タグ:rock ( 39 ) タグの人気記事


R.E.M. 名曲集

by ichiro_ishikawa | 2017-10-22 00:34 | 音楽 | Comments(0)  

【転載】How Debut Album ‘Murmur’ Spread

転載  udiscovermusic.com


How Debut Album ‘Murmur’ Spread 

The Word About R.E.M.


In December 1987, North America’s most prestigious rock publication, Rolling Stone, granted R.E.M. the front cover and proclaimed them to be “America’s Best Rock & Roll Band”. Just four and a half years after the release of their debut album, Murmur, the band’s dynamic fifth album, Document, had zoomed up to No.10 on the Billboard 200. Within another five years they would be one of the biggest bands on the planet.  

R.E.M.’s gradual, but surefooted rise to global stardom has been well-documented, but like their arena-rock contemporaries The Cure and Simple Minds, the Athens, Georgia-based quartet were first galvanised into action by punk’s lo-fi, DIY philosophy. A mutual appreciation of stellar punk and post-punk-era acts, including Patti Smith and Television, first firmed up the bond of friendship between vocalist Michael Stipe and guitarist Peter Buck, who put R.E.M. together with the addition of bassist Mike Mills and Bill Berry.

The embryonic band made their live debut at a friend’s birthday party in a converted Episcopal church in Athens, on 5 April 1980. The foursome then spent much of the next 18 months building a following the old fashioned way, criss-crossing the southern US playing grassroots-level shows and feverishly writing strings of songs.  

The band’s first real foray into a recording studio resulted in a well-received demo overseen by producer Mitch Easter at Drive-In Studios in North Carolina. In remixed form, two tracks from this session, ‘Radio Free Europe’ and ‘Sitting Still’, made up R.E.M.’s vinyl debut in July 1981, when the two songs were issued as a single on local Athens imprint, Hib-Tone.  

Selling out its 1,000-only pressing, ‘Radio Free Europe’ made sizeable waves, with the highly respected New York Times even including the record in its Ten Best Singles Of The Year round-up. Meanwhile, R.E.M.’s original Mitch Easter-produced demo continued to open doors for them. A copy of it eventually found its way to IRS Records, whose suitably impressed co-owners, Miles Copeland III and Jay Boberg, quickly stepped in to sign the band.

IRS introduced R.E.M. to the wider world with a mini-LP, Chronic Town, released in August 1982. Again recorded at Easter’s garage studio, this naïve yet glorious record included long-term fan favourites ‘Gardening At Night’, ‘Carnival Of Sorts (Box Cars)’ and ‘Wolves, Lower’, and introduced the band’s signature sound, with Mike Mills’ driving, melodic basslines playing counterpoint to Peter Buck’s jangly, arpeggiated guitar, and Michael Stipe’s soft, mumbled vocal delivery piquing the interest of critics on both sides of the Atlantic.  

With Chronic Town garnering positive media attention and racking up healthy sales of around 20,000 copies, IRS were keen to issue the band’s debut album. Initial sessions began late in 1982, but the label insisted on pairing the group with a new, high-profile producer in Stephen Hague (OMD, PiL, New Order), who placed the emphasis squarely on studio perfection. Though an excellent technician on his own terms, Hague’s methods were ill-suited to the still relatively inexperienced R.E.M. Bill Berry, especially, lost confidence after Hague forced the band to perform multiple takes of ‘Catapult’, and the producer later decided to take the completed song to Synchro Sound in Boston where he overlaid it with keyboards without the band’s permission.  

Unhappy with the turn of events, R.E.M, requested the opportunity to record their debut with Mitch Easter. After an initial “try out” session yielded a successful version of the song ‘Pilgrimage’, IRS relented and gave R.E.M. the green light to hook up with Easter and his production partner, Don Dixon.  

Stipe and company had previously worked with Easter at his garage studio in Winston-Salem, North Carolina, but for the Murmur sessions they moved 80 miles further south to Reflection Studios in Charlotte, a 24-track facility whose principal clients were US televangelists Jim and Tammy Bakker’s Praise The Lord Club. The studio’s lack of rock’n’roll credentials, however, didn’t faze R.E.M. in the slightest.  

“We wanted to do it in the South with people who were fresh at making rock’n’roll records,” Peter Buck later told Rolling Stone. “In Charlotte, we could sit up all night and mess around, have ideas and not worry too much.”  

