lunedì 25 agosto 2014

Celeste - Principe di un Giorno 1976 (Request)

Biography: One of the two bands formed from the wreckage of the semi-legendary Il Sistema, Celeste was the brainchild of drummer Ciro Perrino and keyboard player Leonardo Lagorio, himself a former member of Il Sistema's other offspring, Museo Rosenbach. With the line-up completed by Mariano Schiavolini (guitar, violin) and Giorgio Battaglia (bass), Celeste was an aptly-named outfit - with each member a virtual multi-instrumentalist, the group's arsenal included xylophone, harpsichord, violin and flute, all blended into a delicate, almost folky and, indeed, celestial brew that can readily be compared to the gentler moments on the first two King Crimson albums. Working with guest guitarist Vittorio De Scalzi, the band's debut album was recorded during 1973/74. It would be 1976, however, before Principe di un giorno was finally released, via the tiny Grog label. A further dozen tracks from this same period, including alternate (earlier) versions of several tracks from the album, would later (1992) be released by Ciro Perroni's own prog specialist label Mellow, as I suoni in una sfera. By the time their debut album was released, of course, Celeste themselves had moved on considerably. Back in the studio, they were now exploring jazz rock territory but, finding themselves unable to secure a record deal, the band broke up before completing the sessions. The best of this material was subsequently released in 1991 as the sensibly titled Celeste II; the band members themselves, meanwhile, scattered. Perrino cut a solo album, Solare in 1980, and also worked with the bands Saint Tropez, SNC and Compagnia Digitale, before launching Mellow in the late 1980s.

01.Principe Di Giorno 6:12
02.Favole Antiche 8:18
03.Eftus 4:15
04.Giochi Nella Notte 8:11
05.La Grande Isola 5:04
06.La Danza Del Fato 3:56
07.L'imbroglio 1:06

Giorgio Battaglia - bass, bass pedal, vocals, xylophone
Leonardo Lagorio - acoustic & electric piano, flute, alto sax, Mellotron
Ciro Perrino - percussion, flute, recorder, Mellotron, xylophone, vocals
Mariano Schiavolini - guitar, violin
Aldo De Scalzi - plop

giovedì 21 agosto 2014

Luv Machine - Turns You On! 1971 (Repost)

Biography:The Luv Machine were something of a cross-cultural anomaly in Great Britain at the turn of the '70s. An interracial band from Barbados that played heavy psych influenced by the Hendrix/Clapton axis of British rock, the Luv Machine had been in the U.K. since 1967, slowly mutating from the West Indies' answer to Vanilla Fudge into a somewhat funk-influenced version of early British metal. Their self-titled album for Polydor in 1971 was roundly ignored, and the band split up shortly after its release. So all of the factors were in place to make the Luv Machine album the sort of thing that sells to psych, prog and early metal collectors for hundreds of dollars a pop. The Luv Machine Turns You On (which had been the band's preferred title at the time) is an expanded reissue that adds six single sides and unreleased tracks to the 12 tracks from the original album, remastered from the original tapes. It's the first release on Rise Above Relics, a collectors label run by Cathedral singer Lee Dorrian, and it does a tremendous service to the less hardcore fan of these styles, because at standard retail prices, the Luv Machine's flaws are far more apparent than they would be to someone who just dropped the equivalent of a car payment on a mint vinyl pressing. Heard just as an album, not as a rare artifact, Turns You On is unexceptional heavy psych with a refreshing lack of overblown extended guitar solos and a better than average drummer, neither of which are quite enough to make up for the anodyne vocals and not particularly memorable tunes. Interestingly, however, the unreleased tracks (contained on a separate EP on the reissued vinyl version) are actually considerably better than the album proper, particularly the two-part "Don't Let the Blues Take Over." Part two in particular sounds like the result of a jam between members of Blind Faith and Sly & the Family Stone, and more of that would have made Turns You On a genuine hidden treasure.

