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    THEY'RE both agreed: Peaches and Herb state almost unanimously that working on their latest album with producer Freddie Perren (the album is on Freddie's own MVP Records, distributed by Polydor Records) was "work, real hard work!" But neither of them are complaining because the result has been initially a big disco hit for the duo with "Shake Your Groove Thing" and very strong response to the album.

    Over to Herb who explains: "I've known Freddie actually for about fifteen or sixteen years. Back in 1963, he was at Howard University in D.C. and we both worked in record stores at the time! So I've been knowing him a long time. And then, we hooked up at Billboard's disco convention in New York and we talked then about the possibility of working together.

    "I've always wanted to record with him for several reasons: he's a proven hitmaker and now, of course, he has his own label. Plus we are friends!"

    When the duo decided to move from MCA, they contacted Freddie and began working with him in May, prior to a six week engagement in Bermuda. Peaches notes that the actual sessions "were really something. Freddie's an incredible guy, he's thinking all the time. I wanted to give him exactly what he wanted musically and as a result, I think I got to express myself, I think that on the next album, I'll get a chance to stretch out even more."

    Peaches comments too that working with the illustrious Mr. Perren "added another octave to my range! That's just how hard we worked".

    And back again to Herb who says that unquestionably Freddie "is a perfectionist. There were times when he definitely had me near to tears. But it was enjoyable and the results more than bear witness to it being a labor of love!"

    Despite the immediate acceptance of "Shake your Groove Thing", Herb refuses "to get hyped up! I'm really flying inside — really, really happy. But I'm also scared because frankly there seems to be no end to what we can do together the three of us as a time! Naturally, it's meant we're much busier and now we're doing the things we felt we should have been doing before — like the TV shows and so on."

    Peaches says that the duo are due to embark on a national tour soon as a result of the acceptance the record has received. "Our show will be even more polished than ever, more professional, more together than it's ever been. The show will be more spontaneous, more up."

    Both agree that there are many goals still to be achieved. "We'd like to maybe get involved with doing a soundtrack. And we want to keep on making good records. We're both aware that nothing good comes easy, so we're prepared for that. But we're both looking to the day when we can have something concrete to show for the hard work we put in."

    It looks as if the teaming with Freddie Perren could well do that for Peaches & Herb, a couple of genuinely nice, warm human beings who still have all the magic that "sweethearts of soul" (the tag that the duo received when they were busy making hit records like "Let's Fall In Love") are supposed to have!


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    WITH the disco boom now officially on the wane, maybe we can get back to normal business! But before we write off that whole dance floor explosion, it is well worth noting that without it, an awful lot of R&B based acts would never have had the opportunities that disco presented. Honestly speaking, only a handful of R&B acts have remained untouched and untarnished throughout it all. One such act, though, is LTD, nine young men who have been together now for a decade and who just seem to get better.

    Their current album, "Devotion" merely backs my statement. "In terms of song content and material, this is our best album," states Jeff Osborne, lead singer and drummer with the L.A. based supergroup. "We are still searching for the perfect production but then maybe we are too critical of ourselves. Whatever we do, we are never satisfied; always looking for something stronger. But this time, we went for uptempo material because that is the trend and it's a sign of the times. We are even thinking of doing a remix on "Dance 'N', Sing 'N'" (the group's current hit single, taken from the album). But we have tried to put a message into our tunes so that our music can reflect the times we live in accurately. Right now, ballads are not in vogue. Sure, there are the exceptions — but even Peaches & Herb had to run "Reunited" through after "Shake Your Groove Thing"."

    The guys in LTD have firm feelings about disco music. "It's more a sound and a formula," says horn man, Carle Vickers. "The artistic value may not be so high because the vocal is treated like any other musical instrument on the album. Sometimes; the rhythm is more featured! When we do make a dance record, we try to do it tastefully so that it doesn't become boring or repetitive. It's amazing how many times you go to a disco and you find that the dancers are the stars and the records are there just for the support of the dancers. We have always avoided making blatant disco records. Sure, "Hold-in' On" could have been a disco record if we had edited it differently. And "Back In Love Again" was popular in the discos — but that was just a magical record! Probably, "Dance 'N', Sing 'N'" is as close as we have ever come to really making a disco record. And you can't overlook the disco industry because right now it is a multi-million dollar one. With our new album we simply tried to come up with a good album that was still in vogue with what's happening."

