terça-feira, 27 de setembro de 2016

WALLPAPER: "Cry Freedom"


WALLPAPER: "Bruce Springsteen"


WALLPAPER: "Wednesday Morning, 3 a.m."


THIS FILM SHOULD BE PLAYED LOUD!

"The Last Waltz" was a concert by the Canadian rock group, the Band, held on American Thanksgiving Day, November 25, 1976, at Winterland Ballroom in San Francisco. "The Last Waltz" was advertised as the end of the Band's illustrious touring career, and the concert saw the Band joined by more than a dozen special guests, including Paul Butterfield, Eric Clapton, Neil Diamond, Bob Dylan, Ronnie Hawkins, Dr. John, Joni Mitchell, Van Morrison, Ringo Starr, Muddy Waters, Ronnie Wood and Neil Young. The event was filmed by director Martin Scorsese and made into a documentary of the same name, released in 1978. The film features concert performances, scenes shot on a studio soundstage and interviews by Scorsese with members of the Band.


Beginning with a title card saying "This film should be played loud!" the concert documentary is an essay on the Band's influences and their career. The group – Rick Danko (died 1999, December 10) on bass, violin and vocals, Levon Helm on drums, mandolin and vocals, Garth Hudson on keyboards and saxophone, Richard Manuel (died 1986, March 4) on keyboards, percussion and vocals, and guitarist-songwriter Robbie Robertson – started out in the late 1950s as a rock and roll band led by Ronnie Hawkins, and Hawkins himself appears as the first guest. The group backed Bob Dylan in the 1960s, and Dylan performs with the Band towards the end of the concert.



The idea for a farewell concert came about early in 1976 after Richard Manuel was seriously injured in a boating accident. Robbie Robertson then began giving thought to leaving the road, envisioning the Band becoming a studio-only band, similar to the Beatles' decision to stop playing live shows in 1966. Though the other band members did not agree with Robertson's decision, the concert was set at Bill Graham's Winterland Ballroom, where the Band had made its debut as a group in 1969. Originally, the Band was to perform on its own, but then the notion of inviting Ronnie Hawkins and Bob Dylan was hatched and the guest list grew to include other performers.





Promoted and organized by Bill Graham, who had a long association with the Band, the concert was an elaborate affair. Starting at 5:00 p.m., the audience of 5,000 was served turkey dinners. There was ballroom dancing with music by the Berkeley Promenade Orchestra. Poets Lawrence Ferlinghetti and Michael McClure gave readings. The concert began with the Band performing its more popular songs an lasted more than 9 hours with all those special guests playing with the group. At around 2:15 a.m. the Band came to perform an encore, "Don't Do It". It was the last time the group performed with its classic lineup.




The original soundtrack album was a three-LP album released on April 16, 1978 (later as a two-disc CD). It has many songs not in the film, including "Down South in New Orleans" with Bobby Charles and Dr. John on guitar, "Tura Lura Lural (That's an Irish Lullaby)" by Van Morrison, "Life is a Carnival" by the Band, and "I Don't Believe You (She Acts Like We Never Have Met)" by Bob Dylan. In 2002, this four-CD box set was released, as was a DVD-Audio edition. Robbie Robertson produced the album, remastering all the songs. The set includes 16 previously unreleased songs from the concert, as well as takes from rehearsals.





segunda-feira, 26 de setembro de 2016

LES PAUL & MARY FORD - 1962/1963

Original released on LP Columbia CS 8488
(US, 1962)

Les Paul and Mary Ford try to take their driftin'-and-dreamin' ballad style of the Silent '50s into the Swinging '60s, where all of the gleaming stereo sound cannot hide the stark fact that the formula had already been stretched very thin. The menu is mostly time-worn standards and other artifacts from then-dying Tin Pan Alley. The tempos are languorous, and Ford's vocals have little of the soul of her best, more fragile Capitol recordings; Paul is always worth hearing for his imaginative curling around the vocals, urbane harmonic sense, and quirky bent notes, and there is a nice nostalgic moment when they do a spangled remake of "It's a Long, Long Time" (his No. 1 hit with Bing Crosby) for the Space Age. Collectors' note: the whole album was also issued on 33 1/3 RPM 7-inch singles as part of an attempt to launch that instantly doomed format. Taken all by itself, this is a lovely record but there is a lot of better Les Paul and Mary Ford vinyl to be heard, even from their waning days at Columbia. (Richard Ginell in AllMusic)

Original released on LP Columbia CS 8728
(US, 1963)

Les Paul and Mary Ford's second trip to Nashville is far more invigorating than their first, a grittier immersion into the country music universe with a slight touch of rock & roll besides. Paul's involvement is far more evident here; his spectacular guitar and fuzz-tone effects are a match for the buzzing harmonicas and swaggering basslines, and there is more evidence of his trademark sound-on-sound layerings. Ford too sounds more deeply involved with the material and the tougher backings; she even offers a bit of a down-home growl. The high point of this album - and Paul's Columbia period in general - is his own jangly, madly swinging Saturday night whoop-de-do, "Les' Country Blues" (later adapted into a song "So Long Baby, Goodbye" that didn't emerge until 1991 on Capitol's The Legend and the Legacy box). Indeed, five of the 12 tunes here are by Paul, all of them interesting, a burst of creativity unprecedented for him on an album and not even approached since. Alas, this highly spirited outing would be Paul and Ford's last album together, as they began divorce proceedings later in 1963... (Richard Ginell in AllMusic)


TIMES TO REMEMBER 21

domingo, 25 de setembro de 2016

WALLPAPER: "The Return Of The Vinyl"


WALLPAPER: "Relaxing Girl"


WALLPAPER: "Le Petit Disque"


ARE THEY... REALLY BAD?

