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Editorial Reviews

Product Description

Deluxe CD/DVD edition includes bonus DVD. Bullets In The Gun, Keith's 15th studio album, is a defining career milestone. But then, so have been each of his previous releases. And that's the real point. Any attempt to explain, qualify or quantify Toby Keith that doesn't start and end with the full breadth of his music is radically misdirected. For it is in his music - the art and craft of it and, just as significantly, the unwavering embrace of the audience - that we can best define a songwriter/performer now in his 18th consecutive year at the top of the charts. Appropriately, Bullets helps bring everything that has come before into clearer relief. Rarely credited for the adventurousness and diversity of his catalog, Keith has created his most astoundingly varied collection of songs and sounds yet.

About the Artist

Definition - our need to explain ourselves and the world around us - is one of the most primal human forces. It's at the core of man's greatest quests. It powers his ambitions. It colors his art. Those with an obvious gift for expressing those definitions can themselves become objects for framing, and that's certainly the case for Toby Keith. The irony in his case, however, is that for an artist whose work continues to grow in depth, complexity and nuance, the casual descriptions too often tend toward the simplistic. But when the hastily applied veneer of a sound-byte media culture is stripped away, the almost overwhelming reality of his musical body of work looms into view. Never more so than in its most recent iteration.

Bullets In The Gun, Keith's 15th studio album, is a defining career milestone. But then, so have been each of his previous releases. And that's the real point. Any attempt to explain, qualify or quantify Toby Keith that doesn't start and end with the full breadth of his music is radically misdirected. For it is in his music - the art and craft of it and, just as significantly, the unwavering embrace of the audience - that we can best define a songwriter/performer now in his 18th consecutive year at the top of the charts.

Appropriately, Bullets helps bring everything that has come before into clearer relief. Rarely credited for the adventurousness and diversity of his catalog, Keith has created his most astoundingly varied collection of songs and sounds yet. And as it always has for Toby, the process begins in the writing.

"For years, I'd carry around those little recorders," Keith says, explaining how Bullets came to comprise, arguably, the deepest group of songs he's yet written. "At first they had little tapes, then they went digital. The problem was that I didn't have it with me all the time. Now I've got a recording app on my phone - and I've always got my phone - so I don't lose a single idea. Not one. Normally when I set out to write I have two or three or ideas. Last writing session, I had 40."

To put that in perspective, consider that Keith's time-worn system had yielded a succession of No. 1 albums from which he enjoyed at least one top 5 or better hit every year, beginning with his first single, "Should've Been A Cowboy" in 1993. "The process changed and more was brought to the table," he says. "In years past, I just lived off the results of what I had. If it was good, it was good. If it didn't work, I just moved on to the next album."

An already successful approach, now amplified, has yielded greater results on a number of levels. "It actually causes me to write more by myself," Keith says. "I've probably written four songs solo in the last few months and I would probably have written one without it. Two of those made the album and one I held off to be a single on the next album because I didn't want to lose it. The fourth song's been written since the album's been done and is as good a song as I've ever written in my life."

Elevated writing sessions led to more difficult decisions in the studio. "When you get to the end of a recording session with 12 or 13 songs cut, you know something's going on when you've got too many singles," he admits. "I picked the first single, the second single and figured two more will fight to be the third. But then I had two more songs that were definitely singles, and they were just going to get lost on this album."

Keith makes no apologies for making sure potential singles have a shot at airplay. "People don't buy enough albums these days, off of me or anybody, to justify putting seven singles on an album," he says. "You can't get to them all before the next album comes along. So I pulled off a couple of obvious singles because I wanted them to have a chance at radio. At the same time, there are great what I call 'listener songs' that aren't necessarily singles.

"For example, 'Bullets In The Gun' was four minutes long. I knew it was a great song and great title cut, but I figured it was too long and would never be a single. So I put it on the album. Well, we're on tour and opening the show with 'Bullets,' but now we've got radio calling my label and asking for it as a single. So we went back into the studio to see if we could shorten the song to three or three-and-a-half minutes. Now it looks like that will be a single and knock out one of the others I'd planned."

