Search

mandersmedia.co.uk

Retailers of Vinyl, CDs, DVDs etc. through Amazon, Ebay, Discogs, iHaveit, MusicStack and CD & LP. A friend of Help Musicians UK.

Tag

Classic Album Sundays

Mark Kimber Rocky Mountain Audio Fest 2019: Steely Dan ‘Aja’

Released in 1977, the year that both the lighting force of punk and the carefree abandon of disco were enjoying cultural hegemony, Steely Dan’s Aja found itself strangely out of time and place; an irregular jigsaw piece in an often polemic commercial puzzle. It was around this time that predominantly white rock fans where denouncing the perceived superficiality of repetitive black dance music. But Steely Dan had also been the subject of their ire. As Michael Duffy’s review in The Rolling Stone noted: “Aja will continue to fuel the argument by rock purists that Steely Dan’s music is soulless, and by its calculated nature antithetical to what rock should be.” Far from immune to this criticism, Walter Becker and Donald Fagen reportedly remixed the album around 13 times in the months prior to its release


Read: Classic Album Sundays at Rocky Mountain Audio Fest 2019

Listening to Aja, It’s hard not to see the album’s musical complexity and shimmering clarity as a riposte to the conservative rock sensibility. Becker and Fagen’s deeply intuitive use of chord changes is central to the record’s shape-shifting character, as the pair eschew pleasantly resolved sequences and modulate to entirely new keys between sections. This imbues the album’s songs with a certain uneasiness which rubs against the polished surface of its smooth instrumentation and production – even music theory experts were left puzzled as to the direction a chord sequence was taking or why a specific harmony so strangely worked.

Having cultivated a reputation as stubborn yet masterful songwriters, Steely Dan possessed a certain magnetism which helped hugely when it came to assembling a dream-team of jazz, r&b and rock virtuosos for their masterpiece Included on this list was legendary saxophonist and Miles Davis alumni Wayne Shorter (who rips through a solo on the album’s title track), drummer Bernard Perdie (responsible for the groove of “Home At Last”) and Steve Gadd, amongst many others. Far from assured by the proven talents of these musicians however, Walter Becker and Donald Fagen took their infamous hairsplitting scrutiny to new and extreme levels, famously sifting through dozens of separate recordings of the same guitar solo for “Peg”, before landing on Jay Graydon’s pitch-perfect performance.


Read: Rocky Mountain Audio Fest 2019: Brian Eno ‘Another Green World’

Rhythmically the pair had also dove deeper into the locked grooves of American r&b and soul. Their hiring of musicians who had worked with the likes of James Brown, Quincy Jones and Aretha Franklin provide some insight into their desires to maintain pop music’s infectious percussive drive. It was in-fact the most rhythmically focused songs, such as “Peg”, “Josie” and “I Got The News”, which proved most time-consuming in the recording process, as Becker and Fagen, of course, pursued the perfect backbeat, and the perfect sound, with an almost maniacal attention to detail.

Despite the numerous advances in recording technology of the last forty years, Aja still stands as one of the finest commercial recordings ever made – a holy grail for audiophile’s around the world. Its inherent smoothness coupled with its remarkable intricacy transcends the boundaries of taste and trends, shining as an example of uncompromising creative ambition, which nevertheless remains thoroughly grounded in the principles of pleasure. Aja is truly Steely Dan’s monument to the joy of listening.

Owen Jones


Warm yourself up for Steely Dan’s incredible Aja with our special mini-playlist below.


 

The post Rocky Mountain Audio Fest 2019: Steely Dan ‘Aja’ appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/2Y9vyJV
via IFTTT

Advertisements

Mark Kimber Rocky Mountain Audio Fest 2019: Steely Dan ‘Aja’

Released in 1977, the year that both the lighting force of punk and the carefree abandon of disco were enjoying cultural hegemony, Steely Dan’s Aja found itself strangely out of time and place; an irregular jigsaw piece in an often polemic commercial puzzle. It was around this time that predominantly white rock fans where denouncing the perceived superficiality of repetitive black dance music. But Steely Dan had also been the subject of their ire. As Michael Duffy’s review in The Rolling Stone noted: “Aja will continue to fuel the argument by rock purists that Steely Dan’s music is soulless, and by its calculated nature antithetical to what rock should be.” Far from immune to this criticism, Walter Becker and Donald Fagen reportedly remixed the album around 13 times in the months prior to its release


