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The Eastern Aces - Indorock

The Eastern Aces - Indorock

The Indo rock n 'roll band The Eastern Aces was founded around 1960 in The Hague - the Netherlands by Richard Bastiaans, Loeky Diks, Wally Swärz, Bob and Tony Lammers Lentze. They were very successful with many performances in Belgium, Germany and the Netherlands. Over the following years there were frequent changes of band members and they performed only occasionally. Frans van den Brand together with Jack van Beek, Tony van Ede van der Pals and Nico Inkiriwang restarted The Eastern Aces band in 1991 and made this best of album. A fantastic album with vocal and guitar instrumental songs.

The Eastern Aces - Indorock

The Eastern Aces - Indorock

The Camillos - Guitar Favourites with "The Camillos"

The Camillos - Guitar Favourites with


Record Company – Star Record – C. R. ST.162
Written-By – Will Best* (tracks: A1, B3), W. Bestgen* (tracks: A2, A6, A7, B1), Willy Bestgen (tracks: A3, B6)

Willy Bestgen.Aliases:Mafaldo,Will Best

(1914 - 1976) founded his dance orchestra in the 1930's in Switzerland, playing regularly and successfully around the country and touring with Vico Torriani and Lys Assia. For many years his wife Betty (Beatrice Bestgen) used to play the drums in the orchestra, making her the first female drummer in Switzerland.



The Camillos - Guitar Favourites with


Der Organist Camillo Cartolari aus Modena war wie viele Musiker seiner Generation fasziniert von der englischen Beat-Musik. Er gründete die Gruppe I 4 Camillo. Willy Bestgen nahm mit Cartolaris Quartett mehrere LP’s auf. Musikalisch ist dieses Instrumentalalbum stark beeinflusst von Gitarrenbands wie den Shadows, mit gelegentlichen Ausflügen in musikalisch seichtere Gefilde. Die Songschreiber-Credits teilen sich Willy Bestgen, Will Best, Mafaldo und Cartolari.

The 4 Camillo - Fun With The 4 Camillo

The 4 Camillo - Fun With The 4 Camillo

The 4 Camillo - Fun With The 4 Camillo

The 4 Camillo - Fun With The 4 Camillo


101 - Samba De Lima Nota So
102 - Cavallino GoGo
103 - Gitar Shake
104 - Ahi I Madison
105 - Suspense Bossa Nova
106 - Red Shadows
107 - Souvenir De Mallorca
108 - Cumparsita Twist
109 - Happy Picnic
110 - It Was Ginny Twist
111 - Three Shoot Madison
112 - Brincando Bossa Nova
113 - Midnight Madison
114 - Tim Tam Drums



The 4 Camillo - Fun With The 4 Camillo


i 4 Camillo & Richard Moser Jr. - Twist Madison 3x Ep The Camillos

i 4 Camillo & Richard Moser Jr.  - Twist Madison 3x Ep The Camillos

i 4 Camillo & Richard Moser Jr.  - Twist Madison 3x Ep The Camillos


i 4 Camillo  EP DC 1776
01 - Kalumet Twist
02 - Gitar Twist
03 - Twist Time Baby
04 - Brasilian Cha Cha

i 4 Camillo & Richard Moser Jr.  - Twist Madison 3x Ep The Camillos


i 4 Camillo  EP DC 1777
05 - Midnight Madison
06 - C'est Ca La Madison
07 - Ahi! Madison
08 - Hey Baby

i 4 Camillo & Richard Moser Jr.  - Twist Madison 3x Ep The Camillos


Richard Moser jr. with I 4 Camillo EPS 50 253
09 - C'est Sensation
10 - Red Shadows
11 - Please Let Me Go Home
12 - Guitar Twist

---------------------------------

i 4 Camillo & Richard Moser Jr.  - Twist Madison 3x Ep The Camillos

Die Karriere des Richard Moser jr. kulminierte und kollabierte 1964 in San Remo. Der damals 20jahrige Moser prasentierte am Festival von San Remo gemeinsam mit Lilly Bonato den Song „Tu piangi per niente“ (Du weinst umsonst). Der Song verpasste den Einzug ins Finale. Fur Moser bedeutete dies das Ende seiner Karriere in Italien. Bonato gab es Schub fur eine kurzlebige Karriere als Teenysangerin. Als Rick Moser veroffentlichte der Schweizer 1966 eine Single bei Decca.