The final sequence also highlights Keith's long-standing gifts as a producer. Perhaps his greatest unheralded strength in this area is in surrounding himself with supremely talented creative minds and inspiring them to exceed themselves. "I don't bring demos into the studio unless I've got a song by someone else," Keith says. "But if it's a song I wrote or co-wrote, they're just going to get me sitting down with a guitar. That way we have to start from scratch and everybody has to be creative.

"If you bring in a demo it poisons the room; the influence is impossible to escape. I'd rather have a guy hear just the vocal and guitar and start thinking of different directions they could go with their parts. This time, for the first time, it even got me writing a guitar lick. 'Think About You All The Time' has a sort of goofy recurring riff that I played as I was demoing the song for the studio band. The second I played it the guys said, 'Well, we gotta put that lick in there.' So they were even influenced by my sh-tty guitar playing."

What ultimately emerged from the recording process are melodies, arrangements and sounds that are not only unlike anything Keith has ever recorded, but also stand apart from his contemporaries. "The songs guided us down other those paths, more so than any intentional efforts in production," he says. "'Somewhere Else' is going to be a single and there won't be a another song on the radio that sounds like it. 'Trailerhood' is a single right now and sounds like nothing else. I've never done anything like 'Bullets In The Gun.'"

In fact, the title track is cinematic to the point of almost serving as its own video. "Somewhere Else" boasts Keith's craftiest word play in the context of a vocal performance unlike anything he's previously recorded. First single "Trailerhood," a Keith-only composition, was immediately recognized by radio and fans as a completely fresh sound. The nostalgic power of "Kissin' In The Rain" is set against a stirring emotional vulnerability that has also been one of Keith's hallmarks. His first-ever trucker song "Drive It On Home" adds a new flavor to his catalog. And closer "Get Outta My Car" is delivered with a wink that reminds the listener that despite the larger-than-life aura he can project, more often than not Keith aims his jabs squarely at himself.

Easily overlooked by those with preconceived notions, the innate talent, highly developed craftsmanship and undeniable intelligence Keith brings to bear on each successive album are readily apparent to the committed listener. "A lot of that's coming from getting older and more mature," he says. "You should get better at it. You shouldn't digress, you should progress."

Plenty of artists get older and more mature, but few if any in the history of popular recording can boast an 18-year career without an extended absence from the top of the charts. "I think a lot of artists get comfortable in their little groove and they just stay there and wonder why the world kind of passes them by," Keith says. "Complacency is really easy when you're successful. That's why it's difficult to come back with a second and third album. An act will spend their whole life hungry and driving that big train to the top, cram everything they have on their first album and throw it out there. Then 12 to 18 months later they've got to make another one and it's a big letdown."

Looking back, Keith admits that could have been him. "My second album, even though it went gold, didn't sell but half as many as the first one. I knew right then that the volume had to be turned up. By the time I got to the Blue Moon and Dream Walkin' albums, I couldn't just write 15 songs. I had to write 50. I had to have more to pick from, cut more of them and be more selective. After that, I made sure each year that I put in the time. You've got to keep growing and getting better as a writer. That's how I've gotten to 70 million career airplay spins. You have to do the work it takes to be good enough to hang around this long."

"Once you get to this place, the competitive side starts saying, 'Okay, can you hold it?' Because there are no goals left for me. I've accomplished every single thing you can accomplish in this industry. So the only thing that's left is getting to 100 million spins as a songwriter. That's a mind-blowing number, but it's like looking up in the middle of your baseball career and realizing you're at 500 home runs before anybody else and the record's 755. So I'm thinking 755 is the first goal, but I really want to get to 800 and see if I've still got any gas in the tank.

"All that being said, do you think I'm going to get to 100 million and be happy? I know somebody's going to come along at some point in the next century and want to set their own benchmark. So that's in the back of my mind. Longevity and 100 million spins are the only two goals I have left because I don't answer to anybody anymore. I'm not dictated to by a record label. I went and created my own islands in the world so all I have to do is guard the shoreline."

