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Bernie Tormé Gets Bitter & Twisted Brent: Hello! Today I’m talking to Bernie Tormé of the awesome, awesome band GMT, and I’d like to discuss your career as a musician today as well as get the lowdown on your latest project, Bitter & Twisted as well as what’s going on with GMT in the studio. How are you today? Bernie: I’m doing great! I’ve been working hard all day, it’s evening here and I’ve been recording all day. So I’m doing good, yeah. Brent: What are you recording right now? Bernie: At the moment I’m doing the last few guitar tracks on the next GMT album. So I’m just about there. I’ve got probably a couple of tracks more to do, then it’s just cleaning up and bits on top, you know? It’s all good! Brent: Very good! GMT has been around since—what?—2001 or so? Bernie: No! We’ve only been really doing it for two and a half years. It began off basically because a friend of mine, Clive Burr, who was the drummer in Iron Maiden, has MS and is really ill and someone called up and asked if I’d play at a benefit for him. I had been talking to John (McCoy) and we agreed to play and just around the same time our drummer, Robin (Guy), who was recording a session in my recording studio with another band and I thought he was awesome. So we had a jam and that was it, really. Brent: So y’all actually came together around the Clive Burr benefit. That’s terrific, that’s quite a nice thing to have a band form around. Bernie: Yeah, it was a complete accident! It just kind of took place and it was such a magic experience that we thought, “Let’s record an album!” It was great. Brent: How did the album itself come about? What was the inspiration? Bernie: To be honest, John and I had been talking about recording together for a long time. I mean, I played with John in 1975 and then again in Gillan and we had always kind of jazzed it around, playing together again, because we’ve always had a great time playing together. With Ian, in the meantime, there was an awful lot of argument… you know how these things go, really. We had been talking about it, you know, phone up every Christmas New Year and say, “Happy Christmas, man! We really have to play together this year.” “Yeah, yeah, sure.” And it dragged on for about ten years. Really, what happened was a friend of ours called Paul Samson, the guitar player, he died. It’s really owed to Paul because we felt it was time to play together, you know, it’s great to be alive, let’s play! It kind of grew up out of that and the Clive thing, and after playing with Robin it kind of became almost an automatic thing to do because I had a recording studio so it became the automatic choice to record. It took hardly any time at all. Brent: Where does the title come from? Bernie: Well, it was a tiny bit of an ironic thing because John had his problems kind of coming to terms with the Gillan situation, basically all of us have. It’s all passed now, but there has been an awful lot of bad feeling about it all and it was quite an ironic take on that. Onstage I always announce it as, “Here’s a song called ‘Bitter & Twisted.’ John’s bitter and I’m twisted.” But to be honest, everyone is angry about certain things, and it isn’t specific, it’s about that experience of being angry, which passes. Brent: When I first heard the title of it I thought it was a bit of humorous irony on the situation. The album sounds very “live.” How much of it was meticulously written and thought about and how much of it came out of jam sessions? Bernie: Well, just about all of it was jamming, I have to say, because it was basically the situation that we recorded in and had no plan, had no intention of actually recording an album that anyone else would enjoy. It was just an album for us. We intentionally had Robin in, he hadn’t heard any of the songs, and we did two tracks a day. Obviously parts of it are cleaned up, parts like the vocal bits of harmony, apart from the guitars too, but it was all basically dropping in in a place, playing a rough idea to Robin and having no arrangement. Basically we would arrange it in an hour or and hour and a half and then record it. Brent: Wow! That’s moving fast. Bernie: Yeah! And really the kind of meaty feel to it and the excitement of it all worked for us. Because for John and I, both of us had spent a lot of time in the past trying to record the perfect album and it never happened. I mean, to me it always sounds a tiny bit dead. And I really like that spark of having an idea and just doing it. It always has a kind of emotional meaty feel too. Brent: I think it comes across very, very well too. So many albums that are recorded in the studio sound as if you can almost feel it’s being contrived and written and you feel like, “uuuggghhh, can we just get on with it?” Bitter & Twisted just jumps out and grabs you and doesn’t stop ‘til it’s finished. Bernie: That was what we aimed at, and to be perfectly honest, Brent, it was just incredible to have the reaction we’ve had because people enjoy it! That’s the