Friday, February 15, 2008

Various Artists - 2007 - Florida Funk

"There's a whole lot more going down in Florida than alligators and Disney World -- as you'll hear on this amazing little set! The package follows brilliantly in the tradition of Jazzman's Texas and Midwest Funk compilations -- and like those collections, this one uncovers an incredible amount of under-heard music from an especially unlikely source! Florida is usually best remembered as the home of TK disco in the 70s, or contemporary club in more recent years -- but back in the late 60s and early 70s, the state was a hotbed of indie funk activity -- with loads of artists who were every bit as great as bigger names from points north, all working in an underground network of clubs, studios, and labels. The Jazzman team of Gerald Short and Malcolm Catto have really outdone themselves here -- providing not only almost two dozen great funky tracks, but also a wealth of notes and information on each track -- all served up in one really beautiful little package! The CD features a whopping 24 pages of notes and pictures all in color -- with titles that include "Quit Jive'in" by Pearly Queen, "Cutting Room (Hot Pants)" by Oceanliners, "Super Cool" by Carrie Riley & The Fascinations, "Pure Funk (part 2)" by Delrays, "Do Right Man" by Sam Baker, "All The Time" by Bobby Williams & His Mar Kings, "Butterfly Theme" by Blowfly, "Lay It On Me" by Willie Johnson, "Funky Fast Bump" by The Outlaw Gang, "Na Na" by Coke, "Get Down" by The Montereys, "90% Of Me Is You" by Vanessa Kendrick, "Soft Soul" by Lavell Kamma, "Baby Don't Cry" by Third Guitar, "Spider Web" by Weston Prim & Backlash, "Soul Food" by Frankie Seay & The Soul Riders, "Save Me" by James Knight & The Butlers, and "It's Gonna Be A Mess (part 2)" by The Mighty Dogcatchers. US pressing features the bonus track "Soft Soul" by Lavell Kamma -- and different cover art too!"


1. New generation (The Universals)
2. Quit Jive In (Pearly Queen)
3. save Me (James Knight & The Butlers)
4. Super Cool (Carrie Riley & The Fascinations)
5. Cutting Room (Ocean Liners)
6. Its Gonna Be a Mess (The Mighty Dogcatchers)
7. All The Time (Bobby Williams & is Mar Kings)
8. Do Right man (Sam Baker)
9. Good Things (Pearl Dowdell)
10. Pure Funk (Delrays)
11. Everybody Has Some Dues To Pay (Little Beaver)
12. Butterfly Theme (Blowfly)
13. Lay It On Me (Willie Johnson)
14. Funky Fast Bump (The Outlaw Gang)
15. Los Feligreses (Luis santi y Su Conjunto)
16. Nana (Coke)
17. Soul food (Frankie Seay & The Soul Riders)
18. Baby dont cry (The Third Guitar)
19. Spider Web (Weston Prim and Backlash)
20. Get Down (The Montereys)

This is a seriously funky album, presented by Malcolm Catto of the Heliocentrics, check this shit out!

Chick Corea and Return To Forever

Jimi Hendrix - Machine Gun

All of Jimi's famous effects are available at Elevation Music. Feel free to call us Toll Free to order @ 1-866-476-6874.

It is December, 1969. In preparation for two nights of shows scheduled for New Year's Eve and New Year's Day at the Fillmore East, Jimi Hendrix, bassist Billy Cox, and drummer Buddy Miles -- the grouping that came to be known as Band of Gypsys -- have gathered in Manhattan to rehearse new material.

Following a fifth run through the new song "Who Knows," Hendrix asked a question that could easily have applied to not just that tune, but the entire Band of Gypsys project.

"Do you think it's gonna work, just messing around with it? Just for a loose jam?"

No one could have known that just days later Cox and Miles would provide the support for what many feel is the crowning achievement of Jimi's brief career, if not the ultimate example of the potential of the electric guitar. During the first set of the January 1, 1970 performance at the Fillmore, Hendrix unleashed a staggering rendition of a new song called "Machine Gun."

Of all the recordings of Hendrix in concert, "Machine Gun" best displays Jimi's immense talent and his brilliant usage of effects. Striving to convey the terror of war, Hendrix pushed himself and his equipment to the limit as he built a towering and complex sonic sculpture. Notes plucked on Jimi's black Stratocaster travelled through his effects and amplification, emerging only after being transformed into harrowing, extreme sounds that were unlike any others ever created with any musical instrument.

