Frank Zappa’s Clio Award

Animator, Ed Seeman – who would later film the Mothers of Invention’s famed 1967 shows at the Garrick Theater in New York City (and quite a bit more over the course of 13 months) – initially joined forces with Frank Zappa when he formally contracted the bandleader and composer to provide the modernist soundtrack for a 30-second Luden’s Cough Drops television ad:

Frank Zappa’s 1967 Luden’s Cough Drops commercial

Ed Seeman tells the world via his website

“”I first met Frank when he was playing a steady gig at the Garrick Theater in Greenwich Village.  I hired him to score a 30-second animated TV commercial I was animating and producing for Luden’s Cough Drops.  He requested $2,000 plus a studio for a day with a wide variety of instruments, plus a guy to do cough sounds.

The Spot was called “The Big Squeeze.”   It won a Clio for “Best Use of Sound” in 1967 and is mentioned in the [1996 posthumous] release Frank Zappa The Lost Episodes (track #19)”

Says Frank Zappa in the liner notes to The Lost Episodes:

“This is the actual track for a Luden’s Cough Drop commercial that won a Clio Award in 1967 for Best Music for a Commercial.  A freak in an ad agency who was an animator, Ed Seeman, who came to the Garrick shows, did the pictures and recruited me to do the music.  I went along with it.  The commercial shows a squiggly white thing that’s supposed to be the cough wriggling around.  A box of Luden’s appears on the left side of the screen, like a monolith, and squashes it.”

Den Simms, Eric Buxton & Rob Samler would interview Frank Zappa in the September, 1990 edition of Society Pages for “They’re Doing The Interview of the Century (pt. 3)“:

FZ: I did one commercial in ’67 for Luden’s Cough Drops, and that got an award. It got a CLIO for the best music in a commercial in ’67. […]

EB: Do you have the CLIO?

FZ: No.

EB: Was it presented to you?

FZ: No, I found out about it after the fact. I mean, they don’t invite me to CLIO ceremonies, but the advertising agency that did it, y’know, they told me that it got a CLIO.

Mona Zappa

Public television’s The History Detectives would also incorporate this advert into its episode “Frank Zappa’s Lost Collage” about a long-time art collector who found an early 1960s modernist collage with an intriguing “FZ” signature that may or may not have been created by Frank Zappa.

Ed Seeman (who is on Facebook) adds this coda to the story:

“Just want to mention that chronologically I hired him to score my Ludens Commercial first, then after we worked together on that I went to the Garrick Theater and filmed some stuff that was put together for a three minute film he used for a convention about underground merchandising which is why he tore up the FREAK OUT album on camera.  I also recollect he also used it at a Hagstrom guitar event.  After that filming and editing together experience that he enjoyed we then decided to continue working together and putting together footage that he would eventually use for a film idea he had called UNCLE MEAT which he later released with a lot of other footage.

After separating the next year and after i had amassed 14 hours of footage and had traveled to London and Amsterdam with the group and I saw it was never going to come to an end I finally had to sue him and we settled with him paying me (GRYPHON PRODUCTIONS) $25,000 for the footage.  He used many pieces of our footage in subsequent releases but I regret that the world hasn’t seen this footage that hopefully is still stored in his vault.

I managed to create a 40 minute film before releasing the footage to him which he liked and gave me permission to show at film festivals

After many years of trying to get Gail [Zappa] to release my version I finally decided to sell it on my own.  Although ZFT’s attorney stopped me from selling T-Shirts on Zazzle, I still sell them on my Ebay store as well as the DVD.

My rationale which I wrote to their attorney is that if they can copyright the music I hired and paid for then I can sell this version of my footage.”

Nobody Bothers Nils Lofgren

Long-time DC music fans are likely very familiar with this remarkably tuneful work-for-hire product (“Nobody Bothers Me“) created by none other than Nils Lofgren for Jhoon Rhee Self Defense — but for everyone else, this might be a revelation, especially those who seek out examples of advertising jingles that bring honor to the art form:

“Nobody Bothers Me” – jingle created by Nils Lofgren for Jhoon Rhee

Check out the other YouTube comments attached to this video — many affirm the degree to which this jingle will remain permanently embedded in their memory.