    If you enquire of the LTD guys just what it is that gives them that commercial edge over their competitors and yet, that has allowed them to stay aloof and not have to sell out to the disco brigade, they are all quick to explain that it's touring that keeps them fresh. "We used to live in a house on a hill that overlooked the city," Jake Riley — LTD's trombonist can afford to smile now. "And we never went to discos or parties; we were so busy with our music that we became introverts. Now, we come down from the hill and we mix with people and I think we write our music accordingly. We write now for the people, instead of maybe for ourselves. We tour a lot because we like to. It is touring that brought us into close contact with the people and they are the ones who buy our records. The problem with the way things are today is that there is little chance for young musicians coming through because so much of the work is done in the studios, and not in clubs around the country — like it was in our early days. The old jam session died with jazz and now that jazz has resurfaced, it is so much more sophisticated than it was. Maybe it will resurface, I don't know."

    The origin of LTD can be traced back to 1968, which is when Jimmie Davis (keyboards), Jake Riley (trombone), Lorenzo Carnegie (saxophone), Carle Vickers (trumpet, flugelhorn) and Onion Miller (saxophone), and some now departed folk formed a group in their native North Carolina. They scuffed their way up and down the East Coast and always somehow managed to support not less than nine members. Jeffrey Miller joined the ensemble shortly afterwards; when the group passed through his home town of Providence, Rhode Island.

    In 1970, they went west to Los Angeles — by car! The bookings that they were supposed to have been given did not materialise and it was back to scuffling for a while For example, in 1971, they supported Merry Clayton at her Monterey Festival appearance.

    Next to join was Jeff's brother, Billy, who had been musical director for the Friends of Distinction. He brought with him Henry Davis, who had been bass player for the Friends. By this time, The Big House On The Hill was their base and they all lived together, working for the common cause.

    The following year, they spent some time in Japan but Billy had stayed behind and he secured a deal with A&M Records through Jerry Butler's production company. Their debut album — "Love Togetherness & Devotion" (from whence comes LTD) — was an immediate success and LTD were on their way. Johnny McGhee, and Melvin Webb were added to the line-up shortly afterwards.

    Right now, the group is preparing for their fall tour. "We are looking for a support act," Carl Vickers says. "The perfect matching-would be a classy, sharp female group — like a Jones Girls or something. This time, we are planning to play the smaller venues so that we can stay in touch with the people. Last year, we played things like the Kool Festivals and in stadiums in which you're a hundred yards away from the people. We gave satisfaction because we are conditioned to play in any surroundings. But we prefer the more personalised hall. That's one of the reasons that we are looking forward to going to Europe — maybe next year by the way. I know they appreciate music over there and they tend to have smaller venues to play in. The only reason we haven't gone yet is economics."

    Aside from projecting themselves, LTD are (in common with so many other of today's super-acts), starting to become involved in outside projects. For example, they did two tunes on the upcoming Les McCann album for A&M. And they have completed some sides on a new group, Formula Five — but no label affiliation has been selected as of yet. "Our publishing company is starting to thrive," smiles Jeff Osborne. "And we hope that we can be as helpful to young, new talent as Jerry Butler was to us. Every company in New York and Los Angeles had turned us down before Jerry put our deal together — even A&M had said 'no'! But Jerry had the clout and he got the deal. You know, this is a very competitive, volatile business and you have to stay strong to survive. Every group has its life span so we are getting involved in other projects so that when we do experience a cool period, we have got other things to fall back on." Judging by the way their "Devotion" album has been snapped up, it looks like a way down the road before LTD has to give any serious thought to that particular decision.