best thing of all! It was basically like having no clothes on, like going naked as a band. And it was just right! People actually enjoyed the band and that’s an amazing feeling. Brent: I would think so! What are your favorite tracks on the album and why? Bernie: I really love “Cannonball,” I really love “Down to Here…” Bernie: Cheers, thank you! And of course there’s “Rocky Road…” because it’s kind of a bit Irish, and “Can’t Beat Rock N Roll” because it’s basically just a pop song and it’s true. Brent: One of my favorites on it is actually the last track, “Vincenzo (Della Grande Pumpo Del Amore).” Bernie: Oddly enough, we’ve had a certain amount of complaints about that one. Brent: Really?! Bernie: Yeah, because people thought it was serious, which is a bit sad really, and I don’t think they appreciated that it was just a joke, really. Brent: People take things way to seriously these days. I’ve got to know, what was the inspiration for the song? Bernie: Now that’s a bit of a story. It’s two things, basically. I had a guy recording at my place and he has a violin player whose name is Bob and he plays in Bob Geldof’s band. And after he joined Geldof’s band, he told me that Geldof said “Bob?! There can’t be two Bobs in my band! Your name’s… Vince. Vince Lovepump.” It actually came out as that because it’s translated into bad Italian. (laughs) I also have a friend who is heavily into cycling around on a bicycle in the most absurd biking gear, so it kind of became him as well. Brent: I think it’s fantastic. I like that sense of humor being on display and I’m amazed that people complained about it. I thought it was funny and Colin Towns coming in at the end with that funny little keyboard riff and the bicycle bell, that just tops it… it’s just great! Speaking of ex-Gillan bandmate Colin Towns, he’s contributed some very nice keyboards to several of the tracks. Will he be part of the new album as well, and was there any consideration of having Colin as a regular member of GMT? Bernie: Well, Colin has an awful lot of obligations. I mean we’d love to have Colin in the band but he has his jazz thing, he has his orchestral, he hasn’t the time. Basically he’s always keen to play so he’ll be on the new album too. You know, at the moment he’s off in Australia doing a thing with Billy Cobham. A lot of jazz, jazz/rock fusion stuff, you know? Brent: Cool! I’m very aware of his orchestral things and his movie scores. When I see a movie and his name pops up I always think “Oh cool!” Bernie: Well, he does the orchestral and movie things because it’s able to pay for his jazz. He basically just adores jazz, it’s just a thing he has a tremendous amount of interest in. Brent: Is there any chance of seeing a live EP, CD, or DVD from GMT? Steve, a member in California, posed this question and says he loves the live stuff he’s seeing on YouTube. In fact, I’ve heard a lot of good things about the live footage on YouTube. Bernie: Oh yeah, yeah! We actually have the basis of a live dvd from a gig last year and the plan after getting the new album out is to get the dvd out and have, you know, basically some promotional extra tracks on it or whatever. So yes, that is the next plan we have. It’s very tough to make it as an independent rock musician these days, or at least it seems to be. Have you ever been close to calling it a day musically? Bernie: Oh yeah! Everyday! (laughs) Brent: How do you overcome that? Bernie: Well, it’s basically what I love. I mean in the 90’s briefly I took a few years off because my wife had children and I was doing child care and all that. Not terribly “rock n roll,” but a good experience. It is terribly hard at the moment and it seems to be getting harder every year. But GMT have gotten such a good reaction from the people who like it that we feel we have to carry on just in terms of… well, you have to, really, if people enjoy it it’s an obligation! Brent: What sort of “civvy” job do you think you would have? Bernie: I don’t know. I have a recording studio that I hire out and I kind of do a fair amount of engineering because I enjoy that. I wouldn’t ever say that I was a producer… I’m a tiny bit kind of anti-producer, but I like engineering. Brent: Yeah, another Martin Birch? Bernie: Well, I don’t think so, but I try! (laughs) Brent: A member and friend of mine, Larry in Washington State, who is a big fan of yours, pointed out that it seems strange that the “grunge” era passed you by in the sense that it would have been a very good time for you to shine in the industry. Can you share any thoughts on that? Bernie: It was a strange experience actually, because I loved it. But just at that point, unfortunately, I’d come back to the UK from the US where I was working with Dee (Snyder), and at the time I’d come back I’d formed a kind of a Mk II version of Tormé which was a band I’d had since the 80’s, which was I suppose a bit glammy, kind of sleazy. And at that point, grunge didn’t actually happen here. What actually happened here was kind of, I suppose, a punky kind of funky