BUILD UP

Vocalista original de Os Mutantes, o maior grupo pop brasileiro do fim dos anos sessenta, Rita Lee começa aqui, em 1970, a sua carreira a solo que dura até aos dias de hoje. Embora tenha sido gravado em São Paulo e no Rio de Janeiro, "Build Up" sabe a um tropicalismo europeu. Prestem uma especial atenção a algumas pérolas contidas neste eclético album, como "José" (uma versão muito terna do original "Joseph" de Moustaki), a exótica "Hulla-Hulla", o tango semi-espanhol "Prisioneira do Amor" ou a eléctrica versão do clássico de Lennon-McCartney "And I Love Him". Aqui fica a listagem das canções:

Original vocalist of Os Mutantes, Brazil's greatest pop group of the late sixties, Rita Lee begins here, in 1970, her solo career which lasts until today. Although it was recorded in São Paulo and Rio de Janeiro, "Build Up" always feels like a very European Tropicalia. Pay special attention to some gems included in this ecletic album, like "José" (a very touching version of Moustaki's original "Joseph"), the exotic "Hulla-Hulla", the semi-spanish tango "Prisioneira do Amor" or the electric Lennon-McCartney's classic "And I Love Him". Here's the track list:

01. Sucesso, aqui vou eu (Build up) 2:44

02. Calma 3:14

03. Viagem ao fundo de mim 2:47

04. Precisamos de irmãos 2:41

05. Macarrão com linguiça e pimentão 3:02

06. José (Joseph) 2:27

07. Hulla-Hulla 3:06

08. And I love him 3:04

09. Tempo nublado 2:45

10. Prisioneira do amor 2:24

11. Eu vou me salvar 2:31

AUFRAY CHANTE DYLAN

HUGUES AUFRAY: “AUFRAY CHANTE DYLAN”

Édition Originale en LP Barclay, 1965

01. La Fille du Nord (Girl From the North Country) 2:51
02. Ce Que Je Veux Surtout (All I Really Want To Do) 2:41
03. Ce N’était Pas Moi (It Ain’t Me Babe) 2:33
04. Oxford Town 1:55
05. Corrina Corrina 2:16
06. Cauchemar Psychomoteur (Motorpsycho Nitemare) 4:30
07. Les Temps Changent (The Times They Are A-Changin’) 2:52
08. La Ballade de Hollis Brown (Ballad of Hollis Brown) 3:33
09. La Mort Solitaire de Hattie Carrol (The Lonesome Death of Hattie Carrol) 4:23
10. Dieu Est à Nos Côtés (With God On Our Side) 4:49
11. Le Jour où le Bateau Viendra (When the Ship Comes in) 2:21

Toutes les chansons composées par Bob Dylan
Adaptateurs: Hugues Aufray et Pierre Delanoë
Direction Musicale: Christian Chevallier
Arrangements: Jean Pierre Sabar
Prise de Son: Claude Achallé
Photos: Tony Frank
Direction Artistique: Norbert Saada

Onze versions magnifiques des chansons de Dylan qu’on peut trouver en trois Lp’s originaux: “The Freewheelin’ Bob Dylan” (1/4/5), “Another Side of Bob Dylan” (2/3/6) et “The Times They Are A-Changin’” (7–11). Mais restons-nous avec les notes de la pochette, signées Pierre Delanoë:

NAISSANCE D’UN FOLKLORE INTERNATIONAL

Bien avant que les premières chansons de Bob Dylan n’arrivent jusqu’à nous, Hugues Aufray, qui les connaissait depuis l’Amérique, disait à qui voulait l’entendre: «Dylan c’est formidable, un de ces jours j’enregistrerai un album qui lui sera entièrement consacré: vous verrez que ce sera très important». Le voici cet album et je crois réellement qu’il est très important pour la chanson. Il y avait pour le réaliser quelques difficultés à résoudre: d’abord le passage de l’anglais, langue contractée, au français, langue prolixe. Ensuite l’abondance dans le texte d’anglicisme, d’américanisme et surtout de “Dylanisme”. Enfin, la transposition du “son Dylan” en “son Aufray”. Ces problèmes on été résolus et je crois que vous allez entendre du “jamais entendu”. Certains auditeurs seront peut-être un peu déroutés à la première écoute, mais la sincérité du créateur comme celle de l’interprète finiront par les toucher au coeur. On peut vraiment parler d’événement, car, en chantant cet auteur américain, Hugues Aufray ressuscite sous une forme moderne un genre bien français oublié depuis un demi-siècle: la “complainte” pleine de vérités populaires, de fraicheur poétique et de simplicité musicale. Voilá pourquoi je n’hésite pas à dire que naissent aujourd’hui dans ce disque les premières chansons du folklore international de notre temps.