  • Cors Disco and Soulshow van 27 april via Mixcloud

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    Cors Disco en Soulshow van 27 april 2014 op Club DDD FM by Cor Shops on Mixcloud


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    CURRENTLY the most popular disco record in Britain is the compelling "South African Man" by Hamilton Bohannon. It's a pulsating rhythm item that was pulled from Bohannon's "Keep On Dancing" album but yet it didn't fare overly well in the States. In fact, Hamilton's name is more revered in Britain than the States anyway — because "Stop & Go" was one of 1972's really big disco sounds.

    Affectionately known to everybody simply as Bohannon, Hamilton was born in Newman, Georgia, on March 7, 1942. And he stayed in the sticks until 1964, working as a school-teacher in nearby Lagrange. It was in that year that he moved house to Detroit and the following year he joined Stevie Wonder's band as drummer. Having stayed in that job for almost three years, Bohannon joined Motown as resident bandleader and stayed until 1972, during which time he controlled orchestras and bands for such Motown legends as the Temptations, Gladys Knight & the Pips, Smokey Robinson & the Miracles, Diana Ross & the Supremes, Martha Reeves & the Vandellas and the Four Tops. He undertook nationwide and international tours on virtually every major Motown act although he spent very little time in the recording studios.

    In fact, Bohannon's only serious recording experience during that era was with Marvin Gaye, with whom he wrote twenty-four songs, all of which were recorded — but as yet hot released — by Marvin. "We did a tour with Marvin during the summer," our hero is quick to point out, "and he said that the company was considering releasing some of the things we did together. Marvin did all of the lyrics and I did the music and although they were all recorded four years back, they still have a modern, fresh sound to them."

    It was in 1972, when Motown relocated to Los Angeles, that Bohannon decided to start up in business for himself. "I really didn't want to have to move and live-in Los Angeles," he recalls, "so I decided to try my luck on myself and so I started to put together the Bohannon Band. It was at Quincy Jones' advice that I signed with Brunswick's Dakar Label. He said to stay away from the so-called bigger labels because they don't give enough time to new talent and that with a smaller company I would stand a better shot. And so, knowing Carl Davis and with Chicago being real close to Detroit, I settled on them.''

    Initially, Bohannon recorded two sides and they were his entry to Brun wick. "Stop And Go"and "Save Their Souls" were the 'A' and 'B' side and "Stop & Go" immediately carried Bohannon into the charts. At the time, there was no real Bohannon Band because it was basically a studio group — but the studio line-up is indeed interesting. It included Melvin Wahwah Ragin on guitar; Leroy Emanuel on guitar and percussion and Mose Davis on keyboards, both of whom are integral members of the Fabulous Counts or the Counts as they are now known. In fact, both of those first two sides were written by Bohannon, Ragin and Emanuel: "Leroy is real close, like a brother," Bohannon happily relates, "and when the group isn't working, he and Mose would often sit in with whatever I was doing."

    The first single was so successful that the whole gang descended on. Chicago to record the first LP, entitled aptly enough "Stop & Go". The album brought forth two further smaller hits — "The Pimp Walk" and "Run It On Down Mr. DJ", both Hamilton Bohannon originals.

    Early in 1974, the Band gathered again — this time in Detroit — to record another album but by this time, Bohannon had put together a permanent band and it is this band that is featured on the "Keep On Dancing" album. The line-up is as follows: Fernando Sanders, bass; Ricardo Rouse, guitar; Cecil Cethus, keyboards; Arthur Hughes, percussion; and Hamilton Bohannon, drums. The girl on the cover of the sleeve, by the way, is Hamilton's wife, Andrea. The album was recorded actually in Motown's old studios in Detroit — "because I know the engineers", is the man's simple explanation.

    But it was this album that spawned a string of hits, beginning with "Keep On Dancing", continuing into "Truck Stop" and "Red Bone" and culminating in, of course, the big one, "South African Man". "There was a time when I started to get myself involved with the situation in South Africa," Hamilton explains, "but then I realised I couldn't be an entertainer and a politician. I didn't feel I could get too deeply involved without devoting my whole life to it so I ended up just writing this song as my comments on the situation in the country. You know, the line about "South African Man, give a helping hand" sums up the situation there quite perfectly, don't you think? Though I've never been to Africa in my life, people are always telling me my rhythm patterns are very African in their feel. You see, I use a 9-4 rhythm instead of the usual 4-4 so I guess that explains it technically."

