С регулярными выкладками не получается, поэтому долговременные проекты начинать больше не буду. Просто делаю здесь отдельную тему, где буду добавлять кой-чего (как было в журнале), когда появится время.
Отправлено: 10.11.08 15:49. Заголовок: Terry Huff And Special Delivery - The Lonely One, 1976 (Soul)
1 That's When Love Hurts 4:50 2 The Lonely One [Album Version] 3:34 3 Why Doesn't Love Last 4:58 4 When You're Lonely 4:47 5 Where There's a Will (There's a Way) 3:49 6 Poochie 5:33 7 I Destroyed Your Love, Pt. 1 3:34 8 I Destroyed Your Love, Pt. 2 3:34 9 Just Not Enough Love 4:25 10 The Lonely One [45s Version] 4:35 11 Come Back with Love, Pt. 1 3:26 12 Come Back with Love, Pt. 2 4:43 13 The Lonely One [instrumental] 4:51
Terry Huff - Vocals Chester Fortune - Vocals (bckgr) Jim Huff - Vocals (bckgr) George Parker - Vocals (bckgr) Reginald Ross - Vocals (bckgr)
AMG: "R&B groups from the D.C./Baltimore area were unique in that they would create elaborate vocal arrangements to complement the lead; they didn't just ooh and ah in the background. "I Destroyed Your Love (Parts 1 & 2)" is a prime example of the trend -- lead singer Terry Huff's shrill falsetto cries and whines as Reginald Ross, George Parker and Chester Fortune, singing in ringing three-part harmonies, add some sparkling choruses to the drama; a tenor emerges from the threesome and provides some needed relief from Huff's soprano high pleadings. Only Terry is pictured on the album's cover; Special Delivery was an ever-changing ensemble of singers. Andy Huff and Jimmy Huff (Terry's brothers) are the backing voices on "The Lonely One." A charmer from the first note, Terry sounds real hurt, the type of hurt that lasts for years. All of the songs centered on Terry's real-life problem: a knock-down, drag-out divorce. He missed the family pet so much he wrote a sentimental ballad about the mutt entitled "Poochie"; seems his ex got to keep the dog. This is not a happy album; the songs are some of the saddest imaginable, all filled with self-condemnation. These songs provided a needed release for Terry, who wrote everything except "When You're Lonely" -- another "I'm gonna jump" tune. I hate to think what Terry might have done if he had not found an outlet by writing and recording this album."
1 Raguette 2 No Feathers on This Frog 3 Izvor 4 Winter Tale 5 Introduction and Passacaglia 6 Furioso 7 Lullaby for Angel Fire 8 Oh Yesenske Oy (performed by Miroslav Tadic)
Wikipedia: "A Serbian-born American composer and classical guitarist. He has explored musical languages which are reflected in his style today: a unique synthesis of classical, jazz and ethnic music. As a soloist and in collaboration with other artists, Bogdanović has toured extensively throughout Europe, Asia, Japan and the United States.
His performing and recording activities include work with chamber ensembles of diverse stylistic orientations: the De Falla Guitar Trio; a harpsichord and guitar duo with Elaine Comparone; and jazz collaborations with Anthony Cox, Charlie Haden, Milcho Leviev, James Newton, Arto Tuncbayaci, and others.
Dušan Bogdanović's recording credits include twelve albums (on Essay, Sony Global Pacific, M. A. Recordings, Concord Concerto and other labels), ranging from Bach Trio Sonatas to contemporary works. His compositions are published by Bèrben Editions [1] (Italy), Doberman-Yppan (Canada) and Guitar Solo publications [2] (San Francisco).
Bogdanović was born in Belgrade, Serbia in 1955. He completed his studies in composition and orchestration at the Geneva Conservatory with Pierre Wissmer and Alberto Ginastera, and in guitar performance with Maria Livia São Marcos. Early in his career, he received the only First Prize at the Geneva Competition, and gave a highly acclaimed debut recital in Carnegie Hall in 1977. He has taught at the Geneva Conservatory and the University of Southern California and is currently at the Geneva Conservatory.
His theoretical work includes Polyrhythmic and Polymetric Studies, as well as a bilingual publication covering three-voice counterpoint and Renaissance improvisation for guitar, with a structural analysis of motivic metamorphoses in composition and improvisation (Bèrben). He has also collaborated on multi-disciplinary projects involving music, psychology, philosophy and fine arts."
Отправлено: 10.11.08 15:51. Заголовок: Don Ellis Orchestra - Live In 3 2/3 4 Time, 1966
1 Orientation 11:20 2 Angel Eyes 5:41 3 Freedom Jazz Dance 3:54 4 Barnum's Revenge 4:36 5 Upstart 9:02 6 Thetis 8:27 7 Bossa Nueva Nova 5:30 8 Opus Five 9:53 9 Seven Up 4:39 10 Johnny One Note 2:24 11 Freedom Jazz Dance 7:39
AMG: "The Don Ellis Orchestra really came into its own during the period covered by this CD (1966-1967), playing perfectly coherent solos in ridiculous time signatures. At the time, the band consisted of five trumpets, three trombones, five reeds, piano, three basses, two drummers, and three percussionists. "Barnum's Revenge" has the ensemble playing a satirical brand of Dixieland in 5/4, "Orientation" goes back and forth between 7/8 and 9/8, and "Upstart" is in 11/8 (three and two-thirds beats to the measure!). Somehow everything swings with Ellis, Ira Schulman (on tenor and clarinet), Dave Mackay (on piano), and Tom Scott (on saxello) being the main soloists. In addition to the original six selections (recorded at the Pacific Jazz Festival in 1966 and at Shelly's Manne-Hole in 1967), there are five additional cuts, including an alternate version of "Freedom Jazz Dance." Fun music."
Piramis 1, 1977 01. Szabadnak Szulettem 02. Ha Volna Ket eletem 03. A Fenylo Piramisok Arnyekaban 04. Mondj Egy Meset 05. Ki Tudja, Hol Van 06. Hozd El A Tegnapot 07. Boldog Ember 08. Dal A Kedvesert 09. A Becsulet
Revesz Sandor – enek, ritmusgitar Som Lajos – basszusgitar Gallai Peter – enek, billentyus hangszerek Koves Miklуs – dobok Zavodi Janos – enek, gitar
Piramis 2, 1979 1 Gyere kozelebb 4'54" 2 Masnap olyan hatalmas lett a vilag 4'55" 3 Mikor megszulettem 3'42" 4 Ellenfeny 3'28" 5 Oszinten akarok elni 3'09" 6 Soha nem volt ilyen jo neked 2'55" 7 Ajandek 2'50" 8 Engedj jarnom az utam 5'12" 9 Valami uj kell 3'23" 10 Csak rovid ido 3'33
Revesz Sandor – enek, ritmusgitar Som Lajos – basszusgitar Gallai Peter – enek, billentyus hangszerek Koves Miklуs – dobok Zavodi Janos – enek, gitar
Отправлено: 11.11.08 16:37. Заголовок: Denny Laine - Blue Nights, 1973-1980
1 Wings on My Feet 3:30 2 Japanese Tears 4:43 3 Go Now 3:23 4 Say You Don't Mind 3:10 5 Hometown Girls 4:09 6 Weep for Love 4:34 7 Send Me the Heart 3:40 8 Caribbean Sun 3:26 9 If I Tried 2:23 10 Money Talks 3:39 11 Stay Away 4:01 12 Roll the Dice 3:57 13 Land of Peace 3:39 14 Blue Nights 3:20 15 Blushing Bride 4:02
Denny Laine - Guitar, Keyboards, Vocals, Producer Paul McCartney - Bass, Vocals (bckgr) Linda McCartney - Keyboards, Vocals (bckgr) Rick Wakeman - Keyboards Mel Collins - Sax Eddie Hardin - Keyboards Mike Piggott - Violin Earl Lewis - Bass Chris Slade - Drums Steve Holly - Drums, Vocals (bckgr) Jo Jo Laine - Vocals (bckgr) Tracie Ackerman - Vocals (bckgr) Jackie Rawe - Vocals (bckgr) and others...
