Ian Svenonius - vocals
James Canty - guitar, organ and vocals
Michelle Mae - bass, vocals
Steve Gamboa - drums

This new Gospel Disc has been recorded in the Temple "Cold Rice". None of the technical achievements used in the recording industry to bring out the best has been observed, which would alter the authenticity of the Album. Its weaknesses, therefore, are obvious. Nevertheless these weaknesses are the basis for its value.

Used as recording studio was the Cold Rice, the usual Temple with its poor soundproofing, vaulted ceiling and tiled floor. As performers, The Make-Up and the Make-Upette choir girls, rendering these hymns that suggest a postulation toward the gods of their breed. Towards the great master first.

Vibrations of sincerity emanate from the record. Truly, it is an evasion from reality, a meeting with the eternal beauties. More, it is the overintensity of a credo that wipes out doubt in the presence of this religion of the spirit.

For, the lack of a dogma can in no way deprive "Gospel Yeh-Yeh" of its religous syncretism, this powerful bind in which boy and girl find the notion of their mission of affection, and their Destination of Love.

This Gospel Yeh Yeh recording, :D:Love;Live", the first of its kind, is a flight towards the higher mansions where the soul comes in attunement with eternal tenderness.

Make-up to taka bardziej taneczna wersja Nation Of Ulysses. Sami artyści określają swoją muzykę jako "gospel yeh-yeh" czyli zderzenie soulu lat 60-ych i garażowego rocka. Jest freakowo, bardzo groovy i z iście punkową energią.

This new Gospel Disc has been recorded in the Temple "Cold Rice". None of the technical achievements used in the recording industry to bring out the best has been observed, which would alter the authenticity of the Album. Its weaknesses, therefore, are obvious. Nevertheless these weaknesses are the basis for its value.

Used as recording studio was the Cold Rice, the usual Temple with its poor soundproofing, vaulted ceiling and tiled floor. As performers, The Make-Up and the Make-Upette choir girls, rendering these hymns that suggest a postulation toward the gods of their breed. Towards the great master first.

Vibrations of sincerity emanate from the record. Truly, it is an evasion from reality, a meeting with the eternal beauties. More, it is the overintensity of a credo that wipes out doubt in the presence of this religion of the spirit.

For, the lack of a dogma can in no way deprive "Gospel Yeh-Yeh" of its religous syncretism, this powerful bind in which boy and girl find the notion of their mission of affection, and their Destination of Love.

This Gospel Yeh Yeh recording, :D:Love;Live", the first of its kind, is a flight towards the higher mansions where the soul comes in attunement with eternal tenderness.