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Saturday, 19 November 2016

Mani Neumeier ” Kraut ‘N’ Rock - Guru Guru Grooves” 2011 Kraut Rock












Mani Neumeier ” Kraut ‘N’ Rock - Guru Guru Grooves” 2011 Kraut Rock
full CD 1
full CD1 + 2
The best drummer and percussionist Germany wrote music history!“ 
The best drummer and percussionist Germany wrote music history!“ 

(Frankfurter Rundschau) 


The band Guru Guru drummer Mani Neumeier is considered pioneering musical group of "Krautrock” genre. And enjoys one of the few German bands of this kind also internationally an excellent reputation. A special hallmark of Guru Guru and her inspirer Mani Neumeier is a rather rare combination of solid musician style with a decent zest of humor, cross-border stylistic diversity, high-class rock, jazz roots, a strong passion for dadaistic productions and a sympathetic anarchic- creative life. 

the fact that a drummer with his arts for decades characterizes a band and keeps the musical reins, occurs not frequent. Especially not in the local rock music. The percussionist and Guru Guru boss Mani Neumeier is in this respect something very special and one of the most versatile musicians of his guild. He is one of the most successful drum virtuosos between rock and jazz, has co-operated with numerous stars of the jazz and rock scene from George Gruntz or Wolfgang Dauner, Alfred Harth, Manfred Schoof, the Globe Unity Orchestra, John McLaughlin, Champion Jack Dupree and Yuseel Lateef And not least with his band Guru Guru a significant piece of jazz and rock history. Thanks to its diverse musical connections and productive networks, “Krautrock” has also become an internationally recognized trademark. A drummer of the extra class, a freejazz pioneer, multicultural specialist, daring sound explorer, musical world traveler, shaman and cross-border entfanterrible of the contemporary music scene. This anthology provides an overall view of the essence and work, life and music as well as the artistic development of Mani Neumeier and Guru Guru. The extraordinary story is documented here with all the important facets by outstanding recordings from the repertoire of Guru Guru and Mani Neumeier and with extensive texts and notes by Mani Neumeier himself, biographies of all participating musicians, the lyrics, discographical information, photos and an introduction the music journalist Volker Rebell explained in detail in the lush booklet. A worth listening to insightful journey through the wild world of herb and rock, as it has not yet been given in this form. 

“Mani, my musical companion and friend is a freak. Without, but in the most positive of all meanings. So one who presents himself with all his great talents and bizarre incidents outside of the social mainstream, provokes charmingly and the one of the game reserve without making reproaches. An original, also in the best sense: no copy, but always himself and remained faithful for decades. Musically and in his entire world view. He embodies everything that is important to me - and I am very grateful to him! ”(Hellmut Hattler)…………….. 

1. Stone In 5:43
2. Girl Call 6:21
3. Next Time See You At The Dalai Lama 5:58
4. Der Lsd Marsch 8:30
5. Electric Junk 11:01
6. Moroso 4:11
7. Blue Huhn 3:19
8. Galactic Human 5:56
9. Dark Blue Star 5:06
10. Jaipur 3:31
11. Electro Mutation 9:01 

CD2 

1. Hinten 4:32
2. Kräuter Und Weltmeister 5:04
3. Speed Display 5:12
4. Schall Und Rauch 1:35
5. I Touch Your Skin 3:25
6. Overheat 1:56
7. Elephantwalk 6:23
8. Jungle Party 3:28
9. Auf Alle Felle 5:34
10. The Frogs From Ishigaki 5:40
11. Eins / Ichi 10:03
12. Flexitwister 3:13
13. Bayangobi 10:04 

Gurnemanz “ No Rays of Noise” 1976 Private Germany Prog Folk Folk Rock








Gurnemanz “ No Rays of Noise” 1976 Private Germany Prog Folk Folk Rock
full
+ bonus
Line-up / Musicians 

- Lukas W.Scheel / guitar, vocals, mandolins, banjo 
- Manuela Schmitz / vocals, tin-whisles, percussion, recorder, kazoo 
- Siegfried Bushuven / bass, kazoo 
- Wolfgang Riedel / guitar, backing vocals, percussion, harmonica, bouzouki, flute, kazoo 