Отправлено: 11.11.08 16:38. Заголовок: Keiko Lee (Japan) - Day Dreaming, 1999 (Jazz/Vocal)
1. Waltz For Debby 2. Goodbye Pork Pie Hat 3. Don't Explain 4. Afro Blue 5. Day Dream - Prelude To A Kiss 6. April In Paris 7. 'round Midnight 8. Human Nature 9. Nobody Knows The Trouble I've Seen 10. Joy Spring 11. Child Is Born 12. What A Wonderful World
Keiko Lee - vocal Kenny Barron - piano Ron Carter - bass Grady Tate - drums Jimmy Heath - tenor sax, soprano sax Gil Goldstein - piano Jiro Yoshida - guitar Ben Wittman - drums, percussions Ole Mathisen - soprano sax Issei Igarashi - trumpet
Отправлено: 12.11.08 15:40. Заголовок: Gilberto Gil (Brazil) - Realce, 1979 (MPB - Musica Popular Brasileira)
1 Realce 4:51 2 Sarara Miolo 4:52 3 Superhomem - A Cancao 4:09 4 Tradicao 4:55 5 Marina 4:17 6 Rebento 2:55 7 Toda Menina Baiana 3:52 8 Logunede 4:02 9 Nao Chore Mais (No Woman, No Cry) 4:36
Gilberto Gil - Guitar, Vocals Steve Lukather - Guitar Perinho Santana - Guitar Sergio Dias - Guitar Lincoln Olivetti - Piano, Fender Rhodes Tuca Fender - Rhodes Michael Boddicker - Synthesizer Mark T. Jordan - Fender Rhodes Jo Hansch - Corte Jorge Ferreira da Silva - Oberheim John d'Andrea - Saxophone Larry Williams - Flute, Saxophone Kim Hutchcroft - Flute, Saxophone Gary Grant - Trumpet Jerry Hey - Trumpet Larry Hall - Trumpet Bill Reichenbach Jr. - Trombone Rubao - Bass Bob Kloud - Bass, Bateria Liminha - Bass, Percussion, Bateria Rick Shlosser - Drums, Bateria Luiz Carlos - Drums Djalma Corrèa - Percussion Ariovaldo - Percussion Bill Champlin - Vocals Maria d'Apparecida - Vocals Maria de Fatima - Vocals Carmen Twillie - Vocals Maria Rita - Vocals Maria Fattoruso - Vocals Maria Helena - Vocals
AMG:
"The end of the military dictatorship in Brazil left the country lost in its references and opened way for a period of wild hedonism. Realce, one of Gilberto Gil's most disco-influenced albums, is a document of that period. Released in LP format in 1979, it had the disco ideology expressed in several songs like "Realce" (which became slang for a dangerous drug frequently consumed in those places), "Sarara Miolo" (also a danceable tune, finds room for social criticism through black pride, where Gil reproaches the use of straightening and discoloring of hair by his brothers and sisters), "Marina" (featuring Dorival Caymmi), and "Toda Menina Baiana" (a hybrid of disco and Bahian samba). But there are other songs more faithful to Gil's style. "Superhomem - A Cancao" is a sensitive ballad about the bisexual composition of human psyche, and the importance of the feminine in society. "Tradicao" is a beautiful samba, richly harmonized, and the lyrics talk about Gil's fascination with a guy of the streets. "Rebento," another juicy samba with intelligent lyrics, was re-recorded by Elis Regina. And "Nao Chore Mais," which was another big hit of the album, is a version of B. Vincent's "No Woman, No Cry" made famous by Bob Marley."
Отправлено: 12.11.08 15:44. Заголовок: Etron Fou Leloublan (France) - Les trois fous perdegagnent, 1978 (RIO/Avant-Prog)
Face 1 1. Face à l'extravagante montée des ascenceurs, nous resterons fidèles à notre calme détermination (6:13) 2. Le fleuve et le manteau (7:48) 3. Percutant reportage au pays des fées (0:35) 4. a) Recherche pour un journal, des lunettes, une pipe et un bérêt b) 13h 58, ou les petites aventures du médecin chef c) je veux danser avec toi (Artman Inspiration) (5:53) Face 2 5. le désastreux voyage de piteux Python (10:40) 6. P.O.I. (Pourissement des organes intérieurs) (6:56) 7. Nave de bilande (3:00)
Progarchives: "EFL's sophomore album is a much more assured piece of work than their debut. Founder member Chris Chanet had departed, to be replaced by Francis Grand on saxes, flute, harmonica and melodica. This line up lasted for a busy 18 months starting in September 1976, and the album was recorded in November 1977, with the revised line up augmented with guest guitarist Verto. All of this made for a significant progression from the raw energy of Batelages; the surreal lyrics and Beefheart inspired rhythms remained, but overall there was a greater sense of focus and clarity in evidence.
The album opens with the sounds of street, barking dogs and assorted car and motorbike engines, leading into a 6 minute instrumental that is a classic piece of 70s RIO, with guitarist Verto and Francis Grand chasing each other over a complex rhythm that demonstrates just how powerful the interplay between Ferdiand Richard and Guigou Chenevier had become. The remainder of the first half is equally strong, with the occasional vocals shared between Richard and Chenevier. These songs are full of the twists and turns and stops and starts that are associated with RIO, and if the vocals aren't that powerful they mostly avoid the wilful eccentricity of the debut album. The second half of the album is dominated by La Desastreux Voyage du Piteux Python, a sudden throwback to the style of Batelages complete with surreal lyrics declaimed by a manic Guigou Chenevier and some extremely non virtuoso harmonica. This was probably extremely effective in concert, but the novelty wears off pretty quickly once you've heard it more than a couple of times, and at 10 minutes it more than outstays its welcome. The two shorter pieces which bring the album to a close are much stronger, with Henry Cow, Beefheart and early Zappa influences well to the forefront.