Read: Classic Album Sundays at Rocky Mountain Audio Fest 2019

Listening to Aja, It’s hard not to see the album’s musical complexity and shimmering clarity as a riposte to the conservative rock sensibility. Becker and Fagen’s deeply intuitive use of chord changes is central to the record’s shape-shifting character, as the pair eschew pleasantly resolved sequences and modulate to entirely new keys between sections. This imbues the album’s songs with a certain uneasiness which rubs against the polished surface of its smooth instrumentation and production – even music theory experts were left puzzled as to the direction a chord sequence was taking or why a specific harmony so strangely worked.

Having cultivated a reputation as stubborn yet masterful songwriters, Steely Dan possessed a certain magnetism which helped hugely when it came to assembling a dream-team of jazz, r&b and rock virtuosos for their masterpiece Included on this list was legendary saxophonist and Miles Davis alumni Wayne Shorter (who rips through a solo on the album’s title track), drummer Bernard Perdie (responsible for the groove of “Home At Last”) and Steve Gadd, amongst many others. Far from assured by the proven talents of these musicians however, Walter Becker and Donald Fagen took their infamous hairsplitting scrutiny to new and extreme levels, famously sifting through dozens of separate recordings of the same guitar solo for “Peg”, before landing on Jay Graydon’s pitch-perfect performance.


Read: Rocky Mountain Audio Fest 2019: Brian Eno ‘Another Green World’

Rhythmically the pair had also dove deeper into the locked grooves of American r&b and soul. Their hiring of musicians who had worked with the likes of James Brown, Quincy Jones and Aretha Franklin provide some insight into their desires to maintain pop music’s infectious percussive drive. It was in-fact the most rhythmically focused songs, such as “Peg”, “Josie” and “I Got The News”, which proved most time-consuming in the recording process, as Becker and Fagen, of course, pursued the perfect backbeat, and the perfect sound, with an almost maniacal attention to detail.

Despite the numerous advances in recording technology of the last forty years, Aja still stands as one of the finest commercial recordings ever made – a holy grail for audiophile’s around the world. Its inherent smoothness coupled with its remarkable intricacy transcends the boundaries of taste and trends, shining as an example of uncompromising creative ambition, which nevertheless remains thoroughly grounded in the principles of pleasure. Aja is truly Steely Dan’s monument to the joy of listening.

Owen Jones


Warm yourself up for Steely Dan’s incredible Aja with our special mini-playlist below.


 

The post Rocky Mountain Audio Fest 2019: Steely Dan ‘Aja’ appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/2Y9vyJV
via IFTTT

Mark Kimber Classic Album Sundays Los Angeles Presents AIR ‘Moon Safari’

We are very pleased to announce the return of CAS Los Angeles at In Sheep’s Clothing!

Joining Zach in regular rotation for all future hosting duties will be Kegan Simons, Lauren Levy, and Bryan Ling.

For the July session Bryan will be presenting Air’s iconic “Moon Safari”.

Please join us as Bryan tells us the story of this legendary recording after which we’ll listen to the album in full on our world class soundsystem.

Los Angeles

Time and Date: Sunday July 21st 2019 12:00pm – 3:00pm

Venue

In Sheep’s Clothing, 710 East 4th Place, Los Angeles, CA 90013

Tickets

Available Here

Presenter

Bryan Ling

Audio Menu

Klipsch Klipschorn AK6 Loudspeakers, Audio Note M5 Tube Phono Preamplifier, Audio Note Jinro Shochu Tube Amplifier, Condesa Carmen Rotary Mixer, Garrard 301 Turntables restored by Woodsong Audio, in Vinylista Plinths with Auditorium 23 Hommage Mats, Tonearms, Headshells & Cartridges by Thomas Schick.

The post Classic Album Sundays Los Angeles Presents AIR ‘Moon Safari’ appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/2NMrnQd
via IFTTT

Mark Kimber Classic Album Sundays Orkney Presents Neil Young ‘After The Gold Rush’/’Harvest’

Classic Album Sundays tells the stories behind the albums that have changed our culture & lives.

