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. allmusic.com

Tracklist:
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

Primevil:
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. allmusic.com

Tracklist:
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. allmusic.com
Tracklist:
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

Jellybread:
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. allmusic.com

Tracklist:
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. allmusic.com

Tracklist:
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.

Tracklist:
(A) The Raven

01.Song Of Love
02.(a) Rock And Roll Crazies; (b) Cuban Bluegrass
03.Jet Set (Sigh)
04.Anyway
05.Both Of Us (Bound To Lose)
(B) The Wilderness
06.Fallen Eagle
07.Jesus Gave Love Away For Free
08.Colorado
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. allmusic.com

Tracklist:
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.

Tracklist:
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

Lucifer:
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. progarchives.com

Tracklist:
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

Leviathan:
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

Tracklist:
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

lunedì 21 luglio 2014

Life - Life 1970-72

A true heavy rock-masterpiece from Sweden. Recorded 1970 with lyrics sung in both Swedish and the English language. The English version was released 1971. The music ranges from incredibly beautiful ballads to freaked out jamming. The last 3 songs is bonustracks and were at the time only available on vinyl singles. Reissued in 1997 by Mellotronen (MELLOCD007)

Anders Nordh and Paul Sundlin had previously played together in particular 60th century group of Trolls, and participated on the album King George Discovery. Life was formed in 1970 by Tomas Rydberg, and these young talented musicians delivered progressive rock mixed with jazzy pop songs on the first disc and it use to be said it resembles Leaf Hound and Tear Gas. The album was released both in Swedish and in English, but musical it's the same plate. The disc (English version) is released on CD by Mellotronen. They are said to also participate on the album "Musik från Frihamnen (-72)" with the song "Tro på vår värld". They also rumored that a second LP should exist in four test pressing copies (probably called "Life After Life"). They also released two singles "Jag Färdas / Living Loving(-70)" and "Tro på vår Värld / To the Country (-72)".

The band disbanded in 1972 but Anders and Palle formed together with Peter Lundblad, Tommy Andersson and Lasse Tennander the group Duga that released one album in 1974 loaded with both symphonic rock to pop ballads. In late 1974 Lasse quit the bands to do a solo career and the group changed its name to Figaro. The group had a minor success with the song "Framåt". Anders Nordh later played in the group Bättre Lyss. Life also appeared on the self-titled album by the band "Resan" with the song "Life".

Tracklist:
01.Quo Vadis (I)
02.Nobody Was There To Love Me
03.Many Years Ago
04.Experience Of Love
05.She Walks Across The Room
06.Salling In The Sunshine
07.Quo Vadis (II)
08.Living Is Loving
09.Every Man
10.Experience Of Life
11.One Of Us
12.Yes, I Am
13.Once Upon A Time
14.Quo Vadis (III)
15.Jag Fardas (Bonus Track)
16.To The Country (Bonus Track)
17.Tro Pa Var Varld (Bonus Track)

Life:
Anders Nordh - guitar, piano, organ, bass, vocals
Paul Sundin - bass, 12string acoustic guitar, piano, vocals
Thomas Rydberg - drums, percussion

martedì 15 luglio 2014

Lemon Pipers - Love Beads And Meditation (Rev-ola) 1968 - 1969

Biography : The Lemon Pipers included singer Ivan Browne, guitarist Bill Bartlett, keyboardist R.G. Nave, bassist Steve Walmsley, and drummer William Albaugh. The group is best known for its number one bubblegum hit "Green Tambourine" and several follow-ups, all written by the team of Paul Leka and Shelley Pinz. The Lemon Pipers actually wanted to play more psychedelic music; they only recorded "Green Tambourine" because their label would have dropped them had they refused. They eventually got the artistic control they wanted and ended up dropping off the charts for good with their first self-produced album. They broke up in 1969, with Bartlett joining Ram Jam. allmusic.com


Tracklist:
Green Tambourine 1968
01.Rice Is Nice 2:08
02.Shoesine Boy 3:24
03.Turn Around And Take A Look 2:47
04.Rainbow Tree 2:18
05.Ask Me If I Care 3:08
06.Straglin' Behind 2:33
07.Green Tambourine 2:24
08.Blueberry Blue 2:24
09.The Shoemaker Of Leatherwear Square 2:01
10.Fifty Year Void 5:43
11.Through With You 9:06

Jungle Marmalade 1969
12.Jelly Jumble (Of Orange Marmalade) 2:23
13.I Was Not Born To Follow 2:31
14.Everything Is You 2:43
15.Catch Me Falling 5:16
16.Hard Core 2:54
17.Love Beads And Meditation 2:48
18.I Need Someone (The Painters) 2:40
19.Lonely Atmosphere 2:52
20.Wine And Violet 3:06
21.Dead End Street / Half Light 11:42

Lemon Pipers:
Ivan Browne - vocals, guitars
Bill Bartlett - vocals, guitars
Steve Walmsley - bass
R.G. Nave - keyboards
Bill Albaugh - drums

Avvertenza

Il contenuto di questo blog è in qualche modo già presente sul web ma è comunque frutto di un accurata ricerca e cultura musicale. Un particolare ringraziamento va agli Uploader originali. Vi ricordo che i Cd vanno acquistati regolarmente.
Buon ascolto!
Ogni commento o ringraziamento è bene accetto,aiuta e stimola il Blogger a continuare il lavoro con passione.

Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body