Category Archives: The TVD Storefront

Graded on a Curve:
Sir Douglas Quintet,

Hey ears: Hungry for some delicious Tex-Mex? I recommend you head for lovely San Antonio, where in 1964 the late, great Doug Sahm put together the Sir Douglas Quintet, which proceeded to cook up a heady concoction made out of ingredients from both sides of the U.S.-Mexico border.

The band hit a creative peak with 1969’s Mendocino, which may have failed to make much of a dent on the pop charts but stands up just fine as a stellar collection of bravura performances by a band that was bravely creating its own Longhorn brand of what Gram Parsons famously dubbed “Cosmic American Music.”

What set the Sir Douglas Quintet apart from its contemporaries was its range of flavorings; thanks to the farfisa organ of Augie Meyers and the psychedelic-tinged guitar of Sahm, the Quintet could deliver the garage rock goods, but they could also turn on a peso and, by means of Sahm’s fiddle and country croon, sound like they were playing a barn dance. And on LP closer “Oh, Baby, It Just Don’t Matter” they ratchet up the decibels, crank up the guitar, and make like nothing less than a Lone Star State adjunct of Creedence Clearwater Revival.

Mendocino’s two stand-out tracks are both farfisa-fueled; thanks to Meyers the title track is one of the most cheerful salutes to a small city you ever will hear, while “She’s About a Mover” is a stone-cold rave-up, from its crunchy guitar to Meyers’ Vox Continental organ, which Sahm introduces by saying, “Lay it on me Augie.” A jerky-jerky salute to gutbucket rock ’n’ roll served up border style, “She’s About a Mover” is as timeless as they come and the most noteworthy thing to come out of the city on the San Antonio River since the Alamo.

Read More »

Posted in The TVD Storefront | Leave a comment

Taylor Janzen,
The TVD First Date

“The first record I ever bought was Paramore’s self titled record when it first came out.”

“I was obviously way late to the vinyl game, having grown up half in the CD age and half in the streaming age. But something about owning a huge, physical copy of an album I love, and also the way it sounds in vinyl format has always been something that I’m fascinated by.

I think the record I play the most these days is Andy Shauf’s The Party. It’s already such an incredible album, but being played on vinyl really adds a new level. There’s so many beautiful layers and textures to it.

Read More »

Posted in The TVD Storefront | Leave a comment

Graded on a Curve: Genesis,
Trick of the Tail

Sound reads from the archives, all summer long.Ed.

Well, there goes another theory shot to shit. I always thought Genesis hit the aesthetic skids the moment Peter Gabriel split and drummer Phil “The Anti-Christ” Collins took over on lead vocals, but I’ve been listening to 1976’s Trick of the Tail, the first post-Gabriel LP, and I’m afraid I was sadly mistaken. Trick of the Tail is not a great album but it’s a very good one, packed with well-constructed tunes with lovely melodies that occasionally, but not too often, stray into the prog trap of technical virtuosity purely for virtuosity’s sake.

Peter Gabriel’s departure threw Genesis’ future into question. A Melody Maker writer went so far as to declare Genesis officially dead. But the band committed itself to proving it could make good music without Gabriel, and after a fruitless search for a new lead vocalist Collins, who wanted to turn Genesis into an instrumental act, reluctantly agreed to take on the vocal duties himself. Which in hindsight seems like a no-brainer, as Collins is a virtual vocal doppelganger for Gabriel and the obvious candidate as a replacement.

Album opener “Dance on a Volcano” has muscle and a fetching melody, to say nothing of some powerhouse drumming by Collins, whose exhortations (“Better start doing it right!”) sound convincing. There is some technical showing off for its own sake, especially at the end, but this one is more hard rock than prog, thanks to Steve Hackett’s guitar work and Tony Banks’ synthesizer. “Entangled” is a bit fey for my tastes, a quiet little pretty ditty, but it wins me over with its melody, which is simply lovely. There’s a beautiful synthesizer solo, which doesn’t attempt to mime classical tropes the way your more virulent and dangerous progmeisters would, and I like it for that.

