why did you pick the name The Jack Rubies?
Ian: Almost at random. Certainly not as, we’re originally from the UK, but we spent a lot of time in the States and that was always a big question in the States because obviously the history associated with that. When we picked the name in the UK before we’d even done a gig, we had no idea of the repercussions. I barely knew who Jack Ruby was. I certainly knew who JFK was and Lee Harvey Oswald, but we were looking for a name and we were playing the board game Trivial Pursuit, a question came up, ‘Who was the perpetrator of the first live TV assassination?’ Obviously, Jack Ruby, and it appealed to my slightly twisted sense of humour and then with The Jack Rubies, let’s make it -ies like precious stones. I thought it looked good, sounded good, and had some vague connotations that might be a bit controversial, but I didn’t think too much about that at the time. Obviously later on it became more of an issue.
Angie: How was the name of the band received in America?
Ian: When were were first here, I’ll let Max answer that, because I was talking a lot then. Max, do you remember?
Peter: I think people got the humour of it. I think they realised we were not serious about it or anything like that. I think alongside the kind of music we made and the kind of humour in what we do, it kind of went over okay. But I do remember feeling slightly nervous when we played in Dallas. I remember feeling a bit nervous playing in Dallas.
Ian: I remember we joked about it in the sense that, I forget which band it was, I think it was when The Beatles were touring when Ringo said he could put the cymbals like that [holds hand up to the camera] when John Lennon was in trouble about his ‘bigger than Jesus’ comment. Ringo could put the cymbals like that if there was a gunshot. So Max was like I’m putting my cymbals like that in Dallas in case there’s a nutter out there who’s related to Jack Ruby. But I think most journalists at the time realised we were not trying to, it wasn’t like a Dead Kennedys thing, a controversial stir up feelings, antagonistic kind of name. Much more black humour, tongue in cheek sort of, these English boys come over here and they call themselves The Jack Rubies. Okay, we get the joke. It was more like that.
Peter: Yeah, I think so.
Angie: What did you do after the band broke up in the 90s?
Peter: We all did different things. I was working a lot before we were touring quite heavily in the US. So I just went back to working again, I worked in technology for years and kind of kept music, but I was doing music as more of a hobby, something I couldn’t stop doing because I loved doing it. I know other band members carried on. I know Ian and Steve carried on playing for quite a while, SD Ineson has played for years in a band called the Milagro Saints. So I think we all went off and did different things, but some of us stayed closer to music than others. What would you reckon, Ian?
Ian: Well I think we were all traumatised by the end of the band, I was because it happened very suddenly and we had just come off the back of a long tour in the US, thinking we were going to start thinking about a third album and the record company more or less pulled the carpet out from under our feet. SD Ineson, Steve Ineson, one of the guitarists, he sort of, not straight away, but because we were all very frustrated, the label was based in New York, so I hung around in New York trying to figure out what was going on here, could we at least do some demos and try to keep the deal alive. The rest of the band sort of drifted back to London and there was a period of several months where there was almost like a standoff. In frustration, SD Ineson quit the band at that point, leaving the four of us still sort of scratching our heads. I eventually came back to London and the four of us carried on for a little while, but it wasn’t the same. I think we all knew that the moment had gone. I went back to New York because I felt like I had burnt my bridges in the UK and I felt a bit rootless actually, I didn’t move knowing I was going to spend the next several decades in the States, but I went back thinking, ‘Let’s see what the next stage is.’ I did various musical projects for a few years, but there came a point in the mid-90s or even ’96 or ’97 where I’d literally kind of retired from the field, I just said, ‘you know it was a great adventure, but it’s not the same as it used to be. I’m just going to stop playing and writing temporarily.’ But that pause lasted for decades.
Peter: It did.
Ian: The other members carried on. Max can tell you his story, but the other members carried on doing music in one sense or another and SD Ineson was probably the most productive because he’d carried on with a band for many years, his own band. So after I stopped doing music, I was scrambling around New York trying to find enough money to stay alive and being an ex-art student I fell into a job as an art restorer, which I thought I’d do for a little bit until I get on my feet, but actually a few years later, towards the end of the 90s, the beginning of the 2000s I started my own business doing that and it was quite successful and that’s really what I’ve been doing, nothing to do with music at all. I’ve been working in the art world right until, just before covid actually.
Angie: Can you tell me more about your job as an art restorer?