Join us to hear Neil Young’s albums After the Gold Rush & Harvest, uninterrupted, on vinyl, on a great hi-fi system.

Orkney

Time and Date: Monday August 5th 2019 4:30pm

Venue

The Sound Archive, Laing Street, Kirkwall, Orkney, KW15 1NW

Tickets

Available Here

Presenter

Adrian Holmes

Audio Menu

VPI Industries Traveller Turntable, Ortofon 2M Black Cartridge, Rega Brio Amplifier, Spendor A4 Speakers, Linn & Van Damme Cables 

The post Classic Album Sundays Orkney Presents Neil Young ‘After The Gold Rush’/’Harvest’ appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/32hw2gn
via IFTTT

CAS Classic Album Sundays at Rocky Mountain Audio Fest 2019

Classic Album Sundays returns for the third year to America’s largest and coolest audio show, the Rocky Mountain Audio Fest, where we will host our own room with a range of album sessions in which the album’s unique story will be told, followed by an uninterrupted vinyl playback on some of the world’s most amazing hi-fi sound equipment so that the fan can experience the album as close as possible to the way in which in the artist intended. Even if a fan is well acquainted with the album, chances are they will hear things they have never heard before.

CAS will feature a wide array of albums including Max Richter Vivaldi four Season Recomposed, Steely Dan Aja, Dorothy Ashby Afro-Harping, Brian Eno Another Green World, Billie Holiday Lady in Satin, Laurie Anderson Big Science, Joni Mitchell Hissing of Summer Lawns, Talk Talk The Colour Of Spring and Chilly Gonzales Solo Piano.


Read more: Brian Eno ‘Another Green World’

The sessions will be hosted by Classic Album Sundays New York City host Barbie Bertisch who along with Paul Raffaele, runs Love Injection fanzine, radio show and events and has quickly established itself as a critical platform for celebrating the constantly shifting cultures of dance music and dance-floor culture in all its manifestations, past and present. She is also a DJ, a radio host and performs live with Seedy films, a new band on Manono Records, a label she now runs with The Rapture’s Luke Jenner.

Leading up to the event we will be running giveaways offering ticket giveaways and more so keep your eyes posted the Classic Album Sundays social media channels as well as featuring extended blog posts for each album and playlists on our website.

Rocky Mountain Audio Fest is a great way to learn how to set up a sound system, improve an existing sound system and will feature loads of demos ad manufacturers of turntables, loudspeakers, headphones and more. Improving one’s hi-fi is a great ‘next step’ for the passionate music lover.

Friday

11:30am – Max Richter Vivaldi four Season Recomposed

2:00pm – Steely Dan Aja

4:00pm – Producer’s pick: Dorothy Ashby Afro-Harping

Saturday

11:30am – Brian Eno Another Green World

2:00pm  – Billie Holiday Lady in Satin

4:00pm – Producer’s pick: Laurie Anderson Big Science

Sunday

11:00am  – Joni Mitchell Hissing of Summer Lawns

12:30pm  – Talk Talk The Colour Of Spring

2:00pm – Producer’s pick: Chilly Gonzales Solo Piano


Ticket packages are available here

Date

Friday September 6th – Sunday September 8th 2019

Venue

Gaylord Rockies Resort And Convention Center, 6700 North Gaylord Rockies Blvd, Aurora, Colorado 80019

Audio Menu

TBC

The post Classic Album Sundays at Rocky Mountain Audio Fest 2019 appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/2G60pg2
via IFTTT

Mark Kimber Rocky Mountain Audio Fest 2019: Brian Eno ‘Another Green World’

It’s hard to imagine now, but Another Green World could have turned into a complete disaster. When Brian Eno entered the studio to record his third solo album, he did so without a plan and with no concrete musical ideas to draw from. This was intentional: for some years now, Eno had been inspired by the Fluxus art movement first popularised in the 1960s by composers, artists and designers, such as Nam June Paik and Henry Flynt, who prioritised the artistic process over the finished, consumable product. But the ex-Roxy Music member’s improvisational convictions were put to the test in July,1975, after four fruitless and expensive days at London’s Island Studios passed him by.

