Friday, October 31, 2008


Beautiful flowing 1972 album by this mellow French progressive band featuring superb keyboard and guitar interplay and female vocals. In places sounds a bit like Julian's Treatment and Earth And Fire. Very rare on vinyl and one of the classic '70s Europe progressive rock albums.

The major attraction within the line-up no doubt is that of vocalist Rose Podwojny, who constantly balances between the raunchy approach of a Grace Slick and that of an authentic Jazz diva. Others have placed her voice in between that of Linda Hoyle and Julian’s Treatment singer Cathy Pruden. Based around the talented guitarist Jean-Pierre Alarcen, Sandrose rose out of the ashes of another French cult band called Eden Rose. Whilst mellotron and Hammond are to be found throughout the lengthy instrumental passages, most of the attention goes towards Rose Podwojny, who has often been compared to Dutch singer Jerney Kaagman, whilst from a musical perspective Sandrose was often compared to Earth & Fire, Kaagman’s band. To my ears, Rose’s voice sounds much more trained, with more vibrato and able to shine in many other musical styles, something we can’t say from the rather limited voice of Jerney Kaagman. Also, from the point of view that this concerns a French band, Rose’s prononciation of the English language is perfect. No doubt the highlight of this album has to be the unrivaled prowess of "Underground Session," which really contains every single element from the book of symphonic rock highlights. This track alone is worth the money of the entire album. It nicely alternates calm passages and more heavy outbursts in order to create the true identity of authentic prog.
The dreamy "Summer Is Yonder" could well be an outtake from Focus or Pulsar, once again not being obtrusive in any way and fully composing the arrangement in favour of Rose’s high pitched vocals here. Although the song has a slight medieval feel at times, it’s mainly the Akkerman-like guitar from Alarcen combined with the organ that delivers the Focus likeness. When Rose isn’t singing, the rest of the band most definitely prove that they are also outstanding musicians, leaning heavilly towards jazz and fusion as demonstrated during the rhythmic "Metakara," displaying the typical Hammond from the seventies. All in all, this still is a wonderful album to listen to even though it has been released more than thirty years ago. Some of the sounds may be dated but the way the compositions are made still vouch for great creativity. Chauvinistic as they are, the French rate this album as being one of the world’s top ten progressive albums of all time. I wouldn’t go as far as saying top ten but it most definitely merits a place in the world’s best 100 prog albums of all time, and that alone is a fantastic achievement, knowing there are thousands and thousands of albums out there whilst Sandrose only made this single debut.
Reviewed by John Bollenberg on

LINK: h!!p://
216 MB


Thursday, October 30, 2008


"Zombie" is without a doubt Fela's most important political song, and probably the best synthesis of his composing strengths -- pulsating march-like grooves, funky backbeat rhythms, and great, catchy horn riffs. "Mr.Follow Follow" is not far behind, though it has more of a P. Funk vibe. Unlike the other Fela discs from this massive reissue project, "Zombie" does not couple two original LPs on one CD (what other Fela album could possibly stand up to this!), and instead offers two previously unreleased performances. This is essential music for anyone who considers themselves a fan of jazz, funk, African or international music.


EAC - CUE - LOG - FLAC (separate) - SCANS

Wednesday, October 29, 2008

LEB I SOL - Live in Macedonia (DVD)

Nothing in the world sounds like the band Leb i Sol. Period. For 20 years—as long as the band existed—it created music that was dynamic, turbulent, complex and soulful. During that highly productive period the band made 12 recordings, numerous film soundtracks, music for theatre and ballet, and played at places starting from those you can’t find on maps to prestigious avenues, concert halls and stadiums. Most importantly, the band drew upon jazz, rock and traditional Macedonian music, and later it helped in the popularization of traditional music in the Balkans during a period when the genre called "world music" didn’t exist and when traditional music was thought to be un-cool. This filling of a void helped the band to achieve a perennial appeal among generations of music fans who continued to buy their records many years after the group had, silently and unofficially, split up.

While the band's music and its influences became increasingly clear, especially as it reflected the styles and genres that were popular during those 20 years, and the band itself became subject to many analyses, it was the special breed of characters forming this band that best explains its evolution and essence. After the band played its last show, on the 18th of December 1995 and well before the 2 CD Anthology was released in 1996 (for its 20th anniversary), its band members had already begun to pursue more or less successful solo careers, showing their different tastes and more importantly, their strong individuality.