“Squonk” is tres cool, a lumbering but still lovely number about a mystical beast that dissolves into tears when captured. Collins’ vocals are excellent, and the band pounds out the beat, and I love it as much as I do any song by Genesis, including the great “I Know What I Like (In Your Wardrobe).” The title of “Mad Man Moon” leads you to expect a raver, but it’s no such thing. It opens with some too-pretty keyboards, and is too saccharine for words until it climbs and climbs to a climax that is very, very nice. Then there’s a piano-dominated mid-section that sounds like pseudo-classical hokey-pokey to me, and I suffer. Then the song takes off, and it’s all copacetic, at least for a short while. Unfortunately the song soon returns to its beginning, before finally wilting under Banks’ sugary piano.

Read More »

Posted in The TVD Storefront | Leave a comment

TVD Radar: The Death
of Rock: Peter Holsapple vs. Alex Chilton
lost recordings in stores 10/12

VIA PRESS RELEASE | It was 1978 at Sam Phillips Recording Service in Memphis. North Carolinian Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician/ engineer/ friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell, who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio.

Chilton, meanwhile, was knee-deep in the making of Like Flies on Sherbert, also being tracked at Phillips. He told Peter, “I heard some of that stuff you’re working on with Richard … and it really sucks.” Alex promised to come by and show Peter “how it’s done.” According to Holsapple, “I caught Alex exiting a world of sweet pop that I was only just trying to enter, and the door hit me on the way in, I guess.” The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s’ albums (“Bad Reputation” and “We Were Happy There”) and on an album by the Troggs (“The Death of Rock” retooled as “I’m in Control”), so not a loss at all.

What we have in these newly discovered tapes is a fascinating pivot point, with the artists moving past each other, heading in distinctly different directions. Chilton leaned toward punk/ psychobilly as he began playing with Tav Falco’s Panther Burns and produced the Cramps’ debut, Songs the Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.”

The Death of Rock: Peter Holsapple vs. Alex Chilton will be released—40 years after the lost sessions—by Omnivore Recordings, on October 12, 2018.

Read More »

Posted in The TVD Storefront | Leave a comment

Steven Page,
The TVD First Date

“I grew up with parents who loved music, so there were always records playing on our stereo at home.”

“My folks had a record collection that, to a seven-year-old, seemed slightly impenetrable: jazz artists like Joe Williams and Oscar Peterson, folkies like Ian and Sylvia or Buffy Sainte-Marie, or stuff I thought was just plain mushy like Charles Aznavour. Of course, years later I realized the awesomeness of all of these artists and am grateful for being exposed to them at such a young age.

However, looking back, it strikes me that my Dad must have bought in the neighborhood of one rock album per year: Sgt. Pepper, Abbey Road, Hey Jude (aka “The Beatles Again”), Blood, Sweat and Tears, Joni Mitchell’s Clouds, CSNY’s Deja Vu, the Chicago album with the chocolate bar on the cover, Bee Gees’ Main Course, Clapton’s Slowhand, Hotel California, and then the descent into Dad buying only singles, ones like Kansas’ “Dust In the Wind,” because he didn’t much care about getting to know the rest of the album. For which I say thank you, Dad.

Dad loved to sing along to songs on the radio in his clear, high tenor, especially ones that had intricate beats to which he could drum his rings on the steering wheel and dashboard. He’s a great drummer and this rare display of abandon was both thrilling and embarrassingly intimate to my little brother and me in the back seat of our AMC Matador. The most exciting would be when Dad enjoyed a song so much that he’d buy the 45 of it. Like, for example, the double A-side of Queen’s “We Are The Champions” / “We Will Rock You.” That was exciting to have in the house. I liked “We Will Rock You,” Dad liked “We Are The Champions” because of the high anthemic singing. I was seven. He later bought “Another One Bites The Dust” and I played it over and over and over until he told me to stop. I said, “But I thought you liked that song?” to which he replied, “I did.”

Read More »

Posted in The TVD Storefront | Leave a comment

TVD Radar: Elvis Presley: The Searcher DVD and Ltd. Collector’s Edition in stores 10/16

VIA PRESS RELEASE | The King of Rock ‘n’ Roll and the best-selling solo music artist of all time with more than one billion records sold worldwide, Elvis Aaron Presley created a revolutionary new sound that defined a generation and ignited throngs of fans with such hits as “Heartbreak Hotel,” “Hound Dog,” “Jailhouse Rock,” and “Love Me Tender.” He is regarded as one of the most significant cultural icons of the 20th century and now fans can get an inside look at a rarely seen side of Elvis—that of a music artist on a life-long search for self-expression when Elvis Presley: The Searcher debuts on DVD and Limited Collector’s Edition October 16 from Sony Pictures Home Entertainment.

