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Francis Grasso

Francis Grasso – The First Modern DJ

September 13, 2018 by admin
DJ, funk, people, soul

From Wikipedia:

Francis Grasso (25.3.1949-20.3.2001) was an American disc jockey from New York City, best known for inventing the technique of slip-cueing and beatmatching (sometimes referred to as mixing or blending) which is the foundation of the modern club DJ’s technique. Francis started his DJ career in 1967 at a New York City nightclub called Salvation II. When the primary DJ Terry Noel failed to show up on time one night, the owners offered Francis a chance at the job. The crowd responded almost immediately and soon he had his first regular gig. It was there and at subsequent New York City clubs such as Tarots and his most famous nightclub, Sanctuary (featured in the movie Klute) where Francis perfected his craft. Though he died in March of 2001, the skills and techniques he pioneered remain the foundation of what is heard in a modern nightclub.

 

Francis Grasso was the first dj to require headphones as part of his setup. This allowed him to preview a record on one turntable while another played on the second turntable. By using headphones in combination with slip-cueing, he forever changed the art of djing. The records that Grasso was mixing used live drummers and not beat machines. It took incredible skill and a good ear to mix these records for more than a few seconds which Grasso perfected to longer and longer sequences. The most impressive addition Grasso brought to dj culture was music programming; the art of picking up on the energy of the crowd and sending that energy right back to them through the next track. Early on, Grasso used Thorens turntables although they were a far cry from the Technics turntables most djs use in clubs today. Soon he taught others and Grasso spread the art of mixing by maintaining a constant beat and working the crowd with the music throughout New York.

From “Disco” by Albert Goldman, 1978.

“One of the greatest draws at Sanctuary was the only straight guy in the place, its legendary DJ, Francis. The most influential spinner in the short history of the craft, Francis Grasso is (sic) a small, muscular, long-haired lad from Brooklyn who got his start in the business working as a dancer at Trude Hellar’s club in the Village, where he was obliged to perform on a narrow ledge against the wall that allowed him to move only laterally, like a figure in a frieze. One night while visiting Salvation II, a club perched on top of an apartment house on Central Park South (today, the site of the Bengali restaurant, Nirvana), Francis was asked to substitute for Terry Noel, who failed to show up for work. Grasso approached his trial with fear and trembling; but when Noel appeared, the manager fired him and hired the novice. Francis soon demonstrated that he had a fresh slant on spinning. Unlike Terry, who was heavy into rock and kept a picture of Elvis Presley stuck up in the booth, Francis worked the soul track. When he got up on the altar at Sanctuary, he would preach that old-time religion with Aretha Franklin, Gladys Knight, Booker T. and the MG’s. Into this mix he would drop Chicago’s and Cat Mother’s Track In A. Once he had the crowd hooked, he’d dip into his African bag with Olatunji and the authentic Nigerian drums and chants of Drums of Passion. Francis was the first DJ to perfect the current technique for stitching records together in seamless sequences. He invented the trick of “slip-cuing”; Holding the disc with his thumb while the turntable whirled beneath insulated by a felt pad, he would locate with an earphone the best spot to make the splice, then release the next side precisely on the beat. When he got Thorens turntables with speed controls, he supplemented his cuing technique with speed changes that enabled him to match up the records perfectly in tempo. He also got into playing around with the equalization controls not only to boost the bass for ass-wagging but to compensate for the loss of highs that occurred when a record was slowed down for mixing. Eventually, Francis became a virtuoso. His tour de force was playing two records simultaneously for as long as two minutes at a stretch. He would super the drum break of I’m A Man over the orgasmic moans of Led Zeppelin’s Whole Lotta Love to make a powerfully erotic mix that anticipated by many years the formula of bass-drum beats and love cries that is now one of the clich»s of disco mix. What this pioneering jock was doing was composing a hitherto nonexistent disco music out of prefab parts. What’s more, he was forging the new music right in the heart of the discotheque, with the dancers freaking out in front of him and sending back their waves to his soul, exactly as Lindy dancers used to turn on jazz musicians in the old swing bands. Not a high-powered show-biz jock like Terry Noel, who wanted to sweep up the audience and carry them off on his trip, Francis was instead like an energy mirror, catching the vibes off the floor and shooting them back again recharged by the powerful sounds of his big horns. Eventually, Francis taught other jocks his tricks and established his style of playing as the new standard.”