Von Walz Studer
Vier Singles und einen Auftritt fur die Geschichtsbucher, das ist zusammengefasst die Karriere von Rick Moser. Rick Moser kann von sich sagen, dass er der einzige Schweizer Sanger war, der in den 60er Jahre am San Remo-Festival aufgetreten ist. Dennoch kennt ihn kaum jemand in seiner Heimat. Die Karriere war zu stark auf kurzen Erfolg und schnelle Schlagzeilen aufgebaut. Es fehlten regelmassige Auftritte und Tourneen, es fehlte an Durchhaltevermogen bei Ruckschlagen. 

Moser stammt aus einer musikalischen Familie. Vater Richard wirkte in den 30er und 40er Jahren bei verschiedenen Schweizer Tanzorchestern mit. Ende der 40er Jahre hatte er ein festes Engagement am Hof des abessinischen Kaisers. 1951 siedelte Vater Moser in die Vereinigten Staaten uber. Dort nahm er diverse Schallplatten auf. Als 1951 die Mutter starb, kam der junge Richard Moser zu den Grosseltern, wo er Akkordeon spielen lernte. Laut eigenen Angaben trat er ab 1954 regelmassig offentlich mit seinem Akkordeon auf. Ab 1959 besuchte er ein englisches Internat. Auf der Insel versuchte er sich an Nachwuchswettbewerben. Erste Erfolge verbuchte Richard Moser 1960. Er konnte beim Schweizer Label „Star Records“ eine englische (I want to go home) und eine franzosische Nummer (Avoir seize ans) aufnehmen. Sie erschien auf einer EP zusammen mi zwei Titeln der Band „I 4 Camillo“. 
Die Single zahlt heute zu den gut gehuteten Geheimnissen des Musikgeschaftes, was wohl damals nicht anders war. Jedenfalls erlitt die so euphorisch gestartete Karriere danach einen Unterbruch von fast drei Jahren. 1963 tritt er in Hamburg und Bremen auf und geniesst Aufmerksamkeit in der Schweizer Regenbogenpresse. Sein Manager nutzt die Schlagzeilen geschickt aus. Er arrangiert einen Auftritt im Tessin, zu dem er Vertreter der Mailander Plattenfirma „Galleria del Corso (gc)“ einladt. Moser uberzeugt und noch im Herbst 1963 wird mit Richard Moser jr. die zweite Single mit den Titeln „La prima festa che daro/T’amo e t’amero“ veroffentlicht. Die Single verkauft sich beachtlich. 

i 4 Camillo & Richard Moser Jr.  - Twist Madison 3x Ep The Camillos


Barclay blockiert Moser wegen Alamo
Moser erhalt im gleichen Zeitraum ein Angebot von der franzosischen Plattenfirma Barclay. Er unterschreibt in Paris einen funfjahrigen Vertrag. Eine Platte erscheint nie. Moser sagt, die Firma habe auf Frank Alamo gesetzt. Der Vertrag mit ihm sei zum Schutz von Alamo gemacht worden. So sei er gebunden gewesen und habe nicht zu einer Konkurrenz fur Alamo auf dem franzosischen Markt werden konnen.

Moser lehnt „Non ho l’eta“ ab
Besser lief es fur Moser in Italien. „Galleria del Corso“ brachte ihr jungstes Pferd 1964 mit der Nummer „Tu piangi per niente“ am San Remo Festival an den Start. Das Tandem Lilly Bonato/Rick Moser scheiterte aber mit der Nummer bereits in der Vorrunde. Die beiden konnten dann erleben, wie die Gigliola Cinquetti