While "Machine Gun" appeared with regularity in Hendrix sets up until his death, it is the gut-level intensity of this early version that has withstood the test of time. Originally released on Capitol Records in April, 1970, Band of Gypsys captured the Fillmore "Machine Gun" for posterity. Just re-mastered and re-released on CD by Capitol after a long domestic absence, "Machine Gun" is once again available to amaze today's guitarists.

But what if you want to do more than just listen to "Machine Gun?" Can guitarists still find the tools needed to build that awesome analog tone? Contemplating such a task evokes feelings similar to those a mountain climber must feel at the foot of Mount Everest.

The ammunition for Jimi's "Machine Gun" can be found in the effects chain Hendrix used that night. The effects, when combined with Jimi's vast musical ability, resulted in lethal firepower. In order, Jimi ran his Fender's signal through a Vox wah pedal, a Roger Mayer Axis fuzz, a Fuzz Face, a UniVibe, and finally a second Mayer pedal, the Octavia.

The characteristic Hendrix sound is highlighted by the use of the Octavia and UniVibe. The Octavia made its first appearance on the Are You Experienced? album, and its upper octave generation can be heard on Hendrix classics like "Purple Haze." The UniVibe's debut in the company of Jimi came at one of the most heralded rock events ever, Woodstock. Its unique wavering sound -- an attempt to imitate a rotating Leslie organ speaker that instead resulted in uncommon sonic qualities -- would play a important part in Jimi's performances and studio work for the rest of his career.

In order to best recreate the complex "Machine Gun" voodoo, one needs to look beyond the mass-market effects easily found in every music store. Today, there are talented effects builders making high quality, unique effects that capture the best elements of the pedals from Jimi's career.

While Octavias have continued to be made available by Mayer, UniVibes have become scarce since production of them ceased in the 1970s. Dunlop has announced plans to offer their own production of a UniVibe this year, but Fulltone Custom Effects has been marketing a custom pedal called the Deja'Vibe that has found its way into the paws of players like Robin Trower, Billy Gibbons, and Eric Johnson.

In search of the "Machine Gun" tone, we used a Deja'Vibe pedal in addition to a second Fulltone pedal called the "69." This fuzz is available with Germanium transistors, but we went with Fulltone's optional NPN BC108C transistor set up -- the same circuitry at Jimi's disposal that night at the Fillmore.

Also on hand was one of Prescription Electronics' very cool Experience pedals, providing additional fuzz capabilities as well as octave and swell modes. A tried and true Vox V847 pedal held down the wah end of things, and a signed Roger Mayer Octavia contributed positive vibes as well as its unique sonic signature.

We began by mimicking Jimi's effects chain with a Stratocaster through the Vox, the "69," the Experience, the Deja'Vibe, and the Octavia, all fed through a Marshall head and 4x12 cabinet. When it was all powered up, what emerged was a startling -- and deafening -- recreation of the electronic firestorm of "Machine Gun."

Much of Jimi's control of his effects was achieved through manipulation of the volume control on his Strat, and we found this was essential to prevent total sonic chaos from breaking out. It took quite a bit of experimentation to discern what optimal settings were required -- for example, when first switched on the Octavia's gain was too high and tended to cancel out some of the frequencies we were looking for. But after a bit of high-volume dialing in, out Strat was painting dive bombs from the same high-octane sonic palette Hendrix used.

Despite the potent sound wash at our feet, the effects generated surprisingly little undersired noise -- a tribute to the quality built into the pedals. In fact, the only real noise was the tendency of the "69" pedal's special-order transistors to pick up radio signals, just like Jimi's Fuzz Face did at gigs like the Isle of Wight festival. Talk about authentic!

Our impressions of the pedals on an individual basis were that Fulltone's "69" yielded a warm, comfortable fuzz that formed a central core to the sound. The Deja'Vibe does an amazing job of recreating the UniVibe ambiance -- one created by photo-optic cells reacting to a pulsing light source -- but this pedal is enhanced with features like a nifty Heavy/Lite switch that controls the effect depth. And when switched from Chorus to Vibrato, the pedal offers a wild, sea-sick wobble tone.