    By the time you read this feature on the interlectual Mr. Bohannon, he and his band will be well into recording their next album. However, at the time of speaking with the man, all he knew was the date period that had been alloted. "We're going back to Chicago this time because Motown have closed down their studio in Detroit," he regretfully says. "And all that I've got ready is the possible working title for the album. I'm the type of guy who writes what I want when I want it — and then I forget it and start work on something new. I'll be using the same guys as on the "Keep On Dancing" album. Otherwise, all I can tell you is that we'll be recording at night because that's when I like to record!"

    Meanwhile; "South African Man" continues to be the most requested record around the British discos so Hamilton will certainly have something to aim for with his next album.


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    "It's in every woman to be seductive, be she a teacher or a whore!"

    GETTING A record banned by the dear of BBC is as surefire a way of getting a hit as I know of and it's a route that has proven to be immensely popular over the years. However, it is fairly rare for a soul-oriented record to gain this dubious accolade! A current recipient of that back-handed compliment is the eloquent Ms. Donna Summer and she is amused by the whole thing because she really can't see what all the fuss is about.

    "How do I feel about it?" she answered with a smile in her voice when we finally tracked her down during her heavy schedule in sunny Los Angeles. "I'd say it's the best thing that could have happened for the record because it will get a lot more publicity than it would have otherwise done. I think you'll find people curious enough to go out now listening for the record. But I truly don't understand what the problem is unless people have got dirty minds and hear something in there that I didn't intend.

    "From my days in London, I remember things like the dirty strip clubs in Soho why don't these people turn their attention to that
    kind of thing because that's a million times more damaging than
    my record. Alter all. what is wrong with making love it isn't as vicious and negative as some small-minded people obviously think it is…and unless you have experienced making love, how can you talk about it on the strength of what other people say?

    "Sex can be beautiful but I honestly didn't think of the sex aspect when I made the record."

    The press reports built around the record suggested that the sultry lady was thinking of her boyfriend Pete when making the record and. though this makes for an even more dynamic press-release, it is quite a distance from the truth.

    "I actually found it very hard to sing," she admitted. "Basically because I sing heavier and at first I found myself singing it too loud. When we first started, there were no. words other than "Love To Love You Baby" so I made it up as it went along, in the hope that what I was saying fitted the mood of the music. It took four and a half hours in all just to put my vocal track on — and I ended up handling it the way it is. And that's just about the only way it could be put across.

    "It got me to such a point that I threw everybody out of the studio except my producer and he calmed me down by telling me just to sing it the way I felt it, rather than the way I felt it should be sung. Let's face it, it's in every woman to be seductive — whether she is a teacher or a whore.

    "Do you know something, people — have actually asked me if I was touching myself when I was singing! But to produce that sound I had to concentrate on just that and I wouldn't have been able to do it with any kind of distraction. Then I thought about it more and I now answer that I was seduced during the session that's what they want to hear — but the smile vanishes when I explain that I, was seduced by the music! Now I have got so used to it that I can sing it that way without really thinking — it comes naturally to me."

    Donna has a history of controversy when it comes to making records because her first European hit was entitled "The Hostage" and dealt with the sore subject of a kidnapping victim. "Actually, the song is a very interesting one," the lady enthralls. "It's completely unsoulful as you'd know it, but it was very successful in Holland, Belgium and France.

    "In fact, just about every song I have ever recorded has some kind of controversy surrounding it. I've always had to decide whether it was against my morals or not. To be honest. I was against recording "Love To Love" because I felt it was against my image. And I found it very difficult to sing the song as I felt it was against my singing style.

    "I have a hit in Germany, too. now — and it's called "Woman Of The Night". It's all about a prostitute, although the word never actually occurs in the song. It's all about the normality of the woman's life and it's really a tender song."

    So where do you go after "Love To Love"? Is there a subject that remains sacred? But seriously, where do you go after that? "Well, we've finished the next album already," Donna explains. "We've tried to branch out a little and to expand. There are songs there that will appeal to the discos, though because that's where my first fans came from. But I've also recorded other people's material.