OST: "CHARADE"

You can expect the unexpected when they play..."Charade"

Original released as LP RCA VICTOR LSP 2755 (1963)

Reflecting the European setting of Stanley Donen's comedy thriller Charade, Henry Mancini's soundtrack provides an easy listening tour of continental musical history: Parisian café songs on "Bistro," Eastern European gypsy music on "Bateau Mouche," Schubert quartets on "Bye Charlie," and some beer barrel polka on "Punch and Judy." Thrown in for variety's sake are dashes of Bond soundtracks, Cossack songs, and Strauss waltzes. With Mancini's typically cohesive approach, though, Charade doesn't become a messy pastiche (even with his mix of Latin rhythms and classical music on some tracks). And in the spirit of inclusiveness, Mancini also shows his south of the border touch on "Mambo Parisienne" (picture Perez Prado sporting an accordion), "Latin Snowfall" (transcendentally gorgeous bolero, one of his best), and "Mégève" (bossa nova for the Biarritz set). Also don't overlook one of his biggest hits and finest melodies, "Charade" (done here in instrumental, vocal, and carousel? versions). A great Mancini recording made during the same fruitful, early-'60s period that produced two other fine soundtracks of his, Breakfast at Tiffany's and The Pink Panther. (Stephen Cook in AllMusic)

If you've seen the movie you don't have to be convinced that this is one of the most effective soundtracks ever produced. What you may not realize is how strong these pieces are individually. Often without the visuals and storyline of the film soundtracks can be a little mundane. They are written to compliment the movie not take it over. Charade is one of the strongest movies ever made. The cast, director, writers and crew all were at peak when this film was done. So was Mancini. The pounding and complex title theme is a brilliant intro to the plot twists that will baffle all first time viewers.The same song played later and softer with the beautiful lyrics barely touching our conciousness, is proof of how versatile the piece is as Cary Grant and Audrey Hepburn fall in love in Paris to the same tune that a short while ago was signalling menace and danger.And maybe it still is signalling caution to Audrey. Does she really know any thing about this handsome stranger? Watch the film and find out! So many other works on this album are so affecting and effective. If you need a romantic piece for candlelight dinner try "Bateau Mouche" and the vocal rendition of the theme. You'll get points for romance every time. (Amazon's review)

OST: "YOUNG MAN WITH A HORN"

Based on the life of the legendary trumpeter Bix Beiderbeck (here played by 33 years old Kirk Douglas) YOUNG MAN With A HORN is a rare movie from 1950, in which dramatic and musical content combine to vividly depict an era when jazz was beginning to impose itself as a vibrant, new form of music. It contains a special mood. where melodic sounds of jazz music mixes with beautiful women and smoky clubs. The beauties are Lauren Bacall and Doris Day, both young actress at the time, with only 25 years old. Bacall plays the same cold bitch woman she would play in most of her films but Doris is wonderfully bright, revealing all her fine talents. In a part that called equally on her acting and her singing capabilities, she delivered a great perfomance and sang several standards ("The Very Tought Of You", "Too Marvelous For Words", "I Only Have Eyes For You", "With A Song In My Heart",...) with instrumental backing by Harry James, who served as the film's technical advisor and dubbed Douglas' trumpet solos.
Since both Doris Day and Harry James were signed to the same label, shortly after the film was released, on March 11, 1950, Columbia Records rushed a 10" soundtrack album (CL 6106), consisting of eight studio recordings they had made together following their work on the film (the cover of this original release is included in the zip file). Four years later, on August 9, 1954, that album was reissued on an expanded 12" version (CL 582) that added four more selections. So here you have this final album, plus a bonus track ("Moanin' Low"), which was heard in the film at the very beginning.