heavy thing, and I was definitely seen as being too old in the context of the UK. Brent: That’s ironic considering your punk influence… Bernie: Yeah, because basically I was one of the main people that brought punk into the metal image at the beginning, but it’s just how people perceive you. At the time it was incredibly demoralizing time because I really enjoyed Pearl Jam and Nirvana and all those bands. I was heavily into it. It became kind of an uphill battle and at that time I’d been doing it for a long time and was incredibly exhausted, so I took some time off. Brent: It’s sort of ironic in another way in that if I had to pick just one word to sum up grunge, “demoralizing” would be it. People’s perceptions of being too old to play is one thing that really pisses me off. You know, Deep Purple or the Stones go on the tour and tabloids shout “Wrinkly Rockers Hit The Stage!” You know, at what age should you just quit making music because you’re too old to be considered “hip?” The older musicians who have been playing for a lifetime are usually the most incredibly talented. Bernie: Oh, yeah! All of those people like Zeppelin… they are incredible. They have an identity and an approach and a way of playing that actually, even people who are ten years younger like me I don’t feel quite so close to the flame but they are. They were actually the creators of a genre and I don’t think I am. And the people after me I don’t think… they are fairly much copying. As for me, I kind of came in at the point of the Beatles and the Stones and the Yardbirds and all that. I mean, Purple, too. They were just awesome. What an awesome band! Brent: What have been your favorite moments in your musical career and why? Bernie: Memorable, I would have to say playing Reading with Ian. Also I would have to say playing Madison Square Garden with Ozzy. Though the most enjoyable moments… the memorability of those moments comes from other people knowing what you’re talking about. I mean it’s more memorable and more entertaining to talk about playing in front of 35000 people than it is to talk about playing to ten people at the Dog & Sprocket or whatever. But as far as the height of enjoyment, it’s just everytime you play. Every one out of two or three gigs is just a climb to paradise. It’s just such an amazing experience… I love it! Brent: Your style and repertoire are quite versatile and broad. Who do you consider to be your influences and why? Bernie: I would say obviously Jimi Hendrix because I was a big Hendrix fan from the beginning. I love him even though there are an awful lot of extremely patchy recordings out there. Influences… just about all the guitar greats, the traditional ones; Clapton, I love Clapton playing the blues, Ritchie (Blackmore)… he was just great. Jimmy Page. I would have to kind of say in terms of Jimmy Page, I don’t think he’s the best solo player on the planet, but wow, the chords he would come up with are just amazing. I suppose my two greatest guitar influences are Hendrix and Jeff Beck. Generally I love everything! I just bought some Oscar Peterson who I haven’t heard for a long time. I’m also heavily into, I suppose… I like a lot of ethnic styles. Not because I try to play like that—I can’t—it has that rawness and simplicity and reality about it and the ideas I get out of it I play, just so bloody badly on a distorted guitar, it’s just like, you know, it’s a different approach. The only thing I’m not crazy about is classical. I’m just not a big fan of classical. Brent: Another Hub member and a good friend of mine, Heidi, from Germany, wanted to know if Rory Gallagher is one of your influences? Bernie: ABSOLUTELY! Yeah! When I was a kid in Dublin I’d heard him on the radio on a talent competition and I thought, “This is amazing! I didn’t know anyone Irish could play guitar like that!” So about a year and a half later, he in turn had gone to England and then he came home and it was like Rory’s glorious return. I went to the gig at a place called the Countdown Club in Dublin, and there were ten people there. But he was AWESOME… he was just absolutely awesome. Years later I met him and told him how great I thought he was just so touched. Really, I think that he deserved an awful lot more kudos than he actually got. And the other thing I loved about him was that every time I saw him he improved everytime, right up until he died. Everytime I saw him he was better. Brent: Ian Gillan’s solo career really underwent a huge upsurge with the addition of yourself, Mr. McCoy, and Mick Underwood. With the kind of music the Ian Gillan Band was making prior to your arrival, the pairing of Ian and Bernie Tormé would seem a bit odd. However, it proved to be a masterstroke. How were you approached for the Gillan gig and what were your immediate thoughts? Bernie: The thing is I knew John (McCoy) and John had joined Ian prior to that point and at the time they had a guitarist named Steve Byrd. I bumped into John in London and John had said to me that he had joined Ian and I said “Oh wow! Fantastic!” I