01.   Taki Tari (Billy May)  01:51
02.   Goher Mambo (Conrad Gozzo & Billy May)  02:17
03.   Chicken Talk (Moises Vivanco)  03:05
04.   Bo Mabo (Billy May & Moises Vivahco)  03:21
05.   Jungla (Billy May & Moises Vivanco)  02:24
06.   Wimowen ( Mbubel) (Zulu Song Solomon Linta)  02:40
07.   Babalu (Margarita Lecuona)  02:50
08.   Taita Inty (Moises Vivanco)  03:04
09.   Xtabay (Les Baxter & John Rose)  03:16
10.   Monos ( Monkeys ) (Moises Vivanco)  02:38
11.   Mayra (Moises Vivanco)  03:00
12.   Tumpa (Moises Vivanco)  03:19
13.   Choladas (Moises Vivanco)  02:33
14.   Amor Indio ( Indian Love ) (Moises Vivanco)  02:17
15.   A Ti Solita Te Quiero (Moises Vivanco)  02:22
16.   Karibe Taki (Hernan Brana)  03:04
17.   Witalla (Moises Vivanco)  02:21
18.   Zana (Moises Vivanco)  02:03
19.   Kuyaway (Moises Vivanco)  02:45
20.   Suray Surita (Moises Vivanco)  03:18
21.   Mamallay (Moises Vivanco)  02:58
22.   Cumbe Maita (Hernan Brana)  03:09
23.   Incacho (Moises Vivanco)  03:09
24.   Chuncho (Moises Vivanco)  03:40
25.   Llulla Mak' Ta (Moises Vivanco)  02:28
26.   Malaya (Moises Vivanco)  03:28
27.   Ripoui (Moises Vivanco)  02:59

At last: a well-chosen overview of Yma's work at Capitol! (Which covers just about everything except her '70s rock sides, recorded for another label and not widely commercially available.) It's a boon not only to those not familiar with the diva's huge body of work, but also to collectors who have had, in the past, to pick-and-choose from her many specifically-themed albums, to create their own collections of her many different styles in a single package. The remastering is impeccable, and the liner notes/bio surpass anything previously released with her recordings - featuring photos of her from the '50s to the present. (The fairly recent shot of her mugging before a replica of the Capitol Records tower is a hoot!) Much of the shrouded romantic mystery of the famed Sun Virgin has been replaced by factual, but no less intriguing, biographical and professional information. Definitely a must-have for the Yma novitiate, and a nicely rounded-out addition for the true enthisiast. ---A. M. Smith, amazon.com

download (mp3 @256 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

A1 	K'arawi (Planting Song) 	
A2 	Cumbe-Maita (Calls Of The Andes) 	
A3 	Wak'al (Cry) 	
A4 	Incacho (Royal Anthem) 	
B1 	Chuncho (The Forest Creatures) 	
B2 	Llulla Mak'ta (Andean Don Juan) 	
B3 	Malaya! (My Destiny) 	
B4 	Ripui (Farewell)

Yma Sumac - vocals
Moises Vivanco And His Peruvians - orchestra
Moises Vivanco - composer and conductor

Inca Taqui is the third album of the so-called Queen of the Andes, Peruvian singer Yma Sumac (1922–2008). It is released in 1953 on Capitol Records. The eight tracks of Inca Taqui are solely envisioned and concocted by one writer, Yma Sumac's husband Moisés Vivanco (1918–1998). This fact is curiously embossed at the cover, for his face is featured next to Sumac's on the original artwork of the 10" release.

The front cover of later re-issues differ and strike off Vivanco completely; marital crises led to the divorce of the couple and Vivanco's artwork-related disappearance. Be that as it may, his role as a producer and bandleader becomes much clearer as the back cover also mentions Moisés Vivanco And His Peruvians. This mixed backing choir thankfully does not only accentuate Sumac's otherworldly vocal range, but leads a life of its own, a dynamic particularity that elevates this release and could already be observed on the first album in lesser fashion.