This late 70’s german semi-acoustic ensemble is a curiosity maybe too rapidly eclipsed by great bands of the progish folk scene. The music is not as ambitious / adventurous as pagan-medieval acid folk combos from Germany (Ougenweide, Parzival…) nevertheless it is constantly relaxing, intimate and pleasantly sunshiney. No Rays of Noise combines subtle-profundly emotional female voices (sometimes helped by some others vocalists) to pastoral blues-folk guitar sequences. The atmosphere tends to be pop-ish with hippie-like accents but it’s efficiently poetical and beautifully dreamy. The bonus tracks include nice live performances, not wonderful or transcendant but warmly vibrant with an inspired charming flavour. Generally the live parts feature a rockier instrumentation. Some tracks provide a dancing-forest like atmosphere for primal flutes (Mattelotte/Kupferschmied…). Some others develop a discreet tripped out kraut-folk ambience (Tra Na Rossan…). Difficult to choose one or a few best songs because the level is rather equal all along the album…it contains no real surprise but the natural-ceremonial folkish atmosphere keeps the listener’s attention. Recommended to those who enjoy the most introspective-fragile moments of prog folk. ………….. 

This is an awesome album of progressive folk-rock from German group Gurnemanz!! Very much in the style of UK folk-rock ala Fairport Convention or Spriguns, singer Manuela Schmitz has an amazing voice and could give Sandy Denny a run for the money!! The male vocalist, Lukas W.Scheel, has got a real Fairport-y delivery also!! The musicianship is stellar and the songs, whether sung in English or German, are great!! The version of John Barleycorn is one of the best I’ve heard!!….. 

Excellent Folk Rock made in Germany - mostly sung in english. 

I’m not a big fan of Folk-Rock in particular but this record really got something special. Great instrumentation, lovely voices (especially when in duo) and that melancholic & bluesy feel to it persuade my ears………….. 


First released in 1977, as this was the German progressive band's third of three actual lp's they had put out. You get the eleven tunes from the original album + eleven bonus cuts - that are in fact 'live' recordings of their never released 'Blue Moon' 1979 effort. Didn't blow my mind but but this CD reissue didn't exactly bore me to tears either. Some songs I sort of liked were "John Barleycorn", "Morning Song", the laid back "Rain Song" and "November". Line-up: Lukas Scheel - guitar, mandolin & banjo, Wolfgang Riedel - guitar, harmonica, flute & vocals, Siegfried Bushuven - bass & lyre, John Cremer - autoharp and Manuela Schmitz - percussion, kazoo & vocals. Total of twenty-two tracks with a duration of 77:52. Might be tough to find.....ByMike Reed......................


Gurnemanz hailed from Aachen in Rhineland, an acoustic folk troupe that existed from 1972 to 1979. After self-producing several cassettes in the early years, they managed to get a limited edition LP release on the EMI Electrola label in 1975 ('Spielmannskinder'). This second LP, No Rays of Noise originally issued in 1977 was pressed in larger numbers on EMI's Songbird label. Of the six touring members credited, only four were full-time instrumentalists, a pair of guitarists, another on the double bass, and vocalist Manuela Schmitz. Other instruments like flutes of various sorts, harmonica, and even kazoo appear often, duties shared by most members. Their lyrics were normally sung in English with a few also in German, and Schmitz sometimes sang duets with guitarist Lukas Scheel. Schmitz has a clean and pretty voice (not unlike Sandy or Joni), with lyrics the sort of whimsical portraits of nature you might expect. Though billed as progressive folk rock, this leans more toward traditional troubadour folk. The plentiful bonus tracks (live versions of songs meant for a third album entitled Blue Moon) indicate that at the very end (late 1979), the band added a drummer and some electric guitar and so widened their repertoire...................