Les 3 Fous is a crucial piece in 70s RIO jigsaw; like Sammla Mammas Manna's Maltid it sees the musicians working towards a fully fledged RIO style, and doing so mostly with good humour and a lot of charm. It can't be called a masterpiece, but if you skip the 10 minutes of La Desasterux Voyage du Piteux Python you're left with half an hour's worth of extremely high quality RIO madness. Cautiously recommended."
Отправлено: 13.11.08 15:26. Заголовок: Erich Kunzel - Big Band Hit Parade, 1988
1 In the Mood 2 Take the "A" Train 4:27 3 Begin the Beguine 2:53 4 Sentimental Journey 3:18 5 One O'Clock Jump 4:15 6 Caravan 4:18 7 Let's Dance 2:39 8 You Made Me Love You 4:33 9 Woodchopper's Ball 5:09 10 Sing, Sing, Sing 6:49 11 I'm Getting Sentimental over You 3:06 12 Well, Git It! 2:49 13 Artistry in Rhythm 3:02 14 Moonlight Serenade 2:54 15 St. James Infirmary 3:03 16 When the Saints Go Marching In 9:31
Ray Brown - Bass Dave Brubeck - Piano Cab Calloway - Vocals Eddie Daniels - Clarinet Buddy Morrow - Trombone Gerry Mulligan - Sax (Baritone) Doc Severinsen - Trumpet Ed Shaughnessy - Drums Erich Kunzel - Conductor Cincinnati Big Band Orchestra
AMG: "Oh no, you think, a symphonic "pops" orchestra trying to masquerade as a big band in some predictable golden oldies for the Geritol set. Surprise — this CD is a swinging, romping, not-at-all-predictable love letter to big bands from Benny Goodman to Stan Kenton and beyond. Kunzel was no newcomer to symphonic jazz fusion, having conducted the Cincinnati Symphony on recordings of Dave Brubeck's religious and secular works and Duke Ellington's concert pieces for Decca in the late '60s and '70s. But few would have expected this recording to turn out this well — and the secret is that Kunzel turns over much of the proceedings to the experts. He leaned heavily on the Tonight Show Orchestra, grabbing Doc Severinsen on lead trumpet, the idiomatic jazz-oriented arrangements of Tommy Newsom and John Bambridge, and perhaps most crucially, the powerfully swinging drums of Ed Shaughnessy. That gets the Cincinnati Pops — augmented by a saxophone section — off the ground, where the strings line the chassis with velvet, yet hardly ever add excess baggage. Then Kunzel sprinkled the orchestra with some bona fide star soloists, a few of whom were evidently impressed enough to sign up with Telarc years later. Gerry Mulligan is there in voluble, bumpy form on baritone sax; Ray Brown is Shaughnessy's co-anchor in the rhythm section and even gets a few bass solos here and there. Eddie Daniels is usually asked to summon forth the sounds of Goodman and Artie Shaw — which he does, soaring with a liquid tone on "Begin the Beguine" — yet his style is more harmonically advanced and it adapts well. Buddy Morrow, likewise, is the smooth Tommy Dorsey stand-in on "I'm Getting Sentimental Over You." "Take the 'A' Train" was a staple of Brubeck's quartet at this time, and he makes the most of it, building toward a typically shouting polytonal climax. Whenever he can, Severinsen is out front blowing up a storm; his reputation as a flashy showman notwithstanding, he can really play — and play as well as anyone. Even the 80-year-old Cab Calloway makes a bravura cameo appearance on "St. James Infirmary." The tunes are pretty much your standard fare from the big band era, but they don't necessarily copy the originals (the almost-non-adaptable "Sing Sing Sing" being an obvious exception), often employing more complex harmonies and updated grooves. Indeed, the slow-handclapping dance rhythm on "Caravan" is contemporary as of, say, 1980. Finally, everyone gets a shot at "When the Saints Go Marching In," with Brubeck's unaccompanied, hymn-like intro to his solo providing the biggest surprise. In less-devoted hands, this could have been a bloated train wreck, but no, it's a triumph for all concerned."
Отправлено: 14.11.08 15:35. Заголовок: Steve Roach & Robert Rich - SoMa, 1992 (Electronica)
1 Love Magick 7:40 2 Nightshade 9:07 3 Going Inland 4:05 4 Silk Ridge 6:05 5 Blood Music 8:10 6 Soma 12:07 7 Seduction of the Minotaur 5:21 8 Touch 4:36
Steve Roach - Synthesizer, Flute, Percussion, Composer, Keyboards, Ocarina, Programming, Voices, Multi Instruments, Didjeridu, Producer, Engineer, Sampling, Performer, Rainstick, Drum Programming, Clay Pot Robert Rich - Synthesizer, Dumbek, Flute, Percussion, Composer, Drums, Guitar (Steel), Keyboards, Programming, Multi Instruments, Kalimba, Dumbeg, Producer, Engineer, Sampling, Performer, Rainstick, Drum Programming, Mastering, Waterphone, Clay Drums Linda Kohanov - Percussion, Scratching, Drums
AMG: "Steve Roach and Robert Rich are the most important electronic ambient musicians in the U.S. SoMa is their highly acclaimed follow-up to their first collaboration, Strata. Soma, according to Vedic writings, is "a drink made from plants which could help one commune with the gods." It is also the Greek word for body. So they designed this CD to be a vehicle to traverse between the physical and spiritual worlds. It is deep stuff. The soundscape offers listeners the opportunity to pursue and achieve states of ecstasy. The only extracurricular involvement is from the souls of the music and the listeners. The psychoactive atmospheres penetrate the defenses of the spirit and use Earth's resonant rhythms to tap into the biorhythms. From that point forward, Rich and Roach are in control. Listeners will go to the far reaches of the netherworld and stay within the limits set by this duo. This CD is in a league of its own. Comparisons would do the other discs an injustice. It is an essential album for all fans of good music."
Отправлено: 14.11.08 15:38. Заголовок: Morgan Fisher - Ivories, 1972 (Experimental)
1 All the Young Dudes :51 2 The Decisive Type :08 3 Cereal Music 3:30 4 Lydian Theme 1:14 5 Sleeper One 3:10 6 Sleeper Two 4:01 7 Good One Ralph :57 8 Sleeper Three 1:27 9 Sleeper Four 2:09 10 Recerie 2:46 11 Dithyramb 2:30 12 Symmetry 1:54 13 Ingrid 7:37 14 Danse 4:20 15 Kiss 9:20 16 The Wattnott :05 17 Roll Away the Stone 78 :26
Morgan Fisher - Keyboards
AMG: "An archetypal British eccentric whose extensive career spanned from pop to glam to ambient music, Morgan Fisher was born in London in 1950. He first garnered notice playing Hammond organ with the 1960s pop band the Love Affair, scoring a Number One U.K. hit in 1968 with "Everlasting Love." After buying an early synthesizer, Fisher turned to electronic music, and created a series of scores for experimental films; he also mounted Morgan, a 'classical rock' band fronted by former Queen vocalist Tim Staffell, and briefly tenured with the Third Ear Band.