Original released on LP Vitaphonic WS 1502
(US, 1963)

WALLPAPER: "A Clockwork Orange"


WALLPAPER: "Ludwig Van"


Viddy Well, Little Brother, Viddy Well

Original released on LP Warner Bros K46127
(UK, December 1971)

sábado, 24 de setembro de 2016

EDDIE COCHRAN's COMPLETE RECORDINGS

Original released on LP Liberty LRP 3061
(US, September 1957)

Somehow, time has not accorded Eddie Cochran quite the same respect as other early rockabilly pioneers like Buddy Holly, or even Ricky Nelson or Gene Vincent. This is partially attributable to his very brief lifespan as a star: he only had a couple of big hits before dying in a car crash during a British tour in 1960. He was in the same league as the best rockabilly stars, though, with a brash, fat guitar sound that helped lay the groundwork for the power chord. He was also a good songwriter and singer, celebrating the joys of teenage life - the parties, the music, the adolescent rebellion - with an economic wit that bore some similarities to Chuck Berry. Cochran was more lighthearted and less ironic than Berry, though, and if his work was less consistent and not as penetrating, it was almost always exuberant. Cochran's mid-'50s beginnings in the record industry are a bit confusing. His family had moved to Southern California around 1950, and in 1955 he made his first recordings as half of the Cochran Brothers. Here's the confusing part: although the other half of the act was really named Hank Cochran, he was not Eddie's brother. (Hank Cochran would become a noted country songwriter in the 1960s.) Eddie was already an accomplished rockabilly guitarist and singer on these early sides, and he started picking up some session work as well, also finding time to make demos and write songs with Jerry Capehart, who became his manager.


Cochran's big break came about in a novel fashion. In mid-1956, while Cochran and Capehart were recording some music for low-budget films, Boris Petroff asked Eddie if he'd be interested in appearing in a movie that a friend was directing. The film was "The Girl Can't Help It", and the song he would sing in it was "Twenty-Flight Rock." This is the same song that Paul McCartney would use to impress John Lennon upon their first meeting in 1957 (Paul could not only play it, but knew all of the lyrics). Cochran had his first Top 20 hit in early 1957, "Sittin' in the Balcony," with an echo-chambered vocal reminiscent of Elvis. That single was written by John D. Loudermilk, but Eddie would write much of his material, including his only Top Ten hit, "Summertime Blues." A definitive teenage anthem with hints of the overt protest that would seep into rock music in the 1960s, it was also a technical tour de force for the time: Cochran overdubbed himself on guitar to create an especially thick sound. One of the classic early rock singles, "Summertime Blues" was revived a decade later by proto-metal group Blue Cheer, and was a concert staple for the Who, who had a small American hit with a cover version. (Let's not mention Alan Jackson's country rendition in the 1990s.)


That, disappointingly, was the extent of Cochran's major commercial success in the U.S. "C'mon Everybody," a chugging rocker that was almost as good as "Summertime Blues," made the Top 40 in 1959, and also gave Eddie his first British Top Tenner. As is the case with his buddy Gene Vincent, though, you can't judge his importance by mere chart statistics. Cochran was very active in the studio, and while his output wasn't nearly as consistent as Buddy Holly's (another good friend of Eddie's), he laid down a few classic or near-classic cuts that are just as worthy as his hits. "Somethin' Else," "My Way" (which the Who played in concert at the peak of psychedelia), "Weekend" (covered by the Move), and "Nervous Breakdown" are some of the best of these, and belong in the collection of every rockabilly fan. He was also (like Holly) an innovator in the studio, using overdubbing at a time when that practice was barely known on rock recordings. Cochran is more revered today in Britain than the United States, due in part to the tragic circumstances of his death. In the spring of 1960, he toured the U.K. with Vincent, to a wild reception, in a country that had rarely had the opportunity to see American rock & roll stars in the flesh. En route to London to fly back to the States for a break, the car Cochran was riding in, with his girlfriend (and songwriter) Sharon Sheeley and Gene Vincent, had a severe accident. Vincent and Sheeley survived, but Cochran died less than a day later, at the age of 21. (Richie Unterberger in AllMusic)

"Singin' To My Baby" was the unique album released during Eddie Cochran's lifetime. On the original liner notes, someone wrote: «Think of a jet-propelled missile hurtling itself into the stratosphere and bursting forth in a blinding galaxy of light and you will have an idea of the meteoric rise of young Eddie Cochran... Barely into his late teens, Eddie has already carved an enviable beginning in the recording field with his first record release "Sittin' in the Balcony" placing him into that charmed company of million-disc sellers... Brought to the attention of Liberty Records by his astute advisor and staunch friend, Jerry Capeheart, Eddie promises to be one of the "runaway" talents of the industry... Oklahoma-born, California-reared, and with a multiplicity of abilities (songwriting, guitarist, actor, etc.), plus a fine cleancut personality, he has a brilliant future in store. Already established in films through his refreshing perfomances in The Girl Can't Help It (20th Century-Fox) and Untamed Youth (Warner Bros), he now finds himself in the enviableb position of being able to weigh several "major" picture offers. In this album, Eddie Cochran brings you the music of young America. Your music and his music... done in the way that has pleased you, his many wonderful, wonderful fans... for this acceptance, he truly and humbly thanks you.» (unsigned)
All the tracks that appear in this double-CD like "bonus tracks" were originally released on singles. So, Rato Records has assembled here the complete recordings of Eddie Cochran - 50 tracks for your delight.
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