From the liner notes of the Rhino Disco Box Set:

New York, Francis Grasso, The Sanctuary. “Back then, you couldn’t adjust the speeds. You had to catch it at the right moment. There was no room for error. And you couldn’t play catch up. You couldn’t touch the turntables. I had Thorens, and you couldn’t do that on Thorens. All you had to do was start at the right moment. Nobody mixed like me. Nobody was willing to hang out that long. Because if you hang out that long, the chances of mistakes are that much greater. But to me it was second nature. I did it like I walk my dog.”

 

Web files:

Francis Grasso @ DJ History interview

Photo: Testing Audio Equipment @ Club Francis

Exclusive interview with Jackie Columbo-Pasternack, who was Francis’ girlfriend during early 70s, when Francis was djing @ the Sanctuary and when he tried to open his Club Francis.

Enjoy!!

– When did Francis start his dj Career?

I believe Francis’s DJing started in the winter of 1968 when he was all of 19 years old. Although I did bump into him just about when he got that job, I never went to the club to see him. But my guess and from what I remember him telling me later on is that he just fell into the job. But from what I remember about Francis, I would guess he watched the DJ he replaced who I believe was Terry Noel (who was terrible) and saw what the clientele didn’t want. The usual DJ who announced what song he was going to play and paused between records. I’m sure Francis was thinking how great it would be if one song just went into another and played continuously. I’m also sure Francis knew what music the crowd wanted to hear since he and they were part of the times. He must’ve realized slip cueing then and when he started DJing the crowd’s loved his choice of music and the flowing of the music. So a pioneer was born.

– Where did Francis buy his music?

Francis bought his records at a small record store near his home in Flatbush, Brooklyn, NY. I also went with him to the larger stores in Manhattan, somewhere on Broadway but don’t remember the name. Strange thinking about it now, we don’t use records anymore.

– Tell me what i could see if i joined the Sanctuary in the early 70s (Atmosphere, People, Soul…, Music). I have read that Francis was the only etero inside. Is it correct?

Don’t know if you saw the movie Klute which was shot at the Sanctuary. The Sanctuary was a converted church and it was packed with people. It had both gay and straight crowds. The music was loud especially because the music echoed up to the steeple. Everyone was dancing, and the music was great. Francis would be up on the pulpit dancing along with the music. He was a great dancer and really into the music. He’d kicked his legs up real high when he danced. There were a lot of drugs also. Cocaine, tuinals(? downers), speed, pot, you name it. The crowd was young. Francis started working at the Sanctuary from around February 1971 through summer of 1973. The girls had long hair, either straight or natural waves and some afro’s. The clothes were pretty much what NY is wearing now. Hip hugger dungarees, but everyone was thin, skinny and the guys had long hair. The shoes were platform and I don’t know how we danced in them but we did. The atmosphere was up beat, lively, kick up your heel kinda thing. (Hope you know American slang). Everyone was friendly, no fights, no drinking and it was a place to escape. Remember, America had a bad economy, Nixon and Vietnam. Francis liked soul music, not the Beatles, America, Neil Young‘s type of music, although he would play that when we were alone. What was in is what we heard.

– I think at that time Francis was a beautiful and sexy guy so… i think you were angry with him because i think he fell in love with a lot of women!!

