Chuck Berry – The London Chuck Berry Session (1972)

FrontCover1The London Chuck Berry Sessions is an album of studio recordings and live recordings by Chuck Berry, released by Chess Records in October 1972. Side one of the album consists of studio recordings, engineered by Geoff Calver; side two features three live performances recorded by the Pye Mobile Unit, engineered by Alan Perkins, on February 3, 1972, at the Lanchester Arts Festival in Coventry, England. At the end of the live section, the recording includes the sounds of festival management trying in vain to get the audience to leave so that the next performers, Pink Floyd, can take the stage; the crowd begins chanting “We want Chuck!”

“My Ding-a-Ling”, from the live side of the album, was edited to approximately 4 minutes for release as a single. It was Berry’s first and only single to reach number 1 in both the US and the UK.

In May 1970, Howlin’ Wolf traveled to Olympic Sound Studios in London, England, to record songs for The London Howlin’ Wolf Sessions. The album was released in August 1971[6] and peaked at number 28 on Billboard magazine’s R&B Albums chart and number 79 on the Billboard 200.[7] Because of Wolf’s success, Muddy Waters recorded his own London Sessions album in December 1971, and Berry did the same in 1972.

The album was not even out for a month, when on October 27, 1972, The London Chuck Berry Sessions was certified gold by the Recording Industry Association of America with sales of 1,000,000 units. It is Berry’s only album to be certified by the RIAA  (by wikipedia)

BackCover1.JPG

One-half of this album is a studio recording featuring Ian McLagan and Kenny Jones of the Faces. The other half is a live recording from the Lancaster Arts Festival in Coventry, England, featuring performances of “My Ding-a-Ling” and “Reelin’ and Rockin'” that, in edited form, became the first hit singles for Chuck Berry in many years. (“My Ding-a-Ling” went gold and hit #1.) This gold-selling, Top Ten album represents Berry’s commercial, if not artistic, peak. (by William Ruhlmann)

But .. on this album we can hear the best version of “Reelin’ And Rockin'” … a male fantasy of omnipotence …

And his version of “My Ding-a-Ling” is another song by Chuck Berry … and his version is very hot:

The lyrics with their sly tone and innuendo (and the enthusiasm of Berry and the audience) caused many radio stations to refuse to play it. British morality campaigner Mary Whitehouse tried unsuccessfully to get the song banned. “One teacher,” Whitehouse wrote to the BBC’s Director General, “told us of how she found a class of small boys with their trousers undone, singing the song and giving it the indecent interpretation which—in spite of all the hullabaloo—is so obvious … We trust you will agree with us that it is no part of the function of the BBC to be the vehicle of songs which stimulate this kind of behaviour—indeed quite the reverse.”

In Icons of Rock, Scott Schinder calls the song “a sophomoric, double-entendre-laden ode to masturbation”. Robert Christgau remarked that the song “permitted a lot of twelve-year-olds new insight into the moribund concept of ‘dirty'”.

Berry refers to the song on the recording as “our alma mater

Chuck Berry01

Personnel:
Chuck Berry (vocals, guitar)
Derek Griffiths (guitar on 01. – 05.)
Kenney Jones (drums on 01. – 05.)
Dave Kaffinetti (piano on 06. -09.)
Robbie McIntosh (drums on 06. – 09.)
Onnie Owen McIntyre (guitar on 06. – 09.)
Ian McLagan (piano on 06. – 09.)
Nic Potter (bass on 06. – 09.)

Booklet1

Tracklist:

Side one (studio recordings):
01. Let’s Boogie (Berry) 3.11
02. Mean Old World (Walter) 5.48
03. I Will Not Let You Go (Berry) 2.51
04. London Berry Blues (Berry) 6.00
05. I Love You (Berry) 3.26

Side two (live recordings):
06. Reelin’ And Rockin’ (Berry) 7.07
07. My Ding-a-Ling (Bartholomew) 11.34
08. Johnny B. Goode (& Closing) (Berry) 4.21
+
09. My Ding-a-Ling (single edition) (Bartholomew) 4.22

(This version of “Johnny B. Goode” replaces the first verse of the original with the first verse of “Bye Bye Johnny”.)