Nils Lofgren, in his Q&A within Washingtonian‘s June 2015 issue informs the masses:

“I wrote and recorded it at Bias Studios in Falls Church [VA].  We just found an old 16-track master.  I got paid with free lifetime classes, which I haven’t really taken advantage of.  There’s a band [OK Go] who play it live.  It’s become a kitschy cult classic.”

Nils Lofgren “word cloud”

Bullets FeverWashington Bullets Fever:  Here to Stay

The same DC-area folks referenced at the top of the piece are likewise just as familiar with Nils Lofgren’s earnestly rocking Washington Bullets jingle from 1978 that came solely from his quill:

Cautionary Note:   This is the eighth Zero to 180 piece tagged as “Music in Advertising

“Reggae Bagpipes”: Pop Reggae in the Extreme?

As I asserted in an earlier piece, string arrangements – when appropriate or called for – have the potential to enrich a song (reggae included)    Given Jackie Mittoo’s fundamental role in the development of Jamaican music as both a founding member of The Skatalites and music director at Studio One since the recording studio/label’s inception, I think it’s fair to assume that his decision to utilize a 32-piece orchestra on his 1971 album Wishbone was coming from, artistically speaking, “a good place” (“Right Track” would be the A-side of a 45 released in Canada, where Mittoo had emigrated).

But what about this 45 – a reggaefied take on an unofficial Scottish national anthem.  Artistically speaking, do you support Tony King’s decision to marry “Scotland the Brave” to a breezy early reggae backing track embellished with marimba?  Is this an inspired cross-cultural “mash-up” or rather, cloying crass commercialism?   Perhaps neither or both?

“Reggae Bagpipes”     The Magnificent Seven     1972

The single would find release in the UK, South Africa, Turkey, and New Zealand.  Says the person who uploaded this YouTube audio clip:

“South African group that evolved from The Vikings, formed in Johannesburg in the 1960s.  The group consisted of Emil Dean (Zoghby) (vocals); Paul Ditchfield (keyboards); Peter Michael (trumpet); Barry Jarman (trumpet); Harold Miller (bass); Jimmy Kennedy (guitar); and Doug Abbot (drums).”

Reggae Bagpipes 45

Music History Lesson:  “Scotland the Brave”

The Fiddler’s Companion dates “Scotland the Brave” to the turn of the 20th-century or just before — the tune sounds much more ancient than that, don’t you think?

“Scotland The Brave” from The Fiddlers Companion
“The oldest appearance of the melody Campin has seen was in a Boys’ Brigade pipe tune book from about 1911 where the title appeared as ‘Scotland, the Brave!!!’  Charles Gore say the tune appears to date from about 1891-5, when it was published in Keith Norman Macdonald’s Gesto Collection of Highland Music under the title ‘Brave Scotland’ and/or ‘Scotland for Ever.’  Brody (Fiddler’s Fakebook), 1983; pg. 252.  S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 10. Reid, pg. 5. Reiner (Anthology of Fiddle Styles), 1979; pg. 16 (includes variations).  Sweet (Fifer’s Delight), 1965; pg. 50.  Wade (Mally’s North West Morris Book), 1988; pg. 18.”

Rufus Harley’s “Scotch ‘n’ Soul”

Rufus Harley’s sole 45, “Bagpipe Blues” on Atlantic Records – an original amalgamation of Scottish highland and African-American musical traditions from 1965 – was undoubtedly the first of its kind.  The title track of Harley’s second Atlantic album – “Scotch and Soul” – would find a way to incorporate Afro-Cuban jazz into the mix, as well:

“Scotch and Soul”      Rufus Harley    1966

Harley would release four albums for Atlantic between 1965-1970 — plus one track (“Pipin’ the Blues”) on Sonny Stitt’s 1967 Deuces Wild album on Atlantic.  Harley’s 1972 release, Re-Creation of the Gods on the Ankh label, would be his last for awhile.

Rufus Harley would re-emerge in 1982 to play the bagpipes on one track (“Sweater”) from Laurie Anderson’s 1982 debut “avant-pop” album, Big Science.  In 1994 The Roots would also feature Rufus Harley’s bagpipes on one of their earlier efforts, From the Ground Up., as well as the following year’s Do You Want More?!!!??!

In 2005 Harley would take the helm on his French-only CD release, Sustain.   Sadly, Harley would pass the following year – click on link to his New York Times obituary.  Hip Wax also has this affectionate tribute to the world’s only jazz bagpipist.