In 1973 Fisher signed on as the pianist for Mott the Hoople, and continued with the group — sans Ian Hunter and Mick Ronson — under the abbreviated name Mott. Later rechristened the British Lions, the group disbanded in the late 1970s; given his musical background and sartorial splendor — trademark white suit, homburg and waxed moustache — Fisher seemed an unlikely patron of punk, but inspired by the movement, he established his own independent label, Pipe Records, and turned to producing records for artists including the Dead Kennedys, Jayne County and Cherry Vanilla.
After recording 1980's Slow Music, an early ambient collaboration with avant-jazz saxophonist Lol Coxhill, Fisher adopted the name Hybrid Kids to produce 1980's A Collection of Classic Mutants, a mock compilation album purportedly made up of cover versions of classic pop hits performed by unknown new wave bands. In fact, the entire record was recorded by Fisher and his friends, including Jah Wobble; soon he mounted Miniatures, another compilation — this one legitimate — comprised of 51 one-minute recordings from talents ranging from Robert Wyatt and the Residents to the Damned's Dave Vanian and XTC's Andy Partridge.
After 1982's Claws, a collection of Hybrid Kids' Christmas songs, Fisher toured with Queen before embarking on a lengthy sabbatical in India and the U.S. He finally settled in Japan, where he changed his name to Veetdharm and returned to ambient textures with 1984's Look at Life. 1985's Water Music and 1987's Ivories followed before, in 1990, he teamed with Yoko Ono for the tribute Echoes of Lennon. After returning in London in 1994 to take part in a memorial concert for the late Mick Ronson, Fisher began assembling artists to contribute material for the projected Miniatures for the Millennium, which was released in 1995. Inside Satie followed two years later and Peace In the Heart of the City Cherry Red was issued in 1999. Morgan returned the next year to release both organ: Nova Solis and Water Music."
"In 1972, RCA Italy asked keyboardist Fisher to record a solo album at the same time his art rock group of the period, Morgan, was recording their second LP for the same label. In a sense, you've got to pine for the days when major labels were so daring, or perhaps so clueless, that they were willing to commission something so wholly uncommercial. And it's unsurprising that the label declined to release this keyboard-heavy, wholly instrumental avant- prog rock effort, which did eventually see the light of day in 1984. Quite lacking in anything resembling rock or pop tunes, it's a varied yet inaccessible string of pieces, some only a minute or so long and one ("Danse") almost ten minutes in duration. Fisher was determined to tinker with an assortment of what was then state-of-the-art electronic keyboard equipment, particularly the VCS3 synth, on this group of miniatures. These draw from classical music, difficult serial tones, hard-core electronic dissonance, a bit of prog rock, a bit of cheeky humor (one track is called "Cereal Music"), a bit of vaudevillian tuneage, and occasional passages that sound something like the most dissonant and uncommercial instrumental sections on Mothers of Invention/Frank Zappa albums. When Fisher managed to get it released in 1984, he added a couple of brief new tracks (satirical reworkings of Mott the Hoople songs) and bits of dialogue recorded during his stints with Mott and British Lions. The end product is not the silliest or most uninspired annals of pomp rock (at times it's got virtually nothing to do with rock), but not brilliant, either. The 2001 CD reissue on Angel Air adds extensive historical liner notes by Fisher, with a track-by-track commentary."
Отправлено: 14.11.08 15:42. Заголовок: The J.B.'s - Hustle With Speed, 1975 (Funk)
1 Everybody Wanna Get Funky One More Time, Pt. 1-2 9:34 2 (It's Not the Express) It's the J.B.'s Monaurail 8:15 3 Here We Come, Here We Go, Here We Are 4:28 4 Transmograpfication 4:03 5 Thank You for Letting Me Be Myself and You Be Yours 9:41 6 Taurus, Aries and Leo 6:34 7 Things and Do 5:17 8 J.B. Shout 2:49 9 Alone Again 3:58 10 Sportin' Life 3:53 11 Dirty Harry 3:12
AMG: "The JB's grab at a piece of the disco market that made Van McCoy a solo star with this production. It's excellent throughout despite James Brown's subdued arrangements on some songs. "(It's Not the Express) It's the JB's Monaurail," usually a six-minute song, rambles for over eight. Fred Wesley's funky trombone peppers "All Aboard the Soul Funky Train" (an update of "Night Train"). "Transmograpfication" is similar to jazz trumpeter Eddie Henderson's crossover attempts on his Sunburst and Realization albums. "Thank You for Letting Me Be Myself and You Be Yours" is better than the title, with a Dyke and the Blazers-type vocal that sets it right."
Отправлено: 15.11.08 22:32. Заголовок: Gene Cornish & The Unbeatables - Live at Palisades Amusement Park, 1964
1 Candy Man 3:19 2 I Wanna Be a Beatle 2:09 3 Pride & Joy 2:37 4 Happy Birthday Baby 2:37 5 I Love Paris 2:27 6 Come Go with Me Quick 3:19 7 Peanuts Cook 2:30 8 Your Gonna Cry Someday 2:10 9 Rockin' Robin 2:42 10 Talk to Me 2:25 11 Oh Misery 2:30 12 What'd I Say 2:40
AMG: "Anyone who lived in New York or New Jersey in the early 1960's can add a star to the above rating, because this CD is a vital reminder of the band scene that existed in New York and New Jersey in the early 1960's. It is easy to forget that the area was a seething cauldron of musical influences, black and white, including the kind of good-time music represented here. And as for Palisades Amusement Park, where they were recorded-and which was immortalized in the song "Palisades Park"-it was a top performing venue for club bands on their way up, trying to earn a living and get some exposure on the radio, which is provided here by WMCA deejay B. Mitchell Reed. The Unbeatables played r&b with a rocking beat and a smooth, high-energy approach. Gene Cornish was the star of the group, turning in three original songs ("You're Gonna Cry Someday," "I Wanna Be A Beatle," "Oh! Misery") and some highly animated guitar as well. "Oh! Misery" sounds a bit like George Harrison's "Don't Bother Me," and much of what is here is highly derivative-on the other hand, it's all enjoyable and a lot of it is exciting as well. "What'd I Say" and "Rockin' Robin" are typical of the covers, which are enjoyable is nothing special. On the minus side, none of the other band members are fully identified (their first names are given in one stage announcement), there are no notes to speak of, and one does wonder about the editing and the actual "live" origins of come of the tracks (the audience comes in just a little too fast on several, and the sound is a little too good for 1964 stage recordings). But that shouldn't prevent anyone from checking out this delightful 30 minute musical footnote in the pre-history of the Rascals."