R.E.M. had written and performed most of Murmur’s 12 songs live during 1980-81 and had already agreed on a track sequence before they entered the studio. The quartet were also adamant that they wished to eschew rock music clichés such as grandiose guitar solos and the (then on-trend) synthesisers so beloved of Stephen Hague. In most cases, the songs’ basic tracks were laid down relatively quickly and Stipe generally recorded his vocals in a darkened stairwell off to the side of the main studio.

For their part, Dixon and Easter were happy to provide technical expertise and tighten things up as required, but in general, the pair cheerfully indulged R.E.M.’s experimental approach. As Dixon told Rolling Stone: “It was a unique combination of people, where there was enough tension and enough cohesiveness. We were dealing with a fragile sort of art concept and trying to bring in a little pop sensibility without beating it up.”  

“They [Dixon and Easter] were instrumental in teaching us how to use the studio,” Peter Buck later acknowledged. “We spent most of our time finding interesting ideas and sounds like strange percussion things, banging on table legs… I’d play acoustic guitar and then take the guitar off and leave the reverb on with the delay, so that it was ghostly and strange.”

The record R.E.M. emerged with remains one of the most compelling and otherworldly debut albums in rock history. Buck’s chiming, Byrds-esque guitars and Stipe’s elliptical lyrics and slurred delivery have frequently been singled out for attention, but all four members of the band played crucial roles, with Mills’ melodic basslines and Berry’s expressive drumming (and the duo’s intuitive harmony vocals) equally essential to the shape of R.E.M.’s singular DNA. Among the record’s cachet of brittle, introspective treats are the glorious ‘Talk About The Passion’, the haunting, piano-led ‘Perfect Circle’ and the nervous, jittery ‘9-9’, but Murmur’s tracklist remains staunchly filler-free and the passing of time has merely added to the record’s timeless allure.

Housed in a suitably enigmatic sleeve depicting a field covered with kudzu vines (known locally as “the vine that ate the South”), Murmur was released on 12 April 1983 and attracted substantial media acclaim. Awarding the album four stars, Rolling Stone’s Steve Pond asserted that “Murmur is the record on which [R.E.M.] trade potential for results: an intelligent, enigmatic, deeply involving album, it reveals a depth and cohesiveness to R.E.M.”, while The Village Voice’s Robert Christgau declared “they’re an art band, nothing more or less – and a damn smart one!”


Murmur’s most direct and anthemic track, a punchier, re-recorded version of ‘Radio Free Europe’ was selected as the album’s lead single and rose to No.78 on the Billboard singles chart. The album itself fared better, peaking at No.36 on the Billboard 200, selling 200,000 copies across 1983 and eventually gaining a gold certification in 1991. Remarkably, the introspective Murmur also went on to beat off the challenge of multi-million-selling mainstream releases such as Michael Jackson’s Thriller, The Police’s Synchronicity and U2’s War to scoop Rolling Stone’s prestigious Album Of The Year Award for 1983.  

R.E.M. played a lengthy US tour supporting UK ska-pop trailblazers The English Beat (aka The Beat, back home) which straddled the release of Murmur. The band’s relentless schedule continued throughout the summer of ’83, with their own headlining tour of North America touching down in prestigious venues such as The Ritz in New York, the Old Waldorf in San Francisco, and Detroit’s St Andrew’s Hall. During this run of shows Stipe and company took legendary names of the future, such as The Replacements, out on the road as their warm-up acts.  

National television debuts at home (Tonight With David Letterman) and abroad (The Tube in the UK), in addition to the group’s first European tour, presaged R.E.M.’s reunion with Mitch Easter and Don Dixon, and the start of the sessions which resulted in the band’s sophomore release, April ’84’s Reckoning.

Tim Peacock

by ichiro_ishikawa | 2017-10-21 20:31 | 音楽 | Comments(0)  

Rock'n' Roll Consciousness

サーストン・ムーアがこつそりソロアルバムをリリースしてゐた。『Rock'n' Roll Consciousness』。


by ichiro_ishikawa | 2017-10-17 10:03 | 音楽 | Comments(0)  




by ichiro_ishikawa | 2017-10-17 02:34 | 音楽 | Comments(0)  








by ichiro_ishikawa | 2017-10-15 12:32 | 音楽 | Comments(0)  

