quarta-feira, 4 de maio de 2016


Original released on CD Milan Records 301 705-5
(FRANCE 2004, October 4)

Set in Paris in 1919, biopic centers on the life of late Italian artist Amedeo Modigliani, focusing on his last days as well as his rivalry with Pablo Picasso. Modigliani, a Jew, has fallen in love with Jeanne, a young and beautiful Catholic girl. The couple has an illegitimate child, and Jeanne's bigoted parents send the baby to a faraway convent to be raised by nuns. Modigliani is distraught and needs money to rescue and raise his child. The answer arrives in the shape of Paris' annual art competition. Prize money and a guaranteed career await the winner. Neither Modigliani, nor his dearest friend and rival Picasso have ever entered the competition, believing that it is beneath true artists like themselves. But push comes to shove with the welfare of his child on the line, and Modigliani signs up for the competition in a drunken and drug-induced tirade. Picasso follows suit and all of Paris is aflutter with excitement at who will win. With the balance of his relationship with Jeanne on the line, Modigliani tackles this work with the hopes of creating a masterpiece, and knows that all the artists of Paris are doing the same.

Music Composed and Conducted by  Guy Farley
Recorded at Air Studios, London
Score Recorded and Mixed by Ben Georgiades
Music Associate Adrian Thomas
Orchestral Contractor Cool Music Ltd.
Orchestra Leader Janice Graham
Orchestrations by  Andy Pearce
Music Preparation Gary Spolding
Music Supervisor Simon White
Assistant Music Supervisor Arnold Hattingh
Ethnic Music Recorded at Sphere Studios, London
Piano  Ian Brown,    Solo Cello Tim Hugh
Solo Violin Janice Graham,    Ethnic Percussion Paul Clarvis
Algerian Voice Ali Slimani,    Female Voice Emer McParland
Vocal Contractor Bob Johnson for R'SVP
Assistant Engineers Stewart McPherson, Jake Jackson & Alex Modiano
Album Mastered by Ben Georgiades at Sphere Studios, London
'Modigliani Suite' Recorded and Mixed by Mike Ross-Trevor
'Ode to Innocence' and 'Angeli' Performed by Sasha Lazard.
Original Production by Frank Fitzpatrick
Remixed by Craigie and Guy Farley
Programmer Dean James
Cello Kendall Reid
Mixed by Nick Friend at Sphere Studios, London

MATCHMAKERS - "Bubblegum A GoGo" + Bonus

Original released on LP Vogue CDMDINT 9796
(GERMANY, 1970)

An extraordinary collection of late 60’s freakbeat and pop psych produced by a stellar studio cast. The wunderkind producer Mark Wirtz was a driving force behind this project from 1969-1971, along with co-writer and artist Kris Ife. Ife brought in the musicians to bring these studio creations to life, and he drew on his old band The Quiet Five’s Richard Barnes and Roger McKew, plus Roger Favell and Miki Anthony. Many of the songs were concocted by German songwriter and publisher Rudi Lindt for his own company Minerva Music. With International production deals in place for  Vogue, Belter, Penny Farthing, CBS, Chapter One the team had their productions released as singles under an eclectic variety of names. Even as far away as Discos Fermata in Argentina! One LP was released under The Matchmakers name collecting many of these singles together in 1970 in Germany, (even if the single had been under another artist name), and with a slightly different tracklist in 1971 in other territories.


segunda-feira, 2 de maio de 2016


Original Released on LP A&M 
124 (mono) / SP 4124 (stereo)
(US 1967, May 1)

«I received a call from Burt Bacharach who was in London recording the music for the movie "Casino Royale". He was unhappy with the lead performance of the title song and asked if I would consider adding the Tijuana Brass sound. When he played the song over the phone and sang the melody to me with the inflections he wanted, I was struck by the unusual composition and was inspired to play it. The multitrack tapes of the recording were quickly sent, minus the lead instrument. We added two trumpets, some percussion, made a stereo mix and rushed the tapes back to London. That all happened within one week. The movie came out in 1967, and to this day people still tell me how much they liked our recording... thanks again to Burt. My choices of songs on this album were all over the map. Here again I was choosing songs that just popped into my head, with suggestions from my partner Jerry Moss (whose ideas I always listened to), along with tunes written by our staff of writers. Another Sol Lake melody that I really liked was "Bo-Bo". The first time I heard it, it felt like travelling music to me. As a result, we played "Bo-Bo" on one of our TV specials while floating down the Mississippi River on the Delta Queen. We performed "In A Little Spanish Town" with the Muppets and the brilliant Jim Hensen for a show we filmed in London, which also marked the public debut of Miss Piggy. It was a delightful experience.» (Herb Alpert)

