Friday, August 31, 2007
LUCIFER'S FRIEND - Banquet
OK, the name isn't that cool (or maybe it is, I don't know), the album cover is a bit "over the top" and it comes from the 70s: some would probably dismiss it without giving it a spin. Well, shame on you! We are talking about one of the best albums in the history of rock!!! Five tracks full of extra-terrestrial composing and playing ability!!! They are from Germany, guys, and they know their stuff!!!
Lucifer's Friend were formed in 1970, from the ashes of The Rattles and Asterix. The recruited English singer John Lawton (from the Les Humphries Singers and later replacing David Byron in Uriah Heep) and their eponymous album saw light of day in 1970: a great hard rock debut, much in the likes of Led Zeppelin and Black Sabbath but infected with that great dark kraut sound of members Peter Hesslein (guitar), Peter Hecht (keyboards), Dieter Horns (bass) and Joachim Rietenbach (drums).
Banquet is their third album and it's not only their best but should be included in the top 10 of rock albums of all time (yeah, I know, many of you will probably disagree but I do not give a damn, honestly!!!). Their sound is very different to their debut, now including far more sophisticated compositions and an entire classical orchestra, too!
The opening track, "Spanish Galleon" is definitely a cornerstone of their genre: an 11-minute epic opening with a funky attitude and evolving into a masterpiece of all kinds. You can even hear a wah wah clarinet and trumpet in there! Lawton's voice is outstanding albeit a bit "too epic". The second track, "Thus Spoke Oberon" is not from this earth! Piano, eerie voice and lyrics and a bloody great instrumental break at stellar speed in the middle!!! "Sorrow" is another epic masterpiece of electric piano madness and orchestral mayhem!!! The album has its pop moments too, notable for the time produced.
Give it a proper listen (a few spins are necessary for its conception) and you will end up begging for more!!!
Enjoy (you will, you will!!!)
Labels: banquet, friend, lucifer's
Monday, August 27, 2007
ROBERT WYATT - Old Rottenhat
Old Rottenhat is one of the cheapest vinyls I've ever bought. It was only 3 euros, from the Thessaloniki fleamarket (the guy selling it was a sleazy antiques douche, he wanted to sell it for 5 euros but I bargained as hard as I could!). I previously had it on tape but it wore out during the years.
To the point: Wyatt's inspired songwriting is prevalent in this LP which contains some of his best songs to date. His sad voice and political lyrics make for a great blend of near-ambient soundscapes. Echoes of Wyatt's work with the Soft Machine are scattered in the album. Robert Wyatt is probably one of the few remaining 70s musicians whose music isn't pretentious but rather seminal. Grab this album immediately if you come across it.
Note: this is a vinyl rip which I mastered myself (including hiss and crackle elimination). Sound quality is very good.
Labels: Machine, Rottenhat, Soft, Wyatt
Saturday, August 25, 2007
JIMMY SMITH - Prayer Meetin'
No need to say much about Jimmy Smith; I'm sure most of you are aware of his genius. As for those of you who haven't heard of him, grab this album (and anything from his Blue Note years) and indulge in some of the finest hammond-driven jazz & funk.
Prayer Meetin' was recorded in 1963, at a time when Jimmy Smith had switched to the organ/guitar/drums/sax combo (Quentin Warren and Kenny Burrell were frequently employed for the guitarist position while the late Stanley Turrentine was always present with his thick tone on the sax). The album ranges from incessant soul-jazz grooves to mellow jazz arrangements. The playing is impeccable (like there was a chance for not being impeccable!) and the band is very tight and groovy. Great music for any time of the day, period.
Thursday, August 23, 2007
Παύλος Σιδηρόπουλος - Εν Λευκώ / Pavlos Sidiropoulos - 1982 En Lefko
Pavlos Sidiropoulos is probably the best Greek rock artist. An excellent songwriter who has had collaborated with some of the finest Greek musicians. En Lefko is one of his greatest albums. Greek audiences know him well. As for the non-Greeks, you could read some very general information about him in wikipedia.
Saturday, August 18, 2007
GUN - Gun (1969)
Those of you familiar with bands such as the Three Man Army and Baker-Gurvitz Army will probably know Gun, a british heavy rock trio formed by the Curtis Brothers (Adrian & Paul) and Lou Farrell in 1969. Their first album cracked out "Race With The Devil", a classic rock song later covered by many artists (Girlschool's version is definitely my favourite). A second album (Gunsight) followed and then the group disbanded.
Gun's music is heavy rock with attitude and the songs are original and quite interesting as they can not be easily pigeonholed under the mainstream rock category.
I ripped the album from the original vinyl and then I edited it in Cool Edit pro to enhance sound quality (mainly to remove clicks & pops and boost the bass). If you are not happy with the mastering I can always post the unmastered vinyl rip.
Labels: Curtis, Gun, Gurvitz
Friday, August 17, 2007
The Cult - Heart Of Soul (CD Single)
CD containing Heart of Soul in radio edit & acoustic version, Edie (ciao baby) acoustic version & Earth Mofo
Thursday, August 16, 2007
MUKTA - Indian Sitar & World Jazz
Mukta are a French band that play acoustic jazz fused with indian instruments such as sitar and tamboura. There are moments when their playing is reminiscent of the Cinematic Orchestra or Skalpel (keep in mind that Mukta precede these two bands) but the result sounds more intuitive and relaxed. Of course, the inevitable groove is omnipresent but not to the detriment of the meditating aura of the music.
I bought this double album at one of those "grand" Supermarkets (!!!); it was priced for less than 8 euros, as far as I can recall. There are instances where a quest for a fresh cauliflower leads to unexpected gems, such as this album!
The album consists of 2 CDs, one with the original tracks and a second one with remixes by Sporto Kantes and the Lalo's, among others.
Wednesday, August 15, 2007
Western Swing - Texas 1928-1944 (double album)
Texas big bands play an incredible mixture of swing and country, creating a sound that was the precursor of Rock 'n Roll. Here are the original liner notes from the double CD:
Western Swing, Texan music born of country, jazz and blues, lies at the root of a major part of Rock'n'Roll and present-day Country Music. Gerard Herzhaft, author of numerous works on country music and the blues — as well as artistic producer of the box set "Country / Nashville-Dallas-Hollywood" —, here presents the world's first an¬thology of a neglected musical form that was nevertheless the major influence in the careers of Bill Haley, Carl Perkins, Buddy Holly and Jerry Lee Lewis.
(Patrick Fremeaux, Publisher)
This compilation is a musical journey through the towns of a Texas still pervaded by the frontier mentality. It was here that emerged a specific form of Country Music, strongly influenced by the blues and jazz. Called Western Swing, it would considerably alter the course of American music.
TEXAS, A STATE APART
The American South, with its vast plantations, has always been a cultural melting-pot. Peopled by a mixture of British colonists, African slaves, Choctaw and Cherokee Indians, Spaniards etc., it is an area that gave birth to its own music, a music that around the turn of the century spawned various derivatives we today call blues, gospel or country. After the War of Secession, this musical art of the South had assumed a professional mantle in the form of minstrel shows, troupes of travelling entertainers who frequently made up in blackface. By thus miming the blacks, they could more easily resort to the eccentric and even the frankly licentious. The history of Texas is different. This immense territory, discovered by the Spanish, remained a part of Mexico until 1836, when powerful American ranchers installed there mounted a revolt. A Washington-backed militia led by Sam Houston triumphed in a short war against Mexico, culminating in the proclamation of the independent Republic of Texas, which in 1845 was absorbed into the USA as its 28th State. Alongside the mainly Hispanic ranchers, in the late 19th century the Americans created cotton plantations in the wide-open spaces of a rural eastern Texas strongly drawn towards New Orleans. Cheap black labour flocked into the area. Only with the early 20th-century discovery of oil did Europeans begin to arrive, many of them outcasts of the old Austro-Hungarian Empire. The consequence: a basic population of Hispanics, plus a sprinkling of Anglo-Saxons, numerous blacks and a substantial Germanic contingent. Add to that the influence of the cowboy culture of the West and the Cajun culture of the Louisiana swamps, and it becomes evident that Texas is a very different entity from the Old South.
HILLBILLY AND HOT DANCE
While the Appalachian Southeast, the home of Country Music, enforced a strict religious and moral code, Texas was bent on providing uninhibited entertainment for its oil-workers and cowboys in vast dance-halls set up on the fringes of towns like Dallas and San Antonio. When Texan violinist Bob Wills, a musician's son who had grown up on an isolated farm in the company of black share-croppers, decided to become a professional musician, one of his principal models was the influential Emmett Miller, present here in a recording from 1928. Wills was working blackface in a minstrel show when, in 1931, he met guitarist Herman Arnspiger and singer Milton Brown. Together they formed the Aladdin Laddies, and played what would soon be christened "Hot Dance Hillbilly", a style partially influenced by Dixieland jazz and the music of Eddie Lang, Joe Venuti and Jack Teagarden. Soon, Wills and Brown fell out, Wills moving on to form his Texas Playboys and Brown his Musical Brownies. By August 1934, Milton Brown was in San Antonio recording what is generally considered the first Western Swing performance, Talking About You. Bill Boyd and Bob Wills would fairly quickly follow suit.
EARLY WESTERN SWING
The success of Hot Dance Hillbilly (the term Western Swing would not be adopted until the 1940s) opened the way to groups such as Jimmie Revard and His Oklahoma Playboys, The Tune Wranglers, Cliff Bruner's Texas Wanderers and The Light Crust Doughboys, the last with pianist Knocky Parker, who had played as a kid with Blind Lemon Jefferson and was now also operating in a duo with young blues-man T-Bone Walker. Indeed, influenced as much by black bluesmen as by white country-music star Jimmie Rodgers, Western Swing outfits were now playing an increasing number of blues, witness Blues In The Bottle, Milk Cow Blues and the Hillbilly Boys' Dirty Hangover Blues. Another Western Swing specialty was smut (something unimaginable in Nashville Country Music): hence Red's Tight Like That, Pussy Pussy Pussy and the Modern Mountaineers' Everybody's Truckin'. Yet this by no means precluded more innocent items such as cowboy ballads, waltzes, polkas and Appalachian old-time dances. Added to which, Hawaiian music, immensely popular throughout the USA, did not fail to exert its influence here as well. Yet a further influence at work was the Mexican frontier music that inspired the Tune Wranglers' ElRancho Grande, the first of a series of recordings that would culminate in the post¬war Tex Mex style. But the overriding quality of Western Swing was indeed swing, with Bob Wills the undisputed master of the art. Drawing upon the best musicians, many of them jazz players, he moulded his Texas Playboys into a tight, irresistibly swinging outfit. Wills' pre-eminence further increased following the death in a road accident of his big rival, Milton Brown, in 1936. The Musical Brownies did carry on for a short time, led by Milton's brother, Durwood Brown, and one of their recordings was the sad, slow Louise Louise Blues.
WESTERN SWING IN ACTION
While Western Swing was principally dance-hall music (The Crystal Springs Ramblers, for instance, were big favourites in Fort Worth), it also enjoyed huge ex¬posure over the Texan airwaves, generally sponsored by flour and agricultural-machinery manufacturers. And it was this virtually daily activity of live performance that meant groups were not free to travel to New York or Chicago to record. Consequently, the re¬cord companies rigged up makeshift studios in Texas hotel rooms, which explains the precarious recording quality of most 1930s Western Swing sides. But it also explains the incredible atmosphere that reigned at these sessions — free-wheeling, heavy-drinking affairs (Bob Wills was a particularly notorious imbiber), with the musicians comfortably installed, and totally relaxed, on their home territory. This unbridled music soon spread beyond its native Texas and Oklahoma. Invading the Southeast, it established Bob Wills as a big star in the Appalachian region, scandalising a Nashville establishment keen to protect both its musicians and the "purity" of their music. Western Swing artists were branded as drunkards and pornographers (which they often were!), and gradually found themselves banned. But all to no avail: by the end of the 1930s, Western Swing was the most popular form of Country Music all the way from El Paso to Nashville. Jazz remained a crucial component of the genre, while certain Western Swing guitarists were themselves among the early innovators of the electric instrument. Listen, for example, to Zeke Campbell on Blue Guitars, Sidney Buller on Blue Steel Blues, and Eldon Shamblin (with Bob Wills) on Twin Guitar Special. Playing an improvised Dobro laid flat across the knees Hawaiian-fashion, and linking it to a car battery, the Western Swing steel-guitarists invented the pedal steel guitar, one of the most sophisticated instruments in contemporary music. This enabled them to explore totally new sounds, witness the work of Leon McAuliffe, Ted Daffan or Noel Boggs. It was also Western Swing that introduced rhythm sections (and more occasionally brass sections) into Country Music, paving the way for big postwar artists from Merle Travis to Willie Nelson.
