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Wilmer & The Dukes (1969)

The band originated in 1957 in Geneva, New York, formed by Wilmer Alexander Jr. (born c. 1943), Ronnie Alberts, and Ralph Gillotte. Except for Alexander, all of the members were white, which made the band stand out even more in some of the all-black clubs that they first played in. The Alexanders lived on 90 Wadsworth Street in Geneva, and the band used to practice at one of the garages owned by the Felice Trucking Company on Kirkwood Ave.

Alexander sang and played saxophone, and the band was managed by Ebo (Owl) Alberts, the father of the drummer, Ronnie Alberts, and the bassist, Bob Egan. The guitarist, Doug Brown, was from the South and played Stevie Cropper-style. Doug Brown wrote their big hit "Give Me One More Chance". Ralph "Duke" Gillotte was the keyboardist and additional vocalist.

They were primarily a cover band, playing other people's material, such as by Steve Miller and The Rolling Stones. Other music was from Sam and Dave and there were also saxophone based hits such as those originated by Junior Walker & the AllStars. One of their most popular covers was Lee Dorsey's "Get Out of My Life Woman".

Wilmer and the Dukes (originally Wilmer Alexander Junior and the Dukes) were a United States R&B band in upstate New York in the 1960s. Though they produced only a handful of singles and one album, they performed regularly, and had a dedicated following. One reviewer said, "In Geneva, there were two kinds of kids. Those who went to 'Wilmer' and those who didn't." They are fondly remembered by many of the college alumni from that area, and their music continues to be played today. They were also an influence on other rising musicians such as Eric Bloom, the lead singer of Blue Öyster Cult, and they may have been the inspiration for "Otis Day and the Knights", the 1960s fictional band in the 1978 movie Animal House.

The group disbanded in 1974, but came back together for some benefit concerts in 1988. With several personnel changes, the band stayed together and played for the next 24 years as The Legendary Dukes until breaking up in early 2012.

Wilmer & The Dukes (1969) 
 Label:Forevermore Music & Records

1 Living In The USA 3:15
2 Count On Me 2:33
3 Get Out Of My Life, Woman 2:35
4 I Do Love You 3:15
5 Love-itis/Show Me 5:12
6 Heavy Time 2:27
7 St. James Infirmary 5:36
8 Get It (Instrumental) 2:40
9 I'm Free 2:37
10 Give Me One More Chance 2:40
11 Gettin' Over You 2:30
12 But It's Alright  3:07     
Released Jun 28, 1999 on the Forevermore label. Personnel: Doug Brown (guitar); Wilmer Alexander, Jr. (tenor saxophone, piano, keyboards); Larry Covelli, Jerome Richardson (tenor saxophone); Jerry Niewood, Arnie Lawrence (baritone saxophone); Sam Noto, Chuck Mangione (trumpet); Dennis Good, Sonny Ausman (trombone); Gap Mangione (piano, keyboards); Ron Alberts (drums, percussion); Vinnie Ruggiero (drums). 

The Miracles - The Fabulous Miracles (1963)

The Miracles - The Fabulous Miracles (1963)

One of the earliest of all Motown groups The Miracles were formed at school in Detroit in 1955 as The Five Chimes. In 1956 they changed their name to The Matadors, adding Claudette Rogers to the line-up. They were spotted by Berry Gordy at an audition in late 1957 and in February 1958 changed their name to The Miracles. Their first release, 'Get A Job' b/w 'My Mama Done Told Me', was issued via the End label that same month. Another single on End followed, and then one on Chess and Motown, before the group finally found a home on Tamla where they had a string of hits and Smokey established himself as a key songwriter for the label throughout the 1960s. 

In late 1965 Berry Gordy decided to adjust the group's name and they were billed thereafter as Smokey Robinson & The Miracles, until Smokey left the group in July 1972 (although the final Smokey Robinson & The Miracles single was not released until November). He was replaced by Billy Griffin, with the name being reverted back to The Miracles for the new line-up. 

The Miracles stayed with Motown until 1976, and had a number one US hit with 'Love Machine' in 1975. In 1976 they moved to Columbia. 

