Song of 2day
Song of 2day

Song of 2day (649)

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When a band seamlessly genre hops as much as King Gizzard does, it’s hard for one to categorize them. This is part of their allure. Since their formation seven years ago, they’ve dabbled in Garage Punk, Baroque Pop, Bossa Nova, Raga Rock, and of course Psychedelic Rock. Flying Microtonal Banana, their ninth and latest release, sees the prolific Melbourne natives throwing us yet another surprise, this time coming in the form of alternate tunings: microtonal tunings to be exact, which is essentially taking the regular twelve notes per octave and doubling it to 24. It is an unusual concept in rock music and Western music in general, but one that is frequently used in India and the Middle East. The outcome of this tuning you ask? It is nine tracks of psychedelic quirkiness. http://spillmagazine.com/spill-album-review-king-gizzard-lizard-wizard-flying-microtonal-banana/

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This song is written from the perspective of The Devil. He tempts people with sin and waits as they die and enter hell, which is where they "jump in the fire." One of the earliest Metallica songs, this was the second single they released, after "Whiplash." Dave Mustaine, who left the band in 1983, helped write the song, earning one of his four composer credits in Metallica. The song was included on Metallica's debut album, Kill 'Em All, and reflects the band's New Wave influences; drummer Lars Ulrich was quoted as saying that the song was inspired by Iron Maiden, whose hit "Run To The Hills" had been the most popular song on the radio at the time. Lars claimed that "Jump in the Fire" was Metallica's response to "Run to the Hills," and was intended to be their breakthrough single.

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"The Fool" is a collection of songs that I have been working on for the past three years. In the bitter aftermath of music projects that never worked out during a transition period in my life , I questioned my motives behind making music. The title "The Fool" is the embodiment of what me and some of my friends feel towards the futility of writing music if you have decided not to dedicate your life to it. Is it just a remnant of our teenage selves? Again, only a fool would waste his time answering this question hence I decided to upload these songs.

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Spectral Ascent is much more than something to bob your head to pleasantly, so if you’re looking for something that has many facets and that you can really sink your mental teeth into, this one’s for you. Concurrent to the occultic themes on the album, there is a clear element for anyone really to grab onto; Spectral Ascent has multiple layers. On the album’s eighth track, Kabbalah’s singer puts the listener in the position of the character that was introduced in the first track and has been maintained, in various capacities, throughout the album, singing, “You keep searching for an answer; You’ve watched the darkness fall; And you heed its siren call; That shadow falls upon you.” The album ends on a slightly more upbeat note musically speaking than it opened up with. The production sounds at times as though it is from decades ago, when the musical influences that converge in Spectral Ascent began to make their mark in the modern era. Although it could thereby feel antiquated, it works well. http://newnoisemagazine.com/review-kabbalah-spectral-ascent/#

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"Lightning to the Nations" is the title track from Diamond Head's self-released 1980 album. Lyrics are written by Diamond Head lead Sean Harris, instrumentation is pretty much a collaboration of the entire band (at the time) of Sean Harris, Colin Kimberly, Duncan Scott, and Brian Tatler. Listening to the electrifying guitar work, it's easy to see why heavy metal magazine Burn! ranked Lightning to the Nations the third best riff album of all time, just after Black Sabbath's Master of Reality and Slayer's Reign in Blood. How old were the band members when this song was recorded? Tatler, Scott, and Harris were 19, Kimberly was 20. Says Harris of this time: "We didn't know s--t." Unfortunately, their inexperience was taken advantage of by their manager Reg Fellows. Fellows, who owned a cardboard factory, was responsible for the low-quality first album issue (aka "The White Label Album"), and would go around afterwards reselling the album under various names (Am I Evil?, To Heaven From Hell, Behold the Beginning), even with different cover artwork. The band has since been vocal in protesting how they'd been exploited. [...] http://www.songfacts.com/detail.php?id=18888

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This song begins with a bass riff by Gene Simmons. He recalled the story of the song to Classic Rock magazine: "I read a book called 100,000 Years where 100,000 years ago we were visited by aliens," he said. "Also Einstein's theory of relativity. I was reading all kinds of space and time continuance stuff, and it was all swirling around my head." "I showed this stuff to Paul (Stanley), and he's going: 'What's 100,000 years?' I said: 'Let's just try it.' And then Paul came up with some stuff and I added the riff." http://www.songfacts.com/detail.php?id=32834