Two stylistic focal points make Inca Taqui very special and potentially exciting. Firstly, Vivanco uses a – back then shiny new – trick to ennoble the featured material, namely the treatment of authentication: the liner notes state that Vivanco was inspired by Incan folklore and used its characteristic traits in each of the compositions. This fake approach concerning Pagan rituals and occultations became en vogue a few years later when Martin Denny's Exotica successfully kicked off the faux-Polynesian setting in 1957. Secondly, as a result, it so happens that Vivanco's songs are much more reduced. There are orchestra strings, horns, flutes and exotic percussion on Inca Taqui as well, but one stylistic coup de main consists of the reliance on Latinized acoustic guitars. Three tracks out of eight exclusively feature Yma Sumac's vocals and a few guitar riffs, with the occasional use of the backing choir and a few shakers or drums. The results are as intimate as they show the real power of Sumac's vocal range. Depending on the listener's viewpoint, this deliberate lack of additional instruments may be Inca Taqui's biggest weakness or its unique selling point. Luckily, there are carved out orchestral pieces on here as well, both of the mysterious and the sun-dried kind. Read more about them in the following paragraphs.

The album starts off with K'Arawi (Planting Song), and right from the get-go does the particular arrangement-related particularity of Moisés Vivanco come into play. The dusky warmth of the guitar and Yma Sumac's ethereal voice in wraithlike realms is all there is at the beginning. This reduced setting works marvelously well, for even if Sumac's voice is most impressive when she fights the large orchestra, the minimal approach provides a great change of pace. Of particular success are the sudden vocal bursts of the female backing choir and a lead violin. The ensuing sound flashes in glaring colors, bedazzles the listener who remains beguiled. I am awestruck for sure. This alienating blast is one of the earliest examples of Space-Age with anything else but vocals and a violin. And that is it. This enthralling, totally enigmatic power ballad has not lost anything of its magic. Vivanco is capable of much complexer arrangements, but he decides to start things slowly in order to trick the listener into thinking of K'Arawi as a truthful song of Incan heritage. Naturally, it is not.

The following Cumbe-Maita (Calls Of The Andes) is entirely different and proves its densely layered nature immediately, for a glissando brass flourish meshes with a rhythm guitar, shawm-like trumpets, gossamer strings and Yma Sumac's striking vocal range. Alto flutes, timpani and bongos as well as interspersed guitars round off this mercurial song in 6/8 time, its mood being cautiously solemn and pompous. While Wak'Al (Cry) repeats the formula of the opener but features both the backing choir prominently in adjacency to Sumac as well as sudden bone-crushing, thumping drums next to the guitar strings, Incacho (Royal Anthem) opens the instrumental pool once again by injecting Chinese gongs and Far Eastern tone sequences on both the bass flute and the strings. Sumac almost chirps along to the amicable majesty of the panorama whose wideness is astonishing and makes it my top pick of the album. The composition later morphs into a celebratory Balkan-style Folk interlude with male hey! chants and the inclusion of bongos and tambourins. Incacho ends with polyphonous flutes and the feeling of having listened to a truly exotic song that is less about acidity and shock-and-awe operations than a contemplative look over the Andes. In short: my favorite!

Side B opens with Chuncho (The Forest Creatures), and it succeeds big time thanks to Vivanco's onomatopoeic mimicry arrangement with warbled bird-resembling paradisiac flutes and plucked violins in high tone regions, a deliberately murky guitar aorta whose seemingly genteel trait changes its impetus at higher volume levels, and Yma Sumac's similarly opaque-arcane vocals next to rattling snake-like maracas. This is yet another fantastic piece, for it is enormously mystifying and acroamatic. The feeling of being in an enchanted forest is maintained throughout its runtime. A mellow piece of hatched colors. Llulla Mak'Ta (Andean Don Juan) is the festive dance take of the album, comprising of fast bongo-fueled rhythms, cheerful chants, mellifluous alto flute melodies with additional effervescent bubbles and the Sun Virgin's vocals which reside in a stable-streamlined range this time, with the Asian reed fanfares turning out to be another exotic element that does not seem to fit in this setting on paper (let alone in the Andes themselves), but works really well during the transformation of this perceived hodgepodge into music.

It is Malaya (My Destiny) that opens with an overly bold Balearic Flamenco guitar which I simply cannot link to the Andes and the overarching sound of the album, no matter how hard I try. The ensuing heated atmosphere with handclaps, Sumac's chants and the threnodic backing choir make it a fitting inclusion in terms of the way the instruments are set up, but the given tonal range and hot-blooded timbre are literally too far off, namely rooted in Mediterranean climes and hence all too commonplace. A rare misstep. The outro Ripui (Farewell) is a saccharine ditty with sweet flute and string couples and the deepest chants Yma Sumac has to offer. The mood is tongue-in-cheek and very bright, almost comically so. Again, I am not particularly fond of this tune, but dig the fact that it is no lamenting farewell, but a blithesome one.