LabelB1

*
**

Singles

Advertisements

Chris Hinze Combination – Virgin Sacrifice (1972)

FrontCover1Christiaan Herbert “Chris” Hinze (born June 30, 1938, Hilversum) is a Dutch jazz and New Age flautist.

Hinze initially performed publicly as a pianist until the mid-1960s, when he began studying flute at the Royal Conservatory of The Hague and then at Berklee College of Music. As a pianist, he played with Boy Edgar until 1966, but by 1967 was playing flute professionally with the bassist Dick van der Capellen. His first releases as a leader were issued in 1969, and in 1970, Hinze was awarded the Best Soloist prize at the Montreux Jazz Festival. In the 1970s, he formed his own ensemble, the Chris Hinze Combination, which included players such as Gerry Brown and John Lee, and which saw some success with arrangements of Baroque music in a jazz setting. He also founded the record label Keytone Records in the mid-1970s.

In the 1980s, Hinze played for several years in a duo with Sigi Schwab and continued touring with a new version of his Combination. He began studying the music of Tibet and South Asia in the middle of the decade, forming a world music ensemble which shifted toward more New Age and electronic music styles rather than jazz. (by wikipedia)

ChrisHinzeCombination1972A

This is music that was composed by Chris Hinze for a TV-series on the subject of archeology called Digging for the Past.

Because of the request of a lot of viewers, it was decided to compile this album. The sound is mostly directed in the new-age, soundtrack style with moments of jazz-rock/fusion such as The First Wheel and Bamboo Feelings among others.

And this is another hightlight in the career of the great Chris Hinze … listen and enjoy !

Chris Hinze 1972

Personnel:
Gerry Brown (drums, percussion)
Chris Hinze (flute, organ)
John Lee (bass)
Wim Stolwijk (piano, spinet)
+
Louis van Dyke (piano)
Roger Cooke (bass)

LPBackCover1

Tracklist:
01. Roman Frescoes 4.04
02. Virgin’s Sacrifice 3.33
03. A Collection Of Potsherd 3.27
04. The Viking Ships Of Roskilde 2.37
05. Oak-Leaf 4.30
06. Statuettes Of Children 2.16
07. The Rune-Stone Of Haitabu 2.59
08. The First Wheel 2.41
09. The Shifting Sands Of Mantinge 3.36
10. Eros & Psyche 3.05
11. Frisian Mounds 3.46
12. Cult-Bowl 3.01
13. Bamboo Feelings 1.45

Music composed by Chris Hinze

LabelB1.jpg
*
**

LinerNotes

Pete York Percussion Band – Same (1972)

FrontCover1After the split of “Hardin & York” Pete York formed his first own Group, The Pete York Percussion Band …

“By 1972 Pete York’s Percussion Band had hit the road. It featured a brass section and three drummers as well as guitarist/singer Miller Anderson. Occasional guest drummers in this adventure were Ian Paice, Keef Hartley, Roy Dyke and Keith Moon.” (as told by Pete York).

But for this studio recordings he jammed with old friends from the Birminham jazz-scene … and the album was co-produced by Ian Paice from Deep Purple, an old friend of Pete York.

Bill Coleman played a few years earlier with Kenny Ball,

And they Play during these days of Prog-Rock an great old fashioned jazz Album with lot´s of drums and percussion (of Course) and a real string brass section.

One hightlight is a ten Minute jam “Sombrero Sam ” (written by Charles Lloyd).

Another highlight is a classical jazz Version of “The Arrival Of The Queen Of Sheba” (written by the German baroque composer George Frideric (or Frederick) Handel) … Great !

Pete York 1972_02

A few months later Pete Yorks Percussion band recorded a great concert for the “BBC In Concert” series featuring Ian Paice and Jon Lord … you will hear this Show very soon in this blog.

10 yearts later, Pete York formed another jazz Group, called “Pete York´s New York” (see here) and he played again with Mel Thorpe and Roger Munns ,,,

I guess, this is one of the rarest Pete York recordings and it´s real good one!

BackCover

Personnel:
Bill Coleman (bass, e-piano)
Steve Fearn (guitar, vocals)
Roger Munns (piano, trombone, clarinet)
Barry Sutton (trumpet)
Mel Thorpe (saxophone, flute, clarinet)
Gordon Williamson (drums, percussion)
Pete York (drums, percussion)
+
Ian Paice (Percussion on 04.)