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[...]While they do combine elements of Scandinavian folk, jazz, and Krautrock this is put together in a softer and more subtle way. This is more Progg than Prog. One of the key lessons that I think I’ve learned as part of this musical journey is that you should not discount something because of its label. I’ll admit that I’ve not been too enamoured with jazz in the past, but am getting over that and there have been a few heavily ‘jazzed’ albums that have have come to love in recent years (as well as some of the jazz classics), and this album could certainly be categorised as such. [...]This is a great album to just sit and receive, not too stuck on one style of music and just eclectic enough to make you want to put it on repeat. For me it is one of those ‘outliers’ that you get now and again that are utterly indefinable, but are just put together in a way that make a weird sort of sense and just work for all the right reasons. https://psychinsightmusic.com/2017/04/10/album-review-in-a-brown-study-by-soft-power/

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What you gonna do? Time's caught up with you Now you wait your turn, you know there's no return Take your written rules, you join the other fools Turn to something new, now it's killing you First it was the bomb, Vietnam napalm Disillusioning, you push the needle in From life you escape, reality's that way Colours in your mind satisfy your time Oh you, you know you must be blind To do something like this To take the sleep that you don't know You're giving Death a kiss, Oh, little fool now

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Sonic Youth were one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R.E.M. and Hüsker Dü were fairly conventional in terms of song structure and melody, Sonic Youth began their career by abandoning any pretense of traditional rock & roll conventions. Borrowing heavily from the free-form noise experimentalism of the Velvet Underground and the Stooges, and melding it with a performance art aesthetic borrowed from the New York post-punk avant-garde, Sonic Youth redefined what noise meant within rock & roll. Sonic Youth rarely rocked, though they were inspired directly by hardcore punk, post-punk, and no wave. Instead, their dissonance, feedback, and alternate tunings created a new sonic landscape, one that redefined what rock guitar could do.The band's trio of independent late-'80s records -- EVOL, Sister, Daydream Nation -- became touchstones for a generation of indie rockers who either replicated the noise or reinterpreted it in a more palatable setting. As their career progressed, Sonic Youth grew more palatable as well, as their more free-form songs began to feel like compositions and their shorter works began to rock harder. During the '90s, most American indie bands, and many British underground bands, displayed a heavy debt to Sonic Youth, and the group itself had become a popular cult band, with each of its albums charting in the Top 100. "Sunday" was released on April 23, 1998 by record label Geffen as the first and only single from their 10th studio album, A Thousand Leaves. It reached No. 72 in the UK Singles Chart.The video for "Sunday" was directed by Harmony Korine and starred Macaulay Culkin and Rachel Miner. The video made liberal use of slow- and fast-motion cameras and images of ballerinas dancing.

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Most famous for "Talk Talk," a Top 20 single from 1966 that was one of the most manic '60s garage-punk hits, the Music Machine had much more depth and songwriting talent than the typical one-hit wonders of the day. Lead singer and songwriter Sean Bonniwell's strangled lyrics and dark, verbose vision paced the group's wiry psychedelic guitar lines and ominous, minor-key Farfisa organ. The San Jose, California-born Bonniwell had been inspired to form his first group in high school in the late '50s after hearing "Only You" by the Platters."Talk Talk" is the debut single of the American garage rock band, The Music Machine. The song was released in November 1966, and produced the band's only Top 20 hit on the Billboard Hot 100.It was then included on their debut album, (Turn On) The Music Machine. The single is an early example of proto-punk.