The T-Bones - Everyone's Gone To The Moon (And Other Trips) 1966


The T-Bones - Everyone's Gone To The Moon (And Other Trips) 1966


The T-Bones were a Liberty Records recording group from 1963 - 1966. The studio recordings of all of their albums but the last were done by American session musicians, The Wrecking Crew  
They should not be confused with the British mid-1960s band of the same name The T-Bones . In Britain, the name "U.S. T-Bones" was used for the Liberty Records group. 
When the T-Bones had a hit in 1966 with the single No Matter What Shape (Your Stomach's In), Liberty Records quickly recorded an album of the same name using session musicians from The Wrecking Crew, but those musicians weren't willing to go on tour to promote the album. They were making too much money doing sessions in Los Angeles. So Liberty created a different "public" T-Bones group to appear on record covers, TV, and in concert. The "public" T-Bones were Judd Hamilton, Dan Hamilton, Joe Frank Carollo, Tommy Reynolds, and Gene Pello. None of them played on the hit record, nor did they play on the next album, "Sippin' and Chippin." However the "public" T-Bones did record the T-Bones' final album, "Everyone's Gone To The Moon (And Other Trips)." Dan Hamilton, Carollo, and Reynolds would later form the 1970s soft rock trio Hamilton, Joe Frank and Reynolds. 
"No Matter What Shape (Your Stomach's In)", was based on the melody from a commercial for Alka-Seltzer. The tune reached #3, and its follow-up, "Sippin N Chippin", peaked at #62; the accompanying album hit #75 on the Billboard 200.

Members:
Danny Hamilton, Joe Frank Carollo, Judd Hamilton, Tommy Reynolds

The T-Bones - Everyone's Gone To The Moon (1966)

The T-Bones - Everyone's Gone To The Moon (And Other Trips) 1966

The T-Bones - Doin' The Jerk (1965)

The T-Bones - Doin' The Jerk (1965)


The T-Bones were a Liberty Records recording group from 1963 - 1966. The studio recordings of all of their albums but the last were done by American session musicians, The Wrecking Crew (6) 
They should not be confused with the British mid-1960s band of the same name The T-Bones (2). In Britain, the name "U.S. T-Bones" was used for the Liberty Records group. 
When the T-Bones had a hit in 1966 with the single No Matter What Shape (Your Stomach's In), Liberty Records quickly recorded an album of the same name using session musicians from The Wrecking Crew, but those musicians weren't willing to go on tour to promote the album. They were making too much money doing sessions in Los Angeles. So Liberty created a different "public" T-Bones group to appear on record covers, TV, and in concert. The "public" T-Bones were Judd Hamilton, Dan Hamilton, Joe Frank Carollo, Tommy Reynolds, and Gene Pello. None of them played on the hit record, nor did they play on the next album, "Sippin' and Chippin." However the "public" T-Bones did record the T-Bones' final album, "Everyone's Gone To The Moon (And Other Trips)." Dan Hamilton, Carollo, and Reynolds would later form the 1970s soft rock trio Hamilton, Joe Frank and Reynolds. 
"No Matter What Shape (Your Stomach's In)", was based on the melody from a commercial for Alka-Seltzer. The tune reached #3, and its follow-up, "Sippin N Chippin", peaked at #62; the accompanying album hit #75 on the Billboard 200.

The T-Bones - Doin' The Jerk (1965)

The T-Bones - No Matter What Shape (Your Stomach's In)Sippin 'N Chippin'(1966)

The T-Bones - No Matter What Shape (Your Stomach's In)Sippin 'N Chippin'(1966)



The T-Bones - No Matter What Shape (Your Stomach's In)Sippin 'N Chippin'(1966)