William "Smokey" Robinson (1955–1972) 
Ronald "Ronnie" White (1955–1983; 1993–1995) 
Warren "Pete" Moore (1955–1978) 
Clarence Dawson (1955) 
James Grice (1955) 
Emerson Rogers (1956) 
Robert "Bobby" Rogers (1956–1983; 1993–2013) 
Claudette Rogers (Robinson) (1956–1964) 
Billy Griffin (1972–1978; late 1990s) 
Dave Finley (1978–1983; 1993–present) 
Sidney Justin (1993–c.2000) 
Tee Turner (1996–present) 
Mark Scott (2005–2008) 
Alphonse Franklin (2008-present)

The Miracles - The Fabulous Miracles (1963)

Ernie K-Doe ‎– Mother-In-Law (1962)

Ernie K-Doe scored one of the biggest hits (possibly the biggest) in the history of New Orleans R&B with "Mother-in-Law," a humorous lament that struck a chord with listeners of all stripes on its way to the top of both the pop and R&B charts in 1961. The song proved to be K-Doe's only major success, despite several more minor hits that were equally infectious, yet he remained one of New Orleans' most inimitable personalities. Born Ernest Kador, Jr. in New Orleans in 1936, he began singing at age seven in the Baptist church where his father served as minister. During his teen years, Kador performed with local gospel groups like the Golden Chain Jubilee Singers and the Zion Travelers, when he was influenced chiefly by the Five Blind Boys of Mississippi. He entered and won talent competitions and became more interested in secular R&B and blues, and at 17, he moved to Chicago with his mother and began performing at local clubs. Thanks to connections he made there, he got the chance to sing with the Flamingos and Moonglows, as well as the Four Blazes, a gig that earned him his first recording session in late 1953 for United.

Kador returned to New Orleans in 1954 and honed his flamboyant stage act at numerous local hangouts (including the famed Dew Drop Inn), both solo and as part of the vocal group the Blue Diamonds. The Blue Diamonds cut a couple of sides for Savoy in 1954, and the following year, Kador (still billed under his real name) recorded his first solo single, "Do Baby Do," for Specialty. In 1957, he recorded a few more sides for Ember, as both Ernie Kado and Ernie K-Doe. Finally, in 1959, he caught on with the newly formed Minit label and hooked up with producer/songwriter/pianist/arranger/future legend Allen Toussaint. His first Minit single, "Make You Love Me," flopped, but the follow-up, "Hello My Lover," was a substantial regional hit, selling nearly 100,000 copies. K-Doe struck gold with 1961's "Mother-in-Law," a Toussaint-penned tune on which K-Doe traded choruses with bass vocalist Benny Spellman. That, coupled with the playful cynicism of the lyrics, made for a rollicking good time in the best New Orleans R&B tradition, and K-Doe was rewarded with a number one record on both the pop and R&B charts. He toured the country and landed a few more follow-up hits -- "Te-Ta-Te-Ta-Ta," "I Cried My Last Tear," "A Certain Girl" (later covered by the Yardbirds), "Popeye Joe" -- but none approached the phenomenon of "Mother-in-Law," and were more popular on the R&B side.

Minit soon went under, and K-Doe followed Toussaint to the Instant label, but two 1964 singles failed to revive K-Doe's chart fortunes, partly because the early prime of New Orleans R&B was fading as Motown gained prominence. Over the remainder of the '60s, K-Doe recorded for Peacock and Duke, landing two very minor R&B chart entries in 1967 with "Later for Tomorrow" and "Until the Real Thing Comes Along" on the latter label. However, he had a difficult time adapting his loose, playful style to the R&B trends of the day. He reunited with Toussaint for a brief period in the early '70s, to no avail, and drifted into a long period of alcoholism. Fortunately, K-Doe was able to reclaim some of his popularity around New Orleans when he began hosting a radio program in 1982, earning an audience with his wild antics and blatant self-promotion. In 1994, K-Doe opened his own club, Mother-in-Law Lounge, in New Orleans, and frequently performed there in the years to come, occasionally returning to the studio as well. He was inducted into the city's Music Hall of Fame in 1995 and generally acknowledged for his contributions up until his death from kidney and liver failure on July 5, 2001.

The Equals ‎– Unequalled Equals (1967) +

The Equals ‎– Unequalled Equals (1967) +

British pop rock group, formed 1965 in London, United Kingdom. 
Disbanded in 1979, reunited in early 1980s without Eddy Grant. 