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Jackie Wilson was one of the most important agents of black pop's transition from R&B into soul. In terms of vocal power (especially in the upper register), few could outdo him; he was also an electrifying on-stage showman. He was a consistent hitmaker from the mid-'50s through the early '70s, although never a crossover superstar. His reputation isn't quite on par with Ray Charles, James Brown, or Sam Cooke, however, because his records did not always reflect his artistic genius. Indeed, there is a consensus of sorts among critics that Wilson was something of an underachiever in the studio, due to the sometimes inappropriately pop-based material and arrangements that he used. Wilson was well-known on the R&B scene before he went solo in the late '50s. In 1953 he replaced Clyde McPhatter in Billy Ward & the Dominoes, one of the top R&B vocal groups of the '50s. Although McPhatter was himself a big star, Wilson was as good as or better than the man whose shoes he filled. Commercially, however, things took a downturn for the Dominoes in the Wilson years, although they did manage a Top 20 hit with "St. Therese of the Roses" in 1956. Elvis Presley was one of those who was mightily impressed by Wilson in the mid-'50s; he can be heard praising Jackie's on-stage cover of "Don't Be Cruel" in between-song banter during the Million Dollar Quartet session in late 1956. While playing a Dick Clark oldies show at the Latin Casino in New Jersey in September 1975, Wilson suffered an on-stage heart attack while singing "Lonely Teardrops." He lapsed into a coma, suffering major brain damage, and was hospitalized until his death in early 1984.

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The Go-Betweens were perhaps the quintessential cult band of the '80s: they came from an exotic locale (Brisbane, Australia), moved to a major recording center (in their case, London) in a sustained bid to make a career out of music, released album after album of music seemingly tailor-made for the radio in spite of their having little use for contemporary Top 40 musical/lyrical formulas, and earned considerable critical praise and a small but fervent international fan base. Although the Go-Betweens were absent throughout the '90s before re-forming in the new millennium, both of the band's songwriters embarked on respectable solo careers in the interim and, while rarely reaching the heights the Go-Betweens scaled, they still managed to uphold the group's legacy.Robert Forster and Grant McLennan began as a pair of teenagers obsessed with the earthy rock of Dylan, CCR, and the Velvet Underground and encouraged by the Australian punk of the Saints. Lee Ann Remick (December 14, 1935 – July 2, 1991) was an American actress. She was nominated for the Academy Award for Best Actress for the 1962 film Days of Wine and Roses, and for the 1966 Tony Award for Best Actress in a Play for her Broadway theatre performance in Wait Until Dark.

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The Growlers are an American band formed in Dana Point, California in 2006, now based in Costa Mesa.The band is currently composed of singer Brooks Nielsen,lead guitarist Matt Taylor and keyboard player/guitarist Kyle Straka.They have released five albums, three EPs and a number of singles. The band's sound has been described as "a trademark style of music that somehow combines country, surf, pop, rock and beat" which has been labelled "Beach Goth".The band has organized the annual Beach Goth festival since 2012. Held at the Observatory in Santa Ana, CA, the festival typically features performances by bands representing a variety of genres, including pop, rap, hip hop, heavy metal, and rock. Over the years, the event has included costume contests, amusement park rides, and live performances of Rocky Horror Picture Show. The Growlers have headlined both Saturday and Sunday night of the annual Beach Goth festival since its inception.

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," A Flock of Seagulls were one of the infamous one-hit wonders of the new wave era. Growing out of the synth-heavy and ruthlessly stylish new romantic movement, A Flock of Seagulls were a little too robotic and arrived a little too late to be true new romantics, but their sleek dance-pop was forever indebted to the short-lived movement. The group benefitted considerably from MTV's heavy rotation of the "I Ran" video in the summer of 1982, but they were unable to capitalize on their sudden success and disappeared nearly as quickly as they rocketed up the charts.In the U.K., "I Ran" didn't make the Top 40, but "Wishing (If I Had a Photograph of You)" reached number ten later that year; in America, that single became a Top 40 hit in 1983, after "Space Age Love Song" peaked at number 30. "Wishing" was taken from the group's second album, Listen (1983), which was moderately successful.

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Few bands have had such a huge effect on musical culture, as The Jesus and Mary Chain. Their attitude alone, dressed in black, angry with the world, playing short sets drenched in feedback, set the bench mark in the post Sex Pistols music scene of London. Their seminal debut album Psychocandy would go on to change the course of popular music, channeling the sneering angst and noise distortion of the live shows into hypnotic sweet melodies layered with dark lyrics that would beguile and bewilder.