From the archives of Graceland and Executive Producer Priscilla Presley, Elvis Presley: The Searcher is a three-hour documentary film presentation that focuses on Elvis Presley, the artist and musician, taking the audience on a comprehensive creative journey from his childhood through the final 1976 Jungle Room recording sessions. Containing never-before-seen footage and music recordings, the film features commentary and interviews from some of the biggest names in music including Tom Petty, Bruce Springsteen, Emmylou Harris, music producer Jon Landau, and Elvis’ guitarist, Scotty Moore, among others.

Also included is the “In Conversation” featurette, a Q&A discussion with Director Thom Zimny, executive producers Priscilla Presley and Jerry Schilling, and Grammy Museum executive director Scott Goldman recorded at the Los Angeles Grammy Museum. And the Limited Collector’s Edition will also feature commemorative packaging and a 20-page digibook featuring rare photos from the Graceland archives.

Directed and produced by Thom Zimny, Elvis Presley: The Searcher is executive produced by Glen Zipper, Priscilla Presley, Jerry Schilling, Andrew Solt, Alan Gasmer and Jamie Salter (chairman and CEO, Authentic Brands Group) with Jon Landau and Kary Antholis serving as producers.

Read More »

Posted in The TVD Storefront | Leave a comment

Graded on a Curve:
Mötley Crüe,
Shout at the Devil

Sound reads from the archives, all summer long.Ed.

Look, I’m gonna be straight with you; no way would I have reviewed this LP by hair metal legends Mötley Crüe if it weren’t for a snippet from a review from musico Robert Christgau in which he gleefully states, “It’s hardly news that this platinum product is utter dogshit even by heavy metal standards.” And who then goes on to mock the song “Ten Seconds to Love,” in which according to Christgau, “Vince Neil actually seems to boast about how fast he can ejaculate.

Vince Neil might have made a decent song about how FAR he can ejaculate—I once read, for instance, about how the late Beat poet Allen Ginsberg once left a friend’s bedroom with cum dripping from the ceiling—but instead he wrote an ode designed to console all of the world’s other premature ejaculators. I suppose we males should all say thanks to itchy-trigger-finger Vince for speaking out on such a taboo issue.

I have never been and will never be a hair metal aficionado—I’m too much of a pointy-headed, anti-populist intellectual—but what really struck me about 1983’s Shout at the Devil is just how far from utter dogshit it is. Sure, there’s some utter dogshit on it, but it also includes some hard rockers that (almost) allow me to ignore the ridiculous outfits, hair spray, and general low IQ of the band’s presentation. But who says a song has to have a high IQ? Sometimes a high IQ is a bad thing. Take Rush. And sometimes a low IQ can be a good thing; case in point Slade, whose utter inability to spell constituted half their charm.

Everybody—even geeks like me—knows the band. Vince Neil handled lead vocals, Mick Mars played lead guitar, Nikki SIxx manned the bass guitar, and the one and only Tommy Lee kept things interesting on drums. And the drama! Neil killed Hanoi Rocks drummer “Razzle” Dingley in a drunk driving accident. Sixx overdosed on heroin several years later and was temporarily declared dead. And his band mates’ behavior was hardly more sober-minded. Drugs, alcohol, women, and fast cars abounded. Why, I’m surprised they weren’t responsible for chopping the drummer for Def Leppard’ arm off with a battle axe. In short, amongst the lethally unruly hair band contingent, they were the worst offenders, which is really saying something.

Read More »

Posted in The TVD Storefront | 1 Comment

Graded on a Curve: Odetta Hartman,
Old Rockhounds
Never Die

Odetta Hartman is a singer-songwriter multi-instrumentalist based in New York City, and Old Rockhounds Never Die is her second album. As on her first, she plays all the instruments, with the main threads being guitar, banjo, and fiddle. If this sounds like another release for the ever-growing Americana pile, nix that notion right now, as Hartman’s songs blend the classic and the contemporary as partner and co-producer Jack Inslee infuses the selections with digital environments that are sometimes electronic, often intriguing, and frequently psychedelic. It makes for a strange but highly accessible listen, and it’s out August 10 on vinyl and digital through Northern Spy.