That miracles can happen even in our lifetime is the band’s decision to celebrate its 30th anniversary by regrouping and setting off on a brief tour throughout the former YU republics. Before the announced tour began, they gave two performances at the antique theatres in Heraklea, Bitola and Ohrid, which were recorded for these releases. Prior to this live release, the band’s only live documents were Akusticna Trauma (Acoustic Trauma), an excellent live portrait of the band during its first several years, and the misfortunate Live in New York at CBGB’s. But the band was always better known and appreciated as a live act rather than as a record selling act. Leb i Sol made its reputation on location and reached its zenith when in 1992 the group had 4 consecutive sold-out performances at the exclusive Sava Centar in Belgrade.

But throughout those 10 years of retirement the band members remained in excellent shape, leading bands and projects of their own, and for them returning to this material is like McCartney going back revisiting the Beatles catalog. Since the early beginning they were recognized as masters of their instruments with distinct voices, a reputation well deserved as this DVD ably demonstrates.

The DVD also reveals the musicians' unflagging energy and passion, as they drive their music to new, soaring heights while taking the audience right along with them. Drummer Garo Tavitjan is the blood and bones of the music, playing with inhuman energy, variously shading the music with unusual timbres or driving it mad with powerful and complicated rhythms. Actually, he was the one who popularised uneven rhythms, thus making them one of the band’s trademarks. Keyboardist Dimushevski provides a rich tapestry of sounds for the band, with solos that often evoke another era. Bassist Bodan Arsovski is the anchor of the band. In his hands, the bass becomes more than a supporting instrument: it’s an instrument with a kaleidoscope of colors, textures, grooves and soloings. Stefanovski’s precise guitar playing gives the band focus, though along with more than customary restraint he displays plenty of inspired guitar fireworks.

The repertoire is closely following the tracklisting from the Anthology CD, starting from the band’s jazz-rock/fusion beginnings with "Aber Dojde Donke,“ “Devetka," and "Kako Ti Drago“ to the later and more commercial "Skopje," "Cukni Vo Drvo“ and standard pop=rock tunes like "Kao Kakao." But this is a DVD packed with highlights, and Leb i Sol revisits these tracks with the maturity you would expect of them. On some tracks they stick to the basic form; elsewhere they embark on lengthy improvisations.

The DVD is essential viewing for anyone interested in the band. The video and sound quality are both exceptional. With this disc the band proves that it is bigger than the sum of its parts.

DVD Track Listing: Aber Dojde Donke; Devetka; Nisam Tvoj; Akupunktura; Kako Ti Drago; Talasna Dužina; Dikijeva Igra; Ručni Rad; Kumova Slama; Skakavac; Kalabalak; Bistra Voda; Jovako Jovanke; Čuvam Noć od Budnih; Mamurni Ljudi; Kao Kako; Skopje; Čukni Vo Drvo; Uči Me Majko Karaj Me.

5 x 700MB + 1 x 321MB

SCANS link:


Tuesday, October 28, 2008

Smak - same (@flac)

SMAK was formed 1971 in Kragujevac, Serbia, by a guitar virtuoso Radomir Mihajlovic nicknamed "Tocak" (the Wheel). The first stable line-up was assembled in late 1974 including Slobodan Stojanovic (drums), Zoran Milanovic (bass), Boris Arandjelovic (vocals) and Lazar Ristovski (keyboards). During 1977-78 Ristovski was replaced by first Miki Petkovski and then by Tibor Levay on keyboards, while in the period 1979-81 Dado Topic (ex TIME, KORNI GRUPA) collaborated with SMAK as producer and occasional guest vocalist before the band broke-up in late 1981. The original line-up gathered again in 1986 with a new keyboardist Milan Djurdjevic, but after the release of one LP they split again. The third comeback of SMAK happened in 1992 with Ristovski again as a member, when they mostly played concerts in Serbia and issued a live album. Finally, in 1994 SMAK re-appeared again, this time along with Tocak and Stojanovic they added younger musicians: Dejan Stojanovic (second drum kit), Dejan Najdanovic (vocals), Vlado Samardzic (bass) and Milan Milosavljevic (guitar).