Songs / Tracks Listing 
1. What a Day it is (3:10) 
2. Libelle (3:27) 
3. Der Schwartenhals (3:43) 
4. John Barleycorn (6:29) 
5. Givers and Takers (2:51) 
6. Morning Song (3:58) 
7. Dublin (3:14) 
8. Deep Sleep (2:40) 
9. Different Ways (2:25) 
10. Mattelotte/Kupferschmied (2:40) 
11. Die Auswanderer (3:01) 

Bonustracks 
12. My Friend (2:52) (studio 1976) 
13. Tra Na Rossan I (2:55) (live 1979) 
14. Tra Na Rossan II (3:03) (live 1979) 
15. Another Morning (3:44) (live 1978) 
16. Among The Rice Fields (5:05) (live 1979) 
17. Rain Song (2:07) (live 1979) 
18. Wanderer (4:06) (live 1979) 
19. November (2:15) (live 1979) 
20. November Tea (3:17) (live 1979) 
21. Vetrieben (4:15) (live 1978) 
22. How Much Love (4:43) (live 1979) 





Various “Drones4Daevid - The Real Music Club Brighton” February 8/ 2015 Real Music Club, 2015 {Daevid Allen} UK Psych Prog 2CD in 200 copies








Various  “Drones4Daevid - The Real Music Club Brighton” February 8/ 2015 
Real Music Club, 2015  {Daevid Allen} UK Psych Prog 2CD in 200 copies
full
watch….
The Drones4daevid gig was organised by the Real Music Club as a benefit gig for Daevid Allen, to help with his medical recuperation costs after he had been treated for cancer. Very sadly, a week before the gig, Daevid announced that the cancer had returned, and that he was going to decline further evasive treatment, and bow out with dignity. The gig became a celebration of Daevids life and works, and a big big thank you to Daevid with fans and performers travelling far and wide to be at this gig. 
The Real Music Club would like to thank all the performers, artists, the venue and especially the audience who made this gig such a loving celebration. All the performances were played with such passion and warmth for Daevid. ….. 

Quoting from the back of the CD: “The Drones4Daevid gig was organized by the Real Music Club as a benefit gig for Daevid Allen, to help with his medical recuperation costs after he had been treated for cancer. Very sadly, a week before the gig, Daevid announced that the cancer had returned and that he was going to decline further treatment, and bow out with dignity. The gig became a celebration of Daevid’s life and works, and a big thank you to Daevid with fans and performers travelling far and wide to be at this gig”. 

Drones4Daevid took place on February 8, 2015 and of course we lost Daevid the following month. We’ve got an array of performers, much of it with collective lineups, performing Daevid’s compositions and other music. 

The seven musician Invisible Opera Company Of Tibet open the festivities with the Space-Pop rocking Mysteries, which has killer melodic hooks and a ripping tripped out guitar solo. The Opera Company returns again with the Space-Prog rocker Circle Around, which is powerfully Gong spirited and includes some nifty hypnotic segments. The Opera Company later go into full blown Gong mode for a rousing version of the classic You Can’t Kill Me. It’s a monster performance and extra kudos to Jackie Juno for channeling Gilli on this one. Equally potent is the heavy rocking Reign Of The Dragon. 

Monty Oxymoron and Friends weigh in with a deep space, mystically throb grooving take on Daevid’s Non God Will Not Go On Or The Wrong Way To Be Right. They also crank out a very cool soulfully Psychedelic rendition of Soft Machine’s We Did It Again. And Monty steps up to the mic for a couple of solo spoken word poems. 

With a duo lineup of piano and violin, Mark Robson brings a tear to the eye with his lovely cover of Daevid’s Garden Song. Mark is a VERY impressive vocalist. He gets plenty of room to stretch out on the 14 minute Blame The Rich, which starts off as a song and then becomes a poster child for this set’s Drones4Daevid title with an OM chant charged violin, didge, gliss guitar and piano excursion which is variously hypnotic, Space-Prog-Jazz exploratory and at one point has a traditional Celtic vibe, which is especially cool with the didge droning along. Absolutely freakin’ fantastic! 

Shankara Andy Bole on guitar, bazouki, gliss guitar and ebow serves up 23 minutes of Eastern/Indian inflected space/drone/gliss exploration. Andy is later joined by Elliet Mackrell, whose violin graced Mark Robson’s songs, for what briefly sounds like the Fiddler On The Roof soundtrack performed for a group of yogis and snake charmers before spinning off into an intense combination of Psychedelic and concert hall jamming swirl. We’re treated to another lengthy workout by The Glissando Guitar Orchestra which features the lineup of Brian Abbott, Andy Bole, Dani Speakman (Timelords, Psychik Atters), Kev Hagan (Nukli), Mark Huxley (Nukli), Bob Hedger, and Gregg McKella (Paradise 9), and conducted by Jackie Juno. Wow, Glissando + Orchestra = 20 minutes of mind-bending, whirly, swirly, droney stoney space exploration. And, finally, the festivities close with a heartfelt poem-tribute to Daevid by Arthur Brown. 