Odetta Hartman’s upbringing in Manhattan’s Lower East Side comes close to the model of raising ‘em right. Northern Spy’s typical engaging promo text mentions “early exposure to community activism, renegade film screenings, poetry readings and trips to CBGB’s.” Along with soaking up punk and hip-hop, there was also a jukebox in the house loaded with her father’s classic soul and Afrobeat records and her Appalachian mother’s old-school country sides.

This bears mentioning not to support the idea that Hartman’s creativity in adulthood was somehow inevitable, but instead to illuminate the planted seed that led to the sheer diversity of ingredients in her bag, components that on paper are likely to instill doubts as to the overall effectiveness of the endeavor, with the disparate combinations destined to register in varying measures forced.

Good thing records aren’t experienced on paper. As on her 2015 full-length 222, the blend of the old-timey and the cutting-edge is striking in it’s unusualness but never incongruent as it ultimately coheres into a rewarding personal approach; it only takes a listen to perceive Hartman’s vision as unmistakable from anyone else’s.

Read More »

Posted in The TVD Storefront | Leave a comment

TVD Radar: The Rolling Stones curate their favorite blues sides on Confessin’ the Blues in stores 11/9

VIA PRESS RELEASE | As well as being the biggest band in the world, The Rolling Stones are also the biggest champions of the blues, so who better to curate a compilation of the music that inspired them throughout their career? Confessin’ The Blues collects the greatest bluesmen ever and provides a perfect study of the genre. The tracks on the various formats of the release have been chosen by the Rolling Stones in collaboration with BMG and Universal. The sets are due out from BMG on November 9, 2018.

The Rolling Stones have long been supporters of the blues, from before the start of their career right through to their latest album, Blue & Lonesome, which featured their interpretations of the classics; many of those songs appear in their original versions here on Confessin’ The Blues. Mick Jagger was an early fan of the genre: “The first Muddy Waters album that was really popular was Muddy Waters at Newport, which was the first album I ever bought.” Keith Richards said, “If you don’t know the blues… there’s no point in picking up the guitar and playing rock and roll or any other form of popular music.”

As such big supporters of the blues, the band and BMG have decided that 10% of BMG’s net receipts* from the sale of this album will be donated to Willie Dixon’s Blues Heaven Foundation (registered as a 501C3 non-profit organization in the United States).

Jacqueline Dixon, President/CEO of The Blues Heaven Foundation, said: “We are extremely honoured, grateful and humbled that Willie Dixon’s Blues Heaven Foundation has been included in such an astonishing project. It means so much that my father’s dream of creating an organisation that promotes, protects and preserves the Blues for future generations is being recognised and supported by artists that have achieved so much.”

Read More »

Posted in The TVD Storefront | Leave a comment

Belly, The TVD First Date
and Dove Vinyl Giveaway

“The first vinyl I ever bought with my own hard-earned babysitting money was The Go Go’s Beauty and the Beat.”

“I know the phrase ‘it changed my life’ is thrown around pretty freely, but I sat in my basement bedroom listening to this album for hours and hours that day, alternately cross-legged on the floor studying the cover and then dancing like crazy. It changed my life.”
Tanya Donnelly

“The first record I bought with my own money was the debut album by Boston. At that age it was probably birthday money.”

“I chose it over Kiss Destroyer. I’m not sure if it was the art that tipped the scales or because I already loved the track “More than a Feeling.” I can remember playing it over and over at my friend Nick’s house (his family had a serious stereo) and we beat the stuffing out of his couch with his brothers marching-band drum sticks.”
Chris Gorman

Read More »

Posted in The TVD Storefront | 16 Comments

Graded on a Curve: Woody Guthrie,

Born in 1912 and laid to rest in 1967 after a long bout with Huntington’s Disease, Woodrow Wilson Guthrie is as iconic a figure as American music has produced. Long-considered the granddaddy of folk protest, his 1940s recordings have influenced countless musicians across numerous genres, but ill-health brought his days as a performer to a close prior to the onset of the ’50s folk boom. But against all odds, in every era since, Guthrie’s music has remained relevant; the posthumous 1976 LP Struggle is testament to his staying power, and it’s recently been reissued on vinyl by Smithsonian Folkways in the label’s classic tip-on jacket, with artwork by David Stone Martin and original liner notes by Moses Asch.