Отправлено: 17.11.08 15:31. Заголовок: Body (UK) - The Body Album, 1981 (Space Rock)
1. The Sun Will Never Shine On 2. Brave New World 3. Lights Out 4. Silver Lady 5. Cheater 6. Andromeda 7. Vacant 8. Icopath 9. The Bardo Experience 10. Space Infinity
Gary Allison - Percussion, Vocals Rony Nelson - Bass, Vocals Tony Allison - Lead Guitar, Flute, Vocals John Bleasdale - Keyboards
Freakemporium: "Great late '70s early '80s UK space rock band has that classic free festival vibe. Body combined Floyd like guitars and tight vocal harmonies with a Hillage/ Hawkwind/ Here and Now vibe and produced some excellent songs on this their album (which is very rare on vinyl)."
Отправлено: 18.11.08 15:45. Заголовок: Freedom's Children (South Africa) - Battle Hymn of the Broken Hearted Horde, 1968 (Psych/Prog)
1 Introduction [Narrative] 2:26 2 Season 2:54 3 Judas Queen 3:43 4 Mrs. Browning 2:57 5 Country Boy 2:49 6 Your Father's Eyes 2:20 7 Eclipse 3:09 8 Ten Years Ago 5:41 9 Kafkasque 3:17 10 Boundsgreen 3:06 11 Miss Wendy's Dancing Eyes Have Died 4:21
Ramsay MacKay - Bass, vocals, narration Julian Laxton - Guitars on 'Eclipse' & 'Kafkasque' Colin Pratley - Drums Nic Martens - Keyboards Pete Clifford - Guitar Dennis Robertson - Vocals Stevie van Kerken - Vocals Steve Trend - Vocals Peter Vee - Vocals Harry Poulos - Keyboards on 'Eclipse' & 'Kafkasque' Brian Davidson - Vocals (unconfirmed)
Отправлено: 20.11.08 15:37. Заголовок: The Plastic People Of The Universe - Hovezi Porazka, 1984
1. Šel pro krev 2. Prasinec 3. Kanarek 4. Nenavist vola k reznickymu psu 5. Petrin 6. Moucha v rannim pive 7. Bleskem do hlavy 8. Spatna vec 9. Papirovy hlavy
Milan Hlavsa - bass [1-9], guitar [5,6], vocals [1, 3-5, 7-9] Josef Janicek - keyboard [1-9], synthesizer Korg [3-8], vocals [1,2,5,8] Jiri Kabes - viola [1-9], vocals [6, 7] Jan Brabec - drums [1-9], vocals [7] Ladislav Lestina - violin [1-9] Vaclav Stadnik - bass-clarinet [1, 3, 4, 7], flute [2,5,6,8,9] Petr Placak - clarinet [1, 3-7], bass-clarinet [2] Milan Schelinger - guitar [8] Vratislav Brabenec - alto saxophone [9]
AMG: "This band's debut may well have been one of the most amazing and radical records to be released during the punk era (or any era for that matter), recorded under the most extreme conditions in the years before punk rock was a reality (1973-1974). Prague's Plastic People of the Universe, and the band they later became, Pulnoc, remain one of rock & roll's great stories of triumph and how great music can be produced and survive even in the most hostile of environments. The band was founded in 1968 soon after 500,000 Soviet troops invaded Czechoslovakia. With the Kremlin not being particularly fond of Western-style rock that wasn't sanctioned by the state, the Plastic People, to paraphrase the Jefferson Airplane, quickly became outlaws in the eyes of Moscow (and the ruling Soviet government in Prague). From 1970 until the "Velvet Revolution" of 1989 that ended Soviet domination, the Plastic People lived a mostly illegal existence, with two of their members, Ivan Jirous and Jaroslav Vozniak, doing lengthy stretches in prison. Influenced by Zappa, English progressive rock/radical politicos Henry Cow, Captain Beefheart, and the Velvet Underground, the Plastic People appropriated the avant-garde leanings and anti-authoritarian outrage of these bands while working in their own sense of dread and desperation. Remember, according to Soviet law, they could not record, press, and distribute albums or play gigs; still, they did all three surreptitiously, with the help of their numerous artist friends who made up an indefatigable support network known as the Invisible Organization.
Although all of their music remained unheard outside of Eastern Europe (or Czechoslovakia for that matter), their first record was released in the West in 1978. Egon Bondy's Happy Hearts Club Banned was not a proper record in the sense that the Plastic People entered a studio with the intent to record a "rock" record that would be placed into mass circulation. The reality was that these were grubby, lo-fi demo recordings made by friends on primitive equipment and released without the band's knowledge. It also marked the first time the poetry of Czech dissident Egon Bondy was heard outside of Czechoslovakia. Bondy wrote lyrics that meshed perfectly with the Plastic People's cacophonous sound: harsh, dissonant soloing over repetitive odd-metered rhythms. It remains dense, challenging music, totally oblivious to the state-approved pop music.
A ferocious government crackdown on the Plastic People and their supporters occurred in 1976. Many of them were jailed, their meager instruments and recording equipment confiscated or destroyed, all in the hope that this troublesome group of avant-garde artistic political radicals would finally be stopped. The problem was that Czech government officials didn't realize that the music of the Plastic People was being listened to in the West (thanks to favorable reviews of Egon Bondy in the British music press and in America in the Village Voice) and that groups such as Amnesty International were now wondering why these musicians were being persecuted and jailed without trial. Although never reaching the fever pitch of, say, Nelson Mandela's incarceration, it wasn't long before the plight of the Plastic People became better known to an outraged Western pop community. After being released from prison, the band managed two more releases in the '80s that were (and still are) extremely difficult to find.
After 15 years of struggle, incarceration, harassment, and violence, the Plastic People quietly disbanded in 1984, but in no way stopped their anti-government activities. Finally, in 1988, a year before the "Velvet Revolution" and the ascendancy of the poet/writer Vaclav Havel (a longtime supporter and occasional lyricist for the Plastic People) to the presidency, the band was given government permission to perform under the name Pulnoc ("Midnight"). With three original Plastic People in the group (Milan Hlavsa, Josef Janicek, and Jiøí Kabeš), Pulnoc recorded an extraordinary debut for Arista in 1991 (City of Hysteria), and a difficult-to-find live cassette recorded at New York's vaunted experimental performance space PS 122. Unlike the radical, dissonant sounds of the Plastic People, Pulnoc had a more traditional guitar-based rock sound and production polish, but its accessibility in no way detracts from its greatness as a record. There has been little music from Pulnoc since City of Hysteria, though there was a reunion and tour of the country in 1997. But, whatever the case, this story had a much happier ending than anyone could have anticipated. Although much work is required in finding what little recorded work they made, the payoff is well worth the effort."