The series of Top 10 songs by Mojo



Top 10 Elvis Presley Songs

Another Top 10 Elvis Presley Songs

Top 10 Bob Dylan Songs

Top 10 Rolling Stones Songs

Top 10 Eric Clapton Songs

Top 10 David Bowie Songs

Top 10 Elvis Costello Songs

Top 10 U2 Songs

Top 10 Nirvana Songs

Top 10 Decade Defining Songs: 1950s

Top 10 Decade Defining Songs: 1960s

Top 10 Decade Defining Songs: 1970s

Top 10 Decade Defining Songs: 1980s


Top 10 Songs That Will Make You Cry

Top 10 Movie Theme Songs

Top 10 Iconic Rock Songs

Top 10 Music Videos of All Time

Top 10 Cover Songs

Top 10 Songs You Didn’t Know Were Covers

Top 10 Decade Defining Rap Songs of the 1980s

Top 10 Protest Songs

Top 10 Male Vocalists

Top 10 Iconic Pieces of Classical Music

by ichiro_ishikawa | 2017-10-09 16:54 | 音楽 | Comments(0)  












by ichiro_ishikawa | 2017-10-03 11:06 | 音楽 | Comments(0)  


☆ 『BOØWY 1224 -THE ORIGINAL-』告知映像


BOØWYが解散宣言をした1987年12月24日の伝説のライヴ映像が4Kリマスタリング、「Only You」も完全収録して発売決定!

2017.09.29  TOPICS


この映像作品『BOØWY 1224 -THE ORIGINAL-』は、BOØWY 35周年プロジェクトの集大成として発売されるもの。今年倉庫から発掘されたオリジナルフィルムを、LAのスタジオで4Kスキャニングしデジタル映像データ化。BOØWY作品を数多く手がけた映像ディレクターである前島輝氏が、30年の時を経て新たに編集を施し、初のHDおよび4K・HDR化、及び初の16:9画角での登場となる。音源も新たにリマスターされたものを使用。そして幻の“「ONLY YOU」の中の空白の数十秒”が初めて復元されて収録されている。

商品は3形態となっており、「DVD」、「Blu-ray」、そしてもう一つの形態は、日本の音楽ソフトでは初となる「4K Ultra HD Blu-ray」の3形態でリリースされる。

また『BOØWY 1224 -THE ORIGINAL-』発売を記念し、一夜限りの先行上映会が12 月12 日に東京・大阪で開催される。こちらのチケットは10月7日から発売となる。



DVD、Blu-ray、Ultra HD Blu-ray +Blu-rayの3形態にて発売。



【Ultra HD Blu-ray +Blu-ray(5.1ch)】UPZY-9001




日時:12 月12 日(火)開場18 時/開演19 時
【東京】Zeppダイバーシティ:東京都江東区青海1-1-10 ダイバーシティ東京プラザ
【大阪】Zepp 大阪ベイサイド:大阪府大阪市此花区桜島1-1-61
主催・企画:ユニバーサル ミュージック、ユイミュージック
a)6,400円(税込)=チケット代:¥1,000(税込)+ DVD:¥5,400(税込)
b)7,480円(税込)=チケット代:¥1,000(税込)+ BD:¥6,480(税込)
c)13,960円(税込)=チケット代:¥1,000(税込)+ 4K Ultra HD+BD(5.1ch):¥12,960(税込)

一般発売:2017年10月7日(土) 18:00~
※DVD、BD、4K Ultra HD Blu-ray+Blu-rayの発送は、ユニバーサルミュージックストアより行います。

1987年当時、名実ともに日本No.1のロックバンドとなっていたBOØWYの全国ツアー「DR.FEELMAN’S PSYCHOPATHIC HEARTS CLUB BAND TOUR」の最終公演となった12月24日の東京・渋谷公会堂(現在は改装中)の模様を記録したライヴ映像作品。ステージ終盤で突然行われた“解散宣言”により、このライヴがBOØWY最後のステージとなった。(翌年4月に行われた『LAST GIGS』はバンドにとっては解散後に行われた“最後のGIGS”)。
5台のカメラによる16mmフィルムによって記録されたライヴ・ドキュメンタリー映像は、これまでに2001年12月24日にVHSとDVDで、また2012年12月24日にはBlu-ray BOX『BOØWY BLU-RAY COMPLETE』にBlu-rayとして、2度にわたってライヴと同日に発売されている。
これまでの作品ではアンコールで演奏された「ONLY YOU」の中盤で画像・音声が数十秒ほど欠損しているが、今回のDVD、Blu-ray、Ultra HD Blu-ray『1224 -THE ORIGINAL-』ではこの欠損箇所の映像が発見され、ライヴから30年の時を経て初めて完全版の『1224』が世に送り出される。