It was as a music hungry youth in the mid-’80s that I first became cognizant of Woody Guthrie. Sure, I’d sung “This Land Is Your Land” in school a good while before that, but the teachers did a bang-up job of not mentioning whose song it was. It was a fascination with Dylan that led me to Guthrie, and even at that point Woody was moving beyond the iconic and into the realms of myth.

Mythic stature almost always brings a backlash, but with Guthrie, it was surprisingly little. He was beloved by the folkies natch, but also valued by the heartland rockers, rated as worthy by blues hounds (due to his association with Leadbelly and Sonny Terry), and even respected by the punks; well, some of them, anyway.

But I’ll confess that after soaking up and appreciating Dust Bowl Ballads (recorded for Victor in 1940) and the Library of Congress Recordings (from another 1940 session, issued by Elektra in ’63 and again by Rounder in ’88, which his how I heard it), for a long while afterward, I listened to Guthrie only intermittently.

Read More »

Posted in The TVD Storefront | Leave a comment

Graded on a Curve:
Taj Mahal, Taj Mahal

Sound reads from the archives, all summer long.Ed.

Taj Mahal’s been at it for longer than some of us (myself included) have been alive, and he doesn’t show any signs of slowing down. He’s got an extensive rack of recordings under his belt, with his self-titled ’68 debut being the most sensible place to begin. Whether a person chooses to scoop up one or more of his albums, elects to soak up what he’s putting down in the live setting, or lets it all hang out and does both, the result will certainly be a highly enlightening good time.

There isn’t really another musician quite like Henry St. Clair Fredericks, the man known to the world by his stage and recording moniker Taj Mahal. While an almost ludicrous number of players have explored the bottomless well of inspiration that is the blues, few have engaged with the form in such a complex, multifaceted manner while remaining so naturally accessible to listeners from different generations and varied backgrounds.

As a farmer and graduate of the University of Massachusetts, where he majored in agriculture and also studied ethnomusicology, he’s emblematic of the once common but increasingly rare phenomenon of individuals well-versed in both the fruits of physical, land-based toil and the rewards of intellectual pursuit. And as a musician, it could perhaps be summed up that Taj Mahal was just substantially more curious than the majority of those touched by the blues impulse, recognizing in the music a connection to a much wider global experience.

While most of his cohorts tapped into one or two streams of the blues; say the early acoustic “country” style and the later electric form it directly inspired, or the grit and fire of ‘50s R&B and the attempts at sophisticating it for a wider audience that developed afterward, Taj interacted with a much broader spectrum and fused it all with distinct but stylistically compatible genres. As his career has progressed he’s incorporated the music of Africa, the Caribbean, and the South Pacific into his vast thing; in fact, after moving to Hawaii in the ‘80s he began hanging socially with local players, a circumstance that resulted in the formation of The Hula Blues Band.

Read More »

Posted in The TVD Storefront | Leave a comment

TVD Radar: Pixies, Come On Pilgrim, Surfer Rosa 30th anniversary vinyl edition in stores 9/28

VIA PRESS RELEASE | 4AD Records announces Come On Pilgrim…It’s Surfer Rosa, three special 30th anniversary editions of Pixies’ very first release, the eight-track mini-album Come On Pilgrim (originally released September 1987) and the band’s first full album, Surfer Rosa (released March, 1988).

These special editions will be available as a three-CD box set, a standard edition three-LP box set on gold vinyl that includes a soft-back booklet, both released on September 28, and a deluxe edition three-LP box set on clear vinyl with a hard-back book, available this November. Go HERE for more details and pre-order/ purchasing info. Vaughan Oliver returns as designer—as with all other Pixies sleeves—to stunningly reinterpret his original artwork thirty years on, delivering a fresh take while retaining Simon Larbalestier’s iconic photographs as the centerpiece of his design.