Rufus Harley and Friends In New York City

Rufus Harley & Co.Rufus Harley was also a special guest on 1967 Herbie Mann LP, The Wailing Dervishes, on the track, “Flute Bag.”

Herbie Mann with Rufus Harley LPThis Date in History:  March 22, 1965 = Rufus Harley’s appearance on To Tell the Truth.

Hop Wilson’s Steel Guitar Blues

Rolling Stone released two compendiums of Record Reviews in the early 70s, back when Lenny Kaye, John Mendelsohn, Lester Bangs, Greil Marcus, Bud Scoppa, Ed Ward, Richard Meltzer, Al Kooper, Ralph J. Gleason, Paul Gambaccini, Stephen Davis, Jon Landau, Jann Wenner, and (occasionally) Nick Tosches, and even Peter Townshend (Meaty Beaty Big & Bouncy album) were writing reviews for the (formerly) underground ‘rock’ publication.  Tip of the hat to Record Review’s Vol. II for pointing out Hop Wilson’s distinctive steel guitar-driven rockin’ blues sound, as on masterpiece, “Chicken Stuff”:

“Chicken Stuff”     Hop Wilson & His Chickens     1958

As Peter Guralnick would write in the Rolling Stone Record Review:

“Especially enterprising but a little further afield is Chicken Stuff:  Houston Ghetto Blues, an English album available on Flyright.  This is made up of six cuts by Hop Wilson from his legendary Ivory sessions and a side of live recordings.  Wilson, one of the few bluemen to master steel guitar, employs a driving bottleneck-style technique which shows traces of Robert Nighthawk and Elmore James.  With his deep brooding voice, stunning guitar work, and the overwhelming power of his blues, he is a singer who deserves much wider recognition.”

Sadly, too few recordings feature Hop Wilson (who also went by “Poppa Hop” and also “Poppy Hop”).  John Broven, thankfully, provides some helpful historical background in South to Louisiana: The Music of the Cajun Bayous

“As word spread that there was a recording studio in Lake Charles, a few blues artists, mainly from Texas, started arriving at Goldband.  Hop Wilson was easily the best.  His first recording, ‘Chicken Stuff’ in 1958, was a startling instrumental that had all the bounce of an old country dance number … At the time Hop was touring Texas and Louisiana with Ivory Semien’s band.  He had a second Goldband release, the stark ‘Broke and Hungry,’ before recording three impressive singles for Ivory Records in the early 60s.”

Goldband’s Eddie Shuler would note how “[“Chicken Stuff”] is unique in the blues field” in that “he played a Hawaiian guitar — six strings of blues soul.”

Hop Wilson & Steel Guitar     1963

Hop Wilson on steel guitarHop WIlson’s soulful steel-based blues sound would set the stage for ground-breaking album, Sweet Funky Steel, released by Freddie Roulette (pictured below), coincidentally enough, around the time of this Rolling Stone Record Review‘s publication (as featured previously on Zero to 180).

Freddie Roulette & pipe

Billy Preston & Sly Stone: ’66

Two electric keyboard innovators who helped move popular music forward with their “futuristic” sounds – Billy Preston and Sly Stone – collaborated briefly in a musical partnership that produced this A-side, “Can’t She Tell”:

“Can’t She Tell”     Billy Preston (featuring Sly Stone)     1966

Jointly written by Billy Preston & Sly Stone and produced by David Axelrod, “Can’t She Tell” was recorded in 1966 and released as a 7-inch the following year.

Billy Preston 45_edited-13 other songs written by the two musicians — “It’s Got to Happen”; “Free Funk”; and “Advice” — would be included on the Sly Stone-arranged Billy Preston album from 1966, Wildest Organ in Town!.

Billy Preston LPIs it possible Billy and Sly first met at the 1966 recording session for (Grace Slick &) Great Society’s “Someone to Love” / “Free Advice” original indie 45 (pre-Columbia), a single that Sly produced and for which Billy played percussion.