For one week in June 1967, "Sounds Like" was able to break the Monkees' 31-week hammerlock on the number one slot on the charts - just two weeks before the Beatles' Sgt. Pepper took over and changed the world. This shows, lest you forget - and many have - just how popular Herb Alpert & the Tijuana Brass were, still spanning the generations during the Summer of Love, still putting out records as fresh and musical and downright joyous as this one. Though not as jazz-flavored as "S.R.O.", "Sounds Like" does preserve the feeling, particularly in the extended vamps on an updated slave song, "Wade in the Water" (a hit single). "Gotta Lotta Livin' to Do" settles you into the record with nothing but a long vamp - a daring production decision. Yet Alpert was on a roll; everything he tried in the TJB's heyday seemed to work. The lesser-known tunes back-loaded on side two are a string of pearls - John Pisano's appropriately titled bossa nova "The Charmer," Roger Nichols' tense "Treasure of San Miguel," Ervan Coleman's catchy "Miss Frenchy Brown." Finally, Alpert takes a flyer and concludes the LP with an extravagant Burt Bacharach orchestration of his theme from the film "Casino Royale" - an artifact of '60s pop culture, to be sure, but still a perfectly structured record. (Richard S. Ginell in AllMusic)

domingo, 1 de maio de 2016


"Olha Que Coisa Mais Linda..."

Rato Records brings to you a collection of 28 sambas and bossa-novas in the jazzistic voice of Astrud Gilberto, one of the most international stars of the Brazilian music scene, known as "The Girl from Ipanema" and often referred to as The Queen of Bossa-Nova. Her music has become an interesting combination of the sensual rhythms of Brazil and American Pop and Jazz. Born in the Northeast of Brazil, in the state of Bahia, one of three sisters of a German father and a Brazilian mother, Astrud grew up in Rio de Janeiro. She immigrated to the United States in the early 1960s, where she resides since then. Essentially, these songs are selected from her first Verve’s five albums: “The Astrud Gilberto Album” (Verve V6 8608, recorded January 1965), “The Shadow Of Your Smile” (Verve V6 8629, recorded June 1965), “Look To The Rainbow” (Verve V6 8643, recorded December 1965), “A Certain Smile, A Certain Sadness” (Verve V6 8673, recorded September 1966) and “Beach Samba” (Verve V6 8708, recorded June 1967). Only two tracks are outsiders: “The Girl From Ipanema”, taken from the album with Stan Getz, (1964) and “Let Go (Canto de Ossanha)”, from 1970.

"Romeo & Juliet" (OST)

Original released on LP Capitol ST-2993
(UK/US, 1968)

The soundtrack for the 1968 film "Romeo and Juliet" was composed and conducted by Nino Rota. It was originally released as a vinyl record, containing nine entries, most notably the song "What Is a Youth", composed by Nino Rota, written by Eugene Walter and performed by Glen Weston. The music score won a Silver Ribbon award of the Italian National Syndicate of Film Journalists in 1968 and was nominated for two other awards (BAFTA Award for Best Film Music in 1968 and Golden Globe Award for Best Original Score in 1969. The soundtrack is referred to as "Original Soundtrack Recording" on the front cover with further credits to the film itself. Several other editions of the soundtrack feature different covers.

The neo-Elizabethan ballad "What Is a Youth" is performed by a troubadour character as part of the diegesis during the Capulets' ball, at which Romeo and Juliet first meet. The original lyrics of the song are borrowed from songs in other Shakespearean plays, particularly Twelfth Night and The Merchant of VeniceIn 1968 Billboard described the score as "brilliant and moving". Contemporary feedback was also provided by John Mahoney from The Hollywood Reporter, who described the score as «one of the best and strongest components», noting that «a period ballad with lyric by Eugene Walter, "What Is A Youth", provides the perfect setting for the meeting of the two lovers at the Capulet party». Since 1968 numerous arrangements of "What Is a Youth" have been released, most notably "A Time for Us" and "Ai Giochi Addio", both performed by various artists. The soundtrack's original label Capitol Records subsequently released three other soundtrack albums inspired by original score. The popularity of the first of them led Capitol Records to release a four-record set of the film's entire vocal and music tracks. 

sexta-feira, 29 de abril de 2016

"Happiness I Cannot Feel..."