Both the Vox wah and the Octavia are highly regarded classics, and a listen to Jimi's legendary recordings offers proof why. But for the guitarist looking for a versatile bargain in Hendrix-ware, the Experience pedal is a good place to start. A rich fuzz that can be processed through Octavia-like treatments is pretty handy to have in one pedal, but when you add in the spacey backwards-tape sounds you can create with the Swell feature the end result is a powerful, multifaceted box at a bargain price.

One thing all of the "Machine Gun" effects we tested had in common was a reliance on high quality components and an obvious love of craft that their builders bring to their products. The combination we used to get the "Machine Gun" tone surely isn't the only one that will come close, but, as always, when it comes to guitar effects experimentation is the key. That's a lesson that Jimi Hendrix knew well

Thursday, February 14, 2008

CAN - Vitamin C Live

Pete Rock - NY's Finest EPK

Bryan Scary & the Shredding Tears - Flight of the Knife (first half) - 2008

FLIGHT OF THE KNIFE - by Bryan Scary & The Shredding Tears

A conceptual work centered around the sky and outer space, the album marks the first appearance of Scary's touring band on a record. It was recorded with producer Brian McTear (Apollo Sunshine, Matt Pond PA) between tours last fall. Featuring a harder rocking sound and heavy emphasis on ensemble dynamics, FLIGHT OF THE KNIFE captures the bands' acclaimed live sound while expanding upon the studio wizardry and lush eccentricities of Scary's self-recorded debut.

1. Flight of the Knife (Part One)
2. Venus Ambassador
3. Imitation of the Sky
4. La Madame on the Moon
5. The Fire-Tree Bird
6. The Curious Disappearance of The Sky-Ship Thunder Man

7. The Purple Rocket
8. The Zero Light
9. Mama Waits
10. Son of Stab
11. Heaven on a Bird
12. Flight of the Knife (Part Two)

Note: The blue is what is in the archive.

Officially released so far is the first half of Bryan Scary & the Shredding Tears' epic experimental pop masterpiece The Flight of the Knife. The only thing I've done is compacted the six songs (the first half of the total 12 tracks) into a single .rar archive.

Astro Love Mix

sad songs and happy songs about love.

01. The Moments - To You With Love

02. Slum Village - Fall In Love (Flying Lotus Remix)

03. Computer Jay Ft. The Gray Kid - 1000 Fold

04. John Holt - For The Love Of You

05. Alton Ellis - Its A Shame

06. Martina Topley Bird - I Only Have Eyes For You

07. Tricky - Judas

08. The Desert Sessions - Like A Drug

09. Breakout - Warm Up My Lips

10. Carmen Andaloro - Sulla Neve Con Te

11. Broadcast - Tears In The Typing Pool

12. Bonnie Dobson - You Never Wanted Me

13. Don Cooper - Fat Love Birds

14. Nico - These Days

15. The United States Of America - Cloud Song

16. Wool - If They Left Us Alone Now

17. Mogollar - Eastern Love

18. Van Morrison - Ballerina

19. The Zombies - The Way I Feel Inside

Wednesday, February 13, 2008

Eugene McDaniels - 1971 - Headless Heroes of the Apocalypse

All About Jazz Review

"This is soul. Not Al Green soul. Not Isaac Hayes soul (but perhaps a bit closer to that). This is the soul of the black man. It is the soul of a student of history who is sick and tired of force-feeding and ready to spit back. This is the soul of a man tired of the system and using his art to reframe and correct it.
When it first came out in 1971, Eugene McDaniels’ vitriolic statement irked and ired many, including Vice President Spiro Agnew, who personally contacted Atlantic Records to demand that the album be shelved. Despite this high praise from such a high post, the album’s music and message has survived in the hearts and minds of music lovers (including The Beastie Boys, who sampled a piece of McDaniels’ wisdom on Ill Communication ) and has now been revived in the equally aware hands of Producer Joel Dorn.

Though the abum may be a grand departure from McDaniel’s earlier hit, "Compared to What," its provocative soothe continues to reverberate. Predicting the coming of acid jazz and even gangster rap, McDaniels covers both the topics of his time — from the horoscopic groove of "Lovin’ Man" to the androgynous murder of "Jagger the Dagger" — and of times past and still present in sharp-eyed chronicles like "Headless Heroes," "Supermarket Blues," the subtly bomb-bastic "Freedom Death Dance" and "The Parasite" (which may be dedicated to Native American artiast and activist Buffy St.Marie). Wrapping his sharp words in cozy key lines and absorbent rhythms, McDaniels tells it like it is and rarely shirks the truth. Though "Susan Jane" is a jangly Dylan-esque exercise in simple rhyme, it acts as a necessary break from McDaniels’ torrential attacks of conscience."