Link to Richard Harrington’s tribute to Billy Preston from the Washington Post website.  Key quote:

“In bootlegged [Let It Be/Get Back] session tapes, one can hear several heated arguments between John Lennon and Paul McCartney about making Preston a group member (Lennon was all for it). That would have made Preston officially “the fifth Beatle,” a title he was not loath to exploit over the next three decades. Perhaps as consolation, “Get Back,” the only Beatles single to enter the British charts at No.1, was credited to “the Beatles with Billy Preston” — the first and only time the band shared the spotlight with a sideman. Preston also accompanied the Beatles during their famous rooftop gig in London, the Beatles’ last public performance.”

Hedges & Jordan: Two-Handed Tappers

The most radical thing about Emmett Chapman’s Stick is that it requires you play the neck of a guitar like a piano, with each hand playing an independent part and the fingers tapping the strings in a keyboard-like fashion.  As Alphonso Johnson stated in that 1979 Rolling Stone piece (Zero to 180 post about the Chapman Stick), “Most musicians are not put off [by The Stick], but they don’t comprehend what’s happening.”

Q:  Do you remember where you were the first time you saw a musician employing that “two-handed tapping” technique on a six-string guitar?

For me, it’s basically a toss-up between Michael Hedges and Stanley Jordan, since both musicians were exploring this innovative guitar technique around the same time.  But 1984’s Aerial Boundaries – Michael Hedges’ grand “opening statement,” (though admittedly, his second album release) – would make a fairly seismic impact on the guitar world (or was it just me?) just before Stanley Jordan’s released his equally illuminating debut album, Magic Touch, on Blue Note the following year:

“Aerial Boundaries”     Michael Hedges     1986

Interesting that Hedges and Jordan utilized similar tapping techniques, yet each musician produced a distinctive sound and style.  Certainly, one musician playing an acoustic (Hedges) vs. an electric (Jordan) would explain a number of the differences in sound, but there’s no denying the difference in spirit that animates these two artists:

“Stairway to Heaven”     Stanley Jordan     198?

Singles-wise, Blue Note would initially bestow a decent amount of promotional muscle upon Stanley Jordan, whose debut Blue Note 45, “The Lady in My Life” b/w “New Love,” would enjoy release in the US, UK, Canada & Netherlands.  Altogether, at least three 7-inch and three 12-inch single releases, plus a pair of CD singles, would bear his name between the years 1985-1994.  Also, Guitar Player would issue Jordan’s “A Touch of Blue” as a flexi-disc in their October 1985 edition.

“Autumn Leaves”     Stanley Jordan     1990

Michael Hedges, meanwhile, on indie New Age label, Windham Hill, would be the beneficiary of at least two promo 7″ singles in 1984 (“After the Goldrush”) & 1985 (“Streamlined Man”), plus two 12″ singles in 1985 (“Streamlined Man”/”All Along the Watchtower”) & 1987 (“Ready or Not”).  Intriguing, too, to see “All Along the Watchtower” b/w “Aerial Boundaries” get UK & European release in 1988 as a 7″ single.

Michael Hedges 45-aMichael Hedges 45-b

If you are wondering why you haven’t heard much about Michael Hedges, it is because Hedges died tragically young in a car accident in 1997 at the age of 43.  The bottom of Hedges’ Wikipedia page includes quotes from a number of music notables that convey the awe and high regard in which he is held by his colleagues.

One other key composition by Hedges shows him playing an older instrument – harp guitar – in a fresh and fairly “futuristic” way:

“The Double Planet”     Michael Hedges     1984?

“The Double Planet” – as Hedges dryly informs us in the intro that precedes his live performance – was purchased for use in the soundtrack to Santabear’s First Christmas, a 1986 book + cassette aimed at the children’s market!  The voice of Santabear, by the way, was supplied by none other than Bobby McFerrin.

1985 UK single

Stanley Jordan 45-z

First Steinberger Bass Sighting?

Q:  Do you remember where were you the first time you encountered that newfangled electric bass of the 1980s made out of some kind of industrial epoxy — and invented by an industrial furniture designer who had no prior experience with musical instruments?   Home video of The Dixie Dregs playing “Cruise Control” on Tom Snyder’s late-night NBC show, Tomorrow – I remember quite clearly – as the first time seeing someone play that new “high-tech” Steinberger bass and me thinking “Wow, this is the future of the bass”:

“Cruise Control”     The Dixie Dregs     1981

The Dregs, to no one’s surprise, were not that big of a “singles” band, having issued two singles with Capricorn (1978-79) and three 45s during their time on Arista (1980-82).  “Cruise Control” would be the A-side of their second Arista single, although curiously the composition had already appeared as part of a three-song demo recorded back in 1976.