ON TOWARDS ROCK'N'ROLL
From Western Swing sprang all major forms of post¬war Country Music such as Honky Tonk, Bluegrass and Country Boogie. Even styles based on a return to tradition refer explicitly to Western Swing, to Texas and to Bob Wills. Furthermore, Cliff Bruner's 1939 Truck Driver's Blues had unleashed a new fashion for truck drivers' songs, still very popular today on all American high¬ways. On this piece (and several others of CD2), the presence will be noted of singer-composer-pianist Moon Mullican, a genuinely two-handed piano player who would be a major influence on 1950s Rock'n'Roll. With Chill Tonic, Pipeliner's Blues, Whatcha Gonna Do?, Draft Board Blues and so many others not included here, early-'40s Western Swing clearly foreshadows the Rock'n'Roll of a decade later. Indeed, Bill Haley would begin his career fronting a Western Swing group, while Carl Perkins, Jerry Lee Lewis (a Mullican pupil), Buddy Holly, Wanda Jackson and all the Southern Rock'n'Roll pioneers would find their initial inspiration in Western Swing and Honky Tonk. Rock'n'Roll is often presented as a 1950s fusion of black and white music. In actual fact, that fusion had already occurred in the '30s and '40s, and it is symbolised by Western Swing.
HOLLYWOOD AND THE END OF WESTERN SWING
War and ensuing conscription forced many groups to disband, while the spread of juke-box joints was reducing work opportunities. Then, when numerous Texans migrated to California, certain Western Swing bands — notably the one fronted by Bob Wills — followed them, setting up in Hollywood. There, screen westerns and popular entertainment gradually emasculated the music, which, despite Wills' valiant efforts, became little more than another arm of Hollywood show-business. The true "king" of this latterday Western Swing was Spade Cooley, a classically-trained Cherokee violinist who enjoyed immense success before being given a life sentence for beating his wife to death. While the spirit of Western Swing does linger on in various forms of present-day Country Music, its real heritage lies in the mass of recordings that this compilation — the first of its kind on CD — hopes to help you discover.
Adapted by Don Waterhouse from the French text of Gerard HERZHAFT © FREMEAUX&ASSOCIESS.A. 1994
CD 1: http://www.mediafire.com/?2edtdied2os
CD 2: http://www.mediafire.com/?2lb9054lnmv
Update: Corrupt Track 2 from CD 2 available here:
Sunday, August 12, 2007
THE FRENCH POP & SOUL EXPERIENCE (part 1)
This is one of the best compilations of obscure French instrumental jazz/funk from the 70's. The musicians and the bands are perhaps the most professional of the time. Production quality is absolutely amazing, the tracks sound as if they were produced now. Here are the original liner notes from the CD:
THE FRENCH POP & SOUL EXPERIENCE (part 1) In the early 70s a mad musical goal was achieved by creating an explosive musical mix, initially as soundtracks which brought together Pop, Funk and Jazz music. Jean-Claude Pierric gathered round him Francois Roland, lead player of the MUSTANGS, which had none other than Eric Clapton as their musical director, and Daniel Janin, then band leader of the mythical Paris venue, the Olympia. Their basic goal was clear: to achieve a nigh standard of quality, if not downright musical perfection. At a time when French pop music was in its heyday, this musically demanding group of three made a bold move, pioneering for a large number of other French performers, by setting out in a whole new direction, that of Jazz-Funk and Jazz-Rock. This took its musical cues from a new generation of stateside musicians: the Headhunters, with Paul Jackson, as well as Herbie Hancock, David Axelrod, Peter Herbolzheimer, or yet Bob James. With Jean-Claude Pierric as art director and Francois Rolland & Daniel Janin as musical directors, the threesome successfully set out to create a wide variety of outstandingly orchestrated numbers recorded at a level of quality then rarely equalled in the country. They thus achieved creating, at an outstanding level of quality, French Jazz-Funk and Jazz-Rock: The French Pop and Soul Experience. Keep The Funk Alive,.. DJ JuanEnjoy!!!
Update: Download reposted track (Velvet Dream - "Green Smoke") here:
Friday, August 10, 2007
Lift Off! With Apollo Sound
Non-pretentious lounge music from the age of innocence. A cocktail of jazz, pop, scat singing and library grooves to keep your mood high. Bands and ensembles such as The Polish Radio Orchestra and the Robin Jones Quartet contribute great music played with enthusiasm. Impeccable grooves. Please overindulge.
Get it here:
Thursday, August 9, 2007
Air - Soundtrack From The Virgin Suicides
This is my top soundtrack. Messrs Godin and Dunkel are surely the masters of atmospheric soundscapes, if they are in the mood. I am not really dying for the rest of the Air albums, since they often sound "soul-less" and mundane; nevertheless, the music they wrote for Sofia Coppolla's film is their tour de force, always according to my personal taste.
The Soundtrack from The Virgin Suicides is also connected with some very important moments of my life and especially with the premature death of my beloved mother. She really liked this album (but Tindersticks were her favourite - I will tell the story in detail in a future post) and we used to have coffee together and listen to it in those autumn Sunday mornings, 5 years ago. Those were the days...
Tuesday, August 7, 2007
ANDROMEDA - Andromeda
(Extracts taken from the 'Atomic Rooster Story' available from: Keep On Rockin’ the 70s fanzine, 13 Heswall Ave St. Helens, Merseyside, WA9 4Dk, UK)
In the late sixties ex-Attack guitarist/vocalist John Cann teamed up with Mike Hawkesworth
to record some songs written by two guys who lived nearby and who had gained a record deal as The 5 Day Week Straw People. The actual album was recorded on a mobile studio, set up ii a local children's playground. They were each paid £25 for the session. It was never a serious undertaking but it did lead to the formation of Andromeda.
Andromeda was formed by John Cann (guitar/vocals), Mike Hawkesworth (bass/vocals) and Jack McCulloch (drums), brother of Jimmy (Wings) In 1968. They played the circuit of clubs and colleges relentlessly and built up a good cult following. The band did a session for Jonn Peel's Top Gear and indeed almost signed for his Dandelion label after the initial demos. Jack McCulloch was replaced by Ian McLane. For some reason, Dandelion didn't take kindly to this, and failed to take them on the books. Track Records were also interested but wanted Pete Townshend to produce their first album. The band being young and innocent (!) declined the deal, wanting to produce it themselves. They finally signed to RCA, producing one album and a single that were well received and attracted a lot of attention in the music press. The music was fairly progressive, heavy rock and is still popular today, selling for healthy sums on the collectors' markets. Unfortunately, RCA lost interest in the band, just as John Cann heard Atomic Rooster were auditioning for a lead guitarist.
For there to be a winner there has to be a loser. John Cann's joining of Atomic Rooster lead to their chart success with the songs 'Tomorrow Night’ and 'Devil's Answer', and the loser had to be the now defunct Andromeda who, like The Attack, never achieved the heights their talent deserved.
The band built up an enormous cult following in the late sixties and their reputation began to grow once again in the mid eighties. Their recordings have been much sought after as their music was a special type of 'Hard Rock', and recently collectors have paid up to £200 to purchase just one copy of Andromeda's first LP.
My opinion: one of the greatest psych/hard rock LPs. John Cann's guitar style is indeed unique, sometimes dissonant but with attitude. The tracks are all excellent and quite ahead of their time in terms of construction. Try to locate the vinyl (prepare to pay loads of money but it's really worth). Bonus tracks included.
PHILIP GLASS & KRONOS QUARTET - Music For The Film Dracula
(Απόσπασμα από το βιβλίο του Δημήτρη Κολιοδήμου «Ο Κόμης Δράκουλας Στην Οθόνη», Εκδόσεις «Οξύ»)
(Eναλλακτικοί Tίτλοι: Ο καπετάν Βρυκόλακας, Δράκουλας)
ΗΠΑ, 1931, Ασπρόμαυρη, Διάρκεια: 75’, Σκηνοθεσία: Todd Browning.
Πρωταγωνιστούν: Bela Lugosi, Helen Chandler, David Manners, Dwight Frye,
Edward Van Sloan.