01.Witches Wand 2:49
02.You're Surprised 2:47
03.It's Amazing 3:27
04.Happy Children 3:19
05.Everything 3:20
06.Maybe Tomorrow 4:20
07.Reminiscing 2:56
08.Change Your Mind 2:59
09.Corupt 3:50
10.One Lost 3:09
11.My Life Is Filled With Changes 3:08
12.Portrait of Disgust 4:58

Bonus Tracks:
13.Don't Let the Blues Take Over Pt.1 2:58
14.In the Early Hours 3:29
15.Dark Clouds 2:33
16.Do You Want My Love? 3:07
17.Break The News Gently 2:51
18.Don't Let the Blues Take Over Pt.2 2:45

Luv Machine:
Michael Bishop - vocals, guitar, percussion
Bob Bowman - vocals, guitar
Errol Bradshaw - vocals, drums
John Jeavons - vocals

giovedì 14 agosto 2014

Primevil - Smokin' Bats At Campton's (Radioactive Records) 1974

Biography: Boasting one of the most thinly veiled references to smoking pot this side of British act Leaf Hound, Primevil's only album, Smokin' Bats at Campton's (Dave Campton being their lead singer; "bats" being, well, you know), was originally recorded in 1974, but only found its way onto CD some 20 years later. Now, the record is frequently cited as a bona fide stoner rock touchstone (whether anyone could find a copy to be influenced by or not, in the interim), and its eight cuts run a wide gamut featuring surprisingly refined songcraft and impressive musicianship, as well as semi-improvised efforts and unfocused jam waffling. The best qualities among these are all exemplified within the opening trio set off by the standout "Leavin'," with its acoustic passages and stop-start riffs, the hard-driving "Progress," with its funky bass, wailing harp and twin guitar midsection, and the instrumental six-string showcase "Fantasies," which recalls Fly by Night-era Rush, but was in fact recorded one year earlier. On the other hand, forgettable rockers like "Pretty Woman" and "Tell Me If You Can" don't fare nearly as well, stumbling on some truly awful lyrics from Campton amid their boring, sub-Cactus-like thud. Likewise, the white-knuckled romp, "Hey Lover," was allegedly whipped together in one night -- and sounds like it, but at least it possesses a certain rough charm à la Sir Lord Baltimore. Back on firmer ground, the memorable "High Steppin' Stomper" actually shows traces of glam rock (must be that hand-clapping and boot-stomping), but then the closing "Your Blues" screws it up again by offering nothing but -- you guessed it -- lazy blues jams, serving no foreseeable purpose aside from framing some searing lead guitar flights, and acting as album filler. Even with all of these inconsistencies, though, Smokin' Bats at Campton's is a true relic that's still well worth excavating by stoner rock enthusiasts, who are bound to enjoy its sporadic triumphs as much as they'll be captivated by its modest D.I.Y. origins.

01.Leavin' 3:57
02.Progress 3:27
03.Fantasies 6:07
04.Pretty Woman 3:14
05.Tell Me If You Can 5:16
06.Hey, Lover 2:41
07.High Steppin' Stomper 4:30
08.Your Blues 7:29

Dave Campton - lead vocals, harp, percussion, electric chair
Mel Cupp - drums
Larry Lucas - electric guitar, acoustic guitar, vocals
Mark Sipe - bass guitar
Jay Wilfong - electric guitar, screams
Moe Whittemore - synthesizer

lunedì 11 agosto 2014

Cochise - Swallow Tales 1971

Biography:Prior to recording their second album, Cochise underwent a major change in personnel, with singer Stewart Brown getting replaced by John Gilbert. As Brown had written some of the material on Cochise's 1970 self-titled debut, that left the songwriting wholly in the hands of guitarist Mick Grabham and pedal steel player B.J. Cole. Still, the music remained largely the same middle-of-the-pack early-'70s album-oriented British rock, sometimes hard and sometimes with a more reflective, folkier feel, though always with a more country-rock-ish tinge than most (owing largely to Cole's pedal steel). But as on their first album, Cochise had neither the stylistic distinction nor the top-shelf songwriting to attract wide notice, their approach encompassing a hard rocking update of Buddy Holly's "Love's Made a Fool of You"; original material which somewhat recalled the Guess Who's rootsier side; and lightweight U.S. West Coast folk-country-rock. As far as the latter style goes, "Lost Hearts," with a light early Love influence, is their best effort, while "Another Day" sounds a little like a cross between Crosby, Stills & Nash and the early Bee Gees, as peculiar as that mixture may seem.

01.Love's Made A Fool Of You 2:53
02.Jed Collder 3:20
03.Down Country girls 1:51
04.Home Again 3:43
05.Lost Hearts 3:27
06.Strange Images 2:05
07.Why I Sing The Blues 4:11
08.Another Day 5:18
09.Axiom Of Maria 7:04
10.Can I Break Your Heart 5:05
11.O Come All Ye Faithful 1:15

Cochise :
Nigel Olsson - Vocals, Vocal Harmony
Caleb Quaye - Piano
Rick Wills - Bass, Vocals
John Wilson - Drums
Ricky Wills - Bass, Percussion, Vocals,
Mick Grabham - Guitar (Acoustic), Soloist, Guitar (Electric), Vocals, Keyboards, Guitar
Steve Marriott - Piano, Vocals
Tim Renwick - Guitar, Soloist
John Gilbert - Vocals,
Cal Batchelor - Guitar
Stuart Brown - Guitar, Vocals
B.J. Cole - Dobro, Guitar (Steel), Guitar, Art Conception, Pedal Steel

giovedì 7 agosto 2014

Jellybread - Sixty-Five Parkway 1970

Formed at England’s Sussex University by pianist Pete Wingfield, Jellybread was originally completed by Paul Butler (guitar/vocals),John Best (bass),and Chris Waters (drums).In 1969 the quartet secured a recording contract with the exemplary Blue Horizon Records label and although largely unadventurous, their albums offered a highly competent grasp of black music, including both blues and soul. They provided stellar accompaniment on Lightnin’ Slim's London Gumbo and B.B. King in London, but the unit dissolved in 1971 with the departure of Wingfield and Waters. Newcomers Rick Birkett (guitar, ex-Accent) and Kenny Lamb (drums) joined for Back to Begin Again, but Jellybread broke up when the set failed to make commercial headway. However, Wingfield enjoyed success as a solo artist, session pianist, and member of Olympic Runners.
01.Faded Grace 2:59
02.Old Before Your Time 7:03
03.Sally Hotlips 3:36
04.Go Through The Motions 4:02
05.Full Circle One 1:57
06.Old Man Hank 3:43
07.The Missing Link 6:10
08.Samuel Taylor 2:58
09.Try 3:33
10.Full Circle Two 2:10
Bonus Tracks (Studio Recordings 1969)
11.That's Alright 2:07
12.Evening 6:53
13.Don't Want No Woman 2:58

Paul Butler: guitar, vocals
Pete Wingfield: keyboard, vocals
John Best: bass
Chris Waters: drums

mercoledì 6 agosto 2014

Alan Price - A Price On His Head (Edsel) 1967

Biography:Alan Price's second album consolidated the change of direction he'd started in early 1967, when his cover of Randy Newman's "Simon Smith and His Amazing Dancing Bear" became a big British hit. Moving away from the jazzy Animals-styled R&B-rock that he'd presented on his first album and singles, Price moved into a more original, if less powerful, brand of Newman-influenced vaudevillian pop. The Randy Newman influence isn't a matter of conjecture; about half of the songs were covers of songs by Newman (who had yet to release his first album at the time A Price on His Head was issued), often of tunes that remain obscure even to serious Newman fans. The effect is something like hearing an even jauntier, more lighthearted Georgie Fame, as even Price's own compositions bore a strong Newman influence in their emphasis on poppy craft and wit. Breaking up the Newman and Price songs were covers of Bob Dylan's "To Ramona" and the little-known Gerry Goffin-Carole King number "On This Side of Goodbye." For a long time the material on this album was difficult to find, particularly in the United States, where Price's early work was virtually unknown. But the CD era has seen it reissued several times, both on its own and as part of the compilation The House That Jack Built: The Complete 60's Sessions.

01.The House That Jack Built
02.She’s Got Another Pair Of Shoes
03.Come And Dance With Me
04.On This Side Of Goodbye
05.So Long Dad
06.No One Ever Hurt So Bad
07.Don’t Do That Again
08.Tickle Me
09.Grim Fairy Tale
10.Living Without You
11.Happy Land
12.To Ramona
13.Biggest Night Of Her Life