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The Folk Implosion was an American indie rock/lo-fi band founded in the early 1990s by Lou Barlow and John Davis. It was initially a side-project started by Barlow to explore different territory than that being canvassed with his primary band at the time, Sebadoh. The name is a play on the Jon Spencer Blues Explosion.The band's status was relatively obscure prior to the Larry Clark film Kids, and its soundtrack, most of which contained original compositions by Barlow and Davis. One of the songs from the soundtrack, "Natural One", became a hit single. It peaked at No. 29 on the Billboard Hot 100, No. 4 on the Billboard Modern Rock Charts and No. 20 on the Mainstream Rock Charts.[1] The track peaked at No. 45 in the UK Singles Chart.[2] Though the band attempted to duplicate the success of that song, their subsequent albums and singles were nowhere near as successful as "Natural One". In 1995, the band contributed the song "Indierockinstrumental" to the AIDS benefit album, Red Hot + Bothered, produced by the Red Hot Organization.

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Γεννημένος στην Καστοριά το ’51, ο Παπαντίνας θα μεγαλώσει στη Νέα Υόρκη, όπου βρέθηκε με την οικογένειά του, για να επιστρέψει στην Ελλάδα και τη Θεσσαλονίκη το 1967, φέρνοντας από την Αμέρικα τον λεγόμενο «ροκ τρόπο ζωής» και κυρίως ένα δικό του κιθαριστικό παίξιμο, που τον έκανε αμέσως φίρμα.Το πρώτο γκρουπ που έπαιξε ήταν, μάλλον, οι Fratelli (Νοέμβριος 1968).Στους Fratelli έπαιζαν τότε ο Θόδωρος Παπαντίνας κιθάρα, ο Γιάννης Καντζός κιθάρα, ο Στέλιος Φωτιάδης μπάσο, ο Γιώργος Πεντζίκης όργανο, ο Λεωνίδας Σταματιάδης τύμπανα, ενώ ο Μίμης Αντωνόπουλος τραγουδούσε. Ένα φεγγάρι τραγούδησε και ο Νίκος Παπάζογλου...». Κι ενώ οι Fratelli γάζωναν, απ’ ό,τι φαίνεται, στο πάλκο, λίγα χρόνια αργότερα ένα άλλο συγκρότημα της πόλης, οι Μακεδονομάχοι, προχωρούσαν στο δικό τους... απελευθερωτικόν αγώνα.Από τους Fratelli, που διέλυσαν το καλοκαίρι του 1969, έγιναν τον Οκτώβριο του 1971 οι Μακεδονομάχοι, στους οποίους έπαιζαν ο Θόδωρος Παπαντίνας, ο Γιάννης Καντζός, ο Λεωνίδας Σταματιάδης, ο Μάκης Γιαπράκας μπάσο, ενώ τραγουδούσε μαζί τους για περίοδο τεσσάρων μηνών ο Νίκος Παπάζογλου.