■「ONLY YOU」欠損部分について…
2001年の発売当時はビデオ・マスターから商品化を行ったが、その際に何らかの理由で「ONLY YOU」の中盤に欠損が生じていた。今回、当時収録をしたオリジナルフィルムが倉庫から発見され、フィルムを確認したところ、この欠損箇所も完全な映像で残っていたことが判明した。

■パナソニック株式会社 プライベート・ビエラとのタイアップ
本作品はパナソニック創業100周年を記念して開発された「Creative! SELECTION」シリーズのハイグレード商品「プライベート・ビエラ」の店頭デモ映像としても使用される予定です。オリジナルフィルムから4Kリマスタリングされ、高画質で再現された映像の中から楽曲「MARIONETTE」と「NO.NEWYORK」を全国の家電量販店などの店頭にて2017年10月中旬以降、順次ご覧いただけます。


by ichiro_ishikawa | 2017-09-30 00:27 | 音楽 | Comments(0)  

【転載】Review: David Bowie's Heroically Experimental Berlin Era Explored in 11-CD Box Set

今日、Apple Musicにて配信開始。
デビッド・ボウイーの新作ボックスセットは俺が最も好きなアルバムのひとつLow』から始まりheroesLodger』と続くベルリン三部作に、俺が最も好きなボウイー楽曲「Stay」の珠玉バージョンが聴けるライヴアルバム『Stage』、そして“ボウイー最後のアーティスティックアルバム”として名高いニューヨーク録音『Scary Monsters (and Super Creeps)』の時期の音源とブックレットを収めた11枚組ボックスセット。amazonで輸入盤でも15,000円といふ超高額商品で、かういふときApple Musicの契約は奏功する。ブックレットは欲しいが…。

Review: David Bowie's Heroically Experimental Berlin Era Explored in 11-CD Box Set

The excellent 'A New Career in a New Town' dives deep into the restless innovator's most curious artistic period


An excellent new David Bowie box set dives deep into the restless innovator's most curious artistic period. Read our review. Mirrorpix/Getty Images

By Kory Grow

転載元 RollingStone.com


No period in David Bowie's career is more curious than the trilogy of albums he recorded in the late Seventies while living in Berlin's artsy Schöneberg district. They're defiantly uncommercial, stacking soundtrack-y, atmospheric soundscapes alongside pop songs, and they're bizarrely endearing – "The hin-ter-land, the hin-ter-land/We're gonna sail to the hinterland," goes one catchy-yet-strange passage in Lodger's "Red Sails." Stranger yet maybe, this era produced one of his most enduring hits, the anthemic "Heroes," which has been covered by everyone from Oasis to Peter Gabriel and Janelle Monáe. The period, defined by Bowie's collaborations with Brian Eno, was so far-out (even for the former spaceman) that it frustrated his record label and caused a slight dip in his popularity (all of his albums from this period have yet to be certified even gold), though the tales of Bowie's drug-and-alcohol-fueled romps with Iggy Pop and musical experimentation at the time have become the subject of multiple books.

Now a new box set, A New Career in a New Town (1977 – 1982), is offering a freshly polished look at the time. It contains 1977's brilliant and sprawling Low and "Heroes" LPs, 1978's live outing Stage, 1979's avant-rock experiment Lodger and 1980's only slightly poppier Scary Monsters (and Super Creeps), the last of which, recorded in New York, was intended as a return to commercialism, though it still reads like fractured pop. Additionally, the collection features an EP containing German and French versions of "Heroes," an expanded version of Stage, a new remix of Lodger by co-producer Tony Visconti and Re:Call 3, a compilation of single versions, non-album tracks and B-sides. It also includes a hardcover book with lively, insightful liner notes full of behind-the-scenes stories by Visconti, as well as images of handwritten lyrics, alternate album covers and rare and previously unpublished photos galore.