Booklet1

Tracklist:
01. Keep On Running (Edwards) 2.39
02. Nothing Yet (Munns) 3.28
A3 Cold Night In The City (Fearn) 2.06
04. Sombrero Sam (Lloyd) 10.11
05. Mel’s Blues (Thorpe) 2.54
06. Moleshawk (Coleman) 3.55
07. Stroke (Coleman) 3.49
08. The Arrival Of The Queen Of Sheba (Händel) 2.43
09. Points (Munns) 4.00
10. Over (Fearn) 2.37LabelB1.jpg*
**

Elton John & The Royal Philharmonic Orchestra – Concertstück (1972)

FrontCover1Concertstück contains a 50-minute fragment of the soundboard from Elton John’s second orchestral show. The sound quality is excellent however but has edits between the various numbers to fit the broadcast. “Tiny Dancer,” which followed “Sixty Years On” is unfortunately missing from the broadcast.

John opens the concert solo. He is then joined by Nigel Olsson, Dee Murray and the debut appearance of Davey Johnstone as a member of the Elton John Band. The band is augmented by Alan Parker (guitar) and backup singers Madeline Bell, Lesley Duncan and Caroline Attard. The first 14 songs of the set have yet to appear on tape and include: “Rocket Man,” “Honky Cat,” “Mona Lisas And Mad Hatters,” “Holiday Inn,” “Can I Put You On,” “The Greatest Discovery,” “Love Song,” “Mellow,” “Suzie (Dramas),” “I Think I’m Going To Kill Myself,” “Amy,” “Salvation,” “Hercules,” and “I Need You To Turn To.”

The tape picks up when John is joined by the Royal Philharmonic Orchestra conducted by Paul Buckmaster. Rock-classical hybrids are a mixed bag and do not work most of the time, either because the orchestra simply isn’t audible over the amplified music or because the arrangements written for the orchestra are too limited by pop sensibilities. But this must be one of the more successful collaborations simply because the orchestra is given an authentic voice in the music. Most beautiful are the use of the woodwinds and brass in the arrangment of “The Greatest Discovery.”

EltonJohn1972

“Sixty Years On” is dramatic with a gorgeous interlude on violins and violas in the middle reminiscent of a Vivialdi emotional tirade. “Indian Sunset” is a bizarre collection of images of the American Indian tribes but the best performance on this disc is the long “Burn Down The Mission.” The song reaches a climax with the gospel/Pentecoastal section by the end of the song. Overall this is a good release although it would be great if someday the entire show with the John solo section and “Tiny Dancer” were to surface and be released.

BackCover1

Personnel:
Elton John (vocals, piano)
Davey Johnstone (guitar)
Dee Murray (bass)
Alan Parker (guitar)
Nigel Olsson (drums)
+
background vocals:
Madeline Bell – Lesley Duncan – Caroline Attard
+
The Royal Philharmonic Orchestra conducted by Paul Buckmaster:

Paul John Buckmaster, who passed away on November 7, 2017 at the age of 71, was a Grammy Award-winning British artist, arranger, conductor and composer. He is best known for his orchestral collaborations with Elton John and with The Rolling Stones in the 1970s.

PaulJohnBuckmaster

Tracklist:
01. Your Song 4.13
02. Take Me To The Pilot 3.59
03. The Greatest Discovery 3.41
04. Sixty Years On 4.11
05. The King Must Die 4.58
06. Indian Sunset 7.01
07. Border Song 3.21
08. Madman Across The Water 6.31
09. Burn Down The Mission 10.20
10. Goodbye 1.57

Music: Elton John
Lyrics: Bernie Taupin

AlternateFront+BackCover

Alternate frontcover (DVD)

*
**

And here´s a video from this show:

101 Strings Orchestra – The Soul Of Greece (1972)

FrontCover1101 Strings Orchestra was a brand for a highly successful easy listening symphonic music organization, with a discography exceeding 150 albums and a creative lifetime of around 30 years beginning in 1957. 101 Strings had a trademark sound, focusing on melody with a laid-back ambiance most often featuring strings. Their LPs were individualized by the slogan “The Sound of Magnificence”, a puffy cloud logo and sepia-toned photo of the orchestra. The 101 Strings orchestra included 124 string instruments, and was conducted by Wilhelm Stephan. The orchestra’s famous official photograph was taken in the Musikhalle Hamburg.