Bullets helps define another of Keith's islands with its nod to his live performances, which have been selling out venues nationwide for more than a decade. The Deluxe Edition features four tracks from his spring 2010 "Incognito Bandito" club show. Lest anyone mistake him for a paint-by-numbers arena act, Keith flexes some serious musical bravado in making the concept a reality, and capturing it on record.

"The Banditos represent everything me and those session players got into this business for - love of music," he says. "I was in the studio, sitting around with [guitarist] Kenny Greenberg one day and asked him if any of those A-list studio cats get out to play live. One worked some with Mark Knopfler, another with somebody else. But when they go out they play those guys' songs, it's the same list every night and there might only be a handful they really dig. So I asked, 'What if I paid you guys good and we went out and played some high-profile bars? I'd have the best band in the world - all the A players on one stage.' I went around until I found a few who loved country blues and straight-up Memphis blues, and they were all completely into it.

"Now, this is a band that rehearsed in Nashville then met me at the Fillmore in New York. They set up, we ran through them quick as we could in a little sound check, then we got up in front of the world and said, 'Here we are.' New York press people were there and it was like, 'Well, if we f--- this up we'll get some press, alright.' But we just stepped out there, spit in the floor and took off. Afterward, we had to go through and find a few things that work on the record to give the fans a taste of the Banditos. So the choices weren't so much about which songs or artists we wanted to cover as much as it was, what one-take live recording is the most impressive?"

Carefully crafted from nearly two decades of experience or fearlessly captured in the moment, music is the measure for Keith. Which is why the descriptions he has most willingly accepted for himself over the years are, fittingly: Singer, songwriter and entertainer. Bullets In The Gun finds all three, and Toby Keith, in high definition.

Definition - our need to explain ourselves and the world around us - is one of the most primal human forces. It's at the core of man's greatest quests. It powers his ambitions. It colors his art. Those with an obvious gift for expressing those definitions can themselves become objects for framing, and that's certainly the case for Toby Keith. The irony in his case, however, is that for an artist whose work continues to grow in depth, complexity and nuance, the casual descriptions too often tend toward the simplistic. But when the hastily applied veneer of a sound-byte media culture is stripped away, the almost overwhelming reality of his musical body of work looms into view. Never more so than in its most recent iteration.

Bullets In The Gun, Keith's 15th studio album, is a defining career milestone. But then, so have been each of his previous releases. And that's the real point. Any attempt to explain, qualify or quantify Toby Keith that doesn't start and end with the full breadth of his music is radically misdirected. For it is in his music - the art and craft of it and, just as significantly, the unwavering embrace of the audience - that we can best define a songwriter/performer now in his 18th consecutive year at the top of the charts.

Appropriately, Bullets helps bring everything that has come before into clearer relief. Rarely credited for the adventurousness and diversity of his catalog, Keith has created his most astoundingly varied collection of songs and sounds yet. And as it always has for Toby, the process begins in the writing.

"For years, I'd carry around those little recorders," Keith says, explaining how Bullets came to comprise, arguably, the deepest group of songs he's yet written. "At first they had little tapes, then they went digital. The problem was that I didn't have it with me all the time. Now I've got a recording app on my phone - and I've always got my phone - so I don't lose a single idea. Not one. Normally when I set out to write I have two or three or ideas. Last writing session, I had 40."

To put that in perspective, consider that Keith's time-worn system had yielded a succession of No. 1 albums from which he enjoyed at least one top 5 or better hit every year, beginning with his first single, "Should've Been A Cowboy" in 1993. "The process changed and more was brought to the table," he says. "In years past, I just lived off the results of what I had. If it was good, it was good. If it didn't work, I just moved on to the next album."

An already successful approach, now amplified, has yielded greater results on a number of levels. "It actually causes me to write more by myself," Keith says. "I've probably written four songs solo in the last few months and I would probably have written one without it. Two of those made the album and one I held off to be a single on the next album because I didn't want to lose it. The fourth song's been written since the album's been done and is as good a song as I've ever written in my life."

Elevated writing sessions led to more difficult decisions in the studio. "When you get to the end of a recording session with 12 or 13 songs cut, you know something's going on when you've got too many singles," he admits. "I picked the first single, the second single and figured two more will fight to be the third. But then I had two more songs that were definitely singles, and they were just going to get lost on this album."