Luckily, Eno was bolstered, both by a cast of brilliant musicians and his own artistic direction, which wrangled a stellar album from the jaws of defeat. Among these companions were King Crimson guitarist Robert Fripp, the Velvet Underground’s John Cale, and Genesis drummer Phil Collins, each of whom contribute idiosyncratic performances throughout Another Green World. Flanked by musicians of such high calibre, Eno could have easily played it straight down the middle; instead, he devised a set of creative challenges which would conjure unforeseen ideas from each instrumentalist (such as the mallet guitar technique dubbed the “Castanet Guitars”).

Just one year prior, Eno had developed his Oblique Strategies deck with artist Peter Schmidt: a set of cards which offered unorthodox creative prompts to those in the grip of writer’s block. It was to become one of the pillars of Eno’s creative practice, underlining his work on iconic albums such as David Bowie’s Berlin trilogy masterpiece, “Heroes”.

Despite playing more instruments than ever before, on Another Green World Eno retreated from the rockstar’s limelight of previous albums such as 1974’s Taking Tiger Mountain (By Strategy). Of the LP’s fourteen songs only five featured vocals – dotted through the track list like a sparsely populated archipelago. Instead, Eno found romance in the voiceless expanse of the natural world, honing an environmental approach to music that would soon hit it’s peak on Discreet Music and his wider ambient series.

On album highlight “The Big Ship” the composer fuses the sombre, cinematic tones of the orchestra with the serpentine, cyclical percussion of the krautrock movement to create a piece of music that manages to be at once evocative, melancholic, and triumphant. Repetition also directs many of the vocal compositions – the bucolic atmosphere of “Golden Hours” flows along a babbling brook of synthesiser and harmony, as Eno releases his command and luxuriates in the bronze afterglow of a summer’s evening. Often there is a sense that the musician is trying simply to observe the musical environment in which he finds himself, resisting the innately human urge to exert control over the natural order of things.

Even with the residual traces of an older, more traditional songwriting style that was now fading from his repertoire, Another Green World marked a carefully considered step forward in Eno’s discography: a transitional album that was, in a sense, caught between the two poles of his artistic life. What he would go on to create and popularise undoubtedly changed the way music is both made and experienced in the modern age: an art form which has proven endlessly adaptable despite the creative and commercial challenges it faces. In Eno’s game-changing vision, form and function blend seamlessly into one unified whole.

Owen Jones


Listen to our mini-playlist celebrating the influences on, and legacy of, Brian Eno’s incredible Another Green World.


 

The post Rocky Mountain Audio Fest 2019: Brian Eno ‘Another Green World’ appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/2XIknst
via IFTTT

Mark Kimber Classic Album Sundays Oslo Presents The Cure ‘Pornography’

«En milepæl for den gotiske rocken» har The Cures fjerde studioinnspilling blitt kalt. Det magnetiske mørket bandet skapte gjennom tre intense og produktive år etter debuten i 1979, plate for plate, konsert etter konsert, hallusinerende tripp etter hallusinerende tripp, kulminerte i et slags mollstemt nirvana med ‘Pornography’, selve sinnbildet på den plagede og fortryllende musikalske atmosfæren de hadde manet frem; intenst suggererende, melankolsk og angstfull, men også melodisk og overjordisk vakker.

Dette særegne ekstraktet gjorde det mulig for dem å løfte den alternative undergrunnen de representerte ut i fullt dagslys på de neste skivene – uten at surrealismen eller det bisarre i det tonale og det tematiske mistet sin tiltrekningskraft av den grunn.

De uttømmende årene fram til ’82 satte The Cure i livstrett likegyldighetsmodus overfor sin egen videre eksistens, noe som kan høres i den kompromissløse musikalske avgrunnen som presenteres på Pornography. Redningen ble et stilmessig paradigmeskifte som beredte grunnen for den mer tilgjengelige popflørten vi kjenner fra platene som kom etter.

FRA SELVFORRAKT TIL SELVRENSELSE
Det var som om dødsforakten Smith og Tolhurst og de andre i bandet selv eksplisitt har referert til i senere intervjuer satte de pessimistiske og optimistiske sidene ved musikken i relieff overfor hverandre og gjorde låtene mer komplekse. «Melankoli er gleden av å være trist», skal Victor Hugo ha sagt. Mange forelsket seg i The Cures betagende, bittersøte tristesser med Kiss Me, Kiss Me, Kiss Me (1987) og Disintegration (1989).