Отправлено: 20.11.08 15:38. Заголовок: Patto - Roll 'Em, Smoke 'Em Put Another Line Out, 1972
Patto - Roll 'Em, Smoke 'Em Put Another Line Out, 1972 1 Singing the Blues on Reds 2 Flat Footed Woman 3 Mummy Halsey 4 Loud Green Song 5 Turn Turtle 6 I Got Rhythm 7 Peter Abraham 8 Cap'n 'P' and the Atto's (Sea Biscuits, Pt. S 1 and 2)
AMG: "Initially a project of keyboardist/programmer Soren Bengtsson and bassist/vocalist "Captain" Juba Nurmenniemi, Darxtar has continued to evolve since the forced departure of Nurmenniemi in 1994. Their November 2001 album, Tombola, introduced a new lineup featuring guitarist/vocalist Bjorn Jacobson and violinist Fredric Sundqvist. Meeting in a used record store in Stockholm, in 1989, Bengtsson and Nurmenniemi collaborated on their first recording during the summer of 1990. Nurmenniemi, who had begun playing guitar in 1978, had been focusing on computerized keyboards for several years before returning to the guitar in October 1988. Planning a tribute album to commemorate the songs of the late Hawkwind singer/songwriter, Robert Calvert, Bengtsson and Nurmenniemi recorded a cassette in Bengtsson's home studio. Two tracks were subsequently released on the multi-artist compilation, Daydreams And Nightmares. Asked to record a full-length album, engtsson and Nurmenniemi began work on Darxtar's self-titled debut album. By the time that the album was released on Acid Tapes, in December 1991, and reissued by SPM World Wide, the two musicians had begun work on a follow-up, Darker.Although rejected by SPM World Wide for being "too experimental," Swedish label, Garageland agreed to release it in 1993. Recording their third album, Daybreak, as a band, Darxtar performed their first concerts in late1994. As their differences became more and more pronounced, during a European tour, Bengtsson and Nurmenniemi began to argue. Following the tour, Nurmenniemi was asked to leave the group. In a late-1980s interview, Bengtsson recalled, "Nurmenniemi was sacked. He's a difficult character and I just couldn't take anymore of him." Continuing to play without Nurmenniemi, Darxtar experienced its first break when they were invited to accompany Hawkwind vocalist Nik Turner on solo tours in 1995 and 1998."
1. Y Note 2. Moonlight 3. Kookoo's Nest 4. I Want To Know Your Name 5. Urban Express 6. Code Blue Urban Express 7. Frantic Lover 8. Song of a Space People 9. I Just Love You 10. Blues For Pinky
Michal Urbaniak - violin, keyboards Lenny White - drums, percussion, keyboards Bernard Wright - keyboards, vocals, synthetizers, drum machines Billy Spaceman Patterson - guitars on (5) Stephen Fox - guitars on (1 and (8) Nicki Richards - vocals on (4) Joachim Joggi Smith - keyboards on (2) Matthew Radziejewski - funky pick on (1) Bob Baldwin - drum programming and keyboards on (8)
AMG: "Once Poland's most promising import in the jazz-rock 1970s, Michal Urbaniak's chief value in retrospect was as a fellow traveler of Jean-Luc Ponty, a fluid advocate of the electric violin, the lower-pitched violectra, and the lyricon (the first popular, if now largely underutilized wind synthesizer). Like many Eastern European jazzmen, he would incorporate elements of Polish folk music into his jazz pursuits, and his other heroes range from the inevitable Miles Davis to Polish classicist Witold Lutoslawski. His electric violin was often filtered with a gauze of electronic modifying devices, and on occasion, he could come up with an attractively memorable composition like "Satin Lady." Urbaniak began playing the violin at age six, followed by studies on the soprano and then tenor saxophones. His interests in jazz developed chronologically from Dixieland to swing to bop as he grew up, and he studied at the Academy of Music in Warsaw while working in various Polish jazz bands and playing classical violin. In 1965, he formed his own band in Scandinavia with singer Urszula Dudziak (later his wife), returning to Poland in 1969 to found Constellation, which included pianist Adam Makowicz. Having won a scholarship to the Berklee School upon being voted Best Soloist at the 1971 Montreux Jazz Festival, Urbaniak made the U.S. his home in 1973. He soon formed a popular jazz-rock group called Fusion, recording for Columbia and Arista in a Mahavishnu Orchestra/Ponty fashion, with Dudziak adding darting, slippery scat vocals. This group lasted until 1977, and Urbaniak's profile would never be as high again, although he performed with Larry Coryell in 1982-83, led the new electric group Urbanator in the 1990s, and has performed and recorded in other styles ranging from bop to free jazz."
1 Parlez-Moi d'Amour 4:54 2 C'Est Si Bon 4:02 3 Les Feuilles Mortes 3:39 4 Theme from Summer of '42 (The Summer Knows) 5:17 5 Revoir Paris 4:41 6 On Legionnaire 6:36 7 The Good Life 5:39 8 Clopin-Clopant 3:37 9 Mon Homme 3:55 10 What Are You Doing the Rest of Your Life? 5:57 11 Insensiblement 4:55 12 Les Parapluies de Cherbourg 3:51 13 Milou en Mai 3:18 14 Irma la Douce 4:01 15 Nuages 5:34
Michel Legrand - Piano Stephane Grappelli - Violin Stephane Belmondo - Trumpet Tony Russo - Trumpet Kako Besset - Trumpet Pierre Dutour - Trumpet Jon Faddis - Trumpet Denis Leloup - Trombone Jacques Bolognesi - Trombone Christian Guizien - Trombone Maurice Cevrero - Trombone (Bass) Marc-Michel LeBevillon - Bass (Electric) Daniel Marillier - Double Bass Phillippe Noharet - Double Bass Andre Ceccarelli - Drums and others...
[реклама вместо картинки] 1. Pamet Lasky 4:04 2. Blue Effect Street 4:06 3. Fenix 4:28 4. Stroj Na Nic 2:27 5. Slunecni Hrob 1:50 6. Little Girl (Devcatko) 3:55 7. Deserted Alley (Osamela Ulice) 3:11 8. Blues About Stone (Kamenne Blues) 8:00 9. Rainy Day (Destivy Den) 3:57 10. Where Is My Star (Kde Je Ma Hvezda) 3:30 11. Sen Neni Vecny 3:28 12. I Like The World (Sun Is So Bright) 3:09 13. Blue Taxi 2:40 14. Snakes 2:27 15. Slunecny Hrob 3:28 16. I've Got My Mojo Working 3:46 17. White Hair 4:19
Vladimir Misik - vocal Radim Hladik - guitar Jiri Kozel - bass Vlado Cech - drums Milos Svoboda - guitar
Отправлено: 22.11.08 18:23. Заголовок: George Benson - Cookbook, 1966
1 Cooker 4:18 2 Benny's Back 4:10 3 Bossa Rocka 4:20 4 All of Me 2:04 5 Farm Boy 4:40 6 Benson's Rider 5:35 7 Bayou 3:32 8 Borgia Stick 2:40 9 Return of the Prodigal Son 2:38 10 Jumpin' With Symphony Sid 6:33
George Benson - Guitar Dr. Lonnie Smith - Organ Ronnie Cuber - Sax (Baritone) Ray Lucas - Drums Bennie Green - Trombone Jimmy Lovelace - Drums Marion Booker - Drums
AMG: "The second of Benson's John Hammond-produced albums is far and away the superior of the pair, mixing down-to-basics, straight-ahead jazz with soul-drenched grooving. Suddenly Benson's backup group - same as that of Uptown, with Benny Green added on trombone now and then - has found its bearings and apropos to the title, they can cook, even sizzle. The effect upon Benson's own playing is striking; with something to react against, his sheer ability to swing advances into the realm of awesome. The rapid-fire work on "The Cooker" and "Ready And Able" will make you gasp. Only one vocal here, an exuberant "All Of Me." [In mid-2001 Columbia/Legacy reissued this 1966 classic, along with It's Uptown, recorded only several months earlier. Four bonus tracks include a (previously unreleased) doo wop vocal rendition of Little Willie John's "Let Them Talk" and two Benson originals that are pure rock-n-roll: "The Man from Toledo" and "Goodnight." Two of the bonus cuts are preceded by control-booth comments from the session's legendary producer, John Hammond.]"
