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15 unusual uses for Mozart

Wolfgang Amadeus Mozart


As he sat down to put pen to score, what did Mozart think his music might achieve? Something on the lines of pleasing listeners, challenging performers, satisfying patrons and keeping the wolf from his own door, we suspect.

Think again, Wolfgang – you’ve underestimated yourself. Undisputed genius though he was, he can surely have had little idea how, two centuries later, masterpieces such as Eine kleine Nachtmusik and The Magic Flute would be credited with powers stretching well beyond the concert hall and opera house.

It was Alfred A Tomatis who, in 1991, suggested that listening to the great man’s music helped brain development. Dr Tomatis’s ‘Mozart Effect’ has generated no little debate since, but by then he had lit the touch paper – suddenly, inquisitive scientists, innovative farmers, ingenious marketeers and the like were looking at just what the great Austrian could do for them.

Here, we present 15 of the finest examples of how Mozart has been put to use in the modern day…


1. More alcoholic wine

Let’s begin in the rolling hills of Tuscany. For Carlo Cignozzi, a wine-maker from Siena, playing The Magic Flute to his vines has become an important part of the production process.

Since 2005, the Italian has been piping Mozart’s opera over 56 speakers in one of his Brunello vineyards – the grapes ripen in 14 days as opposed to the normal 20 which, we learn, in turn increases the wine’s alcoholic content.

‘From this vineyard,’ says Cignozzi, ‘a special Brunello is born: “Flauto Magico”, the first wine in the world ever to have been grown completely in tune with Mozart’s musical harmonies.’ BBC Music Magazine is hoping that Signor Cignozzi may feel the need  to sent us a bottle or two for, ahem, research purposes. Or perhaps a case.




2. Less alcoholic students

The joys of the grape and the grain can, of course, be taken a little too far. But, thankfully, Mozart is here to help too.

In 1999, officials at Pittsburgh University got so fed up with the sight of students rolling around paralytic that drastic action was decided upon: Eine kleine Nachtmusik was subsequently played through loudspeakers on campus between 10pm and 2am in the hope that it might encourage a little behavioural moderation.

Whether or not it worked, the choice of composer certainly caused uproar on campuses elsewhere. ‘Mozart is the most conservative and middle-brow of the lot,’ fumed Zoe Abrams of Manchester University students’ union very, very angrily, if not entirely accurately. ‘What gives them the right to inflict such punishment?’



3. Clearer water

Should you prefer water to wine, do make sure that it is similarly Amadeus-enhanced. Research carried out in the late 1990s by Masaru Emoto, an entrepreneur and doctor of alternative medicine, apparently shows that water which has had Mozart played to it produces clearer crystals when frozen than water that has been exposed to heavy rock music.

Interestingly, as Emoto explains in his series of books called The Message From Water, Mozart-water is similar in terms of crystal clarity to that of pure mountain streams. We are not making any of this up.



4. More plentiful milk

Milk-drinkers should give thanks to Mozart, too. In 2007, dairy farmer Hans Pieter Sieber was delighted to discover the power of the composer’s Concerto for Flute and Harp on his herd of 700 Friesian heifers in Villanueva del Pardillo, Spain.

When playing the work to his cows as they lined up for milking, Sieber noticed a general air of bovine calm and contentment, which soon equated in real terms to an increased production of milk of up to six litres per animal.

‘It is relaxing music for them but, at the same time, it is dynamic, it keeps the cows active,’ explained Sieber’s son Nicolas. ‘The trick is not to have music that is too relaxing.’



5. Eggier Eggs

And while we’re on the subject of dairy… Leading up to the 2003 Mannheim Mozart Festival, the organisers thought it might be a good wheeze to play 14 days of solid Wolfgang Amadeus to 3,000 hens at a local farm, just to see how it affected egg production.

The answer was, in terms of quantity, not a jot. However, when served the Mozartian eggs at the festival, concert-goers said they ‘definitely tasted better’. Possibly not the most scientifically informed study ever.




6. Calmer dogs

In 2006, an RSPCA rescue centre in Somerset unleashed a veritable pack of ‘Woofgang Amadeus’ headlines when it revealed that it had installed a £2,000 sound system to help out when some of its canine residents were getting a little feisty.

The dogs, said staff at the West Hatch kennels near Taunton, would quickly relax to Mozart and Bach, but not so pop or dance music. ‘It definitely works,’ enthused deputy manager Anita Clarke. ‘It’s quieter in the kennels now.’