The story of the T-Bones -- the American group, not the U.K. band notable for being managed by Giorgio Gomelsky and as the professional starting point for Keith Emerson -- is a tale of unexpected consequences. They were an instrumental group that wasn't a real "group" at all, and weren't supposed to do more than record. That there was ever a performing version of the "group" was a result of one single being too good, and having such potential, that the possibility of live appearances couldn't be passed up. And then that performing group proved more durable than the concept (or the studio "group") that had spawned them in the first place.
One must first concede that the T-Bones originally never existed as an actual formal, organized band -- nor were they ever supposed to exist, except in the minds of listeners, as far as anyone involved was concerned. Rather, they were a name devised by Liberty Records producer Dave Pell and attached to generic surf and hot rod instrumental records put out by Liberty in the early to mid-'60s. The players on those records would have been a list to die for, in terms of getting them into an actual group: Leon Russell on piano, Steve Douglas and Plas Johnson on saxes, Tommy Tedesco and Glen Campbell on guitars, Ray Pohlman playing bass, and, of course, Hal Blaine on the drums -- and Perry Botkin, Jr. did a lot of their arrangements. Recording as the T-Bones, they did a pair of LPs in 1964, Boss Drag and Boss Drag at the Beach, which sold all right, coming as they did near the tail end of a craze that was already starting to wind down, and then moved into dance records for their third album, Do the Jerk. At that point, having established a brand and a name, and some success for the "group," Pell turned the T-Bones franchise and future output over to Joe Saraceno, a singer turned producer who had been doing great things in the latter capacity by way of the Ventures, the Marketts, et al., and had even had a hand in the early history of the Beach Boys.
It was Saraceno who latched onto the notion -- novel at the time -- of taking a clever and memorable jingle he heard in an Alka-Seltzer commercial and turning it into a commercial release. Why he didn't use the Ventures for this project, as he already had them to work with, is anyone's guess, though one assumes there was a financial angle that made using the nonexistent T-Bones -- as opposed to the flesh-and-blood Ventures -- a more lucrative proposition for those behind the scenes. Following another call for Los Angeles' top session players -- most of the previous suspects plus, reportedly, bassist Carol Kaye -- and with a Botkin arrangement, a single of the tune "No Matter What Shape (Your Stomach's In)," authored by Sascha Burland, was issued in the fall of 1965 and peaked at number three nationally in February of 1966. It went on to become one of the most successful singles of the year. Part of that success was a result of its initial reception, and the resulting confidence that Saraceno and Liberty had in the record -- on hearing the results and seeing how it went over, they felt compelled to recruit a performing version of the T-Bones to make personal appearances and perform and promote it, starting in late 1965, which only further boosted its sales. The initial performing version of the T-Bones consisted of brothers Judd Hamilton and Dan Hamilton (guitars), Richard Torres (keyboards, saxophone), George Dee (bass), and Richard Pello (drums), though Dee and Torres left early on and were succeeded by Tommy Reynolds (keyboards, sax) and Joe Frank Carollo (bass). Other musicians, including future superstar drummer Jim Keltner, were aboard on occasion as well, but the basic lineup of the live version of the T-Bones consisted of the Hamilton brothers, Carollo, and Reynolds.
While the performing version of the T-Bones did their work, the single kept selling, and an album -- something of a concept album, really, as it was built around commercial jingles transmuted into pop instrumentals -- was duly created under Saraceno and Botkin's direction. More singles followed, including "My Headache's Gone" and "Sippin' and Chippin'" (a Nabisco jingle), which did so well that it yielded a whole additional album in May of 1966. That record, however, diluted the concept of the previous album -- which was probably already wearing thin, even for some people who had purchased the first one -- and failed to chart at all. By the end of 1966, after one more (unsuccessful) single and a run at the LP market with Everyone's Gone to the Moon (And Other Trips), Saraceno and Liberty had moved on to other projects.
Ironically, at that point, it was the performing T-Bones, who were still getting bookings on the strength of their playing and, even more surprisingly, their singing, who were flourishing. Whereas they had contributed anonymously to the two prior albums, on the final T-Bones album they had even managed to get some of their own material into the song lineup, complete with vocals. They also cut a demo around this time that would serve them in good stead a while later. the T-Bones played out their string with another few months' worth of shows (including an extended stay in Japan) before retiring themselves and the name. But a couple of years later, their old demo fell into the hands of Steve Barri, the former partner of P.F. Sloan and a highly successful producer in his own right (with all of the post-Sloan success of the Grass Roots to his credit). He liked what he heard and got Dan Hamilton, Joe Frank Carollo, and Tommy Reynolds back together, as Hamilton, Joe Frank & Reynolds, who went on to a whole new round of success in the ensuing decade.