Dixie Dregs 45Incredibly, Ned Steinberger had both the vision and the savvy to correct every single imperfection of the standard electric bass.  I’m not kidding:  every single shortcoming — most importantly, by removing the head stock (which makes the instrument rather unbalanced and is an unnecessary holdover of the “Spanish” guitar design) and instead relocating onto the body of the guitar special tuning mechanisms, ones that would allow for a radically-precise 56:1 tuning ratio.

Sly & Robbie – the face of 1980s reggae – with Steinberger Bass

Sly & Robbie with SteinbergerI still have my Steinberger – State of the Instrument compilation of press clippings and promotional materials from July, 1985 that includes a price chart:  $1950-2090 for the XL-2 4-string basses; $2250-2390 for the XL-2 5-string basses; and $1800-2450 for the GL-2 6-string guitars — a bit more daunting price-wise than even the Chapman Stick (although Steinberger would offer a “P” series of affordable instruments starting around $1000).   And yet these basses were so super-indestructible that, allegedly, you could drop a Steinberger bass off the roof of a two-story building and not only would the instrument be unscratched but also perfectly in tune (assuming it’d been properly tuned prior to the fall).

Ned Steinberger with Prototype in Late-70s

Ned Steinberger with prototype

Ned Steinberger photo from article in December, 2011 edition of Premier Guitar in which the “missing link” prototype is rediscovered after more than 35 years

Steinberger XL-2 Bass Guitar

Lenny Kaye (of the Patti Smith Group) Reviews the Steinberger Bass
Country Rhythms Magazine – April, 1983 edition – excerpt

“The Steinberger is more than just a pretty new face, though.  The body is molded, not from wood, but from one extremely rigid piece of graphite fiber and glass-fiber reinforced epoxy resin.  The acoustics of this plastic are different than wood, increasing sustain and bringing out the harmonic content of each string.  There are no dead spots in the neck, and the neck will never bend, warp, or fold.  The loss of the peghead does not adversely affect the guitar’s balance; it actually improves it, and the swinging placement of the strap allows the instrument to be played at any angle with perfect ease.

“The lack of tuning pegs means Steinberger uses a double-ball string specially made for the company (it will also take traditional strings).  Each string is tuned by a simple threaded knob device set behind the bridge, and all hardware is machined from solid brass and stainless steel.  It’s little wonder that the Steinberger not only placed in Time‘s 1981 Design awards, and the Industrial Designers Society of America’s Excellence awards, but has proved to be as playable as it is innovative.  Low notes comes out sounding like themselves, distinct and clearly separate from their neighbors, and the degree of touch control is quite savorable.”

Alphonso Johnson + His Spellbinding Stick

I was having a rare meal out alone and needed something to read, so I purchased a Rolling Stone back issue from 1979 that included an article about a new and somewhat radical 10-stringed electric instrument invented by Emmett Chapman called “The Stick.”

Emmett Chapman in 1970 with prototype and Emmett Chapman today

Emmitt Chapman's Stick #1Emmitt Chapman's Stick #2

The ten strings of this futuristic “pian-o-tar” are divided into 2 groups of five, with the first group for melody & chords, and the second for bass lines and bottom end sounds.

I still have my quadruple-fold 1980s brochure for The Chapman Stick that includes testimonials from musicians, such as Miroslav Vitous (“the sound of The Stick reminds me of a clavichord”) to Alphonso Johnson (“during my studio recording experiences I’ve noticed that the bass register of The Stick has a precision and deep bottom end that I can’t get from the normal bass”), as well as a separate pricing sheet ($945 for instrument, case, stereo cord, instructional book + $21 per set of 10 strings + $295 for effects pedal).

Michael Barackman’s piece for Rolling Stone points out how the learning curve associated with the The Stick’s challenging tuning scheme, combined with the instrument’s cost and the piano-like technique required to play it proficiently might help explain why only “about 550 Sticks have been sold since they first became available in 1975 [i.e., four years].”   Here it is 40 years later, and Stick Enterprises is still in business, so clearly Chapman has found a way to sell instruments of the 8-, 10- & 12-string variety.

The Rolling Stone piece adds, “Many prominent rock and jazz musicians, including Steve Miller, Joe Zawinul of Weather Report, and John Entwistle of The Who have a Stick.  In addition, Tony Levin of Peter Gabriel’s band played on the latter artist’s latest album and tour.”

Alphonso Johnson, as you can see from the album cover of 1977’s Spellbound, very much embraced The Stick, which you can hear prominently featured in the composition, “Bahama Mama”:

“Bahama Mama”     Alphonso Johnson     1977

Michael Barackman quotes Alphonso Johnson in his piece:  “I use the Stick in three ways,” says Johnson.  “First, I use it as a composing tool.  I wrote two songs on Spellbound with the Stick.  I also use it as a solo instrument and as an accompanying instrument.  I feel the Stick expands the limitations of guitar and keyboards.  It doesn’t sound like anything else.”

Check out this related ad (archived online) from The Stanford Daily – Nov. 28, 1977:

“FOR ALPHONSO JOHNSON, BASS IS THE PLACE.  The place to take off on old forms, in new flights of musical fancy.  The place from which to expand his tonal palette to include new instruments like the electric stick, which he’s cradling here.  But the stick is not the whole story.  Between Alphonso and the four other musicians in his group, there’s something like twenty different instruments with which to make the joy of electric music. And on their new album, Spellbound, they do just that.  Alphonso Johnson’s Spellbound is a little magic from the sorcerer of the bass (and the stick, etc.).”

Tony Levin’s Stick:  A Key Ingredient in 1980s King Crimson Sound

Check out this live performance of King Crimson on weekly live TV comedy show, Fridays, that shows Tony Levin making great use of this futuristic music technology on Adrian Belew’s sly piece of thesaurus pop about dysfunctional communication, “Elephant Talk”:

“Elephant Talk”     King Crimson     1982

Perrey & Kingsley’s Secret Ondioline

Jean Jacques Perrey & Gershon Kingsley – originators of funny & futuristic-sounding 60s instrumental music with massive kid appeal – found common cause intermittently as a recording act that produced a total of three full-length albums and two single releases.  Perrey & Kingsley’s appearance on an episode of I’ve Got a Secret (this video claims) is the duo’s sole live performance.  Perrey, was originally hired by the ondioline’s inventor, Georges Jenny, to demonstrate the electronic instrument’s unusual expressiveness and ability to emulate other musical instruments as shown here in charming fashion:

Jean Jacques Perrey & Gershon Kingsley     “Spooks in Space”     1966

LP Releases by Jean-Jacques Perrey and/or Gershon Kingsley

Perrey & Kingsley LP-1Perrey & Kingsley LP-2Perrey LP-aaKingsley LP-aaPerrey LP-bbKingsley LP-bb

The ondioline would give birth to the clavioline (the instrument behind that peppy 1960 UK instrumental “M1” profiled earlier), which would then give birth to the (heavily-modifed) “Musitron” – the distinctive keyboard sound behind Del Shannon’s “Runaway” from 1961.

OndiolineSy Mann (the creative force behind the Switched On Santa Moog album, as well as 1971’s Shaft as arranged by “Soul” Mann & the Bros.) would get in on the ondioline game with a 1966 7-inch single released in Germany “Der Fröhliche Radfahrer” b/w “Fahrt In’s Glück”:

“Der Fröhliche Radfahrer”     Sy & Bob Mann and the ondioline band     1966

45Cat reveals that The Ondioline Band would release a 7-inch “Last Bicycle to Brussels” b/w “The Lovers of Cologne” in the UK in 1966.

More individual LP Releases by Jean-Jacques Perrey and Gershon Kingsley

Perrey LP-ccKingsley LP-ccPerrey LP-ddKingsley LP-dPerrey & Kingsley 8-track tapeOndioline Trivia:

  • Al Kooper played ondioline on Blood, Sweat & Tears’ 1968 debut LP, as well as 1968’s Super Session with Mike Bloomfield and Stephen Stills.
  • Sy Mann’s Switched On Santa album was engineered and mixed by Jean-Jacques Perrey.
  • Richie Havens plays an ondioline on his 1969 album, Richard P. Havens 1983.
  • Gershon Kingsley is the mastermind behind 1972 instrumental “Popcorn” – the smash hit attributed to ‘Hot Butter.’

Kingsley sheet musicThis is the fifteenth Zero to 180 piece to be tagged electronic musical instruments.