1. Lord Is Back
2. Jagger the Dagger
3. Lovin' Man
4. Headless Heroes
5. Susan Jane
6. Freedom Death Dance
7. Supermarket Blues
8. Parasite (For Buffy)

Acid Mothers Temple - First Unitarian Church - Philadelphia Pa USA June 18 2004


Acid Mothers Temple - First Unitarian Church - Philadelphia Pa June 18 2004


01. 15:10
02. 18:21
03. pink lady lemonade 34:05

Audience Master. Sony d6c/909 mic>maxell xl2s>sony hxpro/audio source eq one>philips cdr775>eac>flac>Dime

Sweltering hot (100+ F) in a cramped basement... sound is pretty good, they rocked it.

Show number ninetythree from the zombicrypt. Selah!

Monday, February 11, 2008

?uestlove's Record Library

In Lingua Mortua - Bellowing Sea - Racked by Tempest (2007)

In Lingua Mortua's myspace

1. Oceanus Procellarum 01:55
2. Awe and Terror 08:08
3. Mirage 07:23
4. Relinquish 06:01
5. Lacus Somniorum 00:40
6. Winsome to Bestial 05:07
7. Sowers of Discord 11:07
8. The Melancholy Surge 09:14

Total playing time: 49:35

In Lingua Mortua is a project Lars F. F. started back in 1999. The music was inspired by a wide range of music everything from Norwegian black metal of the 90s to prog rock of the 70s, to jazz of the 50s, to country, to folk, to classical music, to electronica/trip-hop to film music (film noir and horror in particular).

The first album, "Bellowing Sea - Racked by Tempest" is lyrically a mix of Van der Graaf Generators "A Plague of Lighthouse keepers" from their 1971 album Pawn hearts, Dante's "Inferno" and Homer's "Odyssey", and was created in 1999/2000 and recordings began in the summer 2000. It consists of 8 tracks (a total of about 50 minutes). With him he got Uruz (from Urgehal, Shining and Vulture Lord) on drums, Marius Olaussen (from Ásmegin) on guitar, Trondr Nefas (from Urgehal, Vulture Lord, Beastcraft and Kvist) on vocal, Raymond Haakenrud (from Ásmegin) on additional guitar, Kristian Hultgren (from Wobbler) on saxophones, Sareeta (from Ram-Zet, Solefald and Borknagar) on violin and Jonny Pedersen on flute. Things moved slowly, and the project was haunted by one disaster after the other. The last recordings were finished summer 2005 Since things moved so slowly, Lars made the basic ideas for the second album.

Then autumn 2006 In Lingua Mortua was signed by the norwegian indie-label Termo Records ( and finally June 11th the album was set to be released in Norway and July 18th in the rest of the world.

ILM is currenly well into recording the second album, which will feature lots of guest musicians like Jørgen Munkeby (from the norwegian Shining) on sax and bass clarinet, Niklas Kvarfoth (from the swedish Shining) on some vocal, Ketil Einarsen (from Jaga Jazzist) on flute, Petter Berntsen (from Audiopain) on rickenbacker bass, plus tons of various guitarists (Jacob Holm-Lupo, Thomas Myrvold, Tony Kareid, Geir Marius Bergom Halleland, Raymond Haakenrud, Martin Johansson and many more..). Jens Petter Nilsen (from Xploding Plastix) will give some assistance with the recordings. As always, Lars will use many of his vintage keyboards (like mellotron, moog, arp, clavinet, rhodes, hammond and so on - no shitty samples or modern keyboards) all over the place, though this second album will be more guitar-oriented in general.

Omar Rodriguez Lopez - Calibration Video!!!

Sunday, February 10, 2008

My Hollow Drum 003: pLo - 2008 - thank you dilla

"pLo from MHD dropped us all a nice gift of choice songs from J Dilla to give praise to one of the most important members of hip hop music since its inception. Don't sleep on this mix, song after song of mind melting beats." ~ AstroNation

an assortment of donuts...
r.i.p. j yancey


Left Click to Play and Right Click and Save As to Save The File: thank you dilla

Turn it Up!

pLo Myspace Page

My Hollow Drum Myspace Page

No Coliseu - A Morte Saiu á Rua (José Afonso)

el periodistas List of 10 Albums From The '70s...