Ian: Well, I didn’t train for that. When I went to art school I was doing painting and filmmaking predominantly. I specifically worked in vintage poster restoration and paper restoration so if you imagine, if you want to go and get an antique broken chair fixed, well in this case if you’ve got a torn up, broken poster that’s actually worth some money, might be a hundred years old, you’d come to my studio to fix it. So that’s what I was doing and I kind of learnt on the job. I had the aptitude for it, I guess, being an ex-art student and it seemed to be a good fit for me, but I’d never trained for it, I trained on the job and I was based in Manhattan and I was the kind of go-to studio for the galleries and auction houses and members of the public could walk in there too with a project. And I did that for many years.
Angie: What do you like best about living in New York?
Ian: I now live in Brooklyn, I live in Greenpoint, if you know that area, Williamsburg/Greenpoint area. I’ve lived here for a long time. I lived the East Village when I was first in New York for about 10 years, but I’ve been over this way for a long time, before it was really developed so I’ve seen a lot of changes, but actually it’s quite a happening area now. I wouldn’t particularly want to live in Manhattan anymore. I really like it around here. It’s got a village-y vibe to it, some great restaurants and bars and places to see bands and stuff. It’s pretty cool. I like it.
Angie: What inspired the band to reunite?
Peter: I was gonna say, I’ll speak from my own experience first. I treated covid as a bit of a wake up call. I was very sick in 2020 and it was a kind of, you might as well get anything done you want to get done because you might have another near-death experience that’s much more successful so I decided I was just gonna pack in working and kind of focus on doing stuff I wanted to do, not that I minded working, but you know what I mean? I wanted to do stuff that I was passionate about and I enjoyed. I took time out and started to dedicate myself to learning much more about recording and recording technology and stuff like that. Playing a lot more music and it kind of coincided with Ian, Ian was focused on excavating all of the legacy material that we had and getting it remastered and wanting to get it back online again because we felt kind of underrepresented. There was a lot of stuff that was unavailable, you couldn’t get it on digital platforms. We wanted to try and get our music back out there so he kind of came over to remaster Fascinatin’ Vacation, the album that we made in ’88. So Ian came over to the UK and we both kind of were involved in remastering the previous records and I think at that point I had suggested it might be good to try some remote recording, but I don’t think Ian, Ian wasn’t necessarily enthusiastic about the idea from the get-go. I just thought I’ve got the technology to do this. We could all just kind of contribute pieces and we could work on material and we could do it despite the fact that we’re in lots of different places and put songs together. And I think that was just left for you to percolate, Ian. But I’m not sure you were ready to do it, were you?
Ian: Well, you know, that’s more or less true what happened. After The Jack Rubies I said I was a bit traumatised by the end of the band and I don’t think my heart was ever really in the little projects that I did afterwards in New York, post Jack Rubies. So when that all kind of fizzled out and I started doing the art restoration, I didn’t really want to think about The Jack Rubies and I didn’t want to think about it for 20 years. I thought, well that’s a finished episode of my past. But after about 20-25 years I realised that we’ve sort of been wiped out of history. We were definitely part of something and I started rooting around in whatever archives I had. I’ve probably been carting around cardboard boxes for a couple of decades: press that we’ve done and photos and some tapes and video and da-da-da. So I started contacting the others. We hadn’t lost touch. I started contacting the others with the idea that let’s try to actually get our stuff back, at least start with YouTube, let’s just get the videos back up and this was, I’m talking now, say 6-7 years ago. And there was a gradual campaign, like a hobby really to get the material available, it started with YouTube and then we started to have a Facebook page and it got taken more seriously the more we went on. And the end result of that was that we remastered the old material from the first incarnation of the band and started making sure it was available on streaming services and then covid came down. There was no talk of doing any new music at this point. But we were all reunited and talking because we were doing this kind of re-evaluation of our past really. And with covid, suddenly all of us in our different little silos had lots of time on our hands and Max particularly and SD Ineson, who had left the band, remember, so I don’t think that he’d be interested in any kind of reunion, but those two particularly started pushing for the idea of why don’t we do some new music? If it’s terrible we’re never going to let anyone hear it, but why don’t we just do it as a fun project. And I was dragging my heels because I had been the main writer, I had not, one, written a song in over 20 years, and two, I kind of had forgotten how to play guitar. Sort of, there’s a muscle memory there, but I certainly wasn’t picking it up and playing very often. So I was very sceptical, but with time on our hands I sort of took up the challenge and suddenly I turned a corner with one song that ended up on the new record, “Poltergeist”, which was just like a very nursery rhyme one string melody but suddenly something clicked for me. I just suddenly remembered how much I loved finding lyrics to fit with melodies and the whole constructing of songs. It was like a forgotten thing that I’d just had buried and it sounds like a bit of a cliche but the floodgates opened for me. Suddenly I was totally on board. That didn’t mean it was going to be any good, but then we started swapping files and building these songs up and this was over a two year period. Plus we suddenly realised we’ve got an album’s worth of material that we think really stands up well to our legacy material and as a contemporary spin on the band.