In summary, this is one hell of a set, with lots of variety and fantastic musicianship and spirited performances from all. HIGHLY recommended…… 

Necronomicon “Strange Dreams” Germany recording 1979 released by Garden Of Delights 2009






Necronomicon  “Strange Dreams” Germany recording 1979  released by Garden Of Delights  2009 
full
Strange Dreams presents 13 archived recordings from the Aachen band Necronomicon. The first ten are rehearsal tapes and the final three live, all from 1976. Consequently, the sound quality is not all that good, despite Garden of Delights’ efforts to present the music in the best possible light. Though Necronomicon had moved on musically from their debut release Tips zum Selbstmord, their music was still dominated by the duels between Dieter Ose’s organ and Walter Sturm’s electric guitar, along with Harald Bernhard’s dynamic percussion. However, gone are the politically-charged and vicious lyrics, opting for more of a poetical feel, and “Morning” has a definite “Whiter Shade of Pale” vibe to it. All the lyrics for the songs on this disc were written by the band, except for “The Donkey,” taken from a poem by British author G. K. Chesterton. The cover art for this CD is an insane pen and ink drawing of a joker from one of their concert posters. The music is interesting if you can get beyond the muffled sound, it sounds as if it was recorded inside a garbage can. It is probably best to experience this disc in small doses to truly discover the hidden beauty of the music. The bottom line is this disc is probably only of interest to the collector….. 

This album ‘Strange Dreams’ contains unreleased tracks recorded at their rehearsals and upon a gig in Herzogenrath near Aachen in 1976 (later released via a German independent label Garden Of Delights), and their musical style including the stuffs here might be closer to heavy / psychedelic progressive ensemble (keyboard, guitar, bass, drums-based) than Krautrock one in my humble opinion. Indeed Fistus’ inorganic and quirky organ sounds might influence much upon younger Krautrock outfits I guess (right?). Through the whole album, recording quality or sounds are not good (sometimes sounds are warped and interrupted) but this bad recording (or preservation of tapes) condition can notify us some Kraut-ish atmosphere cynically. There are lots of important points to listen to - the first three tracks Get The Feeling ~ Knocker ~ Motorcycle are exactly very typical heavily psychedelic guitar-based progressive rock examples. Morning is an organ-based laid-back psychedelic song reminding us Procol Harum. The title track Strange Dreams sounds heavy rock one with free jazzy essence in the middle part. And my masterpiece - The Donkey always make me weep … slow-tempo, depressive but dramatic and aggressive organ-based psychedelic progressive. Without my intention this song let me push the “reverse” button on my CD player. Little Man, the last song in this album recorded at some rehearsals, is very flexible jazz rock / fusion with much psychedelic bitter sweet. The last three songs recorded on a gig are more poppy for me but I can feel good air NECRONOMICON and the audience should be well united. ……….. 

1-10: Übungsraum 1976 
11-13: Live Jugendheim Herzogenrath 1976 

Line-up/Musicians: 
- Walter Sturm / guitar, vocals 
- Dieter Ose / keybords, guitar, vocals 
- Bernd Oppitz / bass 
- Harald Bernhard / drums, percusion 

Tracklist 
1 Get The Feeling / Starter 9:10 
2 Knocker 5:08 
3 Motorcycle 6:49 
4 Morning 4:27 
5 Strange Dreams 5:04 
6 Roundabout 8:33 
7 The Donkey 6:48 
8 Sunday 4:36 
9 The Well 4:14 
10 Little Man 10:02 
11 Amadeus’ Song 5:22 
12 Driving Me Mad 4:36 
13 Gossip 4:31 
Necronomicon 1976 from left to right Walter Sturm (Gitarre, Gesang) Bernd Oppitz (Bass) Dieter Ose (Keyboards, Gitarre, Gesang) Harald Bernhard (Schlagzeug, Percussion)

Gulââb “Ritt Durch Den Hades” 1979 Merlins Nose Records, 2014 Kraut Rock Germany Prog Psych Folk Originally only released on tape





Gulââb  “Ritt Durch Den Hades” 1979   Merlins Nose Records, 2014 Kraut Rock Germany Prog Psych Folk  Originally only released on tape 
full
Rather psychedelic, krautrock-resembling, but all the way psychedelic folk, and not like any psych folk, but more like medieval and Nordic ……….. 