Eddy Grant (guitar, until 1971 and ca. 1973–1978) 
Derv Gordon (vocals) 
Lincoln Gordon (guitar) 
Patrick Lloyd (guitar) 
John Hall (drums)

An energetic East London combo, the Equals balanced maximum R&B with plenty of pop, plus a few nods to vocalist Eddy Grant's West Indian background. Grant, born in British Guyana, moved to England with his family at the age of 12, and settled in a council estate named Hornsey Rise in northeast London. Four years later, he formed the Equals with schoolmates Lincoln Gordon (guitar), his twin brother Dervin Gordon (originally the vocalist), Pat Lloyd (guitar, then bass), and drummer John Hall. The band began gigging around London, amazing audiences with their apparently limitless energy and a distinct style fusing pop, blues, and R&B plus elements of ska and bluebeat.

By 1965, the Equals began doing dates in Europe as well, and released their first single on President Records. Though "Hold Me Closer" didn't perform on the charts, DJs began playing the flip side and by 1967 "Baby, Come Back" had hit the top of the charts in Germany and the Netherlands. One year later, the single hit number one in Britain as well, and brushed the charts in America. Subsequent singles lacked the immediate punch of "Baby, Come Back," however, and the Equals landed only two more Top Ten hits: "Viva Bobby Joe" and "Black Skin Blue Eyed Boys," the latter an apt message track from one of the few racially mixed bands of the era.

Grant left the Equals for a solo career in 1971, and though the band never charted again, they remained a popular live act, especially on the continent. Drummer Ronald Telemacque and guitarists Dave Martin and Frankie Hepburn were later added to the lineup.

Unequalled Equals - The Equals first longplayer

Unequalled Equals (sometimes interpreted as just Unequalled), released in 1967, was the debut album by The Equals. Each national edition had different cover art and minor variations in the track order, the most notable being the omission of "Baby, Come Back" from the US edition, in favor of "I Get So Excited".

1 - Baby Come Back
2 - Cant Find A Girl To Love Me
3 - Hold Me Closer
4 - Ding-Dong
5 - My Life Aint Easy
6 - Im A Poor Man
7 - I Wont Be There
8 - You Lied Just To Save Your Name
9 - To The Church
10 - Fire
11 - Hey Baby Its Time You Got Going
12 - Cant You Hear That Melody

13 - Give Love A Try
14 - Leaving You Is Hard To Do
15 - Cinderella Janie Girl
16 - The Guy Who Made Her A Star
17 - I Get So Excited

The Equals ‎– Unequalled Equals (1967) +

Sundae Times - Us Coloured Kids (1969)

Sundae Times - Us Coloured Kids (1969)

A noted yet relatively obscure late 1960s rock/soul outfit formed by three former members of Joe E Young & The Toniks around April 1968, who cut a great lone LP, Us Coloured Kids, and a handful of singles for President Records.

Born in Antigua, guitarist Wendell Richardson had moved to London at the age of 11 and grown up in Tottenham. During 1966, he befriended fellow Antiguan-born musicians Calvin “Fuzzy” Samuel and Conrad Isidore, who were living around Stoke Newington, and the trio formed The Toniks (later joined by singer Colin Young aka Joe E Young). Through the local West Indian population, the trio got to know Eddy Grant and his band The Equals and became firm friends.

Having lost interest in The Toniks, Richardson and Samuel jumped ship in April 1968 shortly after the band’s debut single on Toast, “Lifetime of Lovin’” c/w “Flower In My Hand” had been released. Isidore, however, remained with The Toniks but agreed to help out on the pair’s next project, The Sundae Times, who landed a deal with President Records thanks to their connection with The Equals (Ed: Samuel reportedly played bass on some of their recordings).

With Eddy Grant producing and penning the trio’s first release, “Baby Don’t Cry” c/w “Aba-Aba”, The Sundae Times’ debut was issued by President on 7 June 1968 but failed to chart in the UK. In the US, the single appeared on the small Seville imprint the following month. German and Spanish releases also followed but somewhat bizarrely it was in Israel where The Sundae Times made the biggest impact. Released as the A-side, “Aba-Aba” broke into the top 10.