Det virket også som om det bipolare musikalske spennet som oppsto som følge av kollapsen etter Pornography bandt bandet sterkere sammen og gjorde dem robuste overfor den kommersielle suksessen de selv skydde som pesten. Bandets evne til å dyrke frem skjønnheten ved det hæslige gjorde at flere oppdaget dem samtidig som de bevarte kontakten med delen av fanbasen som ikke identifiserte seg med den radiovennlige musikkindustrien. Måten de har skjøttet ambivalensen på har gjort The Cure til headliner på festivaler nesten førti år senere.

NERDEPRAT OG ALBUMLYTT
Tre dager før Robert Smith og kompani entrer hovedscenen på årets Øyafestival tjorer vi bandets fjerde fullengder til vår audiofile totempæl i Laboratoriet og varmer opp med albumlytt og nerdeprat rundt The Cure, forteller historiene rundt Pornography og snakker om produksjonen og musikken.

Lytteklubbvert Kent Horne får denne gang besøk av en av våre viktigste undergrunnsmusikalske foregangsmenn her til lands og strands, Per Asbjørn Martinsen, som har et tett kjærlighetsforhold nettopp til kveldens tennerskjærende hovedrett.

MENTAL OVERDRIVE
Gjennom sitt alter ego Mental Overdrive har Martinsen med sine elektroniske utgivelser siden tidlig 90-tall og frem til i dag på mange måter formidlet mye av den samme punkattityden, energien og de psykedeliske stemningsbildene vi kjenner fra nyveiven, synthmusikken og gothrocken som tok form i tiåret før.

Tromsøværingen, eller «teknobestefaren» som han ofte blir kalt, har gitt lyd og ulyd fra seg nesten like lenge som The Cure og er i likhet med sine britiske åndsfrender å høre under årets Øyafestival, nærmere bestemt på Blå, som hovedakt under Sunkissed sitt bidrag til KlubbØya. Les mer om det her: www.facebook.com/events/700964323674468.

Oslo

Time and Date: Sunday August 4th 2019 4:30pm – 7:00pm

Venue

Laboratoriet (Kulturhuset), Youngs gate 6, 0181 Oslo

Tickets

Available Here

Presenter

Kent Horne

Audio Menu

The post Classic Album Sundays Oslo Presents The Cure ‘Pornography’ appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/2XFTAYC
via IFTTT

Mark Kimber Classic Album Sundays Oslo Presents The Cure ‘Pornography’

«En milepæl for den gotiske rocken» har The Cures fjerde studioinnspilling blitt kalt. Det magnetiske mørket bandet skapte gjennom tre intense og produktive år etter debuten i 1979, plate for plate, konsert etter konsert, hallusinerende tripp etter hallusinerende tripp, kulminerte i et slags mollstemt nirvana med ‘Pornography’, selve sinnbildet på den plagede og fortryllende musikalske atmosfæren de hadde manet frem; intenst suggererende, melankolsk og angstfull, men også melodisk og overjordisk vakker.

Dette særegne ekstraktet gjorde det mulig for dem å løfte den alternative undergrunnen de representerte ut i fullt dagslys på de neste skivene – uten at surrealismen eller det bisarre i det tonale og det tematiske mistet sin tiltrekningskraft av den grunn.

De uttømmende årene fram til ’82 satte The Cure i livstrett likegyldighetsmodus overfor sin egen videre eksistens, noe som kan høres i den kompromissløse musikalske avgrunnen som presenteres på Pornography. Redningen ble et stilmessig paradigmeskifte som beredte grunnen for den mer tilgjengelige popflørten vi kjenner fra platene som kom etter.

FRA SELVFORRAKT TIL SELVRENSELSE
Det var som om dødsforakten Smith og Tolhurst og de andre i bandet selv eksplisitt har referert til i senere intervjuer satte de pessimistiske og optimistiske sidene ved musikken i relieff overfor hverandre og gjorde låtene mer komplekse. «Melankoli er gleden av å være trist», skal Victor Hugo ha sagt. Mange forelsket seg i The Cures betagende, bittersøte tristesser med Kiss Me, Kiss Me, Kiss Me (1987) og Disintegration (1989).