Francis was straight and what we called macho at the time. He was a very hot, sexy guy who had a great body. I started our real relationship in the summer of 1970 when he was DJing at the Haven which was a 90 per cent Gay Club. In fact Francis’s friends were mostly gay then. I did meet Steve Aquisto, who was straight and he used to come to the Haven a lot and we would all go to breakfast together when the cub closed which was about 5am. I wasn’t threatened about other girls at the time because there weren’t any at the Haven and Francis wasn’t the type to hurt me. When he was at the Sanctuary that was another thing. I broke up with him after he filmed Klute because it went to his head. He was high on an ego trip. I dated others but caught him with a blonde at the Sanctuary. We were respectful to each other and I never saw another girl with in or suspected there was one, but there were groupies and they’d wave to him and be outside watching him walk in. I’m sure that during our break ups there were girls and groupies all over him and outside watching him enter the club. He didn’t confess that to me, but he was a healthy 22, 23 year old at that time.

– What can you say about Club Francis?

About Club Francis. That’s a nightmare. In the fall of 1970 Francis told me that these guys wanted to open a club which was over the Cafè Wha which was in Greenwich Village and name it Club Francis. He was thrilled at first and was excited. He would DJ and be a partner as well. Then, as the Club was being built, he started getting nervous and frightened. He advised me that the people he signed a contract with was a part of the Mafia and he didn’t trust them. He also told me he had a bad feeling about signing the contract and didn’t like the way they were treating him. He wanted out while they were setting the club up. I’m attaching a picture of him in Club Francis when Francis was checking out the sound equipment. He still worked at the Haven at this time but gave notice before Club Francis’s opening.

 

I believe the opening was around Christmas time 1970. Finally Francis didn’t want to go through with it so he went by himself to the Club to get out of the contract he signed. Strange, I don’t know why he didn’t go to a lawyer, but who knows about those times. It was either a Thursday night or Friday for the Grand Opening and Francis wanted out and wouldn’t work. Three men took him outside in the back and two held his arms while the third beat his face up. Francis’ nose was broken his face was badly bruised. The bastard put a cigarette out in his face and he had a burn mark. Francis called me the next day when he left the hospital and picked me up for dinner. I almost fainted seeing him He had a bandage from one ear to the other, covering his nose, cheeks and all you can see were his blackened eyes, lips and chin. He was lucky they didn’t kill him. He went into a depression and became paranoid for awhile after that. He would insist they were outside his apartment and for weeks, maybe a month, he didn’t go out. I literally babysat him. But eventually he took a job at the Sanctuary and he snapped out of it.

 

Club Francis wasn’t opened for long, I remember seeing the sign on top of Cafe Wha, Club Francis it felt like he was famous.

I hope I didn’t write too much. Francis was a beautiful person and I’m happy he died with the recognition he should have had in life. I don’t think Francis, who was raised without a father, had the right support system and self worth to further himself. He should have moved on into sound and music, maybe the movies or records. Why he went into construction? Brooklyn mentality. Get a job where you don’t have to go to an office and get benefits. I guess he was 30 + and DJing was too much. He was a genius, very smart and he could have done better. But he loved what he was doing.

– I have only a few things to ask:

You said Francis went into the Sanctuary from 1971 and he went into an ego trip after Klute’s movie (yes, i have seen it… Francis appeared 3-5 seconds djing inside the club!) what was the club he worked before Sanctuary, from 1968 to 1970? Do you remember… Arthur Club? I have understand that you didn’t go to his first club but only at the Sanctuary first… true?

I’m pleased you liked my answers. When I first met Francis in the summer of 1966 and when he was 17, he was in college. From 1967-1968 he was a Trude Heller’s Dancer. From 1968 through 1969 he first dj’d at Salvation II where he replaced Terri Noel. From 1969 to 1970 he worked at the Haven. It’s at the Haven I bumped into him and we started our two year relationship. I watched him dj at the Haven and the Sanctuary. The last time I saw Francis was in August 1972. He was still at the Sanctuary but I believe it closed soon after that.

Performing live @ Sanctuary in Movie “Klute”, 1971


interview: late 2009 by ROMO

Post Update: Sep 13, 2018

 

Detto Mariano interview part one

February 7, 2011 by admin
interview, people

Today I introduce you a great italian musican: Detto Mariano.