Inca Taqui is Yma Sumac's often overlooked sophomore album, and I think I can pinpoint the reason. It has to be about Moisés Vivanco's exclusive input. This is not a good or even logical reason per se, for he also orchestrated the following 10" bestseller Legend Of The Sun Virgin. But whereas the debut featured three composers, one of them the soon-to-be mighty Les Baxter, the arrangements on Inca Taqui are purposely thinned out in order to strengthen their faux-Incan heritage and humbleness. Maybe you disagree with me, but Yma Sumac's albums are not solely about her voice, although her achievements in this regard make up the vast majority of each album's magic. I for one also dig the foreign instruments and mystery-laden tone sequences next to the well-known inclusion of strings and horns. In this regard, Inca Taqui underwhelms, but its lack turns into strength, for Mrs. Sumac never sounded more intimate throughout the 50's than on this album.

The focus on the guitar itself is not questionable, but some Spanish tonalities and riffs sure are, probably the rem(a)inders of the Spanish Conquest? Regardless of these minor flaws, each and every of the compositions is again brand-new and shiny, carving out the legendary status of the self-proclaimed Queen of the Andes further. My favorites remain Incacho with its orchestral setting that is surprisingly balmy and unbelievably lofty and wide, as if one looked over a gorgeous mountain range, and the forest-depicting Chuncho which caters to a different kind of listeners, namely those who want their Exotica music to be somewhat jinxed, bewitched and mysterious. The mimicry and the instrumental chirps make it a gorgeous green-tinted tune. Inca Taqui is definitely worth your while, especially so since its CD re-issue is coupled with Sumac's debut and hallmark Voice Of The Xtabay. Both albums present pre-Exotica works with soft Space-Age slivers. Definitely recommended, even to those people who aren't too fond of Sumac's jumpy and ever-shifting chants. ---ambientexotica.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett

back

01.Taita Inty (Virgin Of The Sun God)
02.Najala's Lament
03.Ataypura (High Andes)
04.Bo Mambo
05.Kuyaway (Inca Love Song)
06.Tumpa (Earthquake)
07.Taki Rari
08.Chuncho (The Forest Creatures)
09.Monos (Monkeys)
10.Suray Surita
11.Wanka (The Seven Winds)
12.Negrito Filomeno
13.Huayno
14.Inca Waltz
15.Babalu
16.Wimoweh (Mbube)
17.Xtabay (Lure Of The Unknown Love)
18.La Molina (The Mill Song)
19.Llora Corazon (Crying Heart) (
20.La Pampa Y La Puna (The Plains And The Mountains)
21.Virgenes Del Sol (Virgins Of The Sun)

In 1950, at the dawn of an era of musical exotica (in which composers such as Esquivel, Martin Denny, and Les Baxter would test the limits of hi-fi strangeness), Yma Sumac entered the scene. She was a diva from the Andes with a four-vocal octave range, an unrelenting trill, and great looks, and she became an overnight sensation. Within years of her debut LP, Voice of the Xtabay, Sumac recorded more concept albums, starred in a Broadway musical (Flahooley), and appeared onscreen with Charlton Heston in 1954's Secret of the Incas. Truth be told, exotica music's popularity was short-lived (only to resurface again with the '90s lounge culture), and many would claim Yma Sumac was merely American housewife Amy Camus spelling her name backwards. No matter. This is still great, hilarious music unlike any other. With composer-husband Moises Vivanco, Sumac created a hybrid jazz, mambo, and world music that was the perfect showpiece for her vocal pyrotechnics. She scats, she trills, she bellows, but--mostly--she entertains. This disc collects Sumac's very best works, three unreleased tracks (worth hearing for the opening to "Negrito Filomino"), and extensive liner notes. --Jason Verlinde, amazon.com