The collection is a brilliant portrait of the most artistic era of Bowie's career (after Scary Monsters he demanded that producer Nile Rodgers help him make pop hits on 1983's Let's Dance). But looking at A New Career in a New Town, it's a pity there's not even more music from this period to dig into. The only previously unreleased tracks here are live versions of "The Jean Genie" and "Suffragette City," which appear on the new Stage. Moreover, the box is missing nearly all the period-specific bonus tracks that accompanied Bowie's early Nineties reissues of the albums via Rykodisc, which remain mostly scattered across compilations like iSelect and All Saints, though some of those tracks have never been reissued. Also absent are some of the rarities from the era, such as various live recordings like the two Earls Court recordings that appeared on RarestOneBowie, the bizarre "Revolutionary Song" he recorded with the Rebels for the Just a Gigolo soundtrack and the instrumental cover of Cream's "I Feel Free" that Bowie recorded around Scary Monsters. 

Instead, the rarities here are the CD debuts of Bowie's Baal EP (a curious selection of melodramatic renditions of Bertolt Brecht's story songs), an extended version of the "Heroes" single "Beauty and the Beast" (which makes the song a bit more danceable and disco-ish) and a single mix of Low's "Breaking Glass" that was available only in Australia and doesn't add much to the conversation.

Track-list quibbles aside, the box set features a brilliant new remastering job and Visconti's new take on Lodger. It's interesting that of all the albums here, he chose to fluff up the least celebrated album of the Berlin triptych. While Low gets credit for taking the nihilistic, progressive sounds of 1976's Station to Station to dark new places and "Heroes" is the popular favorite because of the title track, Lodger is generally busier and more complex, straddling commercial pop song structures with patently obtuse melodies and lyrics. (Incidentally, it's the only album of the three for which Bowie crafted the lyrics, rather than improvising them after the tracks were complete.)

Although the megalomaniacal "D.J." and sexually charged "Boys Keep Swinging" both charted well as singles in the U.K., the rest of the record is an awesome mélange of syncopated percussion, off-kilter melodies and unusual paint-splatter guitar solos, bolstered by outside-of-the-box decisions made with Eno's Oblique Strategies deck of cards. Visconti's original '79 mix was able to fit it all in, down to minute details (the thumping, funky bass in "Boys Keep Swinging" leaps out), so, at first, it seems unusual he'd fidget with it. But Bowie expressed dissatisfaction with the mix, once saying Visconti "didn't take enough care mixing [it]." (Visconti explains in the liner notes that he felt he never had the opportunity to give it a proper mix in 1979 since it was a time when all the studios were booked.)

Unsurprisingly, the new mix, much of which Bowie approved before his death, loosens the sound of the album up a bit. There are no new takes on the songs – no significant restored cutting-room castaways – but there is a greater emphasis on orchestral strings, and the percussion sometimes comes out of different speakers. Everything feels generally lighter, especially in musically dense tracks like "Red Money" and "Yassassin." It makes the original mix sound even muddier by comparison.

The only thing A New Career in a New Town is missing, at least for the diehard fans who would buy a lavish box set like this, is more of everything – more rarities, more photos, more stories. But that's also precisely why this period in Bowie's career remains captivating. There's enough curious music here to last several lifetimes.


Disc: 1 'Low' (1977) 2017 Remastered Version

  1. Speed of Life

  2. Breaking Glass

  3. What in the World

  4. Sound and Vision

  5. Always Crashing in the Same Car

  6. Be My Wife

  7. A New Career in a New Town

  8. Warszawa

  9. Art Decade

  10. Weeping Wall

  11. Subterraneans

Disc: 2 ''Heroes''(1977)   2017 Remastered Version

  1. Beauty and the Beast

  2. Joe the Lion

  3. "Heroes"

  4. Sons of the Silent Age

  5. Blackout

  6. V-2 Schneider

  7. Sense of Doubt

  8. Moss Garden

  9. Neukoln

  10. The Secret Life of Arabia

Disc: 3 ''Heroes'' E.P. (1977)

  1. "Heroes" / "Helden"

  2. "Helden" (German Single Version) [2017 Remastered Version]

  3. "Heroes" / "Heros"

  4. "Heros" (French Single Version) [2017 Remastered Version]

Disc: 4  the live album 'Stage' (1978) 

2017 Remastered Version

  1. Hang On to Yourself (Live)

  2. Ziggy Stardust (Live) 

  3. Five Years (Live)

  4. Soul Love (Live)

  5. Star (Live)

  6. Station to Station (Live)

  7. Fame (Live)

  8. TVC 15 (Live)

Disc: 5  the live album 'Stage' (1978) 