Ultra-rare lost psychedelic Kraut-folk from 1979. First time on CD and LP. Taken from the original master tapes. “Gulaab” means “rose” in the Nepalese language. Gulaab is a German virtuoso on the acoustic guitar who served three years as an after-dinner musician in a luxury restaurant in Nepal, playing for an amazing number of well-known personalities of the 20th century during the early ‘70s. This was a strongly-influential experience that shaped his musical expression big-time, but also let him become an open-minded spirit. Ritt durch den Hades is the result of his experimentation with sounds, atmospheres and a multitude of styles in traditional music from Latin to Eastern Asian elements. It was first released in 1979, vanishing into obscurity soon after, waiting to be rediscovered by a more open-minded generation of music lovers now. Traditionalists be forewarned: This mystic grail of '70s “Kraut folk” stands far out from the average folk and singer/songwriter stuff, combining guitar harmonies of the highest order with a cosmic drone that backs up the hypnotizing picking and trippy swirls of sounds. This album is in fact more like a musical journey than just a piece of music, taking you from secret sacrificial altars in the Andes to the ceremonial places of the ancient Himalayan population with a short stopover for a little “joint venture” in the musical space-centers of highly flown-out German originators like Ash Ra Tempel/Manuel Göttsching, Popul Vuh/Florian Fricke, Witthusser & Westrupp, Bröselmaschine, Dom or Deuter. Now take a ride through Hades with Gulaab……. 

Gulbââb is a one man band project of a guitarist who lived in Nepal for three years and who returned to his homeland to record this album, which partly is about a spiritual journey, going behind the questions of life and death, with spoken word and an eastern flavour of conga-like percussion and layers of guitar which still to a degree reminds a bit of Bröselmaschine, and also, acoustic to electric guitar trips in several layers which with its most effects of echoes reminds me a bit of “Echos Aus Zeiten Der Grünen Reise” by A.R. & Machines, a trippy guitar-based album with sequenced rhythms, and at it’s most acoustic has something of a medieval dance, still going trippy. Most tracks build up with guitar layers mostly, turning an acoustic sound thoroughly into an electric one, (with it’s pickings), more and more wah-wah effects and percussive echoes to it, which I think is mostly caused by the guitar box’ as well, adding lot’s of reverb to it. The trips are meditative and calm but are at times picked in a pretty fast way, hence the sequenced effect of that can be compared to AR & Machines at times. In the middle of the sessions, a female singer appears with a dreamy voice. The acoustic guitar pickings at it’s most medieval have something Spanish as well (not yet flamenco, but clearly leaving an interest and possibility to have this style some day included as well)). There are elements of tambourine and bodhran, the use of a temple bell, flutes and perhaps a bouzouki somewhere. Here and there a slide-effect can be heard too. Only on the concluding track one can hear vaguely a Swiss folk atmosphere peeping through, while keeping its mind independent of that….. 

Up to now, Gulaab has had a rather exceptional career: Living three years in the Himalayan kingdom Nepal, he worked as a guitarist for the legendary Boris of Kathmandu. Boris, a friend of king Birendra V of Nepal, provided culinary titbits to personalities coming from all over the world in his noble dining establishment. To finish the exclusive meal, each guest had the opportunity to order a “musical desert” from Gulaab’s classical-Spanish guitar. Mountaineers, from Edmund Hillary to Reinhold Messner, ambassadors, politicians, including the king and his family, invited him to their table - a thousand and one nights in total… 
In the Far East, Gulaab (Nepali word for “rose-flower”) learns that not one single component in nature can exist without its counterpart. Building on this knowledge, he creates his music - a sound that moves into spheres but never fails to get back to earth, in other words: Spheric sounds, accompanied by vivid rhythms. To achieve this goal, he uses natural instruments such as flutes, African percussion, sitars and guitars, occasionally mingling these with synthetic sounds. 