    "The first side is all one track although it incorporates four different songs that run into each other. It's interesting because the four are called "Try Me"; "I Know", "We Can Make It" and "Try Me I Know We Can Make It". The second side has three songs plus Barry Manilow's "Could It Be Magic" and it's that last one that I feel will become the next single."

    Having heard the song, I had to ask whether there was anything in there that might appeal to the raincoat brigade? "Well…yes, I guess there might be!" Donna hesitantly laughed. "It all starts off with a rap about me not wanting my baby to go and leave me and as the music builds up, there's a climactic part where I moan: "Come, come, come" and then pause as the music becomes seductive. But then I sing "come into my arms" to make it all sound so innocent!"

    For biography freaks, Donna is the third of seven children and was born in Boston in September 1950. In 1968 she joined the original German touring company for "Hair", although she was offered identical parts in either New York or London. But she decided that she would like to travel and learn another language, so Munich seemed the answer.

    "The Hostage" was the lady's first international record — being released in the U.K. on the now — defunct People label. Now with her huge success in the States, she is having to work from two homes — Munich and a new one in Beverly Hills, Los Angeles. But she will continue to record in Munich where her producers are Britain's Pete Bellotte and Italian, Georgio Moroder.

    On speaking with the lady, I can only confess that she wasn't any
    thing near to what I expected — you, can make of that what you will! But she is sincere, charming and stands more than a fair chance of eventually living down "Love To Love" and developing into an international star.

  • Interview van Artiesten uit de jaren 70 en 80.

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    Vanaf zondag 27 april staan op deze blog een aantal interviews, uit het verleden, van artiesten die die met de muzieksoort Disco, Soul en Funk te maken hebben. De interviews zijn wel in het Engels en dus voor mensen die echt geen Engels kunnen lezen is het wel een probleem maar je kan altijd een vertaal programma gebruiken, bijvoorbeeld Google Translate.


  • Hoogste hof Californië wil zaak Murray niet horen

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    Conrad Murray kan niet bij het hooggerechtshof van Californië terecht om zijn veroordeling aan te vechten. Een verzoek van de advocaat van de in 2011 veroordeelde arts van Michael Jackson werd woensdag afgewezen. Murray en zijn advocaat vinden dat er fouten zijn gemaakt bij de behandeling van zijn zaak.

    De 61-jarige Murray, die twee jaar achter de tralies belandde nadat hij Michael Jackson in 2009 een fatale dosis propofol had toegediend, was eerder bij een hof in Californië in hoger beroep gegaan tegen zijn straf. Dat beroep werd in januari afgewezen.

    Desondanks zet Murray zijn strijd voort. "We zijn enorm teleurgesteld, maar willen de zaak nu aanhangig maken bij een federale rechtbank", zei zijn advocaat Valerie Wass. Wass belde naar eigen zeggen met Murray, die haar liet weten dat 'het gevecht nog niet voorbij is'.

    Murray kwam eind oktober vrij en heeft sindsdien veel tijd doorgebracht met zijn familie. Hij 'probeert zijn leven weer op de rails te krijgen', zei Wass. Ze wil dat een federale rechtbank kijkt naar hoe de media zijn omgegaan met de zaak rond de dood van Jackson en de blootstelling van de jury aan alles wat erover werd geschreven.

    Murray heeft altijd gezegd dat de jury afgeschermd had moeten worden van publiciteit rond de zaak. Hij werd in oktober 2011 tot vier jaar celstraf veroordeeld wegens dood door schuld. Na twee jaar achter de tralies kwam hij vrij wegens goed gedrag.

    Door: Novum
  • Bootsy Collins en Kelis op North Sea Jazz

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    Bootsy Collins en Kelis maken het affiche van North Sea Jazz compleet. Concertorganisator Mojo heeft donderdag de laatste paar namen van het programma bekendgemaakt.