Κι ενώ για κάποιο διάστημα λίγοι έχουν νέα του, στα τέλη των seventies ο Θόδωρος Παπαντίνας σκάει μύτη με την Εταιρεία Καλλιτεχνών, ένα συγκρότημα το οποίο απάρτιζαν ο ίδιος στην κιθάρα, ο Παύλος Σιδηρόπουλος τραγούδι, ο Στίλπων Νέστωρ κιθάρα, ο Τόλης Μαστρόκαλος μπάσο και ο Γιώτης Μπάγκαλας ντραμς. Για όσο καιρό βρέθηκαν μαζί εμφανίστηκαν σε διάφορα κλαμπ της εποχής και... τέσσερα απ’ αυτά τα live songs (Skylab, 10/1979) ανθολογούνται στο άλμπουμ του Polytropon, για πρώτη φορά.Η punk εκδοχή τους στο “You really got me” είναι... Clash-ης, ασχέτως της πενιχρής ηχογράφησης, ενώ ως «έκπληξη» θα μπορούσε να χαρακτηριστεί το “As I went out one morning” του Bob Dylan.Με τους Bicycle,το επόμενο σχήμα, o Παπαντίνας θα βγάλει το άχτι του. Δεν έχει απλώς ένα γκρουπ, στο οποίο φαίνεται να κάνει κουμάντο, αλλά και τη δυνατότητα να γράψει για πρώτη φορά, στο στούντιο του Παπάζογλου, ένα δικό του άλμπουμ (καλοκαίρι ’81), υπό την έννοια ότι όλο το υλικό ήταν δικό του. Παπαντίνας, Νέστωρ κιθάρες, Ρούλης Πυρίλης τύμπανα, Βασίλης Παπαβασιλείου μπάσο και ακόμη οι Γιώργος Πεντζίκης πιάνο και Βαγγέλης Κουτσοτόλης σαξόφωνα πήραν μέρος στην ηχογράφηση, δίνοντας τον εαυτό τους. Τι να το κάνεις όμως. Το υλικό δεν έλεγε πολλά πράγματα – ένα-δυο κομμάτια ξεχώριζαν, όπως π.χ. το “Tomorrow morning” που θύμιζε Dire Straits – με αποτέλεσμα και το άλμπουμ, αλλά κυρίως ο Παπαντίνας να χαθούν από προσώπου γης. (Στο CD του Polytropon μεταφέρονται δύο κομμάτια από το LP). Ο ατίθασος, ανυπότακτος – έξω από οιαδήποτε λογική σχεδίου, πλάνου και συμμόρφωσης με κάποιου είδους τάξη – χαρακτήρας τού Παπαντίνα, «εμποδίζει» τον πράγματι άξιο κιθαρίστα να γράψει το «βιβλίο» που του άξιζε. Δεκαπέντε χρόνια μετά τους Bicycle, το χειμώνα του ’96, μπαίνει στο Magnanimus της Θεσσαλονίκης μαζί με τους Γιώργο Κωστόπουλο μπάσο και Χρήστο Κουτσούρη ντραμς, τους T 4 Trouble δηλαδή, για την παραγωγή ενός άλμπουμ, το οποίο ποτέ δεν εκδόθηκε (στο CD ακούγονται 7 κομμάτια). Το “Funky India” με τα αειθαλή riffs είναι χάρμα – κι αυτή η διαλυμμένη φωνή τού Παπαντίνα είναι εκείνο που του πάει. Για τις ανάγκες της ταινίας πια, τον Ιούλιο του ’07, ο Θόδωρος Παπαντίνας θα προσφέρει ένα από τα τελευταία του κομμάτια, που τυγχάνει να είναι ό,τι σημαντικότερον έχει ποτέ συνθέσει. Το “Mexican blanket” είναι θαυμάσιο τραγούδι. Θα το ερμήνευε, τρέχοντας, ακόμη και ο Johnny Cash...ο Θεόδωρος Παπαντίνας εφυγε από την ζωή στις 19/6/2016 σε ηλικία 64 χρονών.