Sundae Times were the first all black Rock 'n' Roll group in the UK comprised of Fuzzy Samuel, Dell Richardson and Eddie Grant, they put out a handful of singles on President and this one LP

Sundae Times - Us Coloured Kids (1969)

Bar-Kays ‎– Soul Finger (1967)

The Bar-Kays were originally formed in 1966 as a sextet and their biggest hit was 'Soul Finger'. 

They looked like they had a healthy career in front of them as a session band & recording outfit before the backbone of the group was killed, along with Otis Redding, in a horrific plane crash. 

Only Ben Cauley survived the crash and went on to form what could be dubbed Bar-Kays Mark II. James Alexander (Bass) was also one of the original members but was not aboard the plane because of limited seats on Redding's plane. For Alexander and Cauley and new members Michael Toles, Willie Hall, Ronnie Gordon and Harvey Henderson, the track 'Sang & Dance' was one of the first tracks from the new group, cut in late 1969.

Lou Johnson - 2 albums (1969;1972) + ( frrom Incomparable Soul Vocalist)

Lou Johnson - 2 albums (1969;1972) + ( frrom Incomparable Soul Vocalist)

Often dismissed as little more than "the male Dionne Warwick," uptown soul singer Lou Johnson indeed rivaled Warwick as the premier interpreter of the songs of Burt Bacharach and Hal David during the composing team's formative years, but unlike so many of the vocalists who recorded the duo's work, commercial success proved frustratingly elusive. Born in 1941, Johnson first surfaced as a member of the vocal group the Zionettes before going solo in 1963. He signed with Big Top Records, a subsidiary of the Brill Building publishing firm Hill & Range; his debut effort, "Unsatisfied," earned little notice, so Johnson was assigned to the fledgling team of composer Bacharach and lyricist David. With his dramatic, smoky vocals and melodic flexibility, the singer proved ideally matched to Bacharach and David's material: the first of their collaborative efforts, "Magic Potion," remains perhaps more notable for its B-side "Reach Out for Me," recorded by Warwick a few months later in what amounted to a virtual note-for-note cover. But while Johnson's version was not a hit, Warwick's was -- it was a scenario that would play out several more times in the years to follow. His next single, the stately "(There's) Always Something There to Remind Me," would prove his biggest hit, peaking at number 49 in 1964; Bacharach himself then escorted Johnson to Britain, introducing the singer on the BBC television program Top of the Pops, but again his recording was superseded by a near-identical cover, this time by U.K. girl group queen Sandie Shaw. Johnson's next Bacharach/David-penned effort was arguably his best: the beautiful "Kentucky Bluebird (Send a Message to Martha)" nevertheless failed to crack the Hot 100 altogether, although British teen idol Adam Faith faithfully copied its arrangement on his way to a massive U.K. hit. The B-side of "Kentucky Bluebird," the cult favorite "The Last One to Be Loved," proved Johnson's last session with Bacharach and David at the helm -- somewhat remarkably, their collaborative work would not merit commercial reissue until the release of the three-disc anthology Look of Love: The Burt Bacharach Collection over three decades later. On his own, Johnson recorded a handful of subsequent Big Top singles including "Thank You Anyway (Mr. DJ)" and "Park Avenue" before the label terminated his contract; he next surfaced at Cotillion in 1969, issuing his first-ever full-length LP, the self-explanatory Sweet Southern Soul. After 1971's Volt label release With You in Mind, Johnson's ill-fated recording career finally dwindled to a halt -- in subsequent years he was a fixture of the Los Angeles nightclub circuit, also performing in a latter-day version of the Ink Spots.

Sweet-Southern soul

Lou Johnson - 2 albums (1969;1972) + ( frrom Incomparable Soul Vocalist)

Lou Johnson's Sweet Southern Soul is a solid album of journeyman soul. Recorded in 1969 for Atlantic offshoot Cotillion, the mix of ingredients is classic: production by Jerry Wexler and Tom Dowd, musical backing by the Muscle Shoals crew, songs by Don Covay, Eddie Hinton, and Curtis Mayfield. Indeed, the whole thing reads like a textbook to Southern soul in the late '60s. The only thing missing is a compelling lead vocal from Johnson. He certainly has soul and at times sounds like a contender (on the testifying "People in Love" or the bubbling "Rock Me Baby"), but mostly he just sounds average. The choice of cover songs is not too stellar, as the Drifters' "This Magic Moment" and Ben E. King's "Don't Play That Song (You Lied)" don't translate very well. On the flip side of that, Johnson's take on the country chestnut "She Thinks I Still Care" is a lovely, relaxed version that adds something nice and soulful to the original. Sweet Southern Soul is a record that may not justify its lofty status among soul collectors, but is very pleasant nonetheless.