asked if there was any chance of my band supporting them, so he spoke to Ian and he got us the support spot in the clubs and colleges that the initial lineup of Gillan was playing. And I loved them, I thought they were great. Apparently at that point John and Colin called Ian out and Ian watched a soundcheck of mine where I was widdling away and basically because of that, about two weeks later, I got the call from Ian and I jumped at it. I mean, prior to doing the supports I’d gone to see a show and I clearly remember standing at the back of the gig and thinking to myself, “I wish I was in that band… I would be absolutely great in that band!” The guitarist that was in it, Steve, was a great player and had a lot of personality but had a bit of trouble getting it across and was really more of a jazz player. Brent: And Ian was trying to get away from the jazz thing at that time… Bernie: Right! And I was at the back of the gig thinking, “I wish it was me onstage. I know exactly how to do that,” you know. So after that, when Ian called and asked I was just like, “Oh please, yes.” I mean, it was a great experience. Because Ian had always been, you know, really one of my favorite rock singers, if not my favorite. Brent: Gillan seemed to be comprised of some real characters… y’all almost seemed like rock and roll pirates. What was your time in that band like? Bernie: To be honest, offstage it wasn’t a completely crazy band to be in. I’ve certainly been in crazier bands! (laughs) There was once a time where we had to make it from an evening gig in the UK to a midday festival in Germany. We’d come offstage in the UK thinking what a great gig and ended up at a party in the hotel bar until about 5 am, and we had to catch a plane at about 6 am. So everyone staggers onto the plane, almost all of us still totally drunk, it was just absolute hell! The plane was a little propeller plane and the trip was just terrible We arrived at Nuremburg and I’ve got a guitar and an amp head. So we get off and arrive at the gig about ten minutes before we’re supposed to go on and there’s all of this hired gear there and it’s all wrong! I mean, Colin has a Yamaha organ with jack out cords to a Leslie and it has a weird plug on that he couldn’t plug in. John was supposed to have a Marshall 4x4 15’s and all he had was one small bass amp for an open-air gig. So we go on, I mean Ian’s a complete professional and was saying “Look, lads, we have to do the show,” so we go on, John hits a chord and the bass amp blows up! It was just absolute chaos; he chucked the amp offstage and at that time, it was 1980 I think, the majority of the audience was GI’s and John chucks the amp offstage and the audience went, “YEEEAAAHHHH, It’s The Who!” So he just carries on chucking things offstage and the PA crew got pissed off and turned the monitors up so there was all this howling, and Ian got pissed off and chucked the mic at the monitor man and the mic stand caught the keyboards and just scattered them all over the place… it was absolute chaos! (laughs) So that was about it, really… All the time I’m up there looking and I can see the mixing desk and there was Ted Nugent who was going on last looking up at us with this sort of perplexed look on his face. We only got about three numbers in and there was only guitar and drums and nothing else, it was absolutely abysmal and there were 20000 people in the audience! I don’t think we impressed Germany, at least not in a good way! (laughs) Brent: Which Gillan album is your favorite and why? Bernie: I quite liked Mr. Universe. It would either be that or Glory Road. Mr. Universe, for me, was an enjoyable album to record because I think that everyone in the band were more enthusiastic. As it dragged on the atmosphere became a bit jaded.
Bernie: Oh yes! Just about the time he was recording Toolbox he called up and we went out and had too many drinks about ten times, actually. But at the time he was interested in writing, which didn't happen. I think he was also writing with Leslie West then and I think he didn’t want to write with somebody he might potentially have a problem with. He asked if I could play some solos on Toolbox but that just never happened either. I mean I was happy to but it just never occured. Then he asked if I could go on tour with him and at that point I just said no because then I would be promoting an album I had nothing to do with, and they already had the guitarist that recorded on the album, so why not use him? I mean, there was always a kind of atmosphere of chaos about those solo projects of his, even with the Gillan band. Brent: There have been rumors of a one-off Gillan reunion. Can you talk about this and possibly put those rumors to rest? Bernie: Yeah! The thing is it was spoken about by some guy who John bumped into who apparently knew Ian, but I don’t really think it was a serious proposition. Then around January I was approached by a festival to see if it was possible to get the Glory Road line-up to headline. I approached everybody but I