1 A Plea to God 3:30 2 Rozhinkes Mit Mandlen 3:00 3 A Shepherd, a Dreamer 3:44 4 Mom-E-Le (Mother Dear) 3:27 5 A Zemerl Bugatch 3:36 6 A Dudele 3:48 7 Kol Nidrei 5:02 8 Meyerke, Mein Zun 3:35 9 Eili Eili 3:47 10 Shiroh 2:33 11 A Cantor for a Sabbath 4:48
Jan Peerce - Tenor (Vocal) RCA Victor Symphony Orchestra Warner Bass - Conductor Abraham Ellstein - Conductor
Отправлено: 24.11.08 15:48. Заголовок: Freedom's Children (South Africa) - Astra, 1970
Astra, 1970 1. Aileen (2:01) 2. The Homecoming (6:19) 3. The Kid He Came From Hazareth (5:24) 4. Medals of Bravery (3:25) 5. Tribal Fence (4:12) 6.Gentle Beasts Pt. 1 & 2 (5:26) 7. Slowly Towards the North Pt. 1 & 2 (7:04) 8. Afterward (4:57)
Julian Laxton - guitars, black box Ramsay MacKay - bass Gerard Nel - piano, Harpsichord, bells Nic Martens - Organ Brian Davidson - vocals Colin Pratley - drums
Отправлено: 24.11.08 15:49. Заголовок: Freedom's Children (South Africa) - Galactic Vibes, 1972
Galactic Vibes, 1972 1. Sea Horses (4:13) 2. The Homecoming (16:12) 3. That Did It (3:44) 4. Fields and Me (5:57) 5. The Crazy World of Pod (1:43) 6. 1999 (4:02) 7. About the Dove and His King (3:44)
Julian Laxton - guitars Ramsay MacKay - bass Gerard Nel - keyboards Nic Martens - Organ Brian Davidson - vocals Colin Pratley - drums
Отправлено: 24.11.08 15:51. Заголовок: Arco Iris (Argentina) - Sudamerica o el Regreso a la Aurora, 1972 (Jazz Rock/Fusion)
1. Obertura 2. La canciуn de Nahuel 3. Canto del pбjaro dorado 4. Viaje astral 5. Tema del Maestro 6. Iluminaciуn 7. Gira 8. Sнgueme 9. El negro 10. Los campesinos y el viajero 11. El estudioso 12. Oraciуn de la partida 13. Epнlogo: Salvense ya 14. Recuerdo 15. Canciуn de los peregrinos 16. Amancay 17. Hombre 18. Deserciуn del viajero 19. La duda de los campesinos 20. El aliento de Dios 21. El viajero delata a los peregrinos 22. Persecuciуn de los peregrinos 23. Viaje por las galerнas subterraneas 24. Salida al inmenso lago - Iluminaciуn 25. Reencuentro con Amancay - Oremos 26. Las colinas y el Maestro 27. Sudamйrica
Progarchives: "This is first of two double albums that Argentinian band Arco Iris recorded, the second being Agitor Lucens V. I'm going to go out on a limb and say that this is an essential South American prog album in every way, quite stunning, in fact. Arco Iris combined elements of psychedelia, jazz (the excellent sax playing resembles early Crimson), symphonic prog, some Floydian spacy elements, and Andean folk in a stew that is not too far off from Jaivas' early sound but is still distinctive. This is too long an album to break down track by track, but it comprises a number of short pieces (occasionally a recurring melody pops up from the overture) and two long tracks. The long tracks tend to devolve into guitar based jamming, which is not entirely my cup of tea, but the level of musicianship is very high. The short songs are all wonderful, usually characterized by great harmony vocals and often some lovely acoustic playing. S. American folk instruments pop up from time to time, as well as some very tasty flute playing.For the time and place (meaning the technology available there at the time), the production is very good, clean and clear. I'd like to give this five stars, but it's not currently available on CD and may not become so, so I don't want to make all you proggers jealous. But if you come across it, you will not regret picking this album up. It's ambitious, artistic and a great musical journey into the realms of South American prog."
Отправлено: 26.11.08 15:37. Заголовок: Tommy Bolin - Live At Ebbets 1974
1 You Know, You Know 4:36 2 San Francisco River 5:38 3 Shakin' All Night 4:29 4 Walkin' My Shadow 4:09 5 Born Under a Bad Sign/Ain't No Sunshine 8:57 6 Crazed Fandango 7:29 7 Ain't Nobody's Fool 8:55 8 Homeward Strut 5:03 9 Honey Man 7:34 10 Stratus 5:28
Tommy Bolin - Guitar, Vocals Jeff Cook - Vocals Stanley Sheldon - Bass Archie Shelby - Percussion
AMG: "During his tragically short career, Tommy Bolin played with many different musicians and bands. In early June 1974, Bolin was still a member of the about-to-splinter James Gang, and decided to book a couple of nights at the Denver club Ebbets Field to try out some new material he'd written. He called upon his old band Energy to back him up, and the show (finally officially released on CD) is a guitar player's dream, especially for those into the classic sounds of Jeff Beck, Santana, and Hendrix. And even though the five songs that contain vocals (courtesy of Jeff Cook) are quite good, it's the other five instrumental tracks that make this disc a fine testament to the Tommy Bolin legacy. Bolin lends his touch to such raging rockers as the opening "You Know, You Know" and "Homeward Strut," while fans of the Allman Brothers should definitely check out "Shakin' All Night," with its fluid slide guitar work. Also included are nasty renditions of the blues-rock standards "Born Under a Bad Sign" and "Ain't No Sunshine," combined as a medley. Even though some of these tracks ("San Francisco River," "Stratus," etc.) have been issued on some of the other releases from the Tommy Bolin Archives record label, they are all versions from different recording dates. This is an excellent live document showing what Bolin could accomplish while jamming for fun, in the company of some good friends."