Record label mogul David L. Miller came to prominence by releasing the first Bill Haley & His Comets’ records in 1952–1953 on his own Essex label (followed by Trans-World, then Somerset Records). In this capacity, Miller played a role in the creation of rock and roll.

Following the rise of mood music (practitioners Mantovani and Jackie Gleason Presents), Miller subcontracted the Orchester des Nordwestdeutschen Rundfunks Hamburg (the Northwest German Radio Orchestra of Hamburg) conducted by Wilhelm Stephan to play in-house arrangements of popular standards.[3] The first three 101 Strings albums were released in November 1957, and twelve more titles were released in 1958 (many of which featured recycled material from earlier albums attributed to the New World Orchestra, Rio Carnival Orchestra, and other light music orchestras). These records were pressed by Miller’s own plants and released through his own distribution channels (such as grocery stores).

Miller1970

His core staff arrangers were Monty Kelly, Joseph Francis Kuhn, and Robert Lowden. All three proved adept at writing original compositions that were stylistically consistent both with contemporary hit songs and each other. Miller placed these on 101 Strings albums to provide additional publishing revenues.

Kelly’s earliest successes were Latin and Spanish travelogues (such as the “Soul of Spain” series), although he became 101 Strings’ “Now Sound” specialist following the British Invasion. Kuhn concentrated on radio-friendly numbers in the “Pops”‘s orchestral manner (“Blues Pizzicato”, etc.) which provided Somerset its initial catalog of originals. Lowden composed lounge ballads (such as “Blue Twilight”). Their body of early 1960s work was recycled via re-release throughout the next twenty years.

In 1964, Miller sold the franchise to Al Sherman, a successful record label distributor, who renamed the label Alshire (based in Los Angeles) and moved recording to London. Sherman retained Miller as a partner to oversee production and A&R. The Alshire era is characterized by large-scale expansion of product, attempts to branch out to younger markets and beginning in 1969, eventual stagnation (although late efforts by Les Baxter and Nelson Riddle were released under the 101 name in 1970). Output decreased from 1974 on. A tribute to John Lennon (composed of earlier Beatle tribute material – 101 Strings play Hits written by The Beatles) in January 1981 marked the final 101 Strings effort.

Al Sherman

Many 101 Strings albums are simply orchestrated versions of pop hits and show tunes, although the early Somerset material contains many examples of the exotica and lounge genres. Songs of the Seasons in Japan, Hawaiian Paradise, and East of Suez are three such albums. 101 Strings Play the Blues and Back Beat Symphony were early experiments in symphonic-pop hybridization, while Fly Me To The Moon contains five noir-ish originals. Alshire releases include ‘Now Sound’ albums such as Jet Set, Sounds of Today, and Astro-Sounds from Beyond the Year 2000, the last of which has been frequently sampled by electronic music artists of the 1990s and 2000s (decade).
Sims and the New 101 Strings Orchestra

This possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (April 2012) (Learn how and when to remove this template message)

The Alshire catalog was sold to Madacy, Inc. in the 1990s and, under the direction of Greg Sims, a “New 101 Strings Orchestra” began releasing a series of CDs (including a two-volume Beatles set). 101 Strings compilations were reissued on CD during the “lounge revival” of the 1990s. Few 101 Strings LPs have been re-released in their original form.

FirstAlbum1957
The cover of the first album, 1957

If one goes to the Madacy site to view their 101 Strings collection, exactly the same description that was used on the Bel Canto’s ST- 76 two track stereo release about the 101 Strings sound is reprinted. The 50 Hz hum heard on many of those tape recordings was due to the Ampex 350’s filtering which was not well suited for European 50 Hz power. The “My Fair Lady” and “King and I” releases have what appears to be the sound of dirty mixing pots used on the fly during those sessions. There were a number of tape releases that sounded like tape copies of pristine Stereo Fidelity vinyl which actually, were not all that pristine. Stereo recordings were made with a triangular cutting stylus. This resulted at times in pinch distortion which early conical styli did not handle well. Inner grooves especially, due to the increased density of the recorded information due to the slower relative movement of the track under the stylus, were more susceptible to distortion with conical styli in use at the time this record was released. The later development of elliptical styli allowed more precise tracking of the track and greatly reduced inner-track distortion.