Orchestra leader, songwriter and music producer, He collaborated with many italian musician (Adriano celentano above all) and he made great film scores during 70s and 80s.

This is the interview I had with him one year ago and now I had a few time to translate it.
This is only the first part so please be patient, other parts are coming soon!

The first question i have in mind is the following:
What about you and Lucio Battisti during the recording sessions, do you remember anything?

I’m writing a book where I’ll tell stories with the artists whom I collaborated during my music career. One of these stories is about one of the first recordings sessions done with Battisti. It was the “Balla Linda” song session.

This is a question from a music producer point of view. I’ve never been famous or well-known, so how did you feel being “one of the first” on the hit Parade?

How old are you? I think you’re young. So, strong enough!
People say I am “the first out of many”, others say: “ I’m the worse”. The only important thing for me it’s be myself every time.

Let’s change the topic. I really want to know, what do you think about Demetrio Stratos? Who was him as a person and what do you remember about the time he was playing with “I Ribelli (The Rebels)?

Demetrio Stratos joined I Ribelli during their final period. Demetrio played the organ first. At that time I was really busy with my job and I remember I Ribelli needed to be more independent than being the backing band of Adriano Celentano during his shows only. In fact after Demetrio joined the band the changed the record company (Dischi Ricordi) and I losed the sight of them. But the short time I met him was enough to appreciate his gentle personality, the talent and to say to the singers of the band: “Do you realize how does this guys sing?” After a short time they recorded “Pugni Chiusi” so they realize it!

Part2 coming soon!

Roberto Pregadio – Tribute

November 15, 2010 by admin
easy litening, funk, groove, jazz, people, pop, rock, swing

Roberto pregadio 1928-15/Nov/2010.

Italian music KING.
Italian Jazz pioneer.
Great music composer.

RIP

WEB resources:
– Scores
– Discogs page
– Edda dell’orso bio and all the scores (She featured on some Roberto Pregadio’s scores) [ENG]
– more infos? please try…
wiki italy
web#1
audio interview [ITA]

My favourite videos/songs of MAESTRO Pregadio:

and… playing live @ the jazz club!! [ITA]

Do you want more?!?

ONE
TWO
THREE!

TEDDY PENDERGRASS A Tribute

January 14, 2010 by admin
music news, people, soul

ONE LOVE

Please support teddy’s memorial fund and charities

Wildchild – Renegade Master 1998

December 22, 2009 by admin
big beat, breakbeat, house, people, single


In memory of Roger McKenzie aka Wildchild (1971-1995)

Renegade Master is a classic mastercut. I really loved and still love this track. FatBoySlim’s oldschool mix is unbelievable, and i remember the song in 1998… one of the best party songs of all time. Unfortunately Roger McKenzie aka Wildchild prematurely died in 1995, so he has never listened to da awesome FatBoySlim remix. Maximum respect to his work with label Dark Black , he got talent but sometimes life is so strange…

Tracklist:
1. fatboy slim old school edit
2. original mix (1995)

3. tall paul mix

4. fatboy slim old school mix

5. fatboy slim new school mix

6. urban takeover mix
7. s’n’v’ fool flava mix

8. s’n’v’ moonmen mix

http://www.mediafire.com/?3izmmwyoj0z

Daft Punk – Tribute Part 2

December 4, 2009 by admin
album, dance, disco, funk, house, people, pop, techno, vocoder


Daft Punk Digital Love Video Tribute

Daft Punk – Something about us video tribute

Singles Part Two (2000-2006)

– One more time
– Aerodynamic EP
– Digital Love
– Face To Face
– Something About Us
– Human After All Remixes
– Prime Time of Your Life

A
http://www.mediafire.com/?mmknuykyxtz
B
http://www.mediafire.com/?lo5rhnmjyyn
C
http://www.mediafire.com/?jmdmkijme24
D
http://www.mediafire.com/?t0zmzmoonwa