Keith makes no apologies for making sure potential singles have a shot at airplay. "People don't buy enough albums these days, off of me or anybody, to justify putting seven singles on an album," he says. "You can't get to them all before the next album comes along. So I pulled off a couple of obvious singles because I wanted them to have a chance at radio. At the same time, there are great what I call 'listener songs' that aren't necessarily singles.

"For example, 'Bullets In The Gun' was four minutes long. I knew it was a great song and great title cut, but I figured it was too long and would never be a single. So I put it on the album. Well, we're on tour and opening the show with 'Bullets,' but now we've got radio calling my label and asking for it as a single. So we went back into the studio to see if we could shorten the song to three or three-and-a-half minutes. Now it looks like that will be a single and knock out one of the others I'd planned."

The final sequence also highlights Keith's long-standing gifts as a producer. Perhaps his greatest unheralded strength in this area is in surrounding himself with supremely talented creative minds and inspiring them to exceed themselves. "I don't bring demos into the studio unless I've got a song by someone else," Keith says. "But if it's a song I wrote or co-wrote, they're just going to get me sitting down with a guitar. That way we have to start from scratch and everybody has to be creative.

"If you bring in a demo it poisons the room; the influence is impossible to escape. I'd rather have a guy hear just the vocal and guitar and start thinking of different directions they could go with their parts. This time, for the first time, it even got me writing a guitar lick. 'Think About You All The Time' has a sort of goofy recurring riff that I played as I was demoing the song for the studio band. The second I played it the guys said, 'Well, we gotta put that lick in there.' So they were even influenced by my sh-tty guitar playing."

What ultimately emerged from the recording process are melodies, arrangements and sounds that are not only unlike anything Keith has ever recorded, but also stand apart from his contemporaries. "The songs guided us down other those paths, more so than any intentional efforts in production," he says. "'Somewhere Else' is going to be a single and there won't be a another song on the radio that sounds like it. 'Trailerhood' is a single right now and sounds like nothing else. I've never done anything like 'Bullets In The Gun.'"

In fact, the title track is cinematic to the point of almost serving as its own video. "Somewhere Else" boasts Keith's craftiest word play in the context of a vocal performance unlike anything he's previously recorded. First single "Trailerhood," a Keith-only composition, was immediately recognized by radio and fans as a completely fresh sound. The nostalgic power of "Kissin' In The Rain" is set against a stirring emotional vulnerability that has also been one of Keith's hallmarks. His first-ever trucker song "Drive It On Home" adds a new flavor to his catalog. And closer "Get Outta My Car" is delivered with a wink that reminds the listener that despite the larger-than-life aura he can project, more often than not Keith aims his jabs squarely at himself.

Easily overlooked by those with preconceived notions, the innate talent, highly developed craftsmanship and undeniable intelligence Keith brings to bear on each successive album are readily apparent to the committed listener. "A lot of that's coming from getting older and more mature," he says. "You should get better at it. You shouldn't digress, you should progress."

Plenty of artists get older and more mature, but few if any in the history of popular recording can boast an 18-year career without an extended absence from the top of the charts. "I think a lot of artists get comfortable in their little groove and they just stay there and wonder why the world kind of passes them by," Keith says. "Complacency is really easy when you're successful. That's why it's difficult to come back with a second and third album. An act will spend their whole life hungry and driving that big train to the top, cram everything they have on their first album and throw it out there. Then 12 to 18 months later they've got to make another one and it's a big letdown."

Looking back, Keith admits that could have been him. "My second album, even though it went gold, didn't sell but half as many as the first one. I knew right then that the volume had to be turned up. By the time I got to the Blue Moon and Dream Walkin' albums, I couldn't just write 15 songs. I had to write 50. I had to have more to pick from, cut more of them and be more selective. After that, I made sure each year that I put in the time. You've got to keep growing and getting better as a writer. That's how I've gotten to 70 million career airplay spins. You have to do the work it takes to be good enough to hang around this long."