Angie: How do you think the sound of the band has changed from the old albums to the new one?
Peter: There’s a kind of methodological difference. What we used to do is Ian would come along with an idea for a song and we’d probably jam that song out in sound checks or the rehearsal room and kind of work out as a group, as a collective, by playing through the song. That’s how we work out what we were going to do or what we were going to play. But if you’re working remotely you can’t really do that. You can’t really get together and kind of do the thing live in a room. So it’s more like a process of collage, where you’re collaging together all the different elements of a song and it’s kind of more effort really. It’s less impressionistic, it’s less spontaneous and it takes more effort to compose something. And that gives it a different dynamic. You’re able to experiment more with the structure of a song. You can try different things out. I think probably the other big difference is that we have unlimited studio time. So previously we’d always be on a meter, we’d always be running out of time. We’d always be at the point where it’s just like we gotta get this finished, we gotta get it mixed and we’re done. Now we can spend as long as we want to get the things sounding the way we want it to sound. So I think those things make a big difference to the way that the songs come out. But it’s not the kind of impact of making them sound kind of more contemporary in some ways which is odd, because it wasn’t really planned. But that said, all of the people are playing in the band are the same people and it’s kind of the same DNA. And they all come with the same approach to playing that they had previously, so it makes an interesting combination, I think. The way that we work now forces us to play differently, but it’s not necessarily a bad thing. For us, it’s been kind of liberating in some ways too.
Ian: I would agree with that. Our old material seems to me, it has got a kind of production sound from the period it was recorded in and certainly the second album was done on a fairly big budget in a very high end studio, so it’s quite posh, but if you strip away some of that veneer, I think those songs sit very well with the new material, but it’s true what Max says because they’ve been constructed as a collage, is a good word, it’s because they’ve been constructed like a patchwork rather than from being refined in playing them live over a period of months. These songs have never been played live, this is the version of this song. That’s the only version, it’s not like live tapes of it to go, ‘Remember when we did it in this town and you did that extra chorus there? We should put that in there.’ They didn’t evolve in the same way and I think that’s a factor.
Angie: Do you think you’ll ever play the album live?
Ian: I don’t know the answer, but I hope that we can.
Peter: We probably need some additional players to do it in some ways. I think the other thing that we’re probably doing now, which we may not have done in the past is because it’s really been treated as a studio project, we’re not really thinking about whether we need to be able to play the songs live either. We’re just putting them together in the way that sounds best. It feels to me like we at least need a keyboard player to do some of the stuff we do now.
Ian: Yeah, I agree. I think all of us have the desire to play live again. There are two hurdles we need to overcome. One is our geographical locations because we’re in four different places: Max and Lawrence are both in the UK in different areas, quite far apart from each other; myself and the bass player Steve Brockway do live in New York – Brooklyn, but the other Steve, SD Ineson lives in North Carolina. So getting all of us in one place, it’s not like we can just get together and let’s do a couple of secret gigs down at the local bar to warm up and see if we can still do it. We can’t do that. I’m hoping that the album will do well enough that we’ll have the infrastructure to be able to do some gigs. But also I agree with Max that probably the way we’ve made these recordings, I think we could do a five piece version of the songs, but I’d rather do them justice and have certainly at least a keyboard player augmenting us, maybe another guitarist as well. But all of that is very doable if the circumstances warrant it. I’d love to do it! I just think we need to get the five of us and whoever might be added on in a room for a week or so and we could actually, the old secret sauce would kick in.
Peter: I think so. It’s come back.
Angie: What are your favourite songs on the new album?
Ian: I don’t dislike any of them, obviously. These are not the only songs that have been written. I’ve been in the process of writing a new bunch of material, stuff got left by the wayside, or wasn’t finished, or might be rethought in a different way down the line, but probably at the moment, let’s see my favourite two songs right now, I’ll give you two songs I’ve been playing the most, one might be “Read My Mind”, and the other one I’m liking a lot at the moment is the final track “I’ll Give You More”. So they’re pretty different, but I like those songs. At the moment. I’m listening to those a lot.