7. Friskier sharks

Now over to the aquarium where, in 2007, love was, alas, most certainly not in the air. Or, rather, not in the water. When Bloodnose, a 20-year-old male brown shark, consistently showed little interest in 15-year-old Lucy, scientists at the Blackpool Sea Life Centre played him the Romanza from Eine kleine Nachtmusik to try and get him in the mood. Hmmm.

Three years have since passed, and the lack of any announcements of a new brood of Don Giovanni-loving sharklets rather leads us to conclude that the experiment, described as a ‘little bit nutty’ by Bloodnose’s supervisor Carey Duckhouse, has not been entirely successful. A pity.



8. Super rodents

How do you get rats to negotiate a maze in double quick time? Simple – play them Mozart’s Sonata in D Major for Two Pianos, as former cellist-turned-experimental-psychologist Frances Rauscher discovered in 1998.

While enjoying this very diet of special K488, her lab rats at the University of Wisconsin were able to negotiate a labyrinth far faster than when there was silence – asked to explain the phenomenon, Rauscher suggested that the music was stimulating certain neuron connections in the abstract reasoning part of the brain.

Interestingly, similar results have also been observed in separate experiments on mice, which not only moved quicker to Mozart, but also ground to almost a halt when exposed to hard rock music. And then attacked each other.



9. Sportier athletes

Mozart can make people move faster, too. In April 2004, just before his country was due to host the Olympics, Dr Thanassis Dritsas, cardiologist and adviser to the Greek Olympic team, pointed out the benefits of listening to the composer’s works as part of a training routine.

‘Before every workout there should be 10 to 15 minutes of classical music at a slow, easy pace, so that exercise begins at a low pulse-rate to aid the blood flow to the muscles,’ he advised. Four months later, Greece won six gold medals, its biggest haul since 1896. 



10. Fewer yobs

What, or rather who, does it take to prevent louts from making people’s lives misery in public spaces? Yes, you’ve guessed right. In the early 2000s, Tyne and Wear Metro successfully scared unruly types away from its station with occasional blasts of Mozart and Vivaldi.

‘They seem to loathe it,’ said a delighted spokesman. ‘It’s pretty uncool to be seen hanging around somewhere when Mozart is playing.’ Which is all a bit depressing, really.



11. Quicker growing babies

So now for one of the more heart-warming discoveries. Doctors in Tel Aviv say that playing Mozart to premature babies has been shown to make them grow faster.

The reason, they say, is because babies use less energy when lying back and listening to the gentle strains of the composer’s music than when left in silence, and so put on weight more quickly. But, they insist, it has to be Mozart.

‘The repetitive melodies in Mozart’s music may be affecting the organisational centres of the brain’s cortex,’ says Dr Dror Mandel. ‘Unlike Beethoven, Bach or Bartók, Mozart’s music is composed with a melody that is highly repetitive.’ It’s suggested that, in enabling babies to go home earlier, the finding could save hospitals millions of pounds.




12. …and quicker growing fish

Sadly for gilthead seabream, they also appear to grow more rapidly when serenaded by a little Mozart.

A discernable acceleration in growth was observed when bream at the Applied Hydrobiology at the Agricultural University of Athens were played the Romanza from Eine Kleine Nachtmusik (see also No. 7 – it must be a fish thing) for the first 89 days of their lives and, it seems, they were better developed too.

Given that a date with a dinner plate and a hungry Athenian probably awaited them, one imagines that the fish themselves were none too chuffed about this little speeding up of matters…



13. Tastier ham

Likewise, how would one break it to a poor pig that the real reason he is going to be treated to a bit of Mozart is to make him tastier in the long run? This, though, is exactly what happens at the Embutidos Fermin meat company in La Alberca, Spain.

‘When it’s time for them to meet their maker, they play them Mozart,’ said Don Harris, whose company imports the meat to the US, in 2008. ‘After Mozart, they go to bed for the night. The next morning they go off to piggy heaven. They want them very mellow. If they’re scared, they produce epinephrine. If they’re not stressed, the meat is fine.’




14. More breakdownable sewage

What is it about The Magic Flute? Not only does it help grapes ripen quicker (see No. 1), it also makes faeces decompose faster. Or so says Anton Stucki, chief operator of the sewage centre in Treuenbrietzen near Berlin.