never got a response from Ian and Colin just wasn’t interested and to me it would only happen if it was that lineup. To be honest, I would have liked it to happen because we always had an extremely hardcore fan base, and I feel that for all of them it would be a nice gesture to do one show, tow shows, whatever. I don’t think there’s any chance at all of it being a tour or an album because there’s an awful lot of water under the bridge and there are ongoing issues, litigations, going on. I’m not involved in any of them but certain people involved in the band are. I would be really happy to bury the hatchet. Brent: Tell me about your time with Ozzy. How difficult was it replacing Randy Rhoads so quickly after his death? Bernie: Incredibly hard. To be honest, when I was asked I hadn’t heard any of the tracks so when I agreed to do it I kind of thought Ozzy Osbourne/Black Sabbath… and not putting down Black Sabbath, but the guitar parts that I was aware of were not particularly hard. Then, two days before I went to the US, and I was asked on a Tuesday and Randy was killed that past Saturday and I flew out a couple of days later… and I got the albums and thought Oh my God… this is a bit harder than I thought. He was incredible, incredible player and it was an extremely steep learning curve because apart from the complexity of the guitar parts was the complexity of the progressions and arrangements and it wasn’t what I was expecting. So I spent every spare second trying to learn the albums and arrangements that were complex and musically sophisticated which wasn’t what I was expecting and sometimes completely different live. Brent: Well, I’ve heard a couple of recordings (bootlegs) with you and Ozzy live and I have to say you acquitted yourself rather well! Bernie: Yeah, I’ve heard them and I was actually amazed because at the time I was standing onstage thinking, “Jesus, what’s coming next?” It was almost like being in a car on a mountain road and having no brakes! In terms of is this the end of the verse, is it a chorus, is it a middle-eight, is it a solo… I don’t know! And they all changed the setlist so it wasn’t necessarily the same tracks everyday! Brent: What would be your best and worst memories of touring with Ozzy? Bernie: I suppose the high point was definitely the MSG (Madison Square Garden), it was just awesome to be able to play that. I think the worst note was the first gig I did I was backstage after the gig I came round the corner to find Ozzy sitting there crying. An awful lot of people ask me about how hard it was but I think about Don, Tommy, Rudy, and Ozzy and about how hard it must have been for them to be at the Garden, and that was Randy’s dream gig—the one he really wanted to play—and to look across the stage and there I am. Brent: Where do your wild onstage costumes come from? Who puts those together? Bernie: Well, to be honest, I always have. It actually happened by accident initially because at the time I joined Ian I was living in a place called Richmond just at the edge of London and there was a theatrical shop that was closing up and had a sale. They had all these ridiculous jackets for about 10 pounds, 5 pounds each so I kind of like took every penny I had and bought every jacket I could. Complete accident! Brent: What kind of gear, such as guitar, amps, and strings (including string guage) do you use? Bernie: I have always used a Marshall superlead 2 (100 watt) from 1971 in the past, I have a few of them, but the original one sounds best. I have recently changed to a Marshall Vintage Modern 100 watt, and am also now a Marshall endorsee. It’s a fantastic sounding amp, best amp Marshall have ever built in my honest opinion with the possible exception of my original superlead 2! I really love the vintage modern, I used it for about half of the tracks on the new Evil Twin album . I like Celestion vintage 30 speakers in my Marshall cabs. I use Dunlop strings, and am again an endorsee, gauges are 11/14/18/28/38/48, its basically their medium heavy set with a 48 substituted for the low E which they have as a 50, which is more suited for a dropped D really. I am hoping to go to 12's sometime soon, heavier strings don't break as easy, and stay in tune better. I also like the physical effort of bends and vibrato, I like to put some muscle in it. I use different pedals, mostly an antique Gillan era Pete Cornish pedalboard with an ancient Electroharmonix big muff , Ibanez graphic and a noise gate, the noise gate is an essential piece of kit, the muff sounds like Concorde taking off. In place of that I sometimes use a Dunlop Jimi Hendrix system fuzz face thingy, it’s not bad and a lot smaller! I use big thick Clayton picks, triangles; I'm a very physically heavy player, so your normal picks last about a minute. I use generally one of two old L series 60's Strats as my main guitar, they work for me and are standard. I also have started to use Vintage guitars, of whom I am also an endorsee, I've never endorsed any guitars in the past, but these are really good, fantastically built and great playability, I will be using them onstage at some point.