The Ultimate Yma Sumac Collection may very well live up to its title; at the very least, it's likely the most comprehensive overview of her recordings yet assembled. Therefore, the question is, is it better to go with a collection (which contains three previously unreleased cuts and four rare stereo mixes) or an official album, namely her Voice of the Xtabay, which Richie Unterberger calls her "first and most popular release." Since that first album isn't quite as pop-oriented as some of the material on The Ultimate, it may seem that the collection is preferable, yet that's not really the case. Sumac is a bit of a cultural artifact, so she makes the most sense in the context; hence, the album makes a bit more sense than the compilation. However, there is very, very little overlap between Voice of the Xtabay and The Ultimate, so the collection not only functions as a nice supplement to the record, but neophytes who decide they want to sample an overview instead of diving into the proper albums will not be disappointed by repeated tracks when they go to the Voice. Any way you look at it, The Ultimate Yma Sumac Collection is a good compilation of a difficult artist to anthologize. --- Stephen Thomas Erlewine, Rovi

download (mp3 @128 kbs):

yandex 4shared mega mediafire cloudmailru uplea

back

01. Bo Mambo (Moisés Vivanco, Billy May) - 3:17
02. Taki Rari (Hernán Braña, Billy May) - 1:50
03. Gopher (Konrad Gozzo, Billy May) - 2:15
04. Chicken Talk (Moisés Vivanco, Billy May) - 3:02
05. Goomba Boomba (Billy May) - 4:12
06. Malambo No.1 (Moisés Vivanco, Billy May) - 2:54
07. Five Bottles Mambo (Moisés Vivanco, Billy May) - 2:47
08. Indian Carnival (Moisés Vivanco) - 2:04					play
09. Cha Cha Gitano (Moisés Vivanco, Billy May) - 3:50
10. Jungla (Moisés Vivanco, Billy May) - 2:22
11. Carnavalito Boliviano (author unknown) - 2:05			play

Personnel:
- Yma Sumac - vocals
- Rico Mambo Orchestra 
- Billy May – conductor.

Capitol got on top of two '50s fads at once by issuing an album of Sumac tackling mambo. Yma (characteristically) held nothing back, and the result was one of her more enjoyable LPs, with respectably swinging mambo grooves crafted by Billy May. "Five Bottles Mambo" is one of her most astonishing vocal workouts, dropping into guttural growls that are downright bestial, and making one wonder how exactly they got away with that in the conservative milieu of the 1950s. --- Richie Unterberger, All Music Guide

Yma Sumac, a mystery unsolved even today, is the only singer known to possess close to a staggering 5 octave voice. While less than a handful of singers have managed to capture Sumac's high notes, none have managed to acquire those notes including Sumac's lowest registers. More amazing, is that Yma Sumac had no formal training! It has been said she is unable to read musical notes! How did this phenomenal lady with the beautiful face and extraordinary voice come to be?

Born on September 13, 1922 (official, finally, as I have held the actual birth certificate in my hands) in the high mountains of Ichocan, Peru, little Zoila Augusta Emperatriz Chavarri Del Castillo, had dreams of being a great singer. However, such a dream was deemed almost impossible in Peru and especially for a"proper lady." But the girl was unstoppable. Around the age of 9 she could often be seen high atop a mountain in the High Andes singing ancient Peruvian folkloric songs, to a group of rocks, which she pretended was her audience. Entranced by the beautiful birds that sang nearby, she began to imitate them, by incorporating their high pitched sounds into her"repertoire."

Her voice matured somewhat by age 13 and local Peruvians took notice. Much to the unhappiness of her parents, she was invited to appear on Argentinean radio. Soon enough South America was quite enchanted with this amazing voice. In 1943, she would record around 16 songs in Argentina (most of which have been released on CD in the last decade).

Conductor Moises Vivanco met and later married the young lady, now renamed Imma Sumack and along with a dancer (Cholita Rivero), formed a group called "The Inka Taky Trio." Together they performed traditional Peruvian music. They had minor tours all over South America. But both Vivanco and Imma Sumack had bigger dreams. After all, she is believed to be a direct descendant of Atahualpa, Peru's last Incan emperor! Sumac’s mother's maiden name was Atahualpa, the same as that of the last ruler of the Incan civilization, Yma Sumac could be regarded as "a princess royal and spiritual leader of the mountain people of Peru...(occupying) a unique position in the Inca religion."