Για χρόνια (μέχρι το 1958, που γυρίστηκε η εκδοχή του Terence Fisher) η πιο τρομακτική ταινία, με τον Lugosi στον ρόλο που του χάρισε την αθανασία (η πρώτη επιλογή της Universal ήταν ο Lon Chaney, αλλά ο "άνθρωπος με τα χίλια πρόσωπα" πέθανε λίγο πριν αρχίσουν τα γυρίσματα και αντικαταστάθηκε από τον ούγγρο μετανάστη). Αν και ομιλούσα, διαποτίζεται από το στυλ και την υποκριτική του βωβού κινηματογράφου, αλλά αυτό δεν την εμπόδισε να γίνει η μεγαλύτερη εμπορική επιτυχία του 1931, λανσάροντας έτσι μία σειρά —κλασικών σήμερα— ταινιών τρόμου. Το σενάριο του Garrett Fort βασιζόταν στο θεατρικό έργο του Hamilton Deane (σε διασκευή από τον αμερικανό John Balderston), που όμως είχε προέλθει από το ομότιτλο μυθιστόρημα του Bram Stoker (είχε πρωτοανέβει το 1925, σε θέατρο του Λονδίνου) και η απήχηση της ταινίας οφείλει πολλά, εκτός από την ερμηνεία του Lugosi (είχε πρωτοερμηνεύσει με επιτυχία τον ρόλο το 1927, στο θέατρο Φούλτον του Μπρόντγουεϊ) και στην παράξενη, τρομακτική ατμόσφαιρα που δημιούργησαν (στην αρχή κυρίως, με την άφιξη του Ρένφιλντ/Frye -προσοχή: όχι του Τζόναθαν Χάρκερ, όπως στο λογοτεχνικό έργο— στον πύργο του Δράκουλα, στα Καρπάθια Όρη) ο Browning και ο διευθυντής φωτογραφίας Karl Freund. Γυρίστηκε παράλληλα με την (για χρόνια στην αφάνεια) ομότιτλη ισπανική εκδοχή της. Ο Mehmet Muhtar σκηνοθέτησε ένα τουρκικό ριμέικ της, με τίτλο Drakula Istanbul'da. To Dracula’s Daugther αποτελεί συνέχεια της.
Music by PHILIP GLASS
Performed by KRONOS QUARTET (David Harrington, violin; John Sherba, violin; Hank Dutt, viola; Joan Jeanrenaud, cello)
Sunday, August 5, 2007
Gomez - "Bring It On"
This is one of my favourite albums of all time. Pure music, played from the heart and with minimal production and equipment. A bunch of students cracking out one of the best debuts of the nineties.
I am perhaps one of the lucky ones who attended Gomez's first live gig at Leeds, somewhere around November 1996. It was the time of the "brit pop" trend (you know, Oasis, The Verve etc) and it was really great to see a British band that wasn't into that style but rather had a bluesy edge to their music (I never liked "brit pop", to be honest).
Bring It On is Gomez's first album, recorded, allegedly, in a garage. The production is simple and the sounds are very "down to earth" and "human", as opposed to the "polished" albums of the time. The album is full of acoustic guitars, feedback and, among others, a kid (Ian Ball) with one of the bluesiest voices ever. The songs range from nostalgic mini epics to fuzzy explosions and, again, from introspective moments to melancholic outbursts.
This album was my only company at some very hard moments. The lyrics are really good. The music is, simply, fantastic.
Please listen to it with lots of attention. It's going to be one of your favourites, as it became mine. Please buy the album.
Ben Ottewell (vocals, guitar)
Tom Gray (vocals, guitar, keyboards)
Paul Blackburn (bass, guitar)
Olly Peacock (drums)
Ian Ball (vocals, guitar, harmonica)
01. Get Miles
02. Whippin' Piccadilly
03. Make No Sound
04. 78 Stone Wobble
05. Tijuana Lady
06. Here Comes The Breeze
07. Love Is Better Than A Warm Trombone
08. Get Myself Arrested
09. Free To Run
10. Bubble Gum Years
11. Rie's Wagon
12. The Comeback
Download here (160 kbps):
Saturday, August 4, 2007
...Πριν λίγες μέρες ολοκλήρωσα ένα μουσικό κομμάτι στον υπολογιστή, με καλοκαιρινή bossa nova διάθεση και μια ιδέα από τη μουσική του... Ghosts 'n Goblins. Έπαιξα την κλασική κιθάρα και το μπάσο, πρόσθεσα ντραμς και πλήκτρα και... έτοιμο!!! Ακούστε το εδώ
και πείτε μου την άποψή σας, αν δε βαριέστε.