SMAK was celebrated for Tocak's virtuosity in guitar playing, modelled on J. Hendrix and J. Page style, and for interesting, if not always successful, fusion of hard rock, prog rock, jazz rock with strong blues backing, with Arandjelovic's falsetto vocal often used as an instrument rather than singing. "Ulazak u harem", a folk-inspired instrumental issued as hit-single in 1975, showcased Tocak as one of the guitar-heros of ex-Yugoslavian music scene of the 1970s, while albums "Crna dama" ("Black Lady") and "Stranice naseg vremena" ("The Pages of Our Time") were highly celebrated among prog fans and were even released in English versions for the Western market. Their reunion, from the second half of 1980s onward, turned the musical direction of the band into less-inspired mainstream hard rock, abandoning any prog elements. As a comparison, one can mention similarities in style with artists such as DEEP PURPLE, TASTE, TRAFFIC, DOOBIE BROTHERS, SANTANA, LEB I SOL. (Progarchives)

Studio Album, released in 1975

Track Listings
1. Perle (4:04)
2. Mracni mol (3:21)
3. Blues u parku (7:31)
4. Biska 2 (4:28)
5. Put od balona (Biska 20) (19:00)

Bonus tracks from Best of
6 - Satelit
7 - Ljudi nije fer
8 - Covece ti si mlad
9 - Ulazak u harem
10 - Zajdi, zajdi

- Radomir Mihajlovic Tocak / guitars
- Slobodan Stojanovic / drums
- Zoran Milanovic / bass
- Boris Arandjelovic / vocals
- Lazar Ristovski / keyboards

LINK: h!!p://

EAC - LOG - CUE - FLAC (separate) - SCANS

Sunday, October 26, 2008

John Cale - The Island Years (@ape)

Lou Reed has hogged the spotlight since the breakup of the legendary Velvet Underground, but his former bandmate John Cale has had a much more consistent solo career. Cale never scored a breakthrough hit like Reed's "Walk On the Wild Side," but this new two-CD collection of Cale's mid-'70s releases-including all of the Fear, Slow Dazzle, and Helen of Troy albums plus assorted unreleased rarities-is the perfect opportunity to reassess his influential merger of art-rock smarts, classical melodicism, theatrical drama, and punk-rock abandon. Cuts range from beautiful, lulling ballads such as "Buffalo Ballet" and "I Keep A Close Watch" to full-throttle sensory assaults like "Fear Is A Man's Best Friend" and an Elvis Presley cover that will make your blood run cold. J.D.

Excellent Double Disc Collection of his Three Studio Albums on Island ("Fear", "Slow Dazzle", "Helen of Troy") and the Spare Track "Mary Lou" from the "Guts" Compilation plus a Bevy of Bonus Tracks (B-sides and Previously Unreleased Gems) to Boot.

LINK: h!!p://

Wednesday, October 22, 2008

THE VELVET UNDERGROUND - The Great Lost VU Album (@flac)

Between May and October 1969, The Velvet Underground went many times at Record Plant Studio in NYC with engineer Gary Kellgren and amassed a number of tracks for a fourth Verve/MGM album, an album that was never released, even if a catalog number was reserved by MGM: SE-4641. These songs began to turn up in rough form on bootlegs in the mid-seventies, and were finally presented officially in remastered form in the mid-eighties on the collections of previously unreleased recordings VU and Another View. Five tracks - re-remastered and with some extra time - were also reissued in the 1995 Peel Slowly And See 5-CD box set.

The 14 cuts splitted between the two outtakes compilations, "The Great Lost Velvet Underground Album" remains actually unreleased. However it can be restored by extracting and compiling the tracks from the various sources which offers material from the 1969 MGM studio sessions.

You will find below the guidelines to two different editions. The first one 'Hi-Fi' is made from the remastered tracks released on the official records. The second one 'Lo-Fi' - for diehards only - is made of the original rough mixes from various bootleg releases.

1 Foggy Notion
2 Coney Island Steeplechase
3 Andy's Chest
4 I'm Sticking With You
5 She's My Best Friend
6 I Can't Stand It
7 Ocean
8 Ferryboat Bill
9 Rock And Roll
10 Ride Into The Sun
11 One Of These Days
12 I'm Gonna Move Right In
13 Real Good Time Together
14 Lisa Says


Sunday, October 19, 2008

UFO - Live (1972) @flac

LIVE captures the original line-up in-concert, and it's interesting to hear the band in their formative stages. Half of the six songs are amped up covers ... Full Description of classics, such as Eddie Cochran's "C'mon Everybody," Bo Diddley's "Who Do You Love," and Paul Butterfield's "Loving Cup."