The trio moved to New York and continued performing. Americans were not prepared or particularly interested in the music, finding it a bit bizarre. But many were enchanted with Sumack's lovely face and voice. One night in a small New York club, a talent scout from Capitol Records was present. The man apparently saw great potential in this young lady. He immediately signed them to Capitol records a MAJOR American record label!

However, changes would have to be made. ‘ Imma Sumack’ would be changed once again, to 'Yma Sumac' a more glamorous spelling. The focus would be on Yma, and Vivanco would be "the man behind the Diva.” The simple "twangy" traditional Peruvian accompaniment would have to be incorporated into large and lush orchestral versions if it were to take on Universal appeal. This would be a challenge, but one the Vivanco's could meet! Now in her mid 20's Sumac's voice had reached it's unparalleled peak, and her beauty intoxicating. A now classic record, 'Voice of the Xtabay' was recorded in 1950 and sold over 100,000 copies WITHOUT major publicity!

After a massively successful concert at the Hollywood Bowl that same year, Yma Sumac would become world famous and travel the globe and become a vocal phenomenon. Sumac toured and recorded albums for the entire decade of the 50's, appeared in at least 4 films, had worldwide fan clubs and was eventually declared "the 8th wonder of the world." Major movie stars and opera singers were great fans of hers. Some of her childhood movie idols were now fans of hers!

While Sumac and her husband remained true to the ancient Peruvian language of Quechuan and Spanish, they occasionally ventured into Italian arias and songs not originally intended for vocal interpretation. Sumac performed Claire De Lune and The Magical Flute, astonishing critics and audiences into 20 minute standing ovations on numerous occasions. No other singer would have the vocal capabilities to make such arrangements possible.

In the 1961 Yma Sumac was to do two weeks of concerts in Russia. The demand for her was so great there, she stayed a staggering 6 months, and performed for royalty on many occasions. By tours end, she and husband Moises Vivanco were more than ready for [their second and final] divorce.

In the early 1970’s with the encouragement of a few fans, Yma Sumac recorded a complete album of psychedelic music, titled ‘Miracles.’ Her now infamous temperament dominated the entire project and the album was quickly pulled from record stores everywhere, once “complications arose.” This is one of the rarest of Yma Sumac memorabilia today, and is occasionally listed on Ebay. It seems to be a hit among her younger fans and continues to grow in popularity, as of this writing.

In the 1980's Sumac's career was rejuvenated by young fans all over the world wanting to experience the phenomenon for themselves. She had wildly successful sell-out tours from the mid-80’s into the 1990’s. By the mid 90's, Sumac's popularity reached even greater heights as the new term "exotica" (in correlation with what has come to be wincingly called "lounge" by today's standards) was coined and became a favorite genre among eclectic crowds of younger fans.

The millennium brought a handful of surprise personal appearances, the highlight of which resulted in Yma Sumac being awarded the Orden Del Sol of Peru in May of 2006. She traveled to accept the honor in person, and stayed two weeks, accepting other awards almost daily.

It may come as a surprise that a woman could become a legend with only 5 major albums! But with a voice like Sumac's, all you have to do is listen and you will know why. Her albums have been reissued for over 50 years, over and over, such is the demand of newer generations who discover this almost supernatural voice. Miss Sumac passed away at 86, on November 1st, 2008, in Los Angeles, CA. She was interred in Hollywood Forever Cemetery a week later. --- yma-sumac.com

Yma Sumac nace con el nombre de Zoila Augusta Emperatriz Chávarri del Castillo, un 10 de Setiembre de 1922, en Ichocán, Cajamarca, Perú. Sus padres fueron Sixto Chávarri y Emilia del Castillo Atahualpa. Desde inicios de su carrera se dijo que Yma Sumac era descendiente directa de Atahualpa, último de los reyes Incas, y esto fue confirmado por el Consul General del Perú en los Estados Unidos de América, José Varela y Arias, en un documento con fecha 23 de Mayo de 1946, que dice: "Certifico por este medio que a mi buen entendimiento y en concordancia con las asersiones de autoridades en la historia de los Incas y la historia Peruana en general (cuyos nombres serán publicados según requerimiento), Imma Summack es una descendiente del Emperador Inca Atahualpa, habiendo sido su madre doña Emilia Atahualpa, descendiente directa del último Emperador Inca del Perú."