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Γεννημένος στην Καστοριά το ’51, ο Παπαντίνας θα μεγαλώσει στη Νέα Υόρκη, όπου βρέθηκε με την οικογένειά του, για να επιστρέψει στην Ελλάδα και τη Θεσσαλονίκη το 1967, φέρνοντας από την Αμέρικα τον λεγόμενο «ροκ τρόπο ζωής» και κυρίως ένα δικό του κιθαριστικό παίξιμο, που τον έκανε αμέσως φίρμα.Το πρώτο γκρουπ που έπαιξε ήταν, μάλλον, οι Fratelli (Νοέμβριος 1968).Στους Fratelli έπαιζαν τότε ο Θόδωρος Παπαντίνας κιθάρα, ο Γιάννης Καντζός κιθάρα, ο Στέλιος Φωτιάδης μπάσο, ο Γιώργος Πεντζίκης όργανο, ο Λεωνίδας Σταματιάδης τύμπανα, ενώ ο Μίμης Αντωνόπουλος τραγουδούσε. Ένα φεγγάρι τραγούδησε και ο Νίκος Παπάζογλου...». Κι ενώ οι Fratelli γάζωναν, απ’ ό,τι φαίνεται, στο πάλκο, λίγα χρόνια αργότερα ένα άλλο συγκρότημα της πόλης, οι Μακεδονομάχοι, προχωρούσαν στο δικό τους... απελευθερωτικόν αγώνα.Από τους Fratelli, που διέλυσαν το καλοκαίρι του 1969, έγιναν τον Οκτώβριο του 1971 οι Μακεδονομάχοι, στους οποίους έπαιζαν ο Θόδωρος Παπαντίνας, ο Γιάννης Καντζός, ο Λεωνίδας Σταματιάδης, ο Μάκης Γιαπράκας μπάσο, ενώ τραγουδούσε μαζί τους για περίοδο τεσσάρων μηνών ο Νίκος Παπάζογλου.Κι ενώ για κάποιο διάστημα λίγοι έχουν νέα του, στα τέλη των seventies ο Θόδωρος Παπαντίνας σκάει μύτη με την Εταιρεία Καλλιτεχνών, ένα συγκρότημα το οποίο απάρτιζαν ο ίδιος στην κιθάρα, ο Παύλος Σιδηρόπουλος τραγούδι, ο Στίλπων Νέστωρ κιθάρα, ο Τόλης Μαστρόκαλος μπάσο και ο Γιώτης Μπάγκαλας ντραμς. Για όσο καιρό βρέθηκαν μαζί εμφανίστηκαν σε διάφορα κλαμπ της εποχής και... τέσσερα απ’ αυτά τα live songs (Skylab, 10/1979) ανθολογούνται στο άλμπουμ του Polytropon, για πρώτη φορά.Η punk εκδοχή τους στο “You really got me” είναι... Clash-ης, ασχέτως της πενιχρής ηχογράφησης, ενώ ως «έκπληξη» θα μπορούσε να χαρακτηριστεί το “As I went out one morning” του Bob Dylan.Με τους Bicycle,το επόμενο σχήμα, o Παπαντίνας θα βγάλει το άχτι του. Δεν έχει απλώς ένα γκρουπ, στο οποίο φαίνεται να κάνει κουμάντο, αλλά και τη δυνατότητα να γράψει για πρώτη φορά, στο στούντιο του Παπάζογλου, ένα δικό του άλμπουμ (καλοκαίρι ’81), υπό την έννοια ότι όλο το υλικό ήταν δικό του. Παπαντίνας, Νέστωρ κιθάρες, Ρούλης Πυρίλης τύμπανα, Βασίλης Παπαβασιλείου μπάσο και ακόμη οι Γιώργος Πεντζίκης πιάνο και Βαγγέλης Κουτσοτόλης σαξόφωνα πήραν μέρος στην ηχογράφηση, δίνοντας τον εαυτό τους. Τι να το κάνεις όμως. Το υλικό δεν έλεγε πολλά πράγματα – ένα-δυο κομμάτια ξεχώριζαν, όπως π.χ. το “Tomorrow morning” που θύμιζε Dire Straits – με αποτέλεσμα και το άλμπουμ, αλλά κυρίως ο Παπαντίνας να χαθούν από προσώπου γης. (Στο CD του Polytropon μεταφέρονται δύο κομμάτια από το LP). Ο ατίθασος, ανυπότακτος – έξω από οιαδήποτε λογική σχεδίου, πλάνου και συμμόρφωσης με κάποιου είδους τάξη – χαρακτήρας τού Παπαντίνα, «εμποδίζει» τον πράγματι άξιο κιθαρίστα να γράψει το «βιβλίο» που του άξιζε. Δεκαπέντε χρόνια μετά τους Bicycle, το χειμώνα του ’96, μπαίνει στο Magnanimus της Θεσσαλονίκης μαζί με τους Γιώργο Κωστόπουλο μπάσο και Χρήστο Κουτσούρη ντραμς, τους T 4 Trouble δηλαδή, για την παραγωγή ενός άλμπουμ, το οποίο ποτέ δεν εκδόθηκε (στο CD ακούγονται 7 κομμάτια). Το “Funky India” με τα αειθαλή riffs είναι χάρμα – κι αυτή η διαλυμμένη φωνή τού Παπαντίνα είναι εκείνο που του πάει. Για τις ανάγκες της ταινίας πια, τον Ιούλιο του ’07, ο Θόδωρος Παπαντίνας θα προσφέρει ένα από τα τελευταία του κομμάτια, που τυγχάνει να είναι ό,τι σημαντικότερον έχει ποτέ συνθέσει. Το “Mexican blanket” είναι θαυμάσιο τραγούδι. Θα το ερμήνευε, τρέχοντας, ακόμη και ο Johnny Cash...ο Θεόδωρος Παπαντίνας εφυγε από την ζωή στις 19/6/2016 σε ηλικία 64 χρονών.

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