Greg Wilson – Credit to the edit vol.1 (2005)

November 17, 2009 by admin
compilation, disco, electro, funk, mixtapes, people, rap, re-edit

Bio:
Greg Wilson is a DJ that made history in Manchester during the 80s. He spread the verb of electro-funk, a mixture of Funk with robotic Kraftwerk sounds. Wilson was known for playing jazz funk records with residencies in clubs in New Brighton between 1975 and 1980. At the start of the eighties, Wilson moved to a residency at the legendary Wigan Pier, and with the jazz funk scene running out of steam, he searched for new sounds to play to the crowds. Despite these successes, in 1984 Wilson retired from DJing to face a new challenge: starting with the group Broken Glass, Wilson began producing records rather than playing them. He worked with the Ruthless Rap Assassins to produce their two albums and singles releases, whilst also working as a producer and remixer for other artists, such as Yello and Kiss AMC.
He returned back to Dj scene in 2003, and published two compilations called: “Credit to the edit” with great re-edits of famous disco and electro-funk songs. He was also the producer of Broken Glass a famous hiphop crew from Manchester, sampled by Prodigy in the Album “Always outgunned…”


Watch this Mashup that mixed Broken Glass and Prodigy.

Web:
Greg Wilson Website
British HipHop History


Tracklist:

1. Salsoul Orchestra – Ooh, I Love It (Love Break)
2. Rockers Revenge – Sunshine
3. Raw Silk vs DMX Krew – Do It To The Funk
4. BT (Brenda Taylor) – You Can’t Have Your Cake & Eat It Too
5. The Controllers – I Can’t Turn The Boogie Loose
6. Scritti Politti – Absolute / Wood Beez
7. Boystown Gang – Cruisin’ The Streets
8. Kool And The Gang – Open Sesame
9. Yello – Lost Again
10. Chicken Lips – He Not In
11. Mike T – Do It Anyway You Wanna
12. Uncle Louie Full – Tilt Boogie
13. Chaka Khan – I Feel For You
14. Chic – Dance Dance Dance (Yowsah Yowsah Yowsah)
15. Mr Bloe – Groovin’ With Mr Bloe

Daft Punk – Tribute

November 12, 2009 by admin
album, dance, disco, funk, house, people, pop, techno, vocoder

What can i say about Daft Punk? Fundamental.

The mysterious French duo Daft Punk have never revealed their true identity, wearing an ever-changing selection of masks to cover their real faces in interviews and concerts. The media-shy duo have nevertheless become an absolute phenomenon on the 90’s music scene. Daft Punk have not only put French techno on the map but convinced music fans around the world that the leading Anglo-Saxon groups in this domain now have a serious rival.