    Ook werd onthuld dat Dr. John, Orquesta Buena Vista Social Club en Lalah Hathaway het podium van de Rotterdamse Ahoy beklimmen. Zangeres Sheila E. reist ook naar de havenstad. Zij wordt tijdens haar optreden bijgestaan door Candy Dulfer.

    Eerder werd al bekendgemaakt dat onder anderen Pharrell Williams, Stevie Wonder, Outkast, Robin Thicke en Hall & Oates staan op North Sea Jazz. Het jazzfestival, dat sinds 1976 wordt georganiseerd, vindt plaats van 11 tot en met 13 juli. Kaartjes zijn al te koop.

    Door: Novum
  • Deon Jackson op 68 jarige leeftijd overleden

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    Deon Jackson de zanger die bekend werd met het nummer uit 1965, Love Makes The World Go Round, is op 68 jarige leeftijd overleden.

    De in Ann Arbor, Michigan geboren zanger begon zijn muzikale carriere op de middelbare school. Na een aantal lokale nummers werd hij op 19 jarige leeftijd bekend met het nummer Love Makes The World Go Round. Hij maakte daarna een album maar haalde nooit meer het niveau. In 1968 had hij nog een bescheidde hitje met Ooh Baby maar beeindigden daarna zijn muziek carriere.

    Verhuisde naar de omgeving van Chicago en is leraar geworden.

  • Thielemans op Jazz Middelheim

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    Het Antwerpse festival Jazz Middelheim zal dit jaar festivalpeter Toots Thielemans uitgebreid in de bloemetjes zetten naar aanleiding van zijn afscheid van het podium.

    'The Music of Toots Thielemans' brengt verschillende grote namen uit de jazzwereld zoals Kenny Werner en Philip Catherine samen met Thielemans' vaste ensemble. Zij zullen hun favoriete nummers uit diens oeuvre spelen. Daarnaast zijn de pianisten Herbie Hancock (met Wayne Shorter) en Ahmad Jalal en bassist Avishai Cohen de blikvangers van deze 33e editie, van 14 tot 17 augustus in het vertrouwde Park Den Brandt.

    Op de eerste festivaldag staan de jazzreuzen Herbie Hancock (piano) en Wayne Shorter (sax) samen bovenaan de affiche. De twee maakten ooit nog deel uit van het tweede grote kwintet van Miles Davis. Diezelfde dag komt ook het Dave Douglas Quintet langs, net als pianist en componist Vijay Iyer, die dit jaar "artist in residence" is en driemaal zal optreden tijdens het festival.

    Vrijdag is het de beurt aan onder meer Avishai Cohen en zangeres Stacey Kent, terwijl op zaterdag naast de ode aan Toots Thielemans ook Jef Neve het beste van zichzelf en zijn trio zal geven. Het festival sluit op zondag 17 augustus af met Ahmad Jalal en het Italiaanse duo Enrico Rava en Stefano Bollani.

    Tweede podium

    Jazz Middelheim krijgt dit jaar ook een tweede podium, de Club Stage, waar elke dag één groep verschillende creaties en combinaties presenteert tussen de optredens op het hoofdpodium door.

    Tickets zijn te koop voor 39 euro per dag in voorverkoop, een pasje voor vier festivaldagen kost 119 euro.

  • Nieuwe single Prince ‘The Breakdown’

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    Prince laat er geen gras over groeien nu hij een nieuw platencontract heeft ondertekend bij Warner Bros. De zanger heeft direkt een nieuwe single uitgebracht getiteld ‘The Breakdown’. De vier minuten durende funk ballad is vanaf heden verkrijgbaar in de iTunes store.

    Als onderdeel van zijn nieuwe deal met Warner Bros. heeft Prince een nieuw studio album gepland, dit tesamen met een heruitgave van zijn zeer succesvolle album ‘Purple Rain’. Buiten dat vertelde de zanger dat er nog een ware goudmijn aan muziek op de planken ligt. De komede tijd mogen we dus nog meer moois van hem verwachten.

  • Cors Disco and Soulshow van 20 april via Mixcloud

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    Cors Disco en Soulshow van 20 april 2014 op Club DDD FM by Cor Shops on Mixcloud