Lou Johnson - 2 albums (1969;1972) + ( frrom Incomparable Soul Vocalist)

With You in Mind

Lou Johnson - 2 albums (1969;1972) + ( frrom Incomparable Soul Vocalist)

Given the caliber of his collaborators alone, it's remarkable that Lou Johnson didn't emerge as one of the premier soul singers of his generation. His second and final LP With You in Mind pairs him with New Orleans R&B production maestros Allen Toussaint and Marshall Sehorn, and while the earthy, gut-check Southern soul idiom fits Johnson's river-deep vocals like a glove, the album's commercial failure proved the final blow to his star-crossed recording career. Listeners who know Johnson solely from his dramatic Bacharach/David records will be flabbergasted by the scope and elasticity of his vocals: the uptown sophistication of "(There's) Always Something There to Remind Me" and "Kentucky Bluebird" is replaced by a physical strength and heartbreaking intimacy comparable to the best music forged in Memphis or Muscle Shoals.

Lou Johnson - 2 albums (1969;1972) + ( frrom Incomparable Soul Vocalist)

Crazy Casey (with Golden Earrings) - The Beast and I (1967)

Crazy Casey - the pseudonym of the Dutch organist and producer Cees Schrama.
CEES SHRAMA (born December 18, 1936 in The Hague) lived a very rich musical life. His father played the saxophone, his mother was an opera singer and pianist; under her pressure from the age of 8 began to master the accordion, with 11 - guitar, piano and organ. Raised the skill, not regretting the forces or the time.
After graduating from high school, I got a pianist in a jazz orchestra. In 1957, becoming interested in rock'n'roll and rhythm & blues, he joined the international band Theo van Est (leader of Ted Easton), who successfully performed in front of American troops in Germany, France, Spain, North Africa and Turkey. It turned out that Cees has a good taste of showman. For the bright manner of the game he was called "Mad Ceesie", and later had to change the name to Crazy Casey, which was more familiar to the ear of Americans.
After several years of work in the orchestra, in 1962 he decided to create his own team - "Holland Quintet / Quartet". However, in the end he came to the conclusion that it is burdensome to be a leader.
Returning to Holland in 1964, took part in concerts and sessions of other musicians, while the producer of the famous "The Golden Earrings" Fred Haayen did not meet him in November 1966 while recording the record of his wards. Beginning work exclusively in the studio: "Golden Earrings", "Shoes", "Haigs", "Counts" and others ... In 1965 to 1979 he was a studio musician on records of almost all Dutch performers of the time (including "Shocking Blue" with their super-hit "Venus"!), but more often anonymously.