"Once you get to this place, the competitive side starts saying, 'Okay, can you hold it?' Because there are no goals left for me. I've accomplished every single thing you can accomplish in this industry. So the only thing that's left is getting to 100 million spins as a songwriter. That's a mind-blowing number, but it's like looking up in the middle of your baseball career and realizing you're at 500 home runs before anybody else and the record's 755. So I'm thinking 755 is the first goal, but I really want to get to 800 and see if I've still got any gas in the tank.

"All that being said, do you think I'm going to get to 100 million and be happy? I know somebody's going to come along at some point in the next century and want to set their own benchmark. So that's in the back of my mind. Longevity and 100 million spins are the only two goals I have left because I don't answer to anybody anymore. I'm not dictated to by a record label. I went and created my own islands in the world so all I have to do is guard the shoreline."

Bullets helps define another of Keith's islands with its nod to his live performances, which have been selling out venues nationwide for more than a decade. The Deluxe Edition features four tracks from his spring 2010 "Incognito Bandito" club show. Lest anyone mistake him for a paint-by-numbers arena act, Keith flexes some serious musical bravado in making the concept a reality, and capturing it on record.

"The Banditos represent everything me and those session players got into this business for - love of music," he says. "I was in the studio, sitting around with [guitarist] Kenny Greenberg one day and asked him if any of those A-list studio cats get out to play live. One worked some with Mark Knopfler, another with somebody else. But when they go out they play those guys' songs, it's the same list every night and there might only be a handful they really dig. So I asked, 'What if I paid you guys good and we went out and played some high-profile bars? I'd have the best band in the world - all the A players on one stage.' I went around until I found a few who loved country blues and straight-up Memphis blues, and they were all completely into it.

"Now, this is a band that rehearsed in Nashville then met me at the Fillmore in New York. They set up, we ran through them quick as we could in a little sound check, then we got up in front of the world and said, 'Here we are.' New York press people were there and it was like, 'Well, if we f--- this up we'll get some press, alright.' But we just stepped out there, spit in the floor and took off. Afterward, we had to go through and find a few things that work on the record to give the fans a taste of the Banditos. So the choices weren't so much about which songs or artists we wanted to cover as much as it was, what one-take live recording is the most impressive?"

Carefully crafted from nearly two decades of experience or fearlessly captured in the moment, music is the measure for Keith. Which is why the descriptions he has most willingly accepted for himself over the years are, fittingly: Singer, songwriter and entertainer. Bullets In The Gun finds all three, and Toby Keith, in high definition.


Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Bullets In The Gun 4:16$1.29  Buy MP3 
listen  2. Somewhere Else 3:06$1.29  Buy MP3 
listen  3. Trailerhood 2:53$1.29  Buy MP3 
listen  4. In A Couple Of Days 3:46$1.29  Buy MP3 
listen  5. Think About You All Of The Time 3:44$1.29  Buy MP3 
listen  6. Kissin' In The Rain 3:55$1.29  Buy MP3 
listen  7. Drive It On Home 3:22$1.29  Buy MP3 
listen  8. Ain't Breakin' Nothin' 3:58$1.29  Buy MP3 
listen  9. Is That All You Got 3:35$1.29  Buy MP3 
listen10. Get Out Of My Car 3:30$1.29  Buy MP3 
listen11. 11 Months And 29 Days (Live at The Fillmore New York at Irving Plaza/ 2010) 4:44$1.29  Buy MP3 
listen12. Waymore's Blues (Live at The Fillmore New York at Irving Plaza/ 2010) 6:08$1.29  Buy MP3 
listen13. Chug-A-Lug (Live at The Fillmore New York at Irving Plaza/ 2010) 2:59$1.29  Buy MP3 
listen14. Sundown (Live at The Fillmore New York at Irving Plaza/ 2010) 4:34$1.29  Buy MP3 

Product Details

  • Audio CD (October 5, 2010)
  • deluxe_edition edition
  • Original Release Date: 2010
  • Number of Discs: 1
  • Label: Show Dog-Universal Music
  • ASIN: B003XOSSMW
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (76 customer reviews)
  • Amazon Best Sellers Rank: #37,428 in Music (See Top 100 in Music)