En un artículo publicado en “La Crónica” en Lima, Perú, en Noviembre de 1950, se dice que Yma Sumac fue descubierta por un empleado del gobierno cuando ella cantó, a los 13 años de edad, en un Festival del Sol, realizado en su pueblo natal ante 25 mil espectadores. Él llevó la noticia de su voz hasta el Ministro de Educación. El Ministro, alternadamente, arregló para que Yma viaje con su familia a Lima, donde ella se presentó en un concierto. Entonces, ella fue ingresada en un colegio de muchachas católicas, el Instituto de Santa Teresa.

Un año antes que Yma Sumac arribe a Lima, el músico ayacuchano Moisés Vivanco había formado la “Compañía Peruana de Arte”, conformado por 46 bailarines indios y músicos . Como estudioso de la música folklórica, Moisés asiste al concierto de Yma y le propone integrar su conjunto musical. Inicia formalmente su carrera como “Imma Sumack”. Yma Sumac hace su debut en radio con el conjunto de Moisés a principios de 1942. El mismo año, en Abril, hacen su debut internacional en radio Belgrano de Buenos Aires, Argentina.

El 6 de Junio de 1942 Yma Sumac se casó en ceremonia civil con Moisés Vivanco, en la ciudad de Arequipa, Perú. Luego de casarse, Yma Sumac parte con Moisés Vivanco y su conjunto en una gira artística, presentándose en Argentina donde realiza en 1943 sus primeras grabaciones discográficas. También llega a Chile y Brasil, y en 1945 se presentan en México. La voz de Yma Sumac recibe elogios de la crítica internacional por su perfección que va entre 4 y 5 octavas en la escala musical.

En Enero de 1946, habiéndose disuelto la Compañía Peruana de Arte, Yma Sumac llega a los Estados Unidos de América junto con Moisés Vivanco y su prima Cholita Rivera, integrando el trío “Inca Taky”. Sufren una serie de altibajos de 1946 a 1949 tratando de lograr el reconocimiento de su arte en el país más poderoso del mundo, pasando incluso por un período en el que se dedican al comercio de atún cuando Yma Sumac se embaraza de su primer hijo. El 7 de Febrero de 1949 nace Papuchka Charlie, primogénito del matrimonio Sumac-Vivanco. Seguidamente va mejorando su trabajo artístico hasta lograr un contrato con la compañía discográfica ”Capitol Records” y se mudan a Hollywood en 1950 teniendo su primer gran concierto allí en Agosto del mismo año, y en Setiembre graba su primer álbum “Voice del Xtabay”.

Hasta 1959 graba 6 álbumes para la Capitol Records. Así mismo, trabaja en el cine norteamericano y se consolida como una gran estrella Hollywoodense. En 1957 se divorcia la pareja Sumac-Vivanco pero en 1959 se reconcilian y vuelven a casarse. En 1961 inicia en la URSS una gira mundial, siendo invitada por el mismísimo Secretario General de la URSS Nikita khrushchev. Recorre Asia, Europa y América. Nuevamente se instala en los Estados Unidos de América en 1965 y se divorcia Yma definitivamente de Moisés Vivanco, quien viaja a España.

Las giras y los cambios en el gusto musical popular en la segunda mitad de los años 1960's hacen que la música de Yma Sumac tome un nuevo giro y a principios de los años 70's graba el álbum “Miracles” con el cual revitaliza su carrera y es reconocida por el público juvenil. A mediados de los 70's viaja a Lima, Perú, residiendo varios años aquí. Durante los años 1980's y 90's retoma mayor actividad artística en los Estados Unidos y Europa, haciendo diversas presentaciones en conciertos, teatro en incluso en cine y televisión. Se hacen compilaciones de sus discos y documentales sobre su vida. Para el años 2000 y hasta la actualidad existen muchos artículos publicados sobre Yma Sumac, especialmente en la Internet, donde cuenta con dos páginas Web y sus discos siguen siendo vendidos en compilaciones de diversos países a nivel mundial. Ella aún se mantiene en actividad a pesar de sus años.

Yma Sumac falleció en Los Angeles Noviembre 1 del 2008. Por su propia voluntad, ella fue enterrada en Hollywood California, donde ella vivió sus ultimos 60 años de su vida. --- yma-sumac.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back