Surfer Rosa is a record made up of rage, religion, gore, incest, and superheroes named Tony—a debut album so good that it’s since been seen as a masterpiece. Produced by Steve Albini, it was recorded in December 1987 at Q Division in Boston, MA and includes early Pixies classics such as “Bone Machine,” “Gigantic,” “Vamos,” and “Where Is My Mind?” Come On Pilgrim contained eight songs from the band’s first-ever studio session, produced by Gary Smith and recorded at his Fort Apache Studio near Boston. The anniversary package also contains “Live From The Fallout Shelter,” a concert-cum-session that first aired in late 1986 on WJUL-FM in Lowell, MA.

Read More »

Posted in The TVD Storefront | Leave a comment

Graded on a Curve: Hawkwind,
The Space Ritual Alive in Liverpool and London

No offense to Deep Purple, but they didn’t know shit about space truckin’. When it came to kicking into installer overdrive the real kings of the intergalactic freeway were Hawkwind, and they put the pedal to the metal on 1973’s The Space Ritual Alive in Liverpool and London.

Space was the place in the early seventies; everybody–Sun Ra, David Bowie, the Jefferson Airplane, Steve Miller, Elton John even–was going Milky Way, but nobody explored its furthest reaches as relentlessly as Hawkwind.

And on Space Ritual they go way, way out, to the environs of Jam City where they lay down a bunch of relentless grooves built on the motorik drumming of Simon King and relentless bass of the late, great Lemmy Kilmister. If you’re a fan of sheer, unstinting propulsion–and who isn’t?–this Krautrock-friendly double live LP is the best thing this side of Neu!

What makes these songs so great? Well, besides the crack rhythm section you get Dave Brock, whose sonic assaults on guitar (check out the wailing “Brainstorm” for starters) skyrocket these wonderfully titled tunes (“Master of the Universe,” “Earth Calling,” “Lord of Light,” “Orgone Accumulator”) straight into the stratosphere. And you also get the manic sax blurt and freaky flute stylings of Nik Turner, to say nothing of the electronics of Dik Mik and mad synthesizer work of Del Dettmar.

This isn’t just space rock; it’s hard rock that dances. Lemmy wasn’t some goddamn space hippie, just a leather jacket wearing rock ’n’ roller whose true calling was probably as a steamroller driver. And that’s what sets Hawkwind aside from, say, early Pink Floyd; they rarely noodle, and when they do they keep it short (c.f.: “Earth Calling”). The best of these songs gallop like Venusian Stallions and never let up. Hawkwind rides ‘em hard and puts ‘em away wet.

Read More »

Posted in The TVD Storefront | Leave a comment

TVD Radar: Jerry on Jerry: The Unpublished Jerry Garcia Interviews vinyl in stores 8/24

VIA PRESS RELEASE | The Grateful Dead and its legendary front man Jerry Garcia have long been celebrated as one of the most groundbreaking bands in rock and roll history and the embodiment of the psychedelic, counterculture era of the 1960s. Edited by former Grateful Dead publicist and the band’s authorized biographer, Dennis McNally, and curated with the cooperation of the Jerry Garcia Family estate, Jerry on Jerry: The Unpublished Jerry Garcia Interviews (Black Dog & Leventhal) marked the first time these intimate interviews with Jerry Garcia had ever been made available to the public.

In Jerry on Jerry, Jerry speaks openly about everything from growing up in the San Francisco Bay Area and his first encounters with early R&B to his thoughts on songwriting, LSD, the Beats and Neal Cassady, government, religion, movies, and his creative process. The audiobook edition will allow fans the intimate experience of listening in on candid conversations spanning decades and a variety of topics.

These archival recordings perfectly capture Jerry’s warm presence, sly wit, and unforgettable laugh, and are further enhanced by the inclusion of original, previously unreleased live musical recordings courtesy of the Garcia family, making it a beautiful keepsake package and the ultimate addition to any true fan’s collection. The vinyl edition will include “Jerry On Playing Music” and “Jerry On Politics” as well as a download code for a free download of the whole audiobook.

Read More »

Posted in The TVD Storefront | Leave a comment

  • Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text
  • Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text Alternative Text