In his music, Gulaab transforms all his experiences into sounds: extensive travels all over the world, specially the Eastern Hemisphere, as well as experiences in the esoteric field. 
Back in the west, Gulaab performs on stage, TV and radio. He not only composes music for dance - and theatre - productions but also tours with most of these groups, the largest project of which being “Mondaufgang” by the Swiss Dream-Circus Rigolo (Switzerland Tour 1990-1992). Apart from that he works on coproductions for radio-plays, together with the German author Gina Ruck-Pauquet, as well as composing and producing film-music. In 1985 he won the Bavarian broadcast “Zundfunk”. Further productions: “Meine Lieder”, “Live 1”, “Live 2”, “Die Blaue Blume”, “Derr Narr”, “Der Weg”, “Die Stadt mit den Goldenen Dachern”, “Ritt durch den Hades”, “Styx”. 
Here’s a P.Frohmander related guitarist,producing crazed out depressive,dark psych prog music!Would be glad to find more of his recordings.HIGHLY RECOMMENTED!…by Mutant Sounds….. 

Gulââb, which is supposed to mean Rosenblüte in Nepali, is the artist name of a multi-instrumental guitarist, who currently lives in Bavaria, somewhere between Lake Starnberg and Bad Tölz, earning his money primarily as a composer, producer and guitar teacher Playing. At one point in the world-wide network is the indication that his bourgeois name is Rudolf Birnbaur, which might be so, but perhaps still needs an independent confirmation. Much is Mr. Gulââb but apparently not interested in knowing his real name. 

He used to be a world traveler and lived in Nepal. There he was - as can be read in the booklet of the album to be reviewed here - in the famous restaurant “Yak & Yeti” by Boris Lisanevich in Kathmandu to provide the guests with musical dessert. 

Only two recordings have apparently appeared so far by Gulââb: “Ritt durch den Hades” (1979 - as a tape recorder) and “Veils Of Mystery” (1993 - on Peter Frohmader’s label Nekropolis Records). “Ride through the Hades” was released on CD in 2014 by the label Merlin Nose Records, which is specialized in freaky folk, with a new cover (the lower of the two shown above - the top one of the cassette). 

The label moves “Ride through the Hades” to the vicinity of the herbs (folk), the ancient Ash Ra Temple, Popol Vuh, Witthüsser & Westrupp, Bröselmaschine, DOM and Deuter, which can be left quite so, at least in terms of atmosphere and stylistic orientation (The stupid drug herb from Witthüsser & Westrupp is the least suitable for comparison). The subtitle of the album is “musical documentation of a fantastic journey”, and something like that is heard by the listener. Acoustic guitar tones determine the sound image, tightly interwoven lines, echoing, echoed and multi-layered over each other. In addition there are all sorts of percussive inserts, various electronic filling sounds, tape recordings and sometimes profound text recitations and worn-exotic singing inlays. 

The tonal result is reminiscent of the repetitive echogitarrenic examinations of a Günter Schickert, but does not appear quite so electronically and spatially, and always shows folk influences, which from Bavaria (at least in the final “homecoming”), over Spain, the Balkan up to The Himalayas and then provide for a light ethnic atmosphere or medievale atmosphere. Hypnotic-minimalistic, spherical-meditative, sometimes slightly bevelled and desolate (eg listen to the hectic “power struggle” or the “icaros” underlined with hissing electronic sounds) slips this music out of the boxes, sound, ethereal, virtuoso and dense. Anyone who appreciates Schickert-like, meditative Krautfolk and Psychedelic-Schrammelig-Progressives and has nothing against a certain esoteric-transcendent smell, should invest here!…by… Achim Breiling…. 

1. 
Die Zeit 02:59 
2. 
Machtkampf 02:10 
3. 
Sing, Gevatter Tod, sing 03:07 
4. 
Das Orakel 04:07 
5. 
Die Bestattung 02:33 
6. 
Ritt durch den Hades 06:35 
7. 
Bruder des Windes 06:16 
8. 
Alkaios 01:21 
9. 
Dionysos - Gott des Weines 01:14 
10. 
Tanz der Nymphen 02:00 
11. 
Ikaros 03:52 
12. 
Silberstern 03:56 
13. 
Artemis - Göttin der Jagd 06:28 
14. 
Derwisch 02:00 
15. 
Reinkarnation 04:50 
16. 
Heimkehr 03:18 

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“A Revolutionary New Triumph in Tape” 1958

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