 Original released on LP Vertigo 6360 011
(UK 1970, September 18)

"Paranoid" was not only Black Sabbath's most popular record (it was a number one smash in the U.K., and "Paranoid" and "Iron Man" both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. "Paranoid" refined Black Sabbath's signature sound - crushingly loud, minor-key dirges loosely based on heavy blues-rock - and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on "Paranoid" have been given focus and direction, lending an epic drama to now-standards like "War Pigs" and "Iron Man" (which sports one of the most immediately identifiable riffs in metal history). The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Yet Sabbath makes it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect - the technical simplicity of Ozzy Osbourne's vocals and Tony Iommi's lead guitar vocabulary; the spots when the lyrics sink into melodrama or awkwardness; the lack of subtlety and the infrequent dynamic contrast. Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in its path, including its own limitations. Monolithic and primally powerful, "Paranoid" defined the sound and style of heavy metal more than any other record in rock history. (Steve Huey in AllMusic)


Para além da sua carreira no cinema, Anthony Perkins editou ainda três albuns de canções: “Tony Perkins” (Epic LN-3394, 1957), “From My Heart” (RCA Victor LPM-1679, 1958) e “On a Rainy Afternoon” (RCA Victor LPM-1853, 1958) e diversos singles, tendo um deles, “Moonlight Swim”, atingido o TOP 30 da Billboard, em 1957.  Disponibiliza-se aqui uma coletânea que inclui o primeiro album, e uma série de temas editados no pequeno formato de 45 rpm: salientam-se os últimos quatro, que apareceram num raro Extended Play de 1961, gravado em francês.


Original released on LP A&M SP-3614
(US, March 1974)

Despite her Latin heritage, Joan Baez probably wouldn't have been encouraged by her 1960s record label, the New York-based independent Vanguard, to sing an entire album in Spanish. At A&M Records, the Los Angeles firm co-founded by Herb Alpert that she joined in the early '70s, however, it would have been a different story, and it was A&M that released "Gracias a la Vida" ("Here's to Life") in 1974. Baez demonstrates an affinity for Mexican folk music on such obvious choices as "Cucurrucucu Paloma," but it's no surprise that, a year after the assassination of leading nueva canción folksinger Victor Jara in a military coup in Chile, an atrocity that shocked the American folk community, she has not backed away from her political commitments. There is "Guantanamera," a song that may have been a Top Ten U.S. hit for the Sandpipers in 1966, but that has political implications, as Pete Seeger has been reminding listeners for more than a decade. There is a Spanish version of "We Shall Not Be Moved" ("No Nos Moveran") with a lengthy spoken introduction. There are songs like "El Preso Numero Nueve" ("Prisoner Number Nine"; repeated from 1960's "Joan Baez") and "Esquinazo del Guerrillero" ("The Guerillas Serenade"). And, inevitably, there is a song of Jara's, "Te Recuerdo Amanda" ("I Remember You Amanda"), which the slain singer wrote for his mother. But then there is also "Dida," a wordless duet with Joni Mitchell. Throughout, Baez demonstrates her mastery of Spanish singing over authentic arrangements while attempting to stir up her Spanish-speaking listeners just as she does their English-speaking compatriots. (William Ruhlmann in AllMusic)

quinta-feira, 28 de abril de 2016


Original released on LP Decca SKL 4753
(UK, January 1966)


Original released on LP RCA Victor LPM 2482
(US, 1962)

This gem from 1962 is cocktail party music that harkens back to the simpler times of the early sixties. Playful and spirited instrumentals by master Winterhalter, with terrific orchestrations and full-bodied arrangements. At times, kicks like a manhattan, other times, smooth as a cold martini. Will give your party a retro backdrop if that is what you are looking for.