Отправлено: 26.11.08 15:38. Заголовок: Night Ranger - Dawn Patrol, 1982
1 Don't Tell Me You Love Me 4:22 2 Sing Me Away 4:10 3 At Night She Sleeps 4:12 4 Call My Name 3:44 5 Eddie's Comin' Out Tonight 4:27 6 Can't Find Me a Thrill 3:21 7 Young Girl in Love 3:34 8 Play Rough 4:15 9 Penny 3:47 10 Night Ranger 4:39
Alan Fitzgerald - Keyboards, Vocals Jeff Watson - Guitar Brad Gillis - Guitar, Vocals Jack Blades - Bass, Vocals Kelly Keagy - Drums, Vocals
AMG: "Unlike many of their pop-metal contemporaries, Night Ranger's early work has aged quite well, and this excellent 1982 debut is a well-kept secret of the genre. Dripping with hooks and irresistible choruses, "Don't Tell Me You Love Me," "Sing Me Away," and "Young Girl in Love" are simply outstanding songs. Anyone doubting the band's ability to rock out need only listen to the vicious bursts of "Eddie's Comin' Out Tonight" and "Play Rough." And despite offering the mandatory power ballad in "Call My Name" (which is actually quite good), the band rarely allow the album's intensity level to lag."
Отправлено: 26.11.08 15:39. Заголовок: The Isley Brothers - Shout, 1959
1 When the Saints Go Marching In 2:30 2 St. Louis Blues 3:00 3 Yes, Indeed! 2:02 4 How Deep Is the Ocean? 1:59 5 Ring-A-Ling-A-Ling (Let the Wedding Bells Ring) 2:58 6 Rock Around the Clock 2:14 7 Turn to Me 2:40 8 He's Got the Whole World in His Hands 1:57 9 That Lucky Old Sun (Just Rolls Around Heaven All Day) 2:44 10 Respectable 2:10 11 Without a Song 1:58 12 Shout, Pts. 1-2 [Full Uncut Version] 4:25
AMG: "Shout" is like a tent revival gone haywire, with the merest scraps of a song — a groove and a few phrases — igniting a soul explosion the likes of which had never been heard on record. The song was only a minor hit, but has been granted immortality for its exuberance and influence. The album of the same name, the Isley Brothers' full-length debut in 1959, shows what a gulf existed between the Isleys and their old-school producers. The menu of standards and white rock & roll songs like "Rock Around the Clock" may have worked well for someone like Brook Benton, but the Isley Brothers sound tense on these songs, like they want to break loose. Collectables' skimpy 1990 Shout! CD is a straight reissue of the album, but BMG's Shout: The RCA Sessions contains the album and several cuts from singles, making it the preferred package."
Отправлено: 04.12.08 15:12. Заголовок: Annette Funicello - The Best Of Annette, 1958-1964 (Vocals/Teen Idol)
1 Tall Paul 1:35 2 Tell Me, Who's the Girl? 2:13 3 Train of Love 2:42 4 Let's Get Together 2:12 5 Pineapple Princess 2:26 6 The Monkey's Uncle 2:32 7 Merlin Jone 2:17 8 Beach Party Tonight 2:02 9 Jamaica Ska 2:32 10 Bikini Beach Party 1:57 11 Let's Twist Again 2:06 12 Surfer's Holiday 1:58 13 Stuffed Animal 2:20 14 Blame It on the Bossa Nova 2:54
AMG: "Annette Funicello was 13 years old when she was discovered by studio head Walt Disney dancing in an amateur production of Swan Lake in Fullerton, CA. Much to the enmity of her Mickey Mouse Club co-stars, Funicello joined the cast late in the show's first season and was not required to audition. However, Disney's impulses proved correct, as she swiftly became the most popular performer on The Mickey Mouse Club and featured in her own storyline, Adventures in Dairyland. Soon it was obvious that Funicello needed to make records in order to exploit her potential as a teen star, and while Annette wasn't very enthusiastic about her ability to sing, Disney engaged established arranger Tutti Camerata to pilot her career as a recording artist. Funicello's first record, "Tall Paul," peaked at number seven on the Billboard pop charts and spent nine weeks there; it would prove the highest chart position she would enjoy. Nevertheless, Funicello's enormous audience base — mostly teen girls — was enough to support her through 12 albums released through 1965, all but the first appearing on the Buena Vista label, a record company begun by Walt Disney so that Funicello's records need not appear on the Disneyland imprint.
Funicello ultimately got accustomed to making records, and genuinely enjoyed working with Camerata, one of the few forty-something arrangers of the time who "got" the basic building blocks of early rock music. Her albums gradually improved starting with the third one, Annette Sings Anka, probably the first LP to treat the work of a rock songwriter as repertoire. In 1963, Funicello starred in Beach Party, the first of five immensely popular "beach party" films, usually co-starring Frankie Avalon; although produced by AIP, the scripts of every one of these films was personally read and approved by Walt Disney in order to protect Annette's squeaky-clean image. Funicello's film vehicles proved important grounds for breaking other artists; Stevie Wonder appeared in Muscle Beach Party (1964), James Brown in Ski Party (1965), and the Beach Boys backed her up in her final film for Disney, The Monkey's Uncle (1965). Funicello's own personal best in terms of LPs came with the soundtrack album to Muscle Beach Party.
In 1965, Funicello informed Disney about her intention to marry, and to retire from acting, and Disney gave his blessing. Although she did appear afterward in a few films, including the Monkees' Head (1968), made TV commercials, and appeared in Dick Clark specials in the 1970s, Funicello essentially remained a retired, full-time mom from 1965 forward. She made one more album in the 1970s, The Annette Funicello Country Album, and it proved the only record she made that reflects her personal interests in music. In 1993, Annette Funicello disclosed that she was suffering from multiple sclerosis, and has not appeared in public since then. Her work for Buena Vista remains an acquired taste, a little too saccharine for some listeners. However, some of Camerata's arrangements really do "rock" and Funicello's bright, straightforward, and always enthusiastic singing looks forward to female pop singers of a much later era, the new wave vocalists of the 1980s."
Отправлено: 04.12.08 15:14. Заголовок: Serge Gainsbourg (France) - Du jazz dans le ravin, 1958-1964 (Jazz/Chanson)
1. Angoisse 2. Du Jazz Dans le Ravin 3. Requim pour un Twister 4. Chez les Yé-Yé 5. Black March 6. Black Trombone 7. Ce Mortel Ennui 8. Générique 9. Coco and Co. 10. Intoxicated Man 11. Elaeudanla Téïtéïa 12. Le Talkie-Walkie 13. Some Small Chance 14. Quand Tu T'Y Mets (When You Go for It) 15. La Fille au Rasoir 16. Quand Mon 6'35 Me Fait les Yeux Doux 17. Fugue 18. Machins Choses (What's His Name) 19. Negative Blues 20. Wake Me at Five
Serge Gainsbourg - piano, voix Elek Bacsik - guitare electrique Michel Gaudry - contrebasse Alain Goraguer - arrangements et direction d'orchestre
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