Earlier this year, we reported how Stucki has recorded a noticeable speeding up in the breakdown of biomass since he started playing Mozart’s opera throughout the plant – so much so that the centre is expecting to save around 1,000 euros a month.

‘We think the secret is in the vibrations of the music, which penetrate everything,’ Stucki explained. ‘It creates a certain resonance that stimulates the microbes and helps them to work better. But of course you need the right frequencies and the right music, and Mozart hits the spot.’



15. Gigglier biologists

Finally, the most remarkable Mozart effect of all. In 2001, researchers at Trinity University, San Antonio, Texas showed how plants exposed to the sound of the Concerto in G photosynthesise more quickly than if left in silence or, amazingly, than if they ‘listen’ to Bach. Or did they?

While the research paper comes complete with tables of figures and long words than non-biologists don’t understand, the citing of that nebulous ‘Concerto in G’ raises suspicions of inauthenticity – which are confirmed when the likes of B Spears, J Brahms and WJ Clinton appear in the list of sources at the end. Ho ho. Those wacky lab researchers.




Mark Kimber Classic Album Sundays Canterbury Presents Miles Davis ‘In A Silent Way’

In February Classic Album Sundays celebrates the 50th Anniversary of Miles Davis’ brilliant, divisive and game-changing masterpiece.

In A Silent Way, released in 1969, marked a transitional moment, not only in Davis’s career but in the future development of jazz as a whole. Considered by many to be the first fusion recording, it also commenced the composer’s most divisive phase – commonly referred to as his “Electric Period”. This groundbreaking album would test latent tensions surrounding the future identity of jazz, its relationship with new technology, and the questions of authenticity which these contentious issues would draw into focus.

Whilst Davis was no longer the young, hip savant that he once was, his new relationship with the youthful singer Betty Maybry had renewed the composer’s interest in the contemporary pop landscape. Introducing Davis to the likes of The Jimi Hendrix Experience and Sly Stone, Maybry (alongside recommendations from drummer Tony Williams) would unknowingly guide the musician into one of the most distinctive and contentious eras of his work. Nonetheless, Davis’s transition towards this new palette was methodically considered, a culmination of ideas absorbed from collaborators and developed particularly through a new style of performance, which saw his band blend each separate compositions into one meandering flow of continuous music – a style stuck to rigorously until at least 1975.

Join us to experience the album as never before.


Time and Date: Sunday 24th February 3:30pm – 5:30pm


Vinylstore Jr, 20 Castle Street, Canterbury, CT1 2QJ


£6.88 in Advance


Jack Hues and Gina Lapsley

Audio Menu

Rega Elys 2 moving magnet cartridge, Rega Planar 3 turntable, Rega Elex-R amplifier, Chord Signature speaker cables, Bowers and Wilkins 607 speakers.

Listen: Miles Davis ‘Kind of Blue’ Musical Lead-Up Playlist


The post Classic Album Sundays Canterbury Presents Miles Davis ‘In A Silent Way’ appeared first on Classic Album Sundays.

from Classic Album Sundays

Adventures In Sound And Music hosted by Shane Woolman

via The Wire: Home

jfl #morninglistening to #FranzLiszt late #pianoworks on…

#morninglistening to #FranzLiszt late #pianoworks on #NationalHandwritingDay.
@hyperionrecords feat. @TiberghienC
#AnnéesDePèlerinage troisième année #Wiegenlied et al.
#classicalmusiccollection #classicalmusic #handwritingday #Liszt #cédrictiberghien #pianomusic #solokeyboard #HyperionRecords #classicalcdcollection #GermanRomanticism

from Ionarts

Freya Parr The best recordings of Beethoven’s Symphonies


No composer changed the symphony more radically than Beethoven. Whilst his First (1801) pays its respects to the 18th-century classical tradition of Haydn and Mozart, each of the eight successive symphonies follows a unique trajectory heralding a new era: composers were no longer subservient to their court patrons and could assert their right to individual expression.

So it’s little wonder that Beethoven’s colossal symphonic legacy both inspired and intimidated later 19th-century composers. From the moment these works entered the repertory, conductors viewed the performance of a Beethoven cycle as a litmus test of their achievements.

Battle lines as to the ‘ideal’ interpretation of the symphonies were established at an early stage between Mendelssohn, whose performances were mercurial and precise, and Wagner’s more fluid and nuanced approaches.