...that everyone should own, in no particular order:

Stevie Wonder - Innervisions
Recommended song: "Higher Ground"
Mood: uplifting
Makes me want to: walk with extra kick in my step

Curtis Mayfield - Superfly
Recommended song: "Pusherman"
Mood: poignant and funky
Makes me want to: buy some bongos and jam out

Fela Kuti - Zombie
Recommended song: "Zombie"
Mood: revolutionary
Makes me want to: dance and overthrow the government simultaneously

Miles Davis - A Tribute to Jack Johnson
Recommended song: "Right Off"
Mood: chill
Makes me want to: play pool in a smoky pub

José Afonso - Eu Vou Ser Como A Toupeira
Recommended song: "A Morte Saíu À Rua"
Mood: mournful
Makes me want to: live in the Portuguese countryside

Larry Harlow - Electric Harlow
Recommended song: "Guasasa"
Mood: playful
Makes me want to: walk the streets of San Juan

Santana - Abraxas
Recommended song: "Incident at Neshabur"
Mood: badass
Makes me want to: film a car chase scene that ends at a jazz club

Led Zeppelin - IV
Recommended song: "When the Levee Breaks"
Mood: epic
Makes me want to: repair some god damn levees

Can - Ege Bamyasi
Recommended song: "Vitamin C"
Mood: cool, confident
Makes me want to: deserve to walk with a swagger

King Crimson - Red
Recommended song: "Fallen Angel"
Mood: cinematic
Makes me want to: write eloquently about struggle in the face of urban decay

The Heliocentrics - 2008 - Maida Vale Session

"Recently The Heliocentrics recorded a live session at the BBC Maida Vale Studios, London, for Gilles Peterson's radio show. It aired at like 3 in the morning so I'm guessing nobody heard it but here is an exclusive rip of the performance featuring two new songs (or what I presume are new songs). 16 musicians took part in this session, the band sound so tight and hearing this makes me really desperate to see them live. This is the only place on the internet where you can hear this (other than radio 1's website shhh). Apologies for the sound quality not being amazing, but it was taken from a radio boradcast so... y'know. Definitely worth checking out." ~ Whorepresents?


1 - Interview
2 - Calabash
3 - Fine Line
4 - A World Of Masks

Michio Kurihara - 2005 - Sunset Notes

"Michio Kurihara's sublime solo debut is an impressionist concept record that refracts the golden radiance of the magic hour, its nine songs drawing inspiration from nine different sunsets spanning across the calendar year. A largely instrumental effort, Sunset Notes is foremost a showcase for Kurihara's remarkable guitar work — his leads soar like exotic birds in flight, brilliantly evoking the moods and colors of the solitary moments in time the songs capture." ~ AMG

1 Time to Go Kurihara 2:21
2 Do Deep-Sea Fish Dream of Electric Moles? 5:33
3 Wind Waltzes 3:30
4 Pendulum on a G-String - The Last Cicada 6:58
5 Canon in "C" (C Is for Cicada) 1:45
6 Twighlight Mystery of a Russian Cowboy 3:23
7 The Wind's Twelve Quarters 5:13
8 The Old Man and the Evening Star 7:45
9 A Boat of Courage 6:01

Miles Davis - 1972 - On The Corner Period Recordings


Miles Davis Nonet
Paul's Mall
Boston, Massachusetts

Project ID - LL179

Source: FM Broadcast
Lineage: WBCN radio broadcast > ?? > Maxell XL II (Low Gen??) >
DR-1 > Lunatec v2 > Korg MR-1000 > DSD-DFF 1bit 5.64MHz > Audio Gate > 24/44.1 >
audiophile enginering Sample Manager Izotpe/ src > 16/44.1 > cd wave > flac lvl 8

Miles Davis (tpt); Carlos Garnett (ss); Reggie Lucas (g); Khalil Balakrishna (sitar);
Cedric Lawson (keyb); Michael Henderson (el-b); Al Foster (d);
James Mtume Forman (cga, perc); Badal Roy (tabla)

disc 1

d1t01. /Black Satin
d1t02. Rated X
d1t03. Honky Tonk
d1t04. Right Off/



- D1t01: The beginning of this song is missing along with the preceeding Intro.

- D1t03: starting at about 8:30 there is a gurgling type noise. Not sure exactly what this.
It continues into about the first 30 seconds of track 4.

- D1t04: The track is cut at the end.

- Many thanks to Freekjazz for the tapes and D. McCabe for the mastering and transfer.
This tape came labeled as 9-24-1972 (See Peter's notes below). Through some comparison
it certainly fits the bill for this date. I would love to hear some of the other sources
of this date. The sound very good. Wish the show were complete.

- "This set was broadcast live on WBCN-FM radio. The closing announcement mentions that
the Davis Nonet is at Paul's Mall "for the rest of the weekend" -- probably from Thursday
the 14th through the following Sunday, the 17th. Another set, probably from a different night,
was recorded by someone in the audience and is sonically inferior. See the listing for
september 15-17, 1972 for details." - Credit to Peter Losin,

- "Super Sonic wrongly lists this music as recorded "live at the Quaker Jazz Festival,
Philadelphia, NJ / September 24, 1972." In addition, the track indexes are wrong:
1.Black Satin (9:31); 2. Rated X (15:13); Honky Tonk (9:34); 4. Right Off (11:45).
The Luxury CD is subtitled "WBCN Broadcast New Master" and the sound is imporoved over
other issues."- Credit to Peter Losin,

- QC done by Bgreen



Miles Davis Nonet
Frost Amphitheater-Stanford University
Palo Alto, California

Project ID - LL190

Source: FM Broadcast
Lineage: DR-1 > Lunatec v2 > Korg MR-1000 > DSD-DFF 1bit 5.64MHz > Audio Gate > 24/44.1 >
wavelab 5 > plugins > 16/44.1 > cd wave > flac lvl 8

Miles Davis (tpt, org); Carlos Garnett (ss); Reggie Lucas (g); Khalil Balakrishna (sitar);
Cedric Lawson (keyb); Michael Henderson (el-b); Al Foster (d); Badal Roy (tabla);
James Mtume Forman (cga, perc)

disc 1

d1t01. /Rated X
d1t02. Honky Tonk
d1t03. Right Off
d1t04. Black Satin
d1t05. Ife/



- d1t01: Track starts mid song, music lost.

- d1t05: Track ends mid song, music lost.

- I worked at getting the mud out of this source for quite a while. This is about the best I
could get it. I compared it to a circulating version and this source has doesn't have the drop
out the others had in the first 10 seconds. The distortion I heard in the other source is not
present here, and the overall source is just clearer. Great show. This source does have a slight
hiss and a few instances of a very faint crackle that I couldn't remove without stripping
the warmth from the recording. Enjoy.

- Big thanks to Jason (Freekjazz) For the sources and derek M for the transfer.

- Opener for the New Riders Of The Purple Sage

- "Ife" evolved as it was performed during this period: the jaunty ten-note ascending-descending
vamp that was the basis of the studio version of the tune was supplemented (and soon replaced)
by a simpler four-note riff. In 1972 live performances, the tune typically begins with the
slower riff and shifts to the quicker (here the shift occurs at 9:46). By early 1973 the
simpler slower riff replaced it completely."- Credit to Peter Losin,

- Edit and QC by Bgreen

Miles Davis playing Calypso Frelimo in 1973

Bill Laswell, Jack DeJohnette, Eliot Sharp, Graham Haynes 1998-8-27 Willisau Jazz Festival

TRAnsMuTAtioNs - Bill Laswell, Derek Bailey, Jack DeJohnette and DJ Disk



Bill Laswell - bass
Graham Haynes - cornet
Jack DeJohnette - drums/piano
Elliot Sharp - guitar

Willisau Jazz Festival
Willisau, Switzerland
August 8, 1998

FLAC Conversion: xACT
most likely SBD recording; sounds excellent

1. 10:30
2. 23:24
3. 10:22
4. 14:33
5. 16:28

Arti e Mestieri - Novara '75


Lineage: CD-R > Nero 6 Wave Editor > Goldwave > FLAC

Audience recording (8/10)

Arti e Mestieri
Novara, 1975


Gravitá 9.81
Saper Sentire
Valzer Per Domani
Dimensione Terra

Arti e Mastieri:

Gianfranco Gaza, vocals
Furio Chirico, drums
Beppe Crovella, Hammond, Piano, Mellotron, Arp Synthesizer, Solina
Marco Gallesi, bass
Giovanni Vigliar, violin and vocals
Arturo Vitale, sax and vibes
Gigi Venegoni, acoustic and electric guitars

Enjoy it!!!!