Det virket også som om det bipolare musikalske spennet som oppsto som følge av kollapsen etter Pornography bandt bandet sterkere sammen og gjorde dem robuste overfor den kommersielle suksessen de selv skydde som pesten. Bandets evne til å dyrke frem skjønnheten ved det hæslige gjorde at flere oppdaget dem samtidig som de bevarte kontakten med delen av fanbasen som ikke identifiserte seg med den radiovennlige musikkindustrien. Måten de har skjøttet ambivalensen på har gjort The Cure til headliner på festivaler nesten førti år senere.

NERDEPRAT OG ALBUMLYTT
Tre dager før Robert Smith og kompani entrer hovedscenen på årets Øyafestival tjorer vi bandets fjerde fullengder til vår audiofile totempæl i Laboratoriet og varmer opp med albumlytt og nerdeprat rundt The Cure, forteller historiene rundt Pornography og snakker om produksjonen og musikken.

Lytteklubbvert Kent Horne får denne gang besøk av en av våre viktigste undergrunnsmusikalske foregangsmenn her til lands og strands, Per Asbjørn Martinsen, som har et tett kjærlighetsforhold nettopp til kveldens tennerskjærende hovedrett.

MENTAL OVERDRIVE
Gjennom sitt alter ego Mental Overdrive har Martinsen med sine elektroniske utgivelser siden tidlig 90-tall og frem til i dag på mange måter formidlet mye av den samme punkattityden, energien og de psykedeliske stemningsbildene vi kjenner fra nyveiven, synthmusikken og gothrocken som tok form i tiåret før.

Tromsøværingen, eller «teknobestefaren» som han ofte blir kalt, har gitt lyd og ulyd fra seg nesten like lenge som The Cure og er i likhet med sine britiske åndsfrender å høre under årets Øyafestival, nærmere bestemt på Blå, som hovedakt under Sunkissed sitt bidrag til KlubbØya. Les mer om det her: www.facebook.com/events/700964323674468.

Oslo

Time and Date: Sunday August 4th 2019 4:30pm – 7:00pm

Venue

Laboratoriet (Kulturhuset), Youngs gate 6, 0181 Oslo

Tickets

Available Here

Presenter

Kent Horne

Audio Menu

The post Classic Album Sundays Oslo Presents The Cure ‘Pornography’ appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/2XFTAYC
via IFTTT

Mark Kimber Classic Album Sundays Stafford Presents Blondie ‘Parallel Lines’

Originally born out of the New York punk rock scene of the mid-1970s, the band made a surprising shift toward more pop-oriented material on this album, a deft mix of new wave, pop and disco produced by Mike Chapman.

In a sense, that time has long passed: Blondie, like contemporaries such as the Cars and the UK’s earliest New Pop artists specialized in whipsmart chart music created by and for adults, a trick that has all but vanished from the pop landscape. Parallel Lines, however, is practically a blueprint for the stuff: “Picture This” and “One Way or Another” are exuberant new wave, far looser than the stiff, herky-jerky tracks that would go on to characterize that sound in the 80s; “Will Anything Happen?” and the band’s cover of the Nerves’ “Hanging on the Telephone” are headstrong rock; “11:59” does run-for-the-horizon drama, while “Sunday Girl” conveys a sense of elegance. The record’s closest thing to a ballad, the noirish “Fade Away and Radiate”, owes a heavy debt to the art-pop of Roxy Music.

Come to one of our listening sessions to hear playback on our Audiophile state of the art Hi Fi.

Stafford

Time and Date: Sunday August 4th 2019 4:00pm – 8:00pm

Venue

Bank House Salter Street, Stafford ST16 2JU

Tickets

Available Here

Audio Menu

AVID Ingenium/Project Turntable
AVID PELLER Phono-Stage
Harbeth Super HL5 Plus Speakers
Speaker Stands provided by Hi Fi Racks

Installed by Harbeth Audio & AVID HIFI


Listen: Blondie ‘Parallel Lines’ Musical Lead Up Playlist

 

The post Classic Album Sundays Stafford Presents Blondie ‘Parallel Lines’ appeared first on Classic Album Sundays.

from Classic Album Sundays https://ift.tt/2JvWw5e
via IFTTT

Blog at WordPress.com.

Up ↑

%d bloggers like this: