Disco Delivery #63: Je te tiens, tu me tiens par la barbichette (Bande originale du film de Jean Yanne) (1979, Barclay)

The Ritchie Family - Forever Dancing (Te Deum)
Mimi Coutelier - Boogie Lady
The Ritchie Family - La Barbichette (You Make Me Feel It)
Village People - Hot Cop
Mimi Coutelier - Boogie Lady (Instrumental)
The Ritchie Family - La Barbichette (You Make Me Feel It) (Instrumental)

Unfortunately I don't have anything especially seasonal for this year, but I figure something colourful, cheesy and fun like this would do for the time being..

Produced by Jacques Morali (who, for those who may not know, was the late mastermind behind The Village People and The Richie Family etc..); the soundtrack to the late French writer, director, actor and satirist Jean Yanne's 1979 film "Je Te Tiens, Tu Me Tiens Par La Barbichette" (based on the French nursery rhyme, which apparently translates into "I've Got You, You've Got Me by the Chin Hairs" or "I've Got You, You've Got Me By the Hairs of My Chinny Chin Chin") seems to be, at least on these shores, one of Morali's lesser known releases. A full-on disco soundtrack featuring exclusive originals by The Richie Family and one of the film's stars Mimi Coutelier (also Jean Yanne's paramour, it seems), along with one recycled Village People tune ("Hot Cop," from 1978's "Cruisin'" LP), it's not an especially long LP by any stretch. Filled however, with big, effusive vocals and the sort of Philly-on-steroids production bombast one would expect from Morali, anyone (like me) who has a soft spot for his work will likely find more than enough to love here anyway.

While, as far as I know, none of the soundtrack exclusives have been made available digitally as of yet, the film itself is currently available on DVD. I had actually ordered the DVD recently, but since I haven't been able to get the damn Region 2 thing to work on on my PC's DVD yet, I still have yet to see the film (not that I'd understand a whole lot with my severely limited French anyway, but still..). That being said, from what I've gathered through stilted Babelfish translations of the DVD synopsis and various viewer reviews out there (someone correct me if I've got any of this wrong), the film is apparently a big send-up of the French television business, revolving around the kidnapping of a famous TV presenter by anti-TV terrorists (how quaint) and the subsequent staging of a big disco TV special in order to generate the ransom revenue. Jean Yanne and Mimi Coutelier play two of the inspectors, with Coutelier's character eventually getting a part in the actual special itself (as seen below). Naturally, all of this along with Morali's soundtrack also make perfect excuses for The Ritchie Family and the Village People to make notable musical cameo appearances.

Aside from Morali and business partner Henri Belolo, notably the film's writer/director and star Jean Yanne and regular Morali collaborator Beauris Whitehead (AKA Peter Whitehead) are all given writing credits on the soundtrack exclusives. Two of those originals "La Barbichette (You Make Me Feel It)" and "Boogie Lady" are also included on the soundtrack album in their instrumental versions. A hat-tip to DJ's or perhaps just something to fill space, they're worthy additions, since they're just about as enjoyable as their vocal versions.

The Ritchie Family's "Forever Dancing" would have to be, at least in my opinion, one of the soundtrack's showpieces. Stumbling across that song's YouTube clip (and subsequently having that tune and those images burned and looped in my head) practically compelled me to go track the whole album down.

A disco adaptation of Marc-Antoine Charpentier's "Te Deum" (also known as the Eurovision theme song) I think this one has to be both heard and seen to be appreciated in its full colourful campy glory. With the bright, spandex costumes, stare-down dance routines and neon lights in the clip, I dare anyone to not have this running in their head for a good week or so thereafter.




Ritchie Family - Forever Dancing
Uploaded by DiscoLoverMiami

One of my other favourites here is Mimi Coutelier's "Boogie Lady." Granted, her voice is practically weightless, with the Ritchie Family (I'm assuming) on background doing most of the heavy lifting, but it's so damn sweet and catchy, it hardly matters. The clip of Mimi's dance sequence (choreography courtesy of Marilyn Corwin) looks like yet another one of THE disco glamour moments here (which, it appears Madonna was quite taken with, also). With that high kicking, arm twirling solo dance routine, blinking projections in the back surrounded by every other manner of disco variety show glitz; for what was probably supposed to be a stinging parody, it looks so damn fabulous it might as well have been a tribute..




Mimi Coutelier - Boogie Lady
Uploaded by fotoplastikon

The Ritchie Family perform the title theme for the closing disco sequence, but you can see almost everyone, including a couple of the Village People and Jacques Morali himself (2.52-2.54 in the glasses and red shirt), as well..




Je Te Tiens, Tu Me Tiens Par La Barbichette (closing credits)
Uploaded by artescenes

Running just over thirty minutes and with only three original/exclusive tracks (not including the two instrumental versions), it may be somewhat short, but still a whole lot of fun and well worth tracking down for fans of Morali's work. Happy Holidays and Merry Christmas everyone.

PREVIOUS RELATED ENTRIES:
LOOK FOR AN ASCOT, A BIG CIGAR.. (WEDNESDAY DECEMBER 31, 2008)
DISCO DELIVERY #11: PHYLICIA ALLEN - JOSEPHINE SUPERSTAR (1978, CASABLANCA) (FRIDAY MARCH 17, 2006)
THE FUGITIVE COP (WEDNESDAY MARCH 8, 2006)

PURCHASE:
JE TE TIENS, TU ME TIENS PAR LA BARBICHETTE (REGION 2 DVD)
AMAZON.FR

LINKS:
DISCOGS: VARIOUS - LA BARBICHETTE - BANDE ORIGINALE DU FILM DE JEAN YANNE
DISCOGS: THE RITCHIE FAMILY - LA BARBICHETTE/FOREVER DANCING (7" SINGLE)
DISCOGS: JACQUES MORALI
DISCO-DISCO: HENRI BELOLO & JACQUES MORALI
IMDB: JE TE TIENS, TU ME TIENS PAR LA BARBICHETTE (1979)
ALL MOVIE GUIDE: JE TE TIENS, TU ME TIENS PAR LA BARBICHETTE (1979)
NEW YORK TIMES - MOVIES: JE TE TIENS, TU ME TIENS PAR LA BARBICHETTE
WIKIPÉDIA: JE TE TIENS, TU ME TIENS PAR LA BARBICHETTE
IMDB: JEAN YANNE
THE INDEPENDENT - OBITUARIES: JEAN YANNE (BY PIERRE PERRONE) (MONDAY MAY 26, 2003)
ALL MOVIE GUIDE: JEAN YANNE
THE TELEGRAPH - OBITUARIES: JEAN YANNE (MAY 31, 2003)
IMDB: MIMI COUTELIER
WIKIPÉDIA: MIMI COUTELIER
IMDB: MARILYN CORWIN

CATEGORIES: DISCO DELIVERIES, VISUAL DISCO

Disco Delivery #50: Brenda Mitchell - Don't You Know (1978, Barclay/Polygram)

Brenda Mitchell - Body Party
Brenda Mitchell - Body Party (Patrick Cowley & Jon Randazzo Disco Mix)
Brenda Mitchell - Body Party (Patrick Cowley Alternate 12'' Mix)
Brenda Mitchell - I'm Running
Brenda Mitchell - Don't You Know

Hope everyone out there had a Happy New Year. I may be a little late in starting things off this year, but with lots of disco and even some new music to cover in the coming weeks, I might as well get on with it..

Apparently one of producer Pierre Jaubert's somewhat lesser-known productions, I had come across a sealed copy of this album about a year ago and picked it up as soon as I saw his name on the credits. Though I had never heard of the album, nor of the singer Brenda Mitchell, being a huge fan of Jaubert's production on disco albums by the likes of Michele and Chantal Curtis, I figure there had to be something worthwhile on this record..

Prior to some of his more mainstream disco productions in the late 70's, Jaubert apparently had a notable background in jazz, having worked with the likes of Archie Shepp and Charles Mingus. Jaubert's work also seems to figure quite prominently within the hip-hop/funk/soul cognoscenti, particularly with his production of the Lafayette Afro-Rock Band (who later became Ice), a group whose albums of proto-disco/afro-funk grooves seem to have provided for plenty of samples over the years.. Notably, many of the Lafayette/Ice musicians (Lafayette Hudson, Ernest Donable, Arthur Young, Frank Abel etc..) would make notable contributions to Jaubert's other disco productions, this one included.

Comparing Jaubert's productions from this time, I couldn't help but recall a little thread on the discomusic.com forums where some had openly wondered, given the similar vocal style and the anonymity of the vocalists, whether Michele and Chantal Curtis were in fact one and the same. Listening to this album, along with the Michele and Chantal Curtis records, either Jaubert had an affinity for similarly breathy, willowy-voiced female singers, or he simply used the same singer under several different guises. If it weren't for the different names and pictures on the albums, their voices would be practically interchangeable. Mystery aside, the vulnerably sexy, understated vocals are undoubtedly one of the key elements, along with his signature bass and percussion-heavy style which made his productions so appealing.

Given some of the musicians on some of Jaubert's productions, I also can't help but draw a little comparison to fellow Frenchman Jacques Morali. Although both producers had a very different sound, both producers seemed to be at least somewhat influenced by the Philly sound, given the use of Philly musicians and studios on their records. Although the Philly involvement is much more prominent on Morali's productions than on Jaubert's where only a few prominent Philly related names appear among the mostly European players (on here, they include The Sweethearts of Sigma and Weldon MacDougal III whose credited for a little something called a Cromulizer), they're like two different sides to the same coin. While Morali's work was typified by an unabashedly gay, campy sensibility (which I also love, don't get me wrong), Jaubert was quite the opposite. A much less bombastic, modest style in comparison, Jaubert's records had a much sleeker, sexier, at times even darker sound to them (see Chantal Curtis' "Get Another Love"). Driven by a basic rhythm section, with guitars, bass and congas prominent along with a very distinctive string and horn sweetening style, one would be hard-pressed to call any of it 'overproduced.'

The first track, "Body Party," undoubtedly the standout here, is especially emblematic of that approach. A dark, driven and sexy disco track, the propulsive bassline, relentless galloping percussion, arresting horns and the constant, beckoning "par-tay" in the background, make this an absolutely unyielding track. With the overall dark, heavy tone along with Mitchell's urging, sensual vocals, there's an almost chilly, primal sexiness to the whole atmosphere, this party feeling less like your average celebratory get-down, and more like an invitation into another side of disco, of deeper, more forbidden indulgences..

While the entire album was mixed by the apparently unknown John Custer, the 12'' mixes of "Body Party" were done by the late, great Patrick Cowley in what appears to be one of his earliest releases. Previously, Cowley had done one of his megamixes for another Pierre Jaubert production, Michele's "Disco Dance." While this isn't extended like "Disco Dance" was, the shooting synthesized pulses and swirling space effects of Cowley's synthesizer overlays practically send the whole thing into outer space, heightening the forbidding sexiness of the track, giving it a whole new forcefulness.. Done the same year as Sylvester's classic "You Make Me Feel (Mighty Real)," Cowley's overlays on here are remarkably similar to those on Sylvester's classic track. Although it's a much more integral part of "..Mighty Real," some of the same effects and sounds are evident here, with both sharing a particularly similar electronic pulse.

Curiously, Cowley was credited on the main disco mix with Jon Randazzo, who was apparently a DJ at a premier San Francisco gay venue at the time called The City Disco (where Patrick himself had also worked) and if this Disconet newletter is to be believed, something of a mentor to him. Not sure if this is Randazzo's only credit on a record, but so far it's the only one I've ever come across..

Although I'm not sure if there were any other 12'' pressings that did so, the UK 12'' of "Body Party" on the Creole label was the only one that I've found to give credit to both Cowley and Randazzo for the disco mix. Not sure if this was also the case for any of the other 12" releases, but after coming across the UK pressing, I later found out that my Canadian 12'' was mislabeled, with the label listing the credits and time of the John Custer album mix, but the grooves pressed with the Cowley/Randazzo disco mix. Curiously also, the UK 12'' also included an alternate mix/edit on the B-side which doesn't actually credit anyone for the mix, but gives a shared production credit between Jaubert and Cowley. Running a little shorter at some five or so minutes, the alternate mix is somewhat less spacious using more of the vocals, including some ad-libs not present in any of the other versions..

As far as the rest of the album tracks go, one of the other excellent tracks on the album is the second one, "I'm Running." Lyrically and vocally nothing special, however it's saved by an excellent arrangement, with a propulsive groove, led by prominent combination of guitars and horns particularly on the breaks half-way through..

The last of the worthwhile tracks on the record is the Side One closer and title track, "Don't You Know." Anchored by a rather harsh jarring sound, as if a helicopter had landed in the middle of the session, it's an intriguing, albeit fairly crude attempt at a more electronic sound. Continuing in the heavy pulse and feel of the other tracks, it's nonetheless one of the more interesting, given that this is the only time (so far) that I've heard this type of electronic sound on a Jaubert production.

Overall, the highlights of this album are all on Side One, with Side Two being, in my opinion, a complete write-off. None of the songs on the other side bear anything even slightly memorable, the feel and flow sounding completely forced with Mitchell's (or whomever's) voice adding little to the proceedings. The one notable track though would probably the opener, "Get It Together," written by the Romanian film composer Vladimir Cosma and used in the 1980 film "Inspecteur la Bavure." Not sure if the film version was a different recording from the version on this album, but just to add another bit of mystery to the vocalist's true identity, apparently "Get It Together" would later be released as a single credited to Chantal Curtis (thanks to commenter Yuki for this bit of info.).. That aside, even that track is rather sub-par when compared to the three on Side One. As excellent as the three tracks on Side One are, considering all of the tracks on the entire album, and ranking this along side some of Jaubert's similarly styled productions (Chantal Curtis and Michele), this one would likely be the weakest of the three..

As far as the singer's identity, just to muddle things up a little, prior to this album there was also a Jaubert produced 12" credited to Brenda Mitchell with two songs: "Sweet Music" and "Earthern Paradise," where the vocals sounded markedly different than those on here. Either Mitchell used a completely different vocal style on that 12" than on this album, or they are two completely different singers altogether. Furthermore, just to further shroud this in mystery, like many an anonymous disco singer, who Brenda Mitchell was (an actual vocalist or simply a convenient alias?) and whatever became of her, so far, seem to be completely unknown..

Producer Pierre Jaubert however appears to have remained active in the industry with his Paris-based music publishing company Topomic Music. Topomic has a wonderfully designed website, where you can get an idea of the artists and records Jaubert has been involved with over the years (go to the album covers and commercial sections). Some of the notable artists include bluesmen Memphis Slim and John Lee Hooker, as well as Saxophonist/disco man, Leroy Gomez, to name a few.

Although this album was released in Canada, not sure if the LP or any of the singles were ever released in the US, since I have yet to find any US pressings in my limited travels. Despite not being the strongest of Jaubert's productions overall, the redeeming tracks on Side One are nonetheless among some of Jaubert's finest disco productions. In addition, the 12'' mixes of "Body Party" are equally wonderful, not only for their sonic brilliance but perhaps also for their historical significance as one of Patrick Cowley's earliest and likely, most overlooked efforts. Add all of that along with a little bit mystery to the mix, and it certainly makes for some interesting, intriguing listening, musically and otherwise..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #48: ASHA (PUTHLI) - L'INDIANA (1979, DASH/TK) (TUESDAY NOVEMBER 20, 2007)
DISCO DELIVERY #7: SYLVESTER - M-1015 (1984, MEGATONE) (FRIDAY FEBRUARY 17, 2006)

LINKS:
BRENDA MITCHELL - DON'T YOU KNOW LP @ DISCOGS
BRENDA MITCHELL - BODY PARTY (UK 12") @ DISCOMUSIC.COM
BRENDA MITCHELL - BODY PARTY (CANADIAN 12") @ DISCOGS
PIERRE JAUBERT @ DISCOGS
PIERRE JAUBERT @ ALL MUSIC GUIDE
TOPOMIC MUSIC
MYSPACE - TOPOMIC MUSIC
PATRICK COWLEY WEBSITE
PATRICK COWLEY @ DISCOGS

CATEGORIES: DISCO DELIVERIES

Disco Delivery #24: Love & Kisses (1977, Barclay/Polydor)

Love & Kisses - Accidental Lover
Love & Kisses - I've Found Love (Now That I've Found You

Forgive me, I know it's been a while.. No, I haven't run out of disco records yet, I've just been neglecting this blog this past month.. As usual, busy at work and just plain lazy at home. Consider this past July my summer holiday from blogging if you will... Anywho, I've actually been planning to put some of Alec R. Costandinos' work up here for some time, I figure I've invoked his name enough already, I might as well put something up.. For those who may not know, Costandinos was undoubtedly one of the Eurodisco auteurs. In the span of about three to four years in the late '70s (from '75-'79) he managed to put out some of the most amazing, intricate, complex orchestral (master)pieces of disco artistry ever put on vinyl. Starting with his work on Cerrone's "Love In C Minor" to what many consider his most inspired moment; his disco rendering of Shakespeare's "Romeo & Juliet" (1978, Casablanca), to his other studio projects like this one (Love & Kisses), Paris Connection, Sumeria and Sphinx. Not to mention some of his more obscure works like Tony Rallo & The Midnite Band and (yes, believe it or not) Tina Turner's disco LP "Love Explosion" (1979, United Artists).

Costandinos' Love & Kisses project is probably best known for the title track/theme from the movie "Thank God It's Friday," which peaked at #22 on the Billboard Pop charts.. Prior to making a name for himself in disco, Costandinos had worked primarily in France as a songwriter/producer for and with the likes of Dalida, Vangelis, and most prominently Demis Roussos. In 1974 Costandinos would become involved with a group called Kongas, whose drummer was none other than future disco auteur Jean-Marc Cerrone. Later in 1975, the two would collaborate on Cerrone's first solo project "Love In C Minor" (1976, Malligator), one of the greatest disco classics which inevitably launched both of their careers as disco producers. The two original tracks off Cerrone's three-track "Love In C Minor" LP (the title track and "Midnite Lady") would unfortunately be the last products of the Cerrone/Costandinos partnership. As for as the reason that was, it's a bit of a question mark. In the past few years there have been a few discussions about this particular subject on the discomusic.com forums. One of the things that was claimed, based on old interviews and such (none of which I have seen or read, mind you), is that their collaboration ended after a subsequent "misunderstanding" about credit. Costandinos apparently claiming he was not credited appropriately for his contribution to the "Love In C Minor" project. Again, I'm not 100 % sure how true this is, although I've always found Cerrone's "Midnite Lady" to sound more like a Costandinos production than a Cerrone production, so it certainly seems plausible.. Whatever the case, by 1977 he had enough clout to release his own disco project, which leads us to this LP..

Essentially this album, with it's deliciously playful and racy cover, was something of a glorified 12" single. Consisting of only two tracks, each taking up an entire side (both tracks running around 17 minutes each), it cemented Costandinos' signature production style. His brand of European orchestral maximalism (as some might put it) was in full display on the A side - "Accidental Lover." After a brief conversational intro, it breaks into a full tilt 4/4 beat with glorius staccato strings on top. In some ways "Accidental Lover" recalls both "Love In C Minor" and "Midnite Lady". It's almost a fuller, faster version of both.. Going back to the speculation about the Cerrone-Costandinos misunderstanding, it's been said that the similarities were not some sort of formulaic accident, but a deliberate attempt by Costandinos to prove his involvement in the Cerrone record. Creating something similar enough to draw comparisons, yet distinct enough to be an original.. Getting back to the music though, one other thing that I found striking was not just the strings themselves, but how Costandinos uses them. The strings have a full, almost relentless, powerful sound to them, being even rhythmic in places. They're constantly alternating from a smooth, gentle sound to a striking staccato sound. They're so dynamic, they almost talk to you.. Point being, I don't think I've heard any other disco producer use strings quite the way Costandinos does.

The story on Accidental Lover I found a little perplexing initially.. At the beginning of the song the lyrics are a little feisty "...who'd you think you're fooling with your mystery tale, accidental lover, you're just trying in vain, don't wanna love you.." then later the vocals go.. "you know I love you... you know i love you..I wanna love you" Although as the blanks get filled in with the intro at the beginning and Alec's own vocals towards the end, it seems like a kind of one night stand story.. The man meets the woman, the woman is the one who starts off reluctant, who "doesn't want to love him." They sleep together, then the woman changes her mind and it's the man who wants to move on.. Alec's vocals towards the end go, in part.. "just close your eyes when I walk out that door.. and life will go on as it used to before.." A pretty intersting narrative, kind of gives the song a useful tension I think..

The track on side B "I've Found Love (Now That I've Found You)" doesn't quite have the tension of "Accidental Lover," but it makes a nice flipside/continuation to it.. After the tension of side A comes the euphoric release of side B.. The lyrics and female vocals are much more cheery and chirpy, not to mention Alec himself takes a lightly more prominent role as a vocalist.. Let me just say after hearing him here, I'm glad he didn't make it too much of a habit.. Still, it's not so much the vocals that win me over but the complex layers and changes throughout the song.. How it switches from layered orchestral strings, horns and harps to a strong percussive section with some great drum breaks and back again.. Not to mention some of those tense, frantic strings close to the 10 minute mark..

The singers on the album are anonymously credited as "Sue, Stephanie, Joanne, Vicki, Sunny and Alec." While Alec is, of course, Costandinos himself, the ladies include some of the most prominent session singers in the UK at the time. Sunny & Sue are actually Sunny Leslie & Sue Glover who aside from recording as a duo (as Sue & Sunny), were original members of Brotherhood of Man. The two would also sing on some other disco projects, including albums for Donna Summer, Giorgio Moroder, Madleen Kane, Ian Levine and other Costandinos projects like Sphinx and Sumeria.. Similarly the other three session singers were also quite prolific in their own right. Vicki Brown and Joanne Stone would each be on records by some very prominent artists as did Stephanie DeSykes who would also (like all the other ladies) be involved in other Costandinos projects among many other things.. Some of the other notable personnel include Slim Pezin on guitar, who was a member of the group Voyage, as well as Raymond Donnez AKA Don Ray on keyboards and as arranger and conductor. Don Ray was of course a ubiquitous name on albums by Cerrone, Costandinos and Santa Esmeralda to name a few..

That said, as impressive as this record is (to me, at least), the best of Costandinos was yet to come. For the record, I'd probably agree with the the majority in saying that his most inspired moment was probably his landmark "Romeo & Juliet" album.. Even though that is largely considered his peak, like many of the great disco producers, he was one of those that managed to make many great records in what was really a remarkably short time.. The complexity, spendour and certainly the ambition of his records were something unique to it's time.. It's been said on the discomusic.com forums, and I'd agree, that the likes of Costandinos' productions are unlikely to be heard again, certainly not today anyway. Which makes it even more unfortunate, that according once again to many of the discussions on the forum, Costandinos himself (who apparently owns or controls most of his masters) doesn't seem to have any interest in reissuing his work on CD. Lord knows why, but for someone who put so much into his productions, it's a shame that much of it can't be enjoyed and preserved on CD.. Still, there have been bits and pieces of his work that have been reissued though. One of them being a "best of.." CD of his work on Unidisc in the late '80s. Apparently poorly mastered with shoddy artwork and to top it all off a misspelling of his name ("Constandinos" instead of "Costandinos"). Perhaps that is one reason why he is reluctant to authorize any CD reissues.. Also, there was a very limited Japanese CD release of his "Romeo & Juliet" album in the late 90's and a budget reissue of the Tina Turner album he did. All are long out of print and go for pretty good money these days..

After his disco efforts, Costandinos seemed to scale things down considerably. He would release one more album in 1981 called "Americana," ironically not released in the US. He would also have some sporadic writing and production credit here and there, one of them being a 1982 album for Swedish singer Tommy Nilsson. Later on he would become more involved in the film industry scoring films and more recently producing... These days he is apparently married with children, living in Los Angeles largely involved in making commercials.. A couple of notable recent credits have been as a writer and executive producer on a movie called "True Vinyl" from 2000 and as Executive Producer on another movie called "King Rikki" (2002), an East L.A. adaptation of Shakespeare's "Richard the III"..

In closing, I must credit the discomusic.com forums for introducing me and educating me on Costandinos and his work. Over the years it has been a great resource for me on pretty much all things disco. As far as info on Costandinos is concerned though, info on the rest of the 'net is often fairly vague compared to many other prominent disco producers. Searching many of the discussions on the forum have certainly helped fill in a few blanks in his story..

LINKS:
LOVE & KISSES @ DISCOMUSEUM.COM
LOVE & KISSES @ ALL MUSIC GUIDE
LOVE & KISSES - S/T LP (REVIEW) @ ALL MUSIC GUIDE
LOVE & KISSES - S/T LP @ DISCOMUSIC.COM
ALEC R. COSTANDINOS @ ALL MUSIC GUIDE
ALEC R. COSTANDINOS DISCOGRAPHY @ DISCOMUSIC.COM
ALEC R. COSTANDINOS @ DISCOMUSEUM.COM
ALEC COSTANDINOS @ IMDB
ALEC R. COSTANDINOS @ RATEYOURMUSIC.COM
DISCOMUSIC.COM FORUMS - COSTANDINOS VS. CERRONE

CATEGORIES: DISCO DELIVERIES, WHAT EVER HAPPENED TO..