Alan Price:
Alan Price - vocals, keyboards
Clive Burrows - baritone sax
Steve Gregory - tenor sax
John Walters - trumpet
Peter Kirtley - guitar
Rod Slade - bass
Roy Mills - drums

martedì 5 agosto 2014

Alan Price Set - The Price To Play (Edsel) 1966

Biography:Price's first album (released in the U.K. only, although some tracks would come out in the U.S.) is a rather routine set of club R&B/soul. Fronting a six-piece that includes three horns, Price sticks mostly to covers of familiar American tunes like "Mercy Mercy," "Ain't That Peculiar," "I Can't Turn You Loose," and "Barefootin'" on this amiable, but hardly remarkable, set. Price's voice is appealing, but lacks power, and in all it sounds like a clump of covers ground out hurriedly to get an album on the market. Georgie Fame did this kind of thing better, though Price's approach isn't as jazz-oriented. The CD reissue on Repertoire doubles the length of the original LP by adding 12 bonus tracks from 1965-1967 singles, including the brilliant British hit "I Put a Spell on You." The other singles cuts, alas, aren't in the same league, though in general they're better than the ones that constituted The Price to Play. His cover of "Any Day Now" is decent, and the interpretation of Randy Newman's "Simon Smith and the Dancing Bear" (presented in two versions) would both give him a British hit and foretell a move into a much poppier direction.

01.Medley Barefootin', Let'S Go Baby, Land Of 1000 Dances
02.Just Once In My Life
03.Goin' Down Slow
04.Getting Mighty Crowded
05.Honky Tonk
06.Move On Drifter
07.Mercy Mercy
08.Loving You Is Sweeter Than Ever
09.Ain'T That Peculiar
10.I Can'T Turn You Loose
11.Critic'S Choice
12.Hi Lili Hi Lo

Alan Price Set:
Alan Price - vocals, keyboards
Clive Burrows - baritone sax
Steve Gregory - tenor sax
John Walters - trumpet
Peter Kirtley - guitar
Rod Slade - bass
Roy Mills - drums

domenica 3 agosto 2014

Stephen Stills - Manassas 1972 (Repost)

Biography:A sprawling masterpiece, akin to the Beatles' White Album, the Stones' Exile on Main St., or Wilco's Being There in its makeup, if not its sound. Rock, folk, blues, country, Latin, and bluegrass have all been styles touched on in Stephen Stills' career, and the skilled, energetic musicians he had gathered in Manassas played them all on this album. What could have been a disorganized mess in other hands, though, here all gelled together and formed a cohesive musical statement. The songs are thematically grouped: part one (side one on the original vinyl release) is titled "The Raven," and is a composite of rock and Latin sounds that the group would often perform in full live. "The Wilderness" mainly centers on country and bluegrass (Chris Hillman's and Al Perkins' talents coming to the forefront), with the track "So Begins the Task" later covered by Stills' old flame Judy Collins. Part three, "Consider" is largely folk and folk-rock. "Johnny's Garden," reportedly for the caretaker at Stills' English manor house and not for John Lennon as is often thought, is a particular highlight. Two other notables from the "Consider" section are "It Doesn't Matter" (later redone with different lyrics by the song's uncredited co-writer Rick Roberts on the first Firefall album) and "Move Around," which features some of the first synthesizer used in a rock context. The closing section, titled "Rock & Roll Is Here to Stay," is a rock and blues set with one of the landmarks of Manassas' short life, the epic "The Treasure." A sort of Zen-like meditation on love and "oneness," enlivened by the band's most inspired recorded playing it evolves into a bluesy groove washed in Stills' fierce electric slide playing. The delineation lines of the four themed song groupings aren't cut in stone, though, and one of the strengths of the album is that there is a lot of overlap in styles throughout. The CD reissue's remastered sound is excellent, though missed is the foldout poster and handwritten lyrics from the original vinyl release. Unfortunately, the album has been somewhat overlooked over the years, even though Stills considers it some of the best work he has done. Bill Wyman (who guested on "The Love Gangster") has said he would have quit the Rolling Stones to join Manassas. Review by Rob Caldwell.

(A) The Raven

01.Song Of Love
02.(a) Rock And Roll Crazies; (b) Cuban Bluegrass
03.Jet Set (Sigh)
05.Both Of Us (Bound To Lose)
(B) The Wilderness
06.Fallen Eagle
07.Jesus Gave Love Away For Free
09.So Begins The Task
10.Hide It So Deep
11.Don't Look At My Shadow
(C) Consider
12.It Doesn't Matter
13.Johnny's Garden
14.Bound To Fall
15.How Far
16.Move Around
17.The Love Gangster
(D) Rock & Roll is Here to Stay
18.What To Do
19.Right Now
20.The Treasure (Take One)
21.Blues Man

Manassas :
Stephen Stills - guitar, bottleneck guitar, vocals, keyboards
Chris Hillman - guitar, vocals, mandoline
Al Perkins - guitar, steel guitar, vocals
Joe Lala - congas, timbales, percussion, vocals
Sydney George - harmonica
Paul Harris - keyboards
Jerry Aiello - keyboards
Calvin 'Fuzzy' Samuels - bass
Bill Wyman - bass
Roger Bush - acoustic bass
Byron Berline - fiddle
Dallas Taylor - drums

sabato 2 agosto 2014

Twin Engine - Twin Engine (Rev-Ola) 1971

Biography : These 12 songs were recorded by Twin Engine in 1971 with the intention of getting an album together for release on United Artists, but they weren't issued until more than 30 years later. The music has very much of a 1970 aura, mightily influenced at different points by the Let It Be-era Beatles (particularly in the guitar sound of "Give My Love a Chance," "The Time Is Now," and "Mistress of the Morning"), Crosby, Stills, Nash & Young (a riff in "The Time Is Now" seems airlifted directly from Neil Young's "Cowgirl in the Sand"), American Beauty-era Grateful Dead, and the country-rock being laid down by the Flying Burrito Brothers/Byrds axis in Southern California in the late 1960s and early 1970s. (That last influence may not have been entirely due to chance, as Byrds and/or Burritos members Chris Hillman, Clarence White, and Sneaky Pete Kleinow are all referred to in the packaging as having played on the sessions, though it's not specified who played on what track). It's very accomplished, and Twin Engine's duo harmonies are quite cheerful and invigorating. What it lacks is a sound of its own, and it's easy to see that a label of the time might have passed on it due to its similarity to some other bands of the era, or at least encouraged the pair to keep working up material until something more distinctive evolved. Now that competing in the marketplace isn't a concern, it's actually a pretty pleasant listen -- derivative, yes, but considerably stronger and more polished than most albums that are heavily derivative of their surrounding times and styles. There are the makings of a solid country-rock band here, albeit one more pop-influenced than most, like a less-slick Eagles. While it's too bad they didn't get any further, this relic of their abortive flight isn't at all bad.

01.Give My Love A Chance 2:30
02.My Life Gets Better Every Day 3:08
03.Secrets 2:32
04.Mistress Of The Morning 2:23
05.No Time Is Better Than Now 2:49
06.Darlin' 3:06
07.Flowered Wall 3:06
08.Can't Keep My Mind Off You 3:12
09.GoldMine 2:22
10.When Will I Be Loved 1:50
11.The Time Is Now 2:50
12.Same Train 3:01

Twin Engine:
Clarence White (The Byrds) - Guitar
Joey Stec - Guitar
Randy Naylor - Acoustic Guitar, Keyboards
Nick Robbins - Synthesizer
Joe Foster - Synthesizer
DeWayne Quirico - Drums

giovedì 31 luglio 2014

Lucifer - Lucifer (Akarma Digipack) 1970

Biography : This very rare album was the work of a Rochester, New York band. The LP sleeve notes declare that their music is "hard rock in the style of Grand Funk Railroad and Uriah Heep". Overall the album is nowhere near that heaviness - there's a notable lack of thunderous riffing or screaming solos. Heep influences are more obvious in the soaring Byron-esque vocals on the dramatic ballads but an underlying soulful vibe and keyboard dominance puts them in the class of those NYC and Long Island Italian-American bands influenced by Vanilla Fudge or the Young Rascals, rather than the proto heavy-metal set. On their lighter side, they deliver a fine flowing rendition of the Youngbloods' version of Dino Valente's hippie anthem (Let's) Get Together. The original is supposedly very rare and has been hyped by specialist dealers with asking prices reaching a dizzyingly silly level - one copy seen going for $900 in 2001 - surely guaranteed to disappoint. So, if this sounds like your bag and you're not stupidly rich, pick up the reissue.

01.Sixteen 3:33
02.Different Face 2:41
03.Where Do We Go From Here 4:11
04.Get Together 4:21
05.My Baby 3:10
06.You Better Find Someone To Love 3:05
07.I'm Gonna Make It 3:00
08.If This World Were Mine 3:13
09.Dreaming Isn't Good For You 5:02
10.Crabby Day 3:41
11.Don't Tell Me How To Love 2:14

Joe Mattioli - Vocals
Vicent "Butch" Biocca - Bass
Joe Gallo - Piano
Joe Bertola - Drums
Pete Skelton - Guitar

mercoledì 30 luglio 2014

Leviathan - Leviathan (Akarma) 1974

Biography : US outfit Leviathan was formed in 1972, originally from Little Rock, Arkansas but later having their base of operations out of Memphis, Tennesse according to the few sources available. The band consisted of Wain Bradley (bass, guitars, vocals), Peter Richardson (vocals, organ) Don Swearingen (piano), Grady Trimble (guitars), John Sadler (mellotron) and Shof Beavers (percussion). They were an active band in the southwest US live scene, and besides opening for acts such as Electric Light Orchestra they also headlined shows themselves, at the height of their career in front of an audience 8000 strong in Memphis, Tennessee. The band issued one album before disbanding, a self-titled affair that eventually saw the light in 1974. The album had been a long time in the making though, as many of the band members were meticulous in their approach to the art of making music. Trained percussionist Beavers (who abhorred the description drummer) amongst the most detailed-oriented members of a band with perfectionism as a priority. Leviathan did record a second album, "The Life Cycle", but by the time it was finished the interest of their particular brand of music had declined considerably, and no label showed a particular interest in releasing it.

01.Arabesque 6:14
02.Angela 6:42
03.Endless Dream 9:57
04.Seagull 4:45
05.Angel of Death 4:12
06.Always Need You 3:26
07.Quicksilver Clay 7:26

Wain Bradley - Bass, Guitars, Vocals
Peter Richardson - Organ, Vocals
Don Swearingen - Piano
Grady Trimble - Guitars
John Sadler - Mellotron
Shof Beavers - Drums

sabato 26 luglio 2014

Lincoln Street Exit - Drive It 1970

Biography : This disc is a great re-release of Lincoln St. Exit's early material! It easily stands up to the releases of any other underground psychedelic band of the era (The Chob, Moving Sidewalks, etc). Between this and the ENTRANCE album, released under their then current name Xit, in the 70s; one would have the bulk of the Lincoln St. Exit material. This would leave a die-hard fan only to track down their "Who's Been Driving My Little Yellow Taxi Cab b/w Paper Place", "Half a Dream / Sunny Sunday b/w Whatever Happened to Baby Jesus" and the elusive " Whatever Happened Pt. 1 b/w Whatever Happened Pt. 2" singles, to have a complete collection. The DRIVE IT EP features the heaviest and most blazing psychedelic guitar material, while ENTRANCE is on the rather mellow ballad side. The only exceptions on ENTRANCE are the rockin' "Mississippi Riverboat Gamblin' Man", and "She's My Everything" which substitutes sax and piano solos for electric guitar. Between these two releases, only "Soulful Drifter" and "Sunny Sunday Dream" are shared in common. The DRIVE IT version of "Soulful Drifter" is 1:10 shorter than the other version (presumably from an earlier recording), and has no 'string section', organ or tambourine. The DRIVE IT "Sunny Sunday Dream" is a simple studio recording that's basically identical, except the ENTRANCE version is in excellent stereo, and includes a completely different ending in which so much echo is added that it becomes a chaotic mess before the rhythm section drops out, leaving only the organ and howling guitar (for 18 extra seconds). As they headed into the 70s this group became unconcerned with Pop culture's idea of 'hip' and wrote less Pop-oriented tunes; opting instead for drawn out, native drummed, native sung, orchestral concept albums. All great stuff. sambson

01.Man Machine 4:02
02.Dirty Mother Blues 6:55
03.Got You Babe 3:06
04.Teacher Teacher 2:45
05.Soulful Drifter 2:00
06.Time Has Come Gonna Die 4:06
07.Going Back Home 3:03
08.Straight Shootin' Man 3:00
09.Phantom Child 3:14
10.The Bummer 2:22
11.Sunny Sunday Dream 2:58

Lincoln Street Exit:
Michael Martin - Lead Vocals, Lead Guitar
Mac Suazo - Bass Guitar
Lee Herres - Drums and Percussion
R.C.Gariss - Lead Guitar


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Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body