This dichotomy is mirrored in current approaches with opposed views of the music emanating from Riccardo Chailly on one hand and Christian Thielemann on the other.



The best recording

Leipzig Gewandhaus Orchestra/Riccardo Chailly (2011)
Decca 478 3492

With works of such contrasting character and such an extended recording history, suggesting a cycle that is recommendable on all accounts becomes almost impossible.

Any serious collector will not only want to own several versions, but also savour some inspired recordings of individual symphonies – for example, Carlos Kleiber’s legendary account of the Fifth.

At the same time, in comparing currently available cycles on a symphony-by-symphony basis and in a highly competitive market, it becomes evident that some cycles achieve a greater level of consistency than others.

While certainly not subscribing to the notion that the most recent recordings must of necessity be the best, I found myself most completely captivated by Riccardo Chailly’s 2011 cycle with the Gewandhaus Orchestra.

Captured in superb sound by Decca, these are highly-charged volatile performances, owing much of their clarity and precision to recent approaches by period instrument ensembles and played here with breathtaking brilliance by one of the finest orchestras in the world.

Chailly can be too impetuous for his own good in some of the faster movements, where an occasional bit of poise might provide necessary emotional relief, and it’s unfortunate that the bass soloist in his opening entry to the Finale of the Ninth momentarily loses his bearings. But these seem minor flaws given the engrossing nature of the set as whole.



Three more great recordings

Vienna Philharmonic and Stockholm Philharmonic Orchestras/Wilhelm Furtwängler (1948-54)
EMI 567 4962

It’s a testament to Furtwängler’s genius that recordings made over 60 years ago and in sometimes recessed mono sound remain mainstays of the catalogue. The qualities that the conductor brings to Beethoven are legion, not least a wonderful fluidity in the shaping of the melodic line which takes full account of the tonal conflicts that lie at the heart of Beethoven’s thinking.

In terms of tempo fluctuation, Furtwängler might seem much more wilful than many other interpreters, but the musical insights can be visionary. No interpreter, even modern-day admirers such as Daniel Barenboim and Thielemann, come close to projecting the transformation from minor to major at the outset of the Finale of the Fifth with the same awesome impact.



Orchestre Révolutionnaire et Romantique/Sir John Eliot Gardiner (1994)
DG 477 8643

From the 1970s onwards, historically informed performances on period instruments have stimulated listeners to hear different things in Beethoven’s music. Leaner textures serve to intensify Beethoven’s orchestration, bringing new and vivid colours to familiar works.

Any suggestion, however, that a resort to earlier notions of performance practice results in interpretations that are dry and inflexible is way off the mark, for the approaches are just as varied as on modern instruments.

For example, those who prefer a more fluid subtly nuanced view of Beethoven will warm to Frans Brüggen’s recent set on Glossa which offers some wonderful insights. Nonetheless, there’s a palpable sense of commitment and imagination in John Eliot Gardiner’s invigorating 1990s recordings that has you at the edge of your seat.



Minnesota Orchestra/Osmo Vänskä (2004-8)
BIS SACD 1825/6

There are two particular strengths in Osmo Vänskä’s beautifully engineered SACD recordings made between 2004 and 2008. First, the Finnish conductor manages to capture the essence of Beethoven’s thinking through his painstaking attention to inner details.

Second, he has established a sense of partnership with a first-rate orchestra and secures urgent and incisive playing. In general, Vänskä has more interesting things to say about the earlier symphonies, where the performances are strongly characterised and fleet of foot.

But the set is a superb achievement, illustrating the point that great Beethoven performances are not the exclusive province of the central European orchestral tradition.



And one to avoid…

Although Daniel Barenboim and the West-Eastern Divan Orchestra gave compelling performances at the 2012 Proms, this set does not quite ignite the same spark as those concerts. Despite the orchestra’s energy and enthusiasm, it doesn’t possess the subtlety of timbre and precision of ensemble one finds in other versions.

Another issue is Barenboim’s propensity towards heaviness which can make some
of the interpretations sound stolid. 


