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“An insight into Original Gravity Records, and what makes it’s heart beat.”


Interview and words by Andy Hill (Chills & fever Mod club)


Original Gravity produce music that harks back to a bygone era! A time when standards were set for everything to come! So, Welcome!........What is Original Gravity? Music with one eye on the past, and one eye on the future! Music that will make you shuffle and shake your hips! So let’s all gravitate to the centre of the universe, and enjoy!


I caught up with Mr. Original Gravity: Neil Anderson, to chat about the label, the music and the man behind the music!


“Hello Neil, can you tell me a little about your early influences and music?”


"I was born in Hertfordshire born two weeks before the end of the 1960's.


Some of my early memories are of a musical nature. I can clearly recall being given a toy drum in a music session in nursery. I recall the teacher giving us directions from her place at the piano about the song we were going to play; “Now children, when I raise my hand, you all stop playing and I will finish the song”. I quite clearly remember thinking “but the drummer always ends the song”. I’ve no clue where I got this idea from, but it was very firmly set in my head as the correct thing to do and as a consequence, I got in trouble for not stopping at the right time. This wasn’t the only trouble I got into at nursery school. There was also the mystery of the pile of biscuit crumbs that the teachers would find under a table every day, but that’s a story for another day!


My interest in drums was piqued further when I was about 4 or 5 years old. I saw a young drummer being featured on the TV program “Nationwide”. I remember thinking “I can do that” and from that time onward, I was captivated by the drum kit. I spent the next few years playing along to records on my very first drum kit – a collection of empty ice cream tubs, one with some felt-tip pens in it (so it rattled like a snare drum). My first pair of drum sticks were a pair of toy snooker cues stolen from one of my older brother’s Ray Reardon Pot Black toy set – they were

a bit on the long side, but they did the job. Once I had raided the same brother’s record collection and started playing along to The Specials, I added an empty Quality Street tin, so I could get that “clangy’ sound of a Reggae/Ska Rimshot.


I count myself very lucky to be exposed to great music very early on and this is, again, thanks to the same brother who lost his snooker cues. His collection included records by The Jam, The Specials and The Beat as they came out. He would let me tape the records and I would set up my “drum kit” on my bed and play along to the tapes. 


By the time I was 11 years old, my eldest brother (16 years my senior) started teaching marching drums for The Boy’s Brigade in the local Methodist Church Hall. This was wonderful, because I finally got to play a real drum and it was a great schooling in the rudiments of drumming. Around this time he also got his old drum kit set up in his house and on a family visit, I was allowed to play it. I found that it just made sense to me, I can’t really explain it better than that, but he would show me something and I would just play it back to him. At that point, he persuaded my parents that I had ability and for my 12th birthday, my mum took me to Supreme Drums in Walthamstow to purchase my first real drum kit!”


“What were your first experiences of mod?”


"Around this time, I got introduced to a couple of major influences. First off, someone played me “My Generation” by The Who and as soon as I hear this (and later, saw Keith Moon playing on Ready Steady Go! Circa 1965), I was hooked and this really kicked off my interest in all things Mod and I gradually started to delve back further, finding loads of great artists and songs by looking out for music that had influenced the 60s Mod sound. So, loads of Soul, R & B and Blues. 


Also around this time, a friend of my brothers gave me a cassette of Prince Buster and this kicked off a massive love affair for Ska, Rocksteady and Reggae. All of these styles and songs found their way onto my tape player and I would spend hours playing along on my drum kit, trying to work out what the drummer was playing.”


“Tell me about the first band you were in?”


“I carried on this way for all of my school years in the early 80s. I managed to gain some live music experience by playing in a band with a couple of school mates. We were really rough and ready and the guitarist was bang into U2 (back in those days beggars could not be choosers). We did a few gigs at school and would write our own tunes. I can recall a few of them – the first song I wrote (aged about 13) was called “It’s Hard” (never again to see the light of day!).”


“Did you go to college, and what did you study?”


“ I trained at college as a graphic designer and my first few jobs were in this industry. I am always grateful for the skills that I learned doing this. I still put them to use often these days, not least in designing all the artwork for The Original Gravity releases. I still enjoy the creative process of design, almost as much as the creative process of making music.”


“Where you in bands at this time?”


“Once I was working and got myself mobile, it was much easier to be more involved with music. I joined a pub band, playing covers – a lot of Hendrix and Blues stuff. The rest of the band were a good deal older than me and quite experienced, so I learned a lot about playing in bands from these guys


I never studied music or received any training, apart from the Boys Brigade basics on drums and Conga lessons in my late 20s (more on this later). I also remember being shown a few chords on guitar (A, D and G) at primary school.


In my mid-20s, I joined up with some old school friends to form the band Homegrown. Heavily influenced by Paul Weller and Oasis. We set about learning some covers and writing our own songs. They were all pretty much starting out on their instruments and they did not have a bass player. When you’re in your mid-20s, you’ve got loads of time, so I thought “Why not? I’ll learn bass”.


Homegrown had reasonable local success through the mid-to-late 90s and we did a few studio sessions. This was the start of a steep learning curve for me as when I wasn’t actually playing in a recording session, rather than just loafing about, I would sit in the control room and watch the engineer, trying to learn what I could from what he was doing. At this stage, I had no concrete ideas about producing music. I just found it interesting.


In 1996, I left Homegrown to get back on the drum kit with an originals band called Blackstone. We did a university tour supporting The Stoned Roses (tribute act) and this was a great experience in playing decent venues around the UK. Being in Blackstone helped develop my worth ethic with regard to music – we would rehearse at least three times a week. Also high on the agenda was attention to detail, something that I believe I have retained, almost to the point of obsession.


Although a super-tight band, Blackstone were lacking somewhat up front (something that the vocalist would freely admit to). So the band was always destined to fold when we got to a certain point. That came to pass around 1998.”


“You have a very keen interest in Latin Music, would you tell us a little bit more about this please?”


“Around 1994, I had gotten interested in Latin Percussion. I had been asked by a local rave promoter to play some drums at one of his club nights and ended up buying a cheap set of congas for this purpose. After doing a couple of these nights, I realised that I must be doing something wrong because my hands would be battered to bits the next day. However, I persevered.


For a while, I played percussion with a Santana tribute band (Viva Santana). I enjoyed it, but I could not shake the feeling that we (the percussionists) really didn’t know what we were doing, it just didn’t sound quite right.


Around 1998, I got asked to play with a local funk band, who had been booked for a support gig with The James Taylor Quartet at The Castle Hall in Hertford. I turned up with and got set up for sound check and while I was waiting, I got chatting to the DJ who had been booked for the gig. Turns out that this was Eddie Piller. When I told him “I remember you, you used to run the Pheonix List (80s Mod fanzine)” he chuckled and mentioned that he had a band on his Acid Jazz label that I might be good for.


This led to a 12-month stint on percussion for Pleasure Beach and I really enjoyed this time playing with this band. The band was led by Tristan Longworth (Third Degree) who is a very talented and driven individual. The first time I spoke to Tristan, he said “Have you heard Bert’s Apple Crumble” and when I answered in the affirmative he said “that’s what we sound like”.


He was pretty much correct. They were all really good musicians but the sound was centered on Hammond Organist Rich Milner. Probably one of the most naturally funny people I’ve ever met and without doubt, one of the best musicians I’ve ever had the pleasure to play with. We’d head off around the country playing Mod nights, which gave me the added bonus of hearing some great music from the DJs.


Although I was really enjoying playing with Pleasure Beach, I had a nagging itch to scratch and so it was that in 1999, I sold my flat and took two years out travelling.”


“So where did you go, and what happened next?”


“I landed for a while in Sydney and spent a total of about 12 months living there. While there, I didn’t play drums at all, but followed up my interest in learning conga technique. A couple of times a week for about 6 months, I would get the bus from Balmain up to George Street to study with “Conguero” Ricky Kugler a.k.a “El Indio”. Ricky was a great character, fantastic conguero and a good teacher. Not only did I learn authentic Afro-Cuban rhythms and techniques, but he gave me an insight into the culture surrounding Latin music. For example, he once told me “In the Cuban religion of Santeria (similar in many ways to Voodoo) there is a god named Chango. Chango is a warrior, a womanizer, a drummer…”


When I came back to the UK, I soon realized that my studies had changed my approach to the drum kit. From the perspective of the percussion section, Latin Music is pretty disciplined – you can’t just play what you feel like, when you feel like it!  This made me far more disciplined in my playing and really helped to open my ears to what the other musicians were doing and how I could play to support them. This was soon put into practice when I was contacted by the guitarist and bass player from Blackstone and asked to help form a new band.


The band, “The Sunshine Variety Club” was the outlet for talented guitarist and brilliant songwriter, Rob Jenkins. The music was quite heavily 60s influenced (one of Rob’s heros being producer Joe Meek). The material had a very strong English theme with the songs being based around everyday working class life. I really liked this aspect of the material. Our bass player dubbed us “New wave Chas & Dave” which I thought quite apt. We had some reasonable success with a live slot on Gideon Coe’s BBC 6 Music show and a single release, The Girl with the Crooked Smile (which was Steve Lamacq’s record of the week on BBC Radio 2). We did a fair amount of recording during this period and again, I would spend most of the session (when not playing drums or percussion), watching the engineer.


Just as we started to get some recognition and gain some success, the band started to fall apart. Unfortunately, Rob really couldn’t handle the modest success that we were getting. It would go to his head and he would focus more on playing the “Rock Star” much to the detriment of the band and the music. After an awful gig in Manchester (when he and the rhythm guitarist were too drunk on stage to play properly), I quit the band.


”This must have been an awful period for you, is this perhaps how you got into teaching?”


“Never actually having had lessons myself, I was initially quite daunted by the prospect, but having sat in as cover for a missing teacher one Saturday, I quickly realised that I had a good natural feel for how to teach people and a lot of accrued knowledge to pass on. I was thrown in at the deep end though – the company I started work for had around 40 students on their books that I started teaching right away.


Over the course of the next 18 months, I helped build that 40 students up to close to 100 students per week. These were group classes of up to 6 students in a class and the age and abilities of the students ranged from 4 year olds to 70 year olds, beginners to advanced. I was teaching around 20 hours a week and really enjoyed it. However, after a time, I became frustrated with the owners of the business, the lack of decent equipment and their attitude. They were totally focused on “bums on seats” and although I realised that their priority was money, I grew to believe that things could be done in a better way, whilst still being financially rewarding.


Around 2008, I put this into practice by starting my own tuition business. The Musiclab began with 18 drum students and I gradually grew this to over 150 students attending weekly, learning drums, bass, guitar, keyboards and vocals. I began to employ guitar, keyboard and vocal tutors to help build the school. 


Our emphasis was and still is, on contemporary music, Rock & Pop, Soul, Funk, Reggae etc. and we work a lot on developing people’s confidence and creativity. Many of our students have gone on to start or join bands and I often bump into them playing on the local circuit and this always a great sense of satisfaction. There’s several covers bands playing locally which are made up of Musiclab students who came to us as beginners in their 40s and a few years later are playing paying gigs a couple of times a month.


One thing that I found from my teaching career is that I often ended up playing more bass or guitar in drum lessons than drums. Often this was the best way to put across the concept that I am teaching. As a result, my skills on both instruments started to improve. I knew some basics, but I found that I was gradually getting better.”


“Homegrown reformed 10 years ago, tell us a little bit about that….”


“Homegrown reformed in 2010 with the emphasis on good quality Mod / Britpop covers. As we started putting a set together, I began applying the work ethic and attention to detail that I had acquired with Blackstone and The Sunshine Variety Club to the Homegrown rehearsals and although sometimes you come across as the “bad guy” to other band members who might not be so used to being pushed so hard, I believe it’s been necessary in order to get better results. The downside is that often, you’re not the most popular member of the band at rehearsals.


Homegrown have done very well locally - filling the 350 capacity Hertford Corn Exchange on several occasions and being recognised as one of the best covers bands in the local area. As the bassist for the band, I continued to develop my skills on that instrument, along with doing more and more vocally, both as a back up to lead singer Paul Bentley and more and more often taking lead vocals on certain tunes.”


“Farm Factory Studio’s, tell us a little more about this if you would….”


“In 2015 with The Musiclab doing well, an opportunity came along to purchase a rehearsal and recording business in Welwyn Garden City. Farm Factory Studios had been in existence since the mid-90s. I had used Farm Factory a few times over the years for both recording and rehearsal (for a short time I had played percussion in the owner’s band) and I knew that they had some of the best facilities around.


I hadn’t been there for a few years and only found out that it was for sale by chance. Since 2010 I had been working on material that would eventually turn into the Original Gravity project and towards the end of 2014, I had a set of Funk tunes that I’d been working on. However hard I tried though, I just could not get the drum sound I wanted. So, over Christmas 2014, I booked a couple of days recording with an engineer at Farm Factory. As soon as I walked in and saw all the for sale signs, I started thinking how I could make it work in order to purchase the business. So, the recording session kind of “went out the window” a bit. I did record the drums, but I have never actually finished the tunes (I will one day!). By April 2015 I had secured investment and had everything in place and purchased the business.


This made me extremely busy for a few years – running The Musiclab, getting to grips with Farm Factory Studios and expanding the business there by developing the Welwyn Garden City branch of The Musiclab, gigging with a couple of bands and having some kind of family life! Gradually, I got this sorted and running reasonably well and after a couple of years, I started to be in a position to actually get in the studio and start working on some music. It was at this point, early 2017 that Original Gravity started to develop.”


“You sound a very busy man with all of this going on! Outside of music, what other interests do you have?”


“Since 2002 I have been a keen mountain biker. A few of my old mates have ridden the local woods for years and when I returned from travelling, I wanted to do an outdoor fitness activity on a regular basis. This seemed perfect to me and so I bought my first mountain bike and started to go out riding on a regular basis. This actually was the beginning of Original Gravity.


Our group continued to progress with our riding skills, pushing each other along to go faster, jump further, push the boundaries. In 2008 I bought my first Downhill rig and we took a trip to Morzine in the French Alps. More trips to Scotland, France, Sweden, Norway and Italy followed. Interspersed with regular trips to probably my favourite track – Cwmcarn in South Wales. Dowhilling became a massive passion and adrenaline buzz and like music I was constantly looking to push my limits and improve.


In 2010, my biking friends bought for my birthday a GoPro camera. I would mount this on a chest harness or on my crash helmet and I would film us going (as rapidly as possible) down the mountain. I’ve got a whole YouTube channel of these videos for anyone interested:


After getting to grips with the camera and to the point where I was posting the videos on YouTube, I decided to start adding my own music to some of the videos (partially to avoid copyright issues form using other people’s music) and this is where Original Gravity started. “Gravity” as in using gravity to go fast down a mountain and “Original” as in using my own original music.


One of the first of these that really used what I would call the beginnings of “the Original Gravity sound” was this one, filmed at Cwmcarn, Wales in September 2014 and featuring a Funk tune I had written called “The Chosen One”


I had recorded this tune pre-Farm Factory days and although pretty close to what I wanted to do sonically, not quite there. I kept trying.


Around 2016, we’d built a mini-downhill run in our local woods. It earned the name “The Backscratcher” (one of our mates had scratched his back up on a low hanging tree branch that you had to duck under half-way down the course). One Sunday, we shot a video of the new course and just out of interest, I googled “backscratcher”. What came up was “My Backscratcher” by Frank Frost. Although I have a pretty big blues collection, I had never heard this fantastic tune. The tune worked great with the bike video and the groove really stuck in my head.


July 2016, we took a trip to Verbier in the Swiss Alps. Verbier has a reputation of having some of the steepest, most technical trails in Europe and I’d have to agree. We did some backcountry guided riding and one particular trail stood out – full of super-tight switchback turns that you could just about get your bike around (sometimes not!). 


After the trip, I was going through the video footage and the idea of making a tune based around the “My Backsratcher” groove came to mind. The result of this was “The Switchback” – intended to sound like one of those 60s dance tunes where the vocalist gives the instructions to each move, I wrote the lyrics totally geared around trying to hang on to my bike on that ridiculously tight and steep trail in Verbier:


“Turn to the left, now turn to the right, lean back, hold on tight” etc.


You can hear an early mix of the tune HERE (caveat: on camera, it never looks as steep as it actually is!)


Once I’d finished the video, the engineer at Farm Factory Studios, David Doll, said to me “that’s a good tune, you should do something with that” and this is where Andy Hill enters the story.”


“So even your hobbies, just like mine, interlink with your music…it’s all about being creative isn’t it Neil?”


“I’d met you at a Mod event that Homegrown had been booked to play. I really admired your passion for music and realised that even though I thought I had a really good knowledge of Blues, Funk, Soul R & B, Ska etc. you are a real walking encyclopaedia on the subject. Not only did you already know about pretty much everything that I knew, you were mentioning a lot of stuff that I had never heard of.