Bernie: I don’t think so. I know John has been talking to John Du Cann about it but because Paul and Vince are dead it’s a hard band to kind of reform. The identifiable parts are John Cann the guitarist and Vincent Crane. There aren’t many Hammond organists out there today who are trained in that way now… there’s Jon Lord, but it’s people of that era, you know? There aren’t that many people who have that kind of reference or experience. Brent: Actually, I’m hoping that GMT is so successful that you don’t really have time for these other things! (laughs) Bernie: Right, but I’ve always enjoyed playing and it’s always nice to have a challenge. Brent: So what are your interests outside of music? Bernie: I don’t think I have any, really! I’m very boring. I do tend to read a lot Brent: Oh do you?! What do you like to read? Bernie: Basically, autobiographies, history—I’ll read just about anything actually. I’m not a great reader of novels, although it depends on what it is. I’m always interested in books about historical events. I don’t know if you’ve read Joe Boyd’s White Bicycles but it’s quite interesting and very entertaining. Brent: Being Irish, do you feel you’ve gotten the recognition in Ireland that you deserve? Bernie: Not much recognition! (laughs) To be honest, I left at the wrong time and at the time I was in Ian’s band or in Ozzy’s I don’t think that the majority of people in Ireland was aware I was Irish. Fair enough because it was a different time I suppose. There was no internet and you have to be at a level of perception that I don’t think I was ever at. I mean I’ve always been a kind of, well, not a kind of self-promoting person, I just like playing. So in terms of that I was probably being my own worst enemy. Brent: I’d like to get back to talking about GMT. Y’all are currently in the studios working on new material for the next album. How is work going on that project and do you have any stand-out favorites at this time? Bernie: Well, it’s going great! I haven’t any really stand-out favorites yet because I try to avoid it to be honest, up until the point of the mixes because at that point it becomes… working on tracks that you’re not keen on becomes very difficult. I try to kind of hold judgment on that, and any tracks that I’m consciously not that keen on I try to work harder on to try and make them good. Because, you know, in terms of the Bitter & Twisted album, the two tracks we had an enormous amount of problems on was the title track and Miss the Buzz. Now both of those tracks turned out rather well, but I think if you’d have asked either John or me about them before completion we’d have gone. “Oh dear…” It’s hard to tell. It’s sort of like having children; you try and treat them all with an even hand. Brent: How would you describe the new material in comparison to the material on Bitter & Twisted? Bernie: I think it’s again a bit more diverse. Undoubtedly, because it’s a second album there has been more thought on this one, which is either a bad thing or a good thing… I can’t tell yet. We’ve tried to keep the recording process as basic as it was, but having that little one element of the earlier album that both John and I felt could have been recorded slightly better, hopefully that is true of this album. Basically, it’s the same kind of thing but only different. The last time we only had ten tracks so we had no choice at all. This time we have a lot of tracks and that sort of complicates things because you actually have to make a choice. I mean, I’m not a fan of 14-track albums at all because it’s awfully hard to take in. I’m sort of the generation that like vinyl instead of cd’s because I think it’s enough to take in. Otherwise it can become awfully enormous and hard to get your head around. Brent: Is there any chance of seeing GMT tour the US in small venues such as the House of Blues? Bernie: We’d love to but the problem is at the moment we don’t have the interest of promoters. Hopefully with the next album and the live dvd that will improve our level of perception so we can come play the US. Brent: How about places like Scotland and Germany and other European territories? Bernie: The working title is Evil Twin. Whether it ends up as the title I can’t tell, but that’s the top choice right now. We’re hoping to have it out in July, but having said that, there’s an awful lot to do on it and not a great amount of time. Brent: What’s the strangest, weirdest, or creepiest thing you’ve seen in your life? Bernie: John McCoy snoring in the middle of the night! Brent: (laughing) That has definitely got to be pretty damned disturbing! Bernie: It’s definitely all those things! (laughs) Brent: Thanks for all the music and entertainment over the years, and from everybody on the Deep Purple Hub, good luck, Bernie! Bernie: Thank you! Cheers! Courtesy of the Deep Purple Hub, GMT, & Bernie Tormé |
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email: info at gmtrocks.com |