Mark Kimber Classic Album Sundays Barcelona Presents Depeche Mode ‘Violator’

Desde el que fuera su primer evento en Londres en el 2010, las sesiones de escucha colectivas ‘Classic Album Sundays’ se han convertido en un referente de difusión y educación musical y sónica. Con satélites en Asia, Europa, Australia y América, Classic Album Sundays regresa a Barcelona para presentar ‘Violator’ (Reprise/Sire/Mute -1990) de Depeche Mode en el espacio audiófilo Nica Bonay, de la mano de Alejandro Asencio y David Smith.

Considerado el mejor álbum de esta popular y oscura British Boy Band por unos, y despreciado por representar el paso a un terreno más mediocre por otros, está claro que el séptimo álbum de estudio de Depeche Mode no deja indiferente a casi nadie. La repercusión global del ‘Violator’ supuso un antes y un después en su carrera e hizo de Depeche Mode que se convirtieran en la aún hoy banda de música electrónica más importante del planeta. Grabado mayoritariamente entre Londres y Milan, ‘Violator’ nos presenta un cancionero de 9 temas y un par de tracks ocultos del cual se extraen 4 exitosos sencillos ‘Personal Jesus’, ‘Enjoy The Silence’, ‘World in My Eyes’ y ‘Policy of Truth’. En boca del propio Martin L. Gore, ‘Violator’ representa una ruptura con la forma de componer y producir temas con respecto a sus trabajos anteriores. Encontramos pues a una banda con sus roles creativos compartidos y un álbum que consigue casar sensibilidades dispares que oscilan entre el baladismo electrónico bailable y el rock de estadio, bañados por un halo de siniestralidad gótica… algo que, según mi opinión, sólo ellos han sabido hacer saliendo semi-airosos disco tras disco desde que publicaran este LP – el más vendido en su carrera – en adelante.

Read: The Story of Depeche Mode ‘Violator’

Bajo la supervisión visual del gran Anton Corbijn, las letras de Martin y la mezcla final del percusionista, productor y DJ legendario François Kevorkian (François K), ‘Violator’ estaba destinado a convertirse en la joya de la contracultura del momento y a redibujar el trazo de la delgada línea que separa a ésta de la música para las masas. Una obra atemporal que sigue enamorando a nuevas generaciones.

Classic Album Sundays Barcelona y Nica Bonay te invitan a redescubrir este clásico y a escucharlo en un sistema de alta fidelidad como posiblemente nunca antes hayas hecho.

**acceso a la sala gratuito, pero numerado, es necesario adquirir entrada en este enlace**


18:00 apertura de puertas, amenización musical y presentación del disco a cargo de David Smith y Alejandro Asencio.
19:30 reproducción y escucha del álbum (47 minutos)
20:30 coloquio, música y cierre

** Para que todos podamos disfrutar de una mejor experiencia, rogamos que por favor tengáis en cuenta lo siguiente una vez empezada la escucha del álbum:
No se permitirá el acceso a la sala después de las 19:30
No se permitirá el uso de teléfonos móviles **

Since its first event in London in 2010, the collective listening sessions ‘Classic Album Sundays’ have become a benchmark for music and sound education and dissemination. With satellites in Asia, Europe, Australia and America, Classic Album Sundays returns to Barcelona to enjoy ‘Violator’ by Depeche Mode in the audiophile space Nica Bonay, led by presenters Alejandro Asencio and David Smith.

Considered the best album to come out of this popular and obscure British Boy Band by some, and despised for representing the passing to a more mediocre musical terrain by others, it is undeniable that this seventh studio album by Depeche Mode leaves no one indifferent. The global success of ‘Violator’ marked a milestone in their career and rocketed Depeche Mode into their current status as the most important electronic music band on the planet. Recorded mostly between London and Milan, ‘Violator’ presents a songbook of 9 songs (and a couple of hidden tracks) out of which 4 hit singles are extracted ‘Personal Jesus’, ‘Enjoy The Silence’, ‘World in My Eyes’ and ‘Policy of Truth’. In Martin Gores own words, ‘Violator’ represents a departure point from their previous work in terms of how they were composing and producing. We come across a band that fully exploits each of its member’s creative potential and an album that manages to marry electronic sounds, danceable ballads, and goth rock attitude under sinister lyricism … something that not many contemporaries have managed to accomplish with quite as much grace as they have album after album since they published this LP to today.

Under the visual mastery and supervision of Anton Corbijn, the lyrics of Martin and the final mixing of percussionist, producer and legendary DJ François Kevorkian (François K), ‘Violator’ was destined to become the countercultural jewel that redraw the very same blurred line that kept their former releases from being considered what they actually are today: music for the masses. A timeless and carefully crafted work that continues to inspire generations worldwide.

Classic Album Sundays Barcelona and Nica Bonay invite you to rediscover this classic and to listen to it in a hi-fi system as you may have never done before.

Access to the event is free, but a ticket is required (RSVP). Please get yours here:


18:00 doors opening, musical entertainment, and album presentation by David Smith and Alejandro Asencio
19:30 playback of the album (47 minutes)
20:30 colloquium, more music, and closing

** So that we can all enjoy a better experience, please kindly note the following once we have started listening to the album:
Access to the room will not be allowed after the album playback starts, and we kindly ask people to refrain from using mobile phones during the album playback.**

Des del que va ser el seu primer esdeveniment a Londres el 2010, les sessions d’escolta col·lectives ‘Classic Album Sundays’ s’han convertit en un referent de difusió i educació musical i sònica. Amb satèl·lits a Àsia, Europa, Austràlia i Amèrica, Classic Album Sundays torna a Barcelona per presentar ‘Violator’ (Represa / Sire / Mute -1990) de Depeche Mode en l’espai audiófilo Nica Bonay, de la mà d’Alejandro Asencio i David Smith.

Considerat el millor àlbum d’aquesta popular i fosca British Boy Band per uns, i menyspreat per representar el pas a un terreny més mediocre per uns altres, està clar que el setè àlbum d’estudi de Depeche Mode no deixa indiferent a gairebé ningú. La repercussió global del ‘Violator’ va suposar un abans i un després en la seva carrera i va fer de Depeche Mode que es convertissin en l’encara avui banda de música electrònica més important del planeta. Gravat majoritàriament entre Londres i Milan, ‘Violator’ ens presenta un cançoner de 9 temes i un parell de tracks ocults del qual s’extreuen 4 senzills ‘Personal Jesus’, ‘Enjoy The Silence’, ‘World in My Eyes’ i ‘Policy of Truth ‘. En boca del propi Martin L. Gore, ‘Violator’ representa un trencament amb la forma de compondre i produir temes pel que fa als seus treballs anteriors. Trobem doncs a una banda amb els seus rols creatius compartits i un àlbum que aconsegueix casar sensibilitats dispars que oscil·len entre el baladismo electrònic ballable i el rock d’estadi, banyats per un halo de sinistralitat gòtica … cosa que, segons la meva opinió, només ells han sabut fer sortint semi-airosos disc rere disc des que publiquessin aquest LP – el més venut en la seva carrera – en endavant.

Sota la supervisió visual del gran Anton Corbijn, les lletres de Martin i la barreja final del percussionista, productor i DJ llegendari François Kevorkian (François K), ‘Violator’ estava destinat a convertir-se en la joia de la contracultura del moment ja redibuixar el traç de la prima línia que separa aquesta de la música per a les masses. Una obra atemporal que segueix enamorant a noves generacions.

L’acces a la sala es gratuit, pero cal treure entrada per asegurse espai. Pots treure la teua aqui:

Listen: Depeche Mode ‘Violator’ Musical Lead-Up Playlist


The post Classic Album Sundays Barcelona Presents Depeche Mode ‘Violator’ appeared first on Classic Album Sundays.

from Classic Album Sundays

On this Day January 23, 2001

An English coroner criticised the rap singer Eminem’s lyrics as depressing during an inquest into the death of a schoolboy who threw himself in front of a train. The 17-year old boy had printed out the lyrics to Eminem’s track ‘Rock Bottom’ before his death.

from This day in music

jfl #morninglistening to the #ChristianSinding #opera…

#morninglistening to the #ChristianSinding #opera #DerHeiligeBerg on @simax_classics
@surprisedbeauty music! @ErikAtSimax
post-Wagnerian gorgeousness.
#NorwegianMusic #classicalmusic #classicalmusiccollection #classicalcdcollection #romanticopera #germanOpera

from Ionarts

Patrick Prince 10 Albums That Changed My Life: Sam Kiszka of Greta Van Fleet

Sam Kiszka, Greta Van Fleet’s bassist and keyboardist, was influenced by quite a few classic artists.

The post 10 Albums That Changed My Life: Sam Kiszka of Greta Van Fleet appeared first on Goldmine Magazine.

from Goldmine Magazine

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