Cees Schrama. (род. 18 декабря 1936 в г. Гаага) прожил очень насыщенную музыкальную жизнь. Отец играл на саксофоне, мать была оперной певицей и пианисткой; под её давлением с 8 лет начал осваивать аккордеон, с 11-ти - гитару, пианино и орган. Повышал мастерство, не жалея ни сил ни времени.
После окончания средней школы, устроился пианистом в джазовый оркестр. В 1957 году, заинтересовавшись рок-н-роллом и ритм & блюзом, вошёл в международный бэнд "Theo van Est" (руководитель Ted Easton), который успешно выступал перед американскими войсками в Германии, Франции, Испании, Северной Африке и Турции. Здесь выяснилось, что Cees обладает хорошими задатками шоумена. За яркую манеру игры его стали называть "Безумный Ceesie", а позже пришлось поменять имя на Crazy Casey, что было более привычно для уха американцев.
После нескольких лет работы в составе оркестра, в 1962-м решил создать собственную команду - "Holland Quintet/Quartet". Однако в итоге пришел к выводу, что быть руководителем обременительно.
Вернувшись в Голландию в 1964 г., принял участие в концертах и сессиях других музыкантов, пока продюсер знаменитых "The Golden Earrings" Fred Haayen не познакомился с ним в ноябре 1966 года во время записи пластинки своих подопечных. Начинается работа исключительно в студии: "Golden Earrings", "Shoes", "Haigs", "Counts" и др... В 1965 по 1979 год являлся студийным музыкантом на записях практически всех голландских исполнителей того времени (включая "Shocking Blue" с их супер-шлягером "Venus" !), но чаще анонимно.
В мае 1967 под именем "Snuffy King Trio" выпускает свой первый сольный альбом, а затем, на "Polydor Special", с участием трёх друзей из "Golden Earrings", - представленную здесь пластинку. Сделана она была с большим энтузиазмом; во время записи царило прекрасное настроение в студии, повезло и с техническим персоналом... С "Golden Earrings" активно записывался в 1966-70 гг., и позже - например в 2003-м. Его эксперименты с тембрами фортепиано, органа, меллотрона, вибрафона и различными техниками игры оказали значительное влияние на стиль и звук великих голландцев. Обучил также бас-гитариста Rinus Gerritsen игре на фортепиано.
В конце 1969 г. формирует в Гааге группу "Funky Eight op", переименованную в "Casey & The Pressure Group" и выпустившую несколько альбомов и множество синглов.
В 1972 году официально поступил на службу в "Polydor"; с 1973-го - более 30 лет вёл джазовую программу на радио. До настоящего времени занимается продюсерством, хотя с начала девяностых годов активность снизилась (последний крупный проект - "The Rosenberg Trio" в 1993-1995).
Является крупным администратором, консультантом лэйблов, ведущим концертов и фестивалей, критиком, журналистом и т. д. Один из видных "поваров" европейской музыкальной кухни, о которой многие меломаны даже не догадываются.

From 1966 to 1970 he played on records of Golden Earring (then The Golden Earrings) and in 1970 he released the album Powerhouse under the name Casey and the Pressure Group. From that time on, his performance of Comin 'home baby jazz standard, together with members of Golden Earring, dates back to that time. The song Soultango became a modest hit. In 1972 he joined the record company Polydor and the following year he became the presenter of the radio program Sesjun. In addition, he played on numerous records as a studio musician and he produced gramophone records.
Crazy Casey - The Beast and I (1967)  

Label: Polydor ‎– 236 148

01 - Major-Minor
02 - Crazy Casey
03 - Snaggle Puss
04 - Ready Freddy
05 - The Beast and I
06 - Murphy
07 - Don't Rock That Boat
08 - Sir Henry the Dancer
09 - Comin' Home Baby
10 - It Ain't Necessarely So

Accompanied By – Golden Earrings

Bass – Rinus Gerritsen
Drums – Jaap Eggermont
Guitar – George Kooymans
Keyboards, Producer – Cees Schrama (Crazy Casey)

James Brown & His Famous Flames - Cold Sweat (1967)

James Brown & His Famous Flames - Cold Sweat (1967)

If "Cold Sweat" was a revolutionary single in 1967, clearly pointing the way to funk music, the Cold Sweat LP at least promised to be something new in James Brown's catalog as well. Where Brown's albums had been collections containing his current single and miscellaneous older tracks, this one proclaimed on its cover, "All New," "Great Songs," "Never In," "An Album." This was not quite true. While half of the tracks had been recorded during the first half of 1967, the other half (though previously unreleased) dated from 1964. That wasn't the main problem with the album, though. Having taken a giant step forward with "Cold Sweat," Brown spent the rest of the album stepping back, covering standards such as "Nature Boy" and "Mona Lisa" (associated with Nat King Cole), "Fever" (Little Willie John), "Stagger Lee" (Lloyd Price), and other oddities, including "I Loves You Porgy" from Porgy & Bess. Brown was never anybody's idea of a smooth ballad singer, and this material was all the more incongruous when packaged with his most remarkable slab of funk yet.
James Brown & His Famous Flames - Cold Sweat (1967)

The Miracles - The Fabulous Miracles (1963)Ernie K-Doe ‎– Mother-In-Law (1962)The Equals ‎– Unequalled Equals (1967) + The Equals ‎– Explosion (1967)Sundae Times - Us Coloured Kids (1969)Bar-Kays ‎– Soul Finger (1967)Lou Johnson - 2 albums (1969;1972) + ( frrom Incomparable Soul Vocalist)Crazy Casey (with Golden Earrings)  - The Beast and I (1967) James Brown & His Famous Flames - Cold Sweat (1967)

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