Peter: I like “Hark!”. It might just be because it was like immensely technically difficult to do. So the process of recording it and putting it together was really really hard and I was almost relieved when I got through to the end of the process just because I felt like Sisyphus pushing a big rock up a hill and I kept getting squashed by the song and eventually I had a version which sounded good and it was working. It’s like such a blessed relief to get to that point. Now when I listen to it, I get a reprise of that feeling of satisfaction of actually getting it done. So I quite like that and I quite like “Poltergeist” but with “Poltergeist” we had a mastering slot and we had to get it recorded and unfortunately I got covid again and I remember having to mix it while in a fever and so literally I have no recollection of actually finishing the song for mastering because I was off my head basically. And so when I listen to it afterwards and I hear it I think that’s quite good, I don’t know how I managed to do it. Don’t know how it ended up coming out okay. I really don’t.
Angie: Have you found that the music from the old days has found a new audience now that it’s been re-released?
Ian: Well it’s certainly been, first of all that’s such a pleasure for us to have, because those two albums were out of print, our original record company was called TVT Records, they were based in New York, this is going back to the late 80s/early 90s. We sort of came to a grisly end with them, so we weren’t on very good terms and they went out of business in the 2000s, I think it was in 2008, I can’t remember. We’d had no contact with them for that whole period and when they went out of business they sold off all their, they held the copyright to those albums at the time, they sold off all their assets. We didn’t know who had the copyright, who had the masters. They disappeared. People would say, ‘You can’t find The Jack Rubies on Spotify and da-da-da’. We did eventually put up the stuff that we had rights to, which was not those two albums. So that was one way to get ourselves back on the map, but we eventually found that we were able to acquire because of the time that had gone by, we were able to get the copyright back on those albums and it was a long detective story and I won’t go into it now because it’s quite you know, a long and boring story, but we got the copyright back on those two albums and it’s such a pleasure for us to have those available again and when we signed to Big Stir Records to put this new album out, the wonderful thing is they said why don’t we be the vehicle for re-releasing two lost albums as part of the whole package and they only came out again officially on Friday (9 February). Today’s Tuesday (13 February), So they’ve only been available again for five days, but already we’ve been getting quite a lot of radio play in general on the new material, but already radio stations are picking tracks from both of those albums and adding them to shows. So that’s really encouraging. A lot of chat on our Facebook page and all our other social medias saying how fantastic having these albums back in the aether again. So it’s very gratifying.
Angie: What is your proudest accomplishment as a musician?
Peter: It’s a difficult question. Actually it’s an odd one, but I was really pleased that I managed to meet Curtis Mayfield when we were touring with The Blow Monkeys. We played the Hammersmith Odeon, which is a really big venue in the UK as well. So that was good. I think probably the best gig feeling ever was when we played the Marquee. We played the Marquee in the UK, it’s disappeared now, but The Marquee obviously had a long, rich history. Everyone had played there. Every band had played there. We did a gig, we headlined there and it was just after we did a TV thing on Channel 4 and it was just, the place was packed, people were hanging from the rafters and we did a cracking gig as well. I remember that and that was a really really good feeling at that gig. Very memorable.
Ian: I’d put that one up there and the Hammersmith Odeon, we were opening at the Hammersmith Odeon. Similar to that in New York, the first time we played New York, we opened up for They Might Be Giants and we played the Beacon Theatre and which was a fantastic venue. That was a pretty good one. That will always stick in my memory for sure. And also in a funny kind of way, I said to you I didn’t want to think about the Jack Rubies for 20 years, but occasionally I would have weird dreams about us getting back together again. Usually in those dreams we’d all be trying get to a gig and we could never get to the gig and we’d never got on the stage. It was weird dreams like this I’d have recurring scenarios. I’m not joking, this used to happen. So in a funny kind of way, that was obviously my psyche speaking to me. But in a real way, I’d never, I’ve fantasied in my dreams today for sure about the band reforming and doing something again because it was always a case of unfinished business. But I never in my wildest dreams thought we’d be able to achieve what we have done in the last couple of years. So the reformation of the band, making this new record, getting everybody back together, getting the old albums out as well, the whole thing almost feels like I died or I slipped through a weird portal like Doctor Who in an episode of Doctor Who and I’d actually ended up in a parallel universe so all of that makes me very proud.
You can follow The Jack Rubies on Facebook, Instagram, YouTube and Twitter.
Loved this blog post and want to support and see more?Ā DonateĀ to The Diversity of Classic Rock onĀ PatreonĀ orĀ PaypalĀ or follow me onĀ Facebook,Ā Twitter, orĀ Instagram, buy Angieās bookĀ Crime of the Century,Ā click the follow button on my website, leave a nice comment,Ā send your music or classic rock related books for review, or donate your art and writing talents to the blog. Thank you for your support!
The Diversity of Classic Rock 