No Matter What Shape (Your Stomach's In) 1966

The T-Bones - No Matter What Shape (Your Stomach's In)Sippin 'N Chippin'(1966)

01 - No Matter What Shape (Your Stomach's In) (02:15)
 02 - Chiquita Banana (02:08)
03 - Fever (02:30)
 04 - What's In The Bag, Goose (02:27)
 05 - Moment Of Softness (02:08)
 06 - Let's Hang On (02:47)
 07 - Sippin' 'n Chippin' (01:59)
08 - Don't Think Twice, It's All Right (02:12)
 09 - Hole In The Wall (02:28)
10 - My Headache's Gone (02:38)
 11 - Pizza Parlor (02:13)
. 12 - Lies (02:04)


With cover photography from Miles Laboratories, the Alka-Seltzer theme song that went Top Five in America in December of 1965 is the jewel on this 12-song instrumental recording from Ventures producer Joe Saraceno and Phil Spector arranger Perry Botkin Jr. They had worked together on Gene McDaniels' "A Hundred Pounds of Clay" in the same capacity (for Liberty, the same label), so they were poised at the right place and time to enable this television commercial to cross over to the pop charts. Musicians are not credited, but three of them are guitarist Dan Hamilton, bassist Joe Frank Carollo, and drummer Tommy Reynolds of Hamilton, Joe Frank & Reynolds, who would land in the Top Five again in 1971 with "Don't Pull Your Love" and top the charts almost ten years after this initial hit with the middle-of-the-road classic "Fallin' in Love." This album has interesting versions of "Let's Hang On" and "Don't Think Twice, It's All Right," both hits for the Four Seasons in the exact same time frame (winter 1965), taking a cue from The Bob Crewe Orchestra Plays the 4 Seasons' Hits LP of instrumental recordings. But don't think Saraceno and Botkin Jr.'s emulation of Crewe went unnoticed: In 1967, two years after this, the Bob Crewe Generation (as in Pepsi Generation) hit with a Diet Pepsi commercial, "Music to Watch Girls By." It's a business where people borrow liberally, and the best borrowing Saraceno does is from himself, as his Ventures became the template. The Knickerbockers' "Lies" may sound more like the Kingsmen than the other material here, but the compact songs with no voices that do take from the Ventures' sound are very entertaining. "Chiquita Banana" was, of course, another big commercial, and years before Steve Gottlieb's TVT Records label issued a CD of famous television advertisements; perhaps the T-Bones should have capitalized on their vision and cut a few more memorable ones. "Sippin' & Chppin'" could be a second cousin to the big hit, "No Matter What Shape (Your Stomach's In)," and "My Headache's Gone" is the definite sequel, though the medication is a bit watered down by this point. "Hole in the Wall," "Pizza Parlor," and the very odd "What's in the Bag, Goose" (the only song on the record with any vocal sounds whatsoever) are interesting enough, but it's the title track that is classic.

Sippin 'N Chippin' 1966

The T-Bones - No Matter What Shape (Your Stomach's In)Sippin 'N Chippin'(1966)

 13 - Walkin' My Cat Named Dog (01:58)
 14 - Tippy Toeing (02:02)
 15 - Time Won't Let Me (02:22)
 16 - (I Can't Get No) Satisfaction (02:17)
17 - Forty-Five (Colt 45 Theme) (02:01)
 18 - Sippin' 'n Chippin' (02:01)
 19 - The Phoenix Love Theme (Senza Fine) (02:17)
 20 - What Now My Love (Et Maintenant) (02:09)
21 - Sure Gonna' Miss Her (02:26)
 22 - Cinnamint Shuffle (Mexican Shuffle) (02:05)
 23 - Pretty Face (02:34)
 24 - Spanish Flea (02:30)




Chet Atkins - Picks On The Beatles (1966 2008 USA)

Chet Atkins - Picks On The Beatles (1966 2008 USA)

Chet Atkins - Picks On The Beatles (1966 2008 USA)

Chester Burton "Chet" Atkins (June 20, 1924 - June 30, 2001), known as "Mr. Guitar" and "The Country Gentleman", was an American musician, occasional vocalist, songwriter, and record producer, who along with Owen Bradley and Bob Ferguson, among others, created the country music style that came to be known as the Nashville sound, which expanded country music's appeal to adult pop music fans. He was primarily known as a guitarist. His guitar of choice was the Gretsch Country Gentleman. He also played the mandolin, fiddle, banjo, and ukulele. Atkins's signature picking style was inspired by Merle Travis. Other major guitar influences were Django Reinhardt, George Barnes, Les Paul, and, later, Jerry Reed. His distinctive picking style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, and many others. Rolling Stone credited Atkins with inventing the "popwise 'Nashville sound' that rescued country music from a commercial slump," and ranked him number 21 on their list of "The 100 Greatest Guitarists Of All Time." Among many other honors, Atkins received 14 Grammy Awards and the Grammy Lifetime Achievement Award. He also received nine Country Music Association awards for Instrumentalist of the Year. He was inducted into the Rock & Roll Hall of Fame, the Country Music Hall of Fame and Museum, and the Musicians Hall of Fame and Museum.
"Chet Atkins Picks on the Beatles" is the title of a 1966 RCA Victor LP. Atkins interprets a selection of songs by The Beatles on this album.