Bio:
The Daft Punk story began back in 1987 when Guy-Manuel de Homem Christo (born in 1974) and Thomas Bangalter (born in 1975), met in the playground of their Paris lycée and became best friends.
Thomas Bangalter came from a musical background, his father having been involved in the French disco movement in the 70’s, and it was not long before the pair decided to form their own group with a number of lycée friends. Calling themselves Darlin’, the group recorded a début single in 1992 on the English label Duophonic (which had recently been set up by the Anglo-French techno group Stereolab). The single which sold a mere 1,500 copies proved a hit with the British music press who declared it to be a promising first effort. However, the single did not find favour with all music journalists, one particularly harsh critic dismissing it as “daft punk”. (Far from taking offence at this description, the French duo actually found it amusing and they would later rename their new group Daft Punk). While the British music press had given the group’s first single a good write-up, Darlin’ remained practically unknown in their homeland. They performed a number of local gigs, but eventually Thomas and Guy-Manuel began to grow bored of the group’s sound. The turning-point in their musical career came when the pair attended a giant rave held at EuroDisney in 1993. There they met the directors of a small Scottish techno label Soma. Quitting their group of lycée friends, Thomas and Guy-Manuel formed a duo, and started developing their innovative techno/house style. A year after meeting the Soma directors at the rave, the duo released their début single on the Scottish label under the name Daft Punk. The 2-track CD (featuring “New wave” and “Alive”) scored another big hit with the British music press. Daft Punk soon proved to be a pioneering force on the techno/house scene, pushing back the boundaries of the genre to integrate elements of other musical styles such as disco, rock and groove. Moving away from the pure house sound (that had originated in Chicago in the early 80’s) Daft Punk created their own innovative 90’s fusion, mixing a powerful techno beat with musical influences from their adolescence (everything from Jimi Hendrix and The Stooges to Kiss, Television, David Bowie and Talking Heads – without forgetting a good dose of French chanson star Serge Gainsbourg !). Daft Punk returned to the studio in May 95 to record “Da Funk”, the techno/dance/rock instrumental which would catapult the duo to the forefront of the international dance scene. The duo were suddenly in demand, and they spent the following year touring Europe’s rave scene where their frenetic DJing drove crowds on the dancefloor wild.Daft Punk proved phenomenally successful on the London dance scene, where they were soon so big that they were invited to support one of their favourite groups The Chemical Brothers. Daft Punk also made a name for themselves among the DJ community with their brilliant remixes of singles by The Chemical Brothers and singer Gabrielle. By this point Daft Punk’s fame had started to spread beyond the underground rave scene and the duo were signed by Richard Branson’s record label Virgin in 1996. Daft Punk’s hit “Musique” was included on a compilation album on Virgin’s techno label Source, which was the first label to release the group’s records in France.

source: http://www.rfimusique.com/siteEn/biographie/biographie_6151.asp

And now, it’s time to listen, but i’m quite sure you know better their songs. But if you don’t because you hate new electronic sounds… Believe me… Give daft punk a chance!!

– Early Singles (1992-1997)

It contains the following Singles and EPs:

– Darlin’ (1992)
– The New Wave EP (1994)
– Da Funk (single) [1996]
– Revolution 909 (single) [1996]
– Around the World (single) [1997]
– Burnin’ (Single) [1997]

http://www.mediafire.com/?jwzymlwfmqt

> Albums:

– Homework (1996)

Tracklist:
01 – daftendirekt
02 – wdpk 83.7 fm
03 – revolution 909
04 – da funk
05 – phoenix
06 – fresh
07 – around the world
08 – rollin’ & scratchin’
09 – teachers
10 – high fidelity
11 – rock’n roll
12 – oh yeah
13 – burnin’
14 – ino silver club
15 – alive
16 – funk ad

http://www.megaupload.com/?d=jmckhiay

– Discovery (2001)

Tracklist:
01 one more time
02 aerodynamic
03 digital love
04 harder, better, faster, stronger
05 crescendolls
06 nightvision
07 superheroes
08 high life
09 something about us
10 voyager
11 veridis quo
12 short circuit
13 face to face
14 too long

http://www.easy-share.com/1904281696/Disc.part1.rar
http://www.easy-share.com/1904281698/Disc.part2.rar

– Human After All (2005)

Tracklist:
1. Human After All
2. The Prime Time Of Your Life

3. Robot Rock

4. Steam Machine

5. Make Love

6. The Brainwasher

7. On/Off

8. Television Rules The Nation

9. Technologic 10. Emotion

http://rapidshare.com/files/185444645/Daft_Punk_-_Human_After_All.rar

Gabriel Solis – Thelonious Monk and Jazz history in the making (2007)

November 11, 2009 by admin
book, jazz, people

Great book about a Jazz King and innovator.

Buy a paper copy @ Amazon.com or try it

Lucio Battisti – Tribute

November 6, 2009 by admin
album, disco, funk, people, pop, rock, soul

Here i will post my favourite Lucio Battisti albums.