Customer Reviews

4.4 out of 5 stars

Most Helpful Customer Reviews

13 of 16 people found the following review helpful By JaniceP on October 6, 2010
Format: Audio CD
Toby Keith's new CD Bullets in the gun really hits the mark...The title track about a cowboy hooking up with a female robber has a great story and good lyrics. Great guitar too! And of course Toby's voice carries the whole CD! Intermixed are a few upbeat songs with the usual play on words that Toby uses..."If you don't know where you're going, you might end up somewhere else"...Very true! It's about a guy living alone without his girl, making his way in the world. My personal favorite is Kissing in the Rain. It has great vocals and emotion...It will take you back to your high school days and that "one night". Awesome song...Hope it comes out as a single! There's a great rocking trucker song and then the always controversial Toby song called..Get out of My Car. That's one you just have to hear to believe! One of the best parts of the Deluxe CD are the live portions of Toby playing with the session players at his Incognito Bandito concert. It was an awesome event and the songs that he recorded, Chug-A- Lug and Sundown will have you singing along. Well worth the money for all you get on this CD..Probably one of his best ever!
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9 of 11 people found the following review helpful By Blake N. Hall on October 6, 2010
Format: Audio CD
Heard the CD on XM, yesterday. All songs are what you would expect from Toby Keith. A master song-writer. Uses his experiences in life to write the words. Not traditional country music, but EXCEPTIONAL Toby! Not everyone likes Toby, but if you don't like Toby, why do you even buy his music and add your two cents? But if you like Toby, you will like this CD. If you have ever lived in a trailer, you can relate. If you haven't ever lived in a trailer, you may not just understand. And... there is nothing wrong with living in a trailer... lots of very successful people have lived in trailers at certain points in their lives.
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16 of 21 people found the following review helpful By Constant Reader on October 5, 2010
Format: Audio CD
If you like Toby, you'll like this. It's not his best by a long shot. I gave it four stars because I do like it. I think he can do much better. He puts out a record every year. I would like to see what would happen if he took a little more time between projects. He's a busy man trying to balance all his various projects on top of being a father and husband. I'd gladly wait longer for a better record. That's just my two cents, after all, HE'S the multi-millionaire, not me.
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2 of 2 people found the following review helpful By Nichole Brown on April 29, 2011
Format: Audio CD
Anybody who's taken the time to here his music knows he is good. This CD is among his best work. Truthfully, you get a full mix of everything Toby is capable of. From heartfelt songs such as 'Kissing In The Rain' to down right amazing 'Bullets In The Gun', this CD offers it all. If you like country music even a little bit, you'll buy it...
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1 of 1 people found the following review helpful By J. Ramsey on October 23, 2010
Format: MP3 Music
I am a Toby fan, but this album simply didn't go where I was hoping it would. Each album is starting to sound like the other. Maybe taking more time to write them might help. There is no reason to push out albums just for the sake of putting out an album. That being said, trailer hood is a entertaining song and video. Like to see some more patriotic songs if Toby still has "it".
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1 of 1 people found the following review helpful By PaulaH65 on October 20, 2011
Format: Audio CD
This album is a great album and one of Toby's best albums to date. The songs are great and his voice is always amazing. Toby is a great performer and this album reflects his work. I recommend this album highly!
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1 of 1 people found the following review helpful By Chad_coates on July 8, 2011
Format: Audio CD
I love the album. Bullets in the gun is a great song, and him doing a live version of Chu-a-lug is awesome. I recomend this cd to anyone who loves Toby Keith, or anyone who wants to hear some good music.
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1 of 1 people found the following review helpful By LVULCAN1 on June 2, 2011
Format: Audio CD Verified Purchase
LIVE VERSION OF "LONG TIME GONE" IS GOT TO BE ONE OF THE BEST SONGS THAT TOBBY HAS EVER DONE...... GOOD FOR HIM, KEEP UP THE GOOD WORK
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no more mp3s
why
Oct 14, 2010 by icecube |  See all 3 posts
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Bullets In The Gun [Deluxe Edition]
This item: Bullets In The Gun [Deluxe Edition]
Price: $11.88
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