BEAT GIRL - John Barry, Adam Faith & Shirley Anne Field (OST)





With a teen cast starring Adam Faith, Gillian Hills (the English Brigitte Bardot) Peter McEnery, Shirley Anne Field and a young Oliver Reed, playing opposite the Corbusieresque architect David Farrar and seedy strip club owner Chrisopher Lee, Beat Girl is a vintage British exploitation movie.

The film owes much of its effectiveness to John Barry's impressive first film score - actually the first British original film soundtrack lp - with Vic Flick's savage twangy guitar presaging the Bond theme that was less than two years away.

Beat Girl explores prostitution, juvenile delinquency, beatniks, jazz music, French women and coffee bars. It has no plot but a lot of energy and invention with the young Adam Faith the personification of cool sixteen year- old Gillian Hills perfect in the title role.





01. John Barry - Beat Girl (Main Title)
02. John Barry - Off Beat
03. Adam Faith - I Did What You Told Me
04. John Barry - Lindon Home Rock
05. John Barry - Time Out
06. John Barry - Sharks
07. Adam Faith - Beat Girl Song
08. John Barry - City 2000 A. D.
09. John Barry - Stripper
10. John Barry - Cave - Beat Girl - Kids Stuff
11. Adam Faith - Made You
12. John Barry - Car Chase - Night Chase
13. John Barry - Chicken
14. John Barry - Blues For Beatniks
15. John Barry - It's Legal
16. John Barry - Immediate Pleasure
17. John Barry - Blondies Strip
18. John Barry - End Shot - Slaughter In Soho - Beat Girl (Main Title)


Takeshi Terauchi & The Bunnys - Let's Go Classics (1967 Japan)

Takeshi Terauchi & The Bunnys - Let's Go Classics (1967 Japan)

Takeshi Terauchi & The Bunnys - Let's Go Classics (1967 Japan)

Takeshi Terauchi (born January 17, 1939 in Tsuchiura, Ibaraki Prefecture, Japan), also known as Terry, is a Japanese instrumental rock guitarist. His preferred guitar is a black Mosrite with a white pickguard. His guitar sound is characterized by frenetic picking, heavy use of tremolo picking and frequent use of his guitar's vibrato arm. Terauchi started his career playing rhythm guitar for a country and Western act "Jimmie Tokita and The Mountain Playboys", which had bassist Chosuke Ikariya. In 1962 he formed his first group, The Blue Jeans. However, in 1966 he left the group and formed The Bunnys with whom he played. In May 1967, he also established his own company named "Teraon".He left the Bunnys in 1968. 
He reformed the Blue Jeans in 1969 and the band has been active until today.
Album 'Let's Go Classics' is fuzzy instrumental covers for classical themes - Beethoven, Tchaikovsky, Ketelbey, Rimsky-Korsakov, Chopin, Khatchaturian, Schubert, Brahms, Bizet, Ivanovici & Puccini.


The Eastern Aces - IndorockThe Camillos - Guitar Favourites with "The Camillos"The 4 Camillo - Fun With The 4 Camilloi 4 Camillo & Richard Moser Jr.  - Twist Madison 3x Ep The CamillosThe T-Bones - Everyone's Gone To The Moon (And Other Trips) 1966The T-Bones - Doin' The Jerk (1965)The T-Bones - No Matter What Shape (Your Stomach's In)Sippin 'N Chippin'(1966)Chet Atkins - Picks On The Beatles (1966 2008 USA)BEAT GIRL  - John Barry, Adam Faith & Shirley Anne Field  (OST)Takeshi Terauchi & The Bunnys - Let's Go Classics (1967 Japan)

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