Brief bio:
One of the innovator of Italian popular music, Lucio battisti is also one of the most appreciated italian singer of all times. He started his career in 1966 and from 1969 to 1994 he released 18 albums in his home country. He was known to be an extremely reserved artist: during his successful career he performed only a relatively small number of live concerts and, in 1976, he announced he would communicate only through his studio albums, completely disappearing from Italian public scene. His career may be divided into 2 periods because the lyrics of his song were written by different lyricists. During the first period lyrics were written by Giulio rappetti a.k.a. Mogol up to 1980 Lp Una giornata uggiosa. After, lyrics were written by his wife using nickname Velezia (on the lp “E già”) and by Pasquale Panella (from the Lp “Don Giovanni”). On September 9, 1998, unfortunately Battisti died in a Milan hospital. Several compilations of his best tracks have surfaced after Battisti’s death, including 2000’s Battisti and 2001’s Canzoni d’amore.

(source: en.wikipedia, remixed by Romo)

Do you want… More infos?

click here (english)
… or here (english)


First:

– Anima Latina (1974) [Latin Soul]

A psychedelic love trip. One of the best albums of Lucio.

1. Abbracciala, abbracciali, abbracciati Mogol / L.Battisti 7’03
2 Due mondi Mogol / L.Battisti 5’11
3 Anonimo Mogol / L.Battisti 7’02
4 Gli uomini celesti Mogol / L.Battisti 5’05
5 Gli uomini celesti – ripresa Mogol / L.Battisti 0’51
6 Due mondi – ripresa Mogol / L.Battisti 1’09
7 Anima latina Mogol / L.Battisti 6’36
8 Il salame Mogol / L.Battisti 3’38
9 La nuova america Mogol / L.Battisti 2’49
9 Macchina del tempo Mogol / L.Battisti 6’59
9 Separazione naturale

http://www.mediafire.com/?2mzzmmwwmiy

Second:

– La Batteria, il contrabbasso, eccetera (1976)

Lucio discovered disco and funk. El velero was a smash hit!



1 Ancora tu Mogol / L.Battisti 4’43
2 Un uomo che ti ama Mogol / L.Battisti 6’06
3 La compagnia Mogol-C.Donida 5’47
4 Io ti venderei Mogol / L.Battisti 4’31
5 Dove arriva quel cespuglio Mogol / L.Battisti 4’09
6 Respirando Mogol / L.Battisti 4’56
7 No dottore Mogol / L.Battisti 5’42
8 Il veliero Mogol / L.Battisti 5’59
9 Ancora tu – coda

http://www.mediafire.com/?zwzyitew2ii

Third:

– Io, tu, noi, Tutti (1977)

“Si, viaggiare” is the most famous song of this album. But prepare yourself for the funk tune “L’interprete di un film”.

1 Amarsi un po’ Mogol / L.Battisti 5’06
2 L’interprete di un film Mogol / L.Battisti 4’25
3 Soli Mogol / L.Battisti 4’16
4 Ami ancora Elisa Mogol / L.Battisti 6’39
5 Sì, viaggiare Mogol / L.Battisti 6’09
6 Questione di cellule Mogol / L.Battisti 4’14
7 Ho un anno di più Mogol / L.Battisti 5’01
8 Neanche un minuto di “non amore” Mogol / L.Battisti 5’19

http://www.mediafire.com/?ghrtwjjmjjy

Fourth:

– Una donna per amico (1978)

“Prendila cosi”, and “Nessun dolore”: Great songs. Excellent LP as usual!

1 Prendila così Mogol / L.Battisti 7’50
2 Donna selvaggia donna Mogol / L.Battisti 4’39
3 Aver paura d’innamorarsi troppo Mogol / L.Battisti 5’46
4 Perché no Mogol / L.Battisti 5’43
5 Nessun dolore Mogol / L.Battisti 6’07
6 Una donna per amico Mogol / L.Battisti 5’22
7 Maledetto gatto Mogol / L.Battisti 4’19
8 Al cinema Mogol / L.Battisti 4’35

http://www.mediafire.com/?t1zqunjzqey

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Contact:
info@romogroove.com

ROMO