In the 10 years and 2 months of their existence, 101 Strings sold over 50,000,000 records worldwide. (by wikipedia)

And here´s one of the many albums by the 101 Strings Orchestra:

The music on this CD is nicely arranged and played, but it sounds too orchestrated! To be fair, it is performed by the 101 Strings Orchestra and it wasn’t misrepresented in the write-up. But I was looking for music with a folksy feel like you might hear at a cafe in Greece, and this is not it. (by an amazon customer)

If you’re looking for string orchestrated, romanticized versions of popular Greek songs, this is a good album. This version of “Never on Sunday” beats Percy Faith’s overly cute, string orchestrated version on his “Tara’s Theme” album (1961), since this version has real bouzoukis in it and also the full intro. Most of these songs do have bouzoukis, without which they wouldn’t sound very Greek. A few songs here like “Athens By Night” have vocals, but most are instrumental. Many of these melodies will be recognizable to anyone who collects American pop Greek song albums, especially “Hassaposer Vico” and all the songs on the last half of the CD. I’m not sure how many of these songs are authentic Greek songs; “Zorba the Greek” and “Never On Sunday” of course are modern American pop songs from movie soundtracks, written in a Greek style. (by another amazon customer)

Logo

Personnel:
101 Strings Orchestra

BackCover

Tracklist:
01. Athens By Night (Lavranos/Mastorakis) 3.23
02. A Bed For Two (Theodorakis/Kampanelis) 3.14
03. Hassaposerviko (Gagaris) 2.45
04. Mykonos Sunset (Lowden) 3.13
05. Never On Sunday (Hadjidakis) 3.29
06. Aharisti (Tsitsanis) 3.07
07. Sirtaki (from “Zorba The Greek”) (Theodorakis) 4.12
08. Sorrow In Every Port (Katsaros/Pythagoras) 3.45
09. Daybreak (Lavranos/Pythagoras) 3.05
10. Hellena (Lowden) 1.35
11. Departure (Zambetas) 4.17

LabelB1

*
**

AlternateFrontCovers.jpg

Alternate frontcovers

Roger Saunders – The Roger Saunders Rush Album (1972)

FrontCover1Solo album of the British guitarist, member of the group “Freedom” and other bands. In the framework of these projects, Roger performed heavy electric guitar music, but he recorded a solo record in soft pop-rock tunes……..

From 1972, out of the UK, comes Roger Saunders with his album The Roger Saunders Rush Album, also known as Thanks on Warner Bros BS2601 DJ white label promo. Scarce eleven track album by Roger Saunders, who is also known as the primary force behind the hard rock group Freedom. They were formed from Procol Harum members just after the hit A Whiter Shade Of Pale. This record is unusual as it shows a picture of some film canisters on the front cover, while on the rear cover is a promotional insert under the shrink giving the title of the album as Thanks with a picture of Roger Saunders on the front cover! Maybe WB was in a hurry to release this to DJs and gave them a different album cover…………. (by johnkatsmc5.blogspot)

Attention: This album has nothing to do with the powerlful rock of “Freedom” … this is more a singer/songwriter album with lot´s of strings ! A real strange musical development….

Info-Sheet

Promotion info

“I did this album called “Roger Saunders’ Rush Album”,” he said. “That was quite an ironic title, since it took such a long time to make and there was a hell of a lot of work done on the production and arrangements.”

A consequence of this was, the Freedom’s management now demanded more focus on Saunders, who was given long solo spots during the band’s gigs, playing piano and singing on his own. “They had this vision of me being a new Elton John or something. I’d rather have been James Taylor if I’d had the choice!” More changes occurred when the management demanded the bass player be sacked and replaced by Pete Dennis. Some time after, an extra guitarist, Steve Jolly, joined in order to make more space for Saunders’ keyboard playing. Around this time, the style of the band seemed to become increasingly “progressive”, with a hint of country-rock thrown in for good measure.

After Freedom disbanded in late 1972, Roger Saunders turned to working as a session guitarist. When I talked to him, he could no longer remember all the numerous sessions he had participated in; he’d be often called in and presented with the job on the spot with no time for rehearsal. Nevertheless, he found pleasure in this kind of work which at least provided him with a steady salary, unlike the many years of touring with rock groups. “For the first time in my career as a musician I didn’t get any hopes crushed and didn’t have to starve!”

During this time, Saunders kept his creative juices flowing by striking up a partnership with Scott English, the famous songwriter. Via this collaboration, Saunders was invited to work with people who were all-time heroes of his, such as The Crusaders, The Three Degrees and The Drifters. Following that, he joined Medicine Head. Throughout most of the eighties, Roger Saunders was to be seen as a member of Gary Glitter’s band. (by http://alexgitlin.com)

Roger Saunders

Personnel:
Roger Saunders (vocals, piano, guitar)
+
a bunch of unknown studio musicians

BackCover1

Tracklist:
01. Gentian Violet (Saunders/Frost) 3.29
02. Hard To Love (Saunders/Frost) 4.07
03. Darkness (Saunders/Frost) 3.23
04. Where Are You Loving For (Saunders) 3.29
05. Little Old Lady (Saunders/Frost) 2.33
06. Who Knows (Saunders) 1.55
07. No Better Place (Saunders/Pajunen) 4.18
08. Direction (Saunders) 5.12
09. Unanswered Question (Saunders) 3.11
10. Loving You (Saunders) 4.18
11. Thanks (Saunders/Harrison) 4.27

LabelB1.JPG

*
**

The Inlets

The inlets

Traffic – Live At Santa Monica (VHS-rip) (1972)

FrontCover1Traffic left behind precious few concert videos in any form, so this show, from the Santa Monica Civic Auditorium, is an intrinsically valuable document of the band, even though it does feature a later lineup: Steve Winwood, Jim Capaldi, Chris Wood, Rebop Kwakubaah, Roger Hawkins, and David Hood. Chronologically, the show comes roughly a year later than the Welcome to the Canteen album. At 65 minutes running time, they include “The Low Spark of High Heeled Boys,” “John Barleycorn,” “Rainmaker,” “Glad,” “Freedom Rider,” “Forty Thousand Headmen,” and “Dear Mr. Fantasy,” all of which are worthwhile although also curiously lacking in the urgency that one would hope for in a concert performance. There are some many wonderful shots of the band members from varied angles and all kinds of different lighting, even within the same song, courtesy of video producer Taylor Hackford (White Nights, Against All Odds) but, in fact, this wasn’t the ideal version of the group to capture on stage: Winwood had suffered a serious illness the year before, the group was always in a state of flux as far as its line-up was concerned, and they were entering the period of decline that would coincide with the recording of Shootout at the Fantasy Factory. The musicianship is there, found intact in the thick electric guitar textures of “Light Up or Leave Me,” Winwood’s acoustic guitar performance on “John Barleycorn,” and Wood’s spotlighted flute and sax work on “Rainmaker.”

Traffic01
But one also gets the sense that a lot of excitement was disappearing for the players, apart from Rebop Kwaku Baah, in what Winwood later described as a grind of touring and recording. It’s not a bad video, and well worth tracking down as a document of the group; the sound is very good (especially for the period in which it was recorded), and it would make a good DVD, but one wishes a full-length video of a show from perhaps a year, or two, or three earlier could have found its way into existence. Originally available through RCA Columbia, but packaged by Pacific Arts, this long out of print video was apparently owned by Island Records, and may have reverted to them, which means that it is now somewhere in MCA’s vast holdings of the Polygram Records conglomerate (which bought Island); finding a used copy or getting someone to dub off the laser disc might be easier than waiting for it to be rediscovered by its current owners. (by Bruce Eder)

Chris Wood

Personnel:
Reebop Kwaku Baah (percussion)
Jim Capaldi (percussion, vocals)
Roger Hawkins (drums)
David Hood (bass)
Steve Winwood (guitar, keyboards, vocals)
Chris Wood (saxophone, flute, organ)

BackCover.jpg

Tracklist:
01. The Low Spark of High Heeled Boys (Capaldi/Winwood) 13.48
02. Light Up Or Leave Me Alone (Capaldi) 6.35
03. John Barleycorn (Traditional) 5.32
04. Rainmaker (Capaldi/Winwood) 8.35
05. Glad (Winwood) / Freedom Rider (Capaldi/Winwood) 14.05
06. Forty Thousand Headmen (Capaldi/Winwood)
08. Dear Mr. Fantasy (Capaldi/Winwood/Wood) 8.10

VHS-Tape1

*
**

Traffic02