One night at a Homegrown gig, I thought I’d “have you on a bit”. With the Switchback in mind, I told you “I’ve got a 60s R&B tune that you definitely haven’t heard”. “What is it? What is it?” you replied. The next day, I sent you an MP3 of The Switchback, along with a version of Green Onions that I had started recording in about 2008 and had recently finished. You came back to me really excited about it and the first Original Gravity release was born!


Since then we have continued to release limited edition 45s in different styles. Basically my goal is to make new music - some self-penned, some carefully chosen covers, that will fit seamlessly with the old. So that a club DJ could drop an Original Gravity tune into his set and the dance floor won’t miss a beat. It’s like, that old music is so good – I just want to make more of it!”


“So what happened next? This all sounds like a lot of hard work – but also a lot of fun! Lots of different styles have come out on Original Gravity recordings so far. How has this been done, and why?”


I play the majority of the instruments on the recordings. I want to work on all of the styles that I love and this can’t be done under one artist or band. So, I play what I can play on the tunes and get carefully chosen session musicians to play what I can’t play (full list further down this document). If I feel the material is right for my voice (Labrats & Curtis Baker), I’ll sing, but if I’m working on Reggae that’s not going to work! So each style I work on will result in a new band or artist.


Tony (from recently said to me “I doubt anyone will realise how much of a blinder you've played by creating a whole roster of retro acts all by yourself.” The thought had never occurred to me to be honest, but once it was pointed out, I thought that it sums it up quite well! I do know that I wouldn’t want to be restricted to one style by releasing music as just one band or artist.


With regard to the actual recording, I use vintage recording techniques and try to recreate the sound of a whole band playing in a room together, even though I am almost always recording a single instrument at a time. I use various vintage instruments and amps, single mic drum recording etc. etc.


David Doll, the engineer who I “inherited” when I took over Farm Factory Studios has played a big part in helping develop the sound. It’s not a case that he is involved directly in all the sessions, but when I hit a snag with getting the sound I want, I can tap into his knowledge in order to break down any barrier that I might encounter. He then acts as my quality control by checking and mastering every mix that we release.”


“What instruments do you actually play on these recordings?”


Instruments played (in order of what I rate my ability)


1.Drums 2. Bass Guitar 3. Latin Percussion (congas, bongos, timables) 4. Guitar 5. Vocals 6. Harmonica 7. Keyboards (getting better due to a recent piano donation from my sister. I’m also learning quite a bit from my 16 year old who is a bit of a natural on the instrument)



“Who are your favourite musicians who have inspired you? “


Drummer: Keith Moon / Clyde Stubblefield (a bit of a contrast there) Guitarist: Steve Cropper Percussion: Mongo Santamaria / Tito Puente Bassist: James Jamerson Vocalist: Otis Redding / Ella Fitzgerald / Muddy Waters Harmonica: Got to be Sonny Boy Williamson Keyboards: Booker T!


“So Neil, what is the future for Original Gravity?”


“In the near future, we have two EP releases imminent. One will be another Reggae release featuring The Regulators, along with some Rocksteady instrumental tracks from the Woodfield Rd Allstars. Plus some early dub stylings from Prince Dolly. This EP will go on pre-order in mid-April with a release date of late July.


Also going onto pre-order within the next few weeks is an EP of our first Latin / Boogaloo tracks which we are really excited about. Think East Harlem, New York circa 1967!


In the mid to long term future, I hope to continue making and releasing more music and as long as people keep buying it and DJs keep spinning it,

I will keep making it! Every sale we make goes towards making more music!”


“Are we able to see any of these acts at ‘live’ shows?”


”I get asked this from time to time and for obvious reasons, this is not really possible. However, apart from gigging with Homegrown, I did do one live show this year with “The Labrats”. We have been a bit unlucky in getting this off the ground as a live act. In 2019 we had several gigs booked, then our keyboard player, Paul Brown (who plays on Floyd James’ The Wig) broke his arm playing baseball and was out of action for around 6 months. He recovered in time for us to play our debut gig (and one and only gig to date) at The 100 Club in London just before Christmas. We had several more dates booked for the coming months, but obviously, the current situation has meant that these have been cancelled / postponed.


We hope to be out gigging again soon as a 5-piece band based around guitars and Hammond organ. This does somewhat limit the Original Gravity material that we can play, because so much of it includes a horn section. But in the future I would really like to develop the live show further and bring in more musicians so that we can play more of the material live.”Andy: “Well thank you Neil for taking the time out of your busy schedule, to take part in this in depth interview with me. I hope all of you readers don’t just find this an interesting read, but also very inspirational!  Once again, thank you Neil, and it is a pleasure to call you a close friend, and always a pleasure working with you. We look forward to many more great releases in the future. For more information and updates please check out the website: and find Original Gravity on Facebook.”




Floyd James & The GTs: The Switchback (Anderson) Neil Anderson: Drums, Bass, Guitars, Harmonica Vincent Bates: Vocals The O’Gees: Horns


Floyd James & The GTs: Green Onions  (Jones/Cropper/Jackson/Stenberg) Neil Anderson: Drums, Bass, Guitar, Background Vocals Tom Quinn: Hammond Organ Vincent Bates: Background Vocals David Doll: Background Vocals


The Supersonics: Chills & Fever (Anderson/Bentley) Neil Anderson: Drums, Bass, Guitars, Keyboards Paul Bentley: Vocals The O’Gees: Horns


Supersonics: Feelin’ Supersonic (Anderson/Bentley) Neil Anderson: Drums, Bass, Guitars, Background Vocals Paul Bentley: Background Vocals John Lee Sanders: Keyboards The O’Gees: Horns


The Labrats: Have Love Will Travel (Berry) Neil Anderson: Drums, Bass, Guitars, Vocals David Doll: Backing Vocals


The Labrats: Psychotic Reaction (Ellner/Chaney/Atkinson/Byrne/Michalski) Neil Anderson: Drums, Bass, Guitars, Harmonica, Vocals


The Labrats: Shake Your Hips (Moore) Neil Anderson: Drums, Bass, Guitars, Harmonica, Vocals


Floyd James & The GTs: Keep Lifting Me Higher (Anderson) Neil Anderson: Drums, Percussion, Bass, Guitars, Keyboards Vincent Bates: Vocals Denise Bates: Backing Vocals The O’Gees: Horns


Melvin Craig: Beggar Man (Anderson) Neil Anderson: Drums, Percussion, Bass, Guitars, Keyboards The O’Gees: Horns


Melvin Craig: Medicine (Anderson) Neil Anderson: Drums, Percussion, Bass, Guitars, Keyboards The O’Gees: Horns & Flute


The Regulators: Mek Wi Rukumbine (Anderson) Neil Anderson: Drums, Bass, Guitars, Keyboards Ramize: Vocals Roxy Rizzo: Backing Vocals The O’Gees: Horns


Brentford Rd Soul Rebels: It’s Alright Now (version) (Anderson) Neil Anderson: Drums, Bass, Guitars, Keyboards Dennis Alcapone: Vocals Ramize: Backing Vocals The O’Gees: Horns


Curtis Baker & The Bravehearts: Lookin’ For My Baby (Smith/Starkes) Neil Anderson: Drums, Percussion, Bass, Guitars, Keyboards, Vocals George Anderson: Backing Vocals Teddy Anderson: Backing Vocals Jason Kendall: Alto Saxaphone The O’Gees: Horn


Woodfield Rd Allstars: Coast To Coast (Anderson) Neil Anderson: Drums, Bass, Guitars, Keyboards


Woodfield Rd Allstars: Soul Flute (Anderson) Neil Anderson: Drums, Percussion, Bass, Guitars, Keyboards The O’Gees: Horns & Flute


Prince Dolly: Why Dub Why? (Anderson) Neil Anderson: Drums, Percussion, Bass, Guitars, Keyboards Ramize: Vocals The O’Gees: Horns Dub: David Doll


Luchito Rodriguez: Hey! Guajira Baby (Anderson/Muñoz) Neil Anderson: Drums, Percussion, Bass, Keyboards, Background Vocals Luchito Muñoz: Vocals The O’Gees: Horns


Luchito Rodriguez: Broasted or Toasted? (Anderson/Muñoz) Neil Anderson: Drums, Percussion, Bass, Keyboards, Background Vocals Luchito Muñoz: Vocals The O’Gees: Horns


Néstor Álvarez: Lupita (Pérez Prado) Neil Anderson: Drums, Percussion, Bass, Keyboards, Guitar and Vocals Luchito Muñoz: Backing Vocals George Anderson: Backing Vocals Teddy Anderson: Backing Vocals The O’Gees: Horns


Néstor Álvarez: Bang The Bongo (Anderson) Neil Anderson: Drums, Percussion, Bass, Keyboards, Guitar  The O’Gees: Horns




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