Reissue of 1972 Decca release that featured Mick Bolton on guitar. Six tracks, including 'Who Do You Love', 'LovingCup' and 'C'mon Everybody'. Also features the original coverart. 1998 Repertoire release.

Before guitarist Michael Schenker joined UFO in 1974, the band was a hard rocking blues band, taking their cue from such established artists as Led Zeppelin and Johnny Winter. On early albums like their self-titled debut and FLYING, the group featured original guitarist Mick Bolton, whose blues feel was the exact opposite of his replacement's highly technical speed runs.

LINK: h!!p://

Saturday, October 18, 2008

THE ALAN PARSONS PROJECT - Tales Of Mystery And Imagination/Edgar Alan Poe (DeLuxe Edition) 2CD (@FLAC)

Album Description
2007 digitally remastered two CD Deluxe Edition of the debut album from the Alan Parsons Project. featuring the original 1976 mix of the album, the 1987 remix and eight previously unreleased bonus tracks! Recorded at Abbey Road in 1975 and released in 1976, the idea for the Project came from manager and writer Eric Woolfson, who saw his role as an auteur, bringing together some of the greatest talents in music to bring to life Poe’s sinister, gothic tales. Enlisting the white-hot production whiz-kid Alan Parsons, fresh from his work with Wings and Pink Floyd, the duo set about making dreams reality. The album remains a singular, compelling work and can be seen as a bridge between Pink Floyd’s Dark Side Of The Moon and Jeff Wayne’s War Of The Worlds.

Album Details

2007 Digitally Remastered Double CD Deluxe Edition of the Album Classic that Remastered by Alan Parsons Himself and Partner Eric Woolfson. This Special Package Includes the Remastered Original 1976 Edition, the 1987 Remix (Which Incorporated Dialogue by Orson Welles!) and Eight Previously Unreleased Tracks. Recorded at Abbey Road in 1975 and Released in 1976, the Idea for the Alan Parsons Project Came from Manager and Writer Eric Woolfson, who Saw his Role as an Auteur, Bringing Together Some of the Greatest Talents in Music to Bring to Life to Edgar Allan Poe’s Sinister, Gothic Tales. Woolfson Enlisted the White-hot Production Whiz-kid, Fresh from his Work with Wings and Pink Floyd, to Set About Making Dreams Reality. This Spectacular Debut Recording Remains a Singular, Compelling Rock Musical Work that was a Clearly Logical Step for Parsons to Take on his Own after the Accolades of "Dark Side of the Moon.

LINK: h!!p://

Tuesday, October 14, 2008

DEEP PURPLE - 3 albums (@flac)

Deep Purple in Rock (also known as In Rock) is an album by English rock band Deep Purple, released in June 1970. It was their fourth studio album, and the first with the classic Mk II lineup. Deep Purple in Rock was their breakthrough album in Europe and would peak at #4 in the UK, remaining in the charts for months.

Fireball is a hard rock album by English rock band Deep Purple, released in 1971. It was their fifth studio album, and the second with the classic Mk II lineup. It was recorded at various times between September 1970 and June 1971. It would become the first of the band's three UK #1 albums.

Machine Head is the sixth Deep Purple studio album. It was recorded at the Grand Hotel Montreux, Switzerland in December 1971 with the Rolling Stones Mobile Studio, and released in March 1972.
The album is often cited as being very influential in the development of the heavy metal music genre. It is Deep Purple's most successful recording, topping the charts in several countries following its release. In 2001 Q magazine named it as one of the 50 Heaviest Albums of All Time.




DANNY GATTON - 88 Elmira St.(@flac)

A guitar player, friend of mine told me sometimes ago about Danny Gatton. I always had a crush on rocking lead guitars and never heard about Danny.
My friend came back later with '88 Elmira Street'. I remember the first time I listened to this album. Each song had this same effect on me. A great tight Fender sound but no specific big difference with the other 6-strings wizards I already knew, until...
Simply put, just let these songs unfold. Just let this guy take his first chorus or lead and all of sudden pure magic appears. You'll understand what I mean.
Danny Gatton guitar crawls up your spine and if you don't get goosebumps when listening, I think you'd better switch your interest on another instrument!
They're not so many artists out there whose skills transcend known ways of using a tool or playing an instrument. Don't get me wrong: Danny Gatton was much more than a gifted guy putting on his incredible act. He was a true artist, showing the world his deep love for music with a Telecaster.
I don't think it's worth to write more about him of what you can read on internet. G00gle the name. Learn about The Humbler and his too short life.
Danny Gatton was a living proof, if you still need one yet, that huge talent and fame are not obviously bound to get along. - Morcles

Links in comments!!!

Uploaded by MORCLES

Tuesday, October 7, 2008


Engineer Eddie Kramer was in charge of the project. He is a familiarfigure as his posthumous Hendrix production credits go back to The Cry Of Love in 1971. The tracks sound terrific as he re-mastered the sound with modern equipment which gives the music a polished feel. He also presents the tracks in chronological order which is always welcome with
projects this extensive.

Disc one finds three unreleased tracks. “Title #3,”
“Taking Care Of Business,” and “Here He Comes” may not be of the
quality of Hendrix’ first album but they certainly present his musical
vision circa 1967. The gems of this first disc are alternate versions of
such classics as “Purple Haze,” “Foxey Lady,” and “Third Stone From
The Sun” which give a glimpse into the creative mind of Jimi Hendrix.

Disc two presents some excellent live tracks. “Fire” is taken from a 1968
concert at Clark University in Massachusetts. It is a frenetic version that
shows just how technically sound Hendrix was as a guitarist. “The Wind
Cries Mary,” from a 1967 Paris concert, shows Hendrix’s softer side as
he provides subtle and melodic improvisations. “Burning The Midnight
Lamp” from September 5, 1967, is just Hendrix squeezing every possible
sound from his guitar.

Disc three is dominated by alternate versions. It is nice to hear “Hear My
Train A Comin’” as a formative track as it was a concert staple. “Spanish
Castle” and “Room Full Of Mirrors” show subtle differences from the
recognized versions. Live versions of “Little Wing” and “Voodoo Child”
come complete with feedback and all sorts of distortion that only Hendrix
could produce on stage.

Disc four is a feast of unreleased material. “Country Blues,” at over eight
minutes, “Lover Man,” “Cherokee,” and “Slow Blues” all make their
debuts. Hendrix’ early producer, Chas Chandler, did not approve of Alan
Douglas’ changing Hendrix’s material and even taking writing credits
during the twenty years that he controlled Hendrix’s catalogue of music.
When Jimi’s family won back control in a court battle, Chandler turned
over a treasure trove of unreleased material to them. “In From The
Storm” and “Slow Blues” close out the set as they were recorded at the
Isle Of Wight Music Festival, August 30, 1970, just prior to Hendrix’s

The Jimi Hendrix Experience Box Set is a valuable addition to the
Hendrix legacy. Not only does it expand the music that Hendrix left
behind but it also solidifies him as a genius of the guitar who forever
changed the use of that instrument and rock music. (D.B.)

Disc 1: h!!p://

Disc 2: h!!p://

Disc 3: h!!p://

Disc 4: h!!p://

Sunday, October 5, 2008

GREENSLADE - same (@flac)

One of the most underrated prog-rock bands of the 1970s, Greenslade included former members of Colosseum and King Crimson, and they lived up to that impressive pedigree. On their debut album, they unveiled a dual-keyboard-charged sound powered ... Full Descriptionby ivory ticklers Dave Greenslade and Tony Lawson. While the band displayed an instrumental facility right in line with the emerging symphonic wing of prog, they were distinguished by two rarities in the genre: trace elements of R&B (perhaps the Colosseum connection) and lyrics that display an actual sense of humor. Great stuff!!!

Greenslade - Chalkhill

Link: h!!p://

Friday, October 3, 2008



Hurra Torpedo - Total Eclipse of the Heart

Thursday, October 2, 2008

NICK DRAKE - Pink Moon (1972) @flac

Pink Moon is the sound of Nick Drake cracking up. That's not exactly true--some have long thought that his death by an overdose of an anti-depressant was an accident, and not suicide--but this album, recorded over two late nights, certainly sounds like a fever dream. Peter Buck of R.E.M. has called the album "Like an English version of (Robert Johnson's great blues) `Hellhound on My Trail.'" The lyrics to the title song read in their entirety: "Saw it written and I saw it say, pink moon is on its way. None of you will stand so tall, pink moon is gonna get ye all. And it's a pink moon." Aside from a splash of piano, the only instrumentation on this stark and spooky collection is Drake's eloquent acoustic guitar. J.M.

Link: h!!p://

NICK DRAKE - Bryter Layter (1970) @flac

The second album from Nick Drake came in 1970, and while not quite as melancholy as his debut, Five Leaves Left, there are certain brooding qualities that continued to propagate the Nick Drake mystique. Horns, flute, and strings arrangements lift such songs as "At the Chime of a City Clock" and "Hazy Jane I" and "II" out of the realm of sad, folk-guitar music into something jazzier and lighter, while the beautiful piano and simple guitar of "One of These Things First" laments what could have been without sounding like a song of despair. But two tracks featuring John Cale on various instruments (such as viola and harpsichord) have the dark fragility of "Pink Moon": the lovely "Fly" is a fragile apparition, and "Northern Sky" is a dreamy, brooding plea for long-lasting love. L.F.

Link: h!!p://

NICK DRAKE - Five Leaves left (1969) @flac

There's not a single dud in the trilogy of albums that singer/songwriter Nick Drake released during his all-too-short career. And 1969's Five Leaves Left--his first album--is certainly no exception. Drake's sensitive guitar work and sensitive vocals are backed by the baroque sounds of a chamber string group, and the platter's lyrics show maturity well beyond the age of their 20-year-old creator. Sparser than its follow-up, the jazzy Bryter Layter, but less tortured than Drake's dark final chapter, Pink Moon, Five Leaves Left is a classic British folk disc. Songs like "River Man," "The Thoughts of Mary Jane," and "Day Is Done" are among Drake's finest moments. J.V.

Nick Drake - River Man

Link: h!!p://

Wednesday, October 1, 2008

BLOODROCK - same (1970) @flac

First off....let me set the record straight about Fantastic piece of architecture"......It is about a superb architect who builds a structure that recieves phenomenol acclaim.....he does NOT walk into the parlor and fall dead immediately actually talks about how the comparison to the architects own life...suffers the ravages of life...and the architect ages and becomes frail.....eventually lying down and dying in the parlor of his does the masterpiece die.....the love that the architect had for his creation...died with him....or something along that line.....and isnt party's think music.

There are some excellent rockers on this album..and some nice ballads as well.

Bloodrock - Fatback

Link: h!!p://

IGRA STAKLENIH PERLI - same (1979) @flac

IGRA STAKLENIH PERLI, the ultimate ex-Yugoslavian space/psychedelic rock band, was formed in 1976 in Belgrade, Serbia, having been named after the famous novel by Hermann Hesse - "Das Glasperlenspiel" (The Glass Beads Game). The original line-up consisted of: Zoran Lakic (keyboards), Vojkan Rakic (guitar), Predrag Vukovic (percussions) and Drasko Nikodijevic (bass & vocals). In late 1977 Dragan Soc joined the band as drummer while they played live concerts at Belgrade clubs, preparing to start recording their first album, which they did in mid 1978. Upon its release the next year, the band gained reputation for elaborated visual stage effects and light show directed by their friend Goran Cvetic. Nikodijevic was replaced by rock journalist Slobodan Trbojevic on bass prior to recording the second album in late 1979. After its release in 1980 the guitarist Ivan Pajevic replaced Rakic and Nikodijevic was back on bass, but shortly the band ceased to exist. Nikodijevic and Rakic later formed post-punk/neo-psych White Rabbit Band but in late 1980s moved to USA where they continued under the name White Rabbit Cult. The remaining members together with German publisher Thomas Werner released at the beginning of 1990s three albums of ISP old live material and album outtakes for the German-based label Kalemegdan Disk.

IGRA STAKLENIH PERLI labelled their music style as "stream of consciousness music". Their both studio albums, the first eponymous "Igra Staklenih Perli" from 1979 and the second "Vrt Svetlosti" from 1980, are pretty similar in sound and resemble the style from early PINK FLOYD and HAWKWIND psychedelia, to German kraut-rock (notably CAN and TANGERINE DREAM), to HILLAGE-era GONG among many. Interesting music effort especially considering the fact it was the new wave boom period when they tried to pursue a quite different music philosophy.(PA)


Link: h!!p://