2017 Remastered Version

  1. Warszawa (Live) 

  2. Speed of Life (Live) 

  3. Art Decade (Live) 

  4. Sense of Doubt (Live)

  5. Breaking Glass (Live) 

  6. "Heroes" (Live)

  7. What in the World (Live) 

  8. Blackout (Live) 

  9. Beauty and the Beast (Live) 

Disc: 6  the live album 'Stage' (1978) 

2017 Remastered Version

  1. Warszawa (Live)

  2. "Heroes" (Live)

  3. What in the World (Live) 

  4. Be My Wife (Live) 

  5. The Jean Genie (Live)

  6. Blackout (Live) 

  7. Sense of Doubt (Live) 

  8. Speed of Life (Live)

  9. Breaking Glass (Live) 

  10. Beauty and the Beast (Live) 

  11. Fame (Live)

Disc: 7  the live album 'Stage' (1978) 

2017 Remastered Version

  1. Five Years (Live)

  2. Soul Love (Live)

  3. Star (Live)

  4. Hang On to Yourself (Live)

  5. Ziggy Stardust (Live)

  6. Suffragette City (Live)

  7. Art Decade (Live)

  8. Alabama Song (Live)

  9. Station to Station (Live)

  10. Stay (Live)

  11. TVC 15 (Live)

Disc: 8 'Lodger' (1979)  2017 Remastered Version

  1. Fantastic Voyage

  2. African Night Flight

  3. Move On

  4. Yassassin (Turkish for: Long Live) 

  5. Red Sails 

  6. D.J. 

  7. Look Back in Anger

  8. Boys Keep Swinging

  9. Repetition

  10. Red Money

Disc: 9 'Lodger'  Tony Visconti 2017 mix

  1. Fantastic Voyage

  2. African Night Flight

  3. Move On

  4. Yassassin (Turkish for: Long Live)

  5. Red Sails

  6. D.J.

  7. Look Back in Anger

  8. Boys Keep Swinging

  9. Repetition

  10. Red Money

Disc: 10 'Scary Monsters (And Super Creeps)' (1980) 

2017 Remastered Version

  1. It's No Game (Part 1)

  2. Up the Hill Backwards

  3. Scary Monsters (And Super Creeps)

  4. Ashes to Ashes 

  5. Fashion

  6. Teenage Wildlife

  7. Scream Like a Baby

  8. Kingdom Come

  9. Because You're Young

  10. It's No Game (Part 2)

Disc: 11 'Re:Call 3'  

a collection of non-album singles and B-sides

  1. "Heroes" (Single Version) [2017 Remastered Version]

  2. Beauty and the Beast (Extended Version) [2017 Remastered Version]

  3. Breaking Glass (Australian Single Version) [2017 Remastered Version]

  4. Yassassin (Turkish for: Long Live) [Single Version] [2017 Remastered Version]

  5. D.J. (Single Version) [2017 Remastered Version]

  6. Alabama Song (2017 Remastered Version)

  7. Space Oddity (1979 Version) [2017 Remastered Version]

  8. Ashes to Ashes (Single Version) [2017 Remastered Version]

  9. Fashion (Single Version) [2017 Remastered Version]

  10. Scary Monsters (And Super Creeps) [Single Version] [2017 Remastered Version]

  11. Crystal Japan (2017 Remastered Version)

  12. Under Pressure (Single Version) [2017 Remastered Version] - Queen & David Bowie

  13. Baal's Hymn (Der Choral Vom Gro en Baal) [2017 Remastered Version]

  14. Remembering Marie A. (Erinnerung An Die Marie A.) [2017 Remastered Version]

  15. Ballad of the Adventurers (Die Ballad Von Den Abenteurern) [2017 Remastered Version]

  16. The Drowned Girl (Vom Ertrunkenen Madchen) [2017 Remastered Version]

  17. The Dirty Song (2017 Remastered Version)

  18. Cat People (Putting Out Fire)

  19. Peace On Earth/Little Drummer Boy - David Bowie & Bing Crosby

by ichiro_ishikawa | 2017-09-29 08:26 | 音楽 | Comments(0)  

米誌ローリングストーン、身売り検討 創刊者明かす


米誌ローリングストーン、身売り検討 創刊者明かす

2017/9/19 7:49






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by ichiro_ishikawa | 2017-09-27 17:36 | 音楽 | Comments(0)