ROSEMARY SWINGS WITH PRADO

Original Released on LP RCA VICTOR LPM 2133 (mono)
(US, March 1960)

This is a hard item to find 'cause it only came available on a japanese limited edition some years ago. Rosemary Clooney and Perez Prado should've been recorded extensively but unfortunately were not; so this is the only recorded musical jewel of the time when they joined their superb talents at the recording studio. On paper, this unlikely pairing of Clooney (who nearly defined the 1950s as a stylist) and Cuban percussionist and bandleader Pérez Prado seemed to be a disaster in the making. The end result is quite the opposite. Recorded during two sessions in July and August of 1959, this is simply one of the loveliest albums in either artist's catalog. The music is lively and colorful but retains Clooney's smooth and mellow character, and Prado's trademark arrangements and experiments with percussion, texture, and harmony. Apparently, Clooney had some trouble with pronunciation initially, but was coached by her husband, Puerto Rican actor Jose Ferrer (who wrote the original album's liner notes) and became a quick study. This merging of Latin and American standards is a tour de force that features some of the hottest session players in the biz including drummers Leo Acosta and Earl Palmer, as well as horn players Paul Horn and Ollie Mitchell. Highlights of the set include "Mack the Knife", "Sway", a pair of Cole Porter tunes - "Bali Hai" and "You Do Something to Me" - as well as highly original readings of "Corazon de Melon", "Cu-Cu-Rru-Cu-Cu Paloma" and "Adios".

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.

ETTA JAMES: "At Last" + "The 2nd Time Around"

MÁRIO SIMÕES y ANGEL BARREDO: "O Lápis do Lopes"

Edição original em EP Philips 431 900 PE

(ESPAÑA, 1960)

SANTO & JOHNNY: "Sleep Walk" + Bonus

MARIE LAFORÊT: "L'Intégrale Festival 1"

Marie Laforêt (born Maïténa Marie Brigitte Doumenach, on 5 October 1939 in Soulac-sur-Mer, Gironde) is a French singer and actress. Her first name Maïténa, which is of Basque origin, means "beloved", and is sometimes used by the inhabitants of Languedoc, especially of Pyrénées. Doumenach, her last name, is Catalan in origin – Domènec in Catalan. Her maternal grandfather built "cabanons" in the resort of Soulac-sur-mer, in Gironde in 1886. During the Second World War, he was captured and detained as a prisoner of war in Germany until the liberation in May 1945. Marie, her sister Alexandra and their mother knew a period of many hardships. At the age of three, Marie suffered a sexual trauma which affected her for longtime. After the war the family moved to Valenciennes where the father led a factory for railways utensils, and later they settled in Paris. After becoming more religious and having considered becoming a nun, Marie continued her secondary studies at the Lycee La Fontaine in Paris. There she began to show interest for the dramatic arts and her first experiences in this domain proved to be therapeutically useful for her through their cathartic effect.

Her career began accidentally in 1959 when she replaced her sister at the last minute in a French radio talent contest Naissance d'une Étoile and won. Director Louis Malle then cast the young starlet in the film he was shooting at the time, “Liberté”, a project he finally abandoned, making Laforêt's first appearance on screen opposite actor Alain Delon in René Clément's 1960 drama “Plein Soleil”. After this film she became very popular and interpreted many roles in the 1960s. She married director Jean-Gabriel Albicocco, who cast her in some of his own works, including “La Fille aux Yeux d'Or”, based on the Balzac story, which would become her nickname. In her second film, “Saint-Tropez Blues”, accompanied by a young Jacques Higelin at the guitar, she sang the title song and immediately started releasing singles, her first hit being 1963's “Les Vendanges de l'Amour”. Her songs offered a more mature, poetic, tender alternative to the light, teenage yé-yé tunes charting in France at the time. Her melodies borrowed more from exotic folk music, especially South American and Eastern European, than from contemporary American and British pop acts. Laforêt worked with many important French composers, musicians and lyricists, such as André Popp and Pierre Cour, who provided her with a panoply of colorful, sophisticated orchestral arrangements, featuring dozens of musical instruments and creating a variety of sounds, sometimes almost Medieval, Renaissance or Baroque, other times quite modern and innovative.

Laforêt has been fond of folk music ever since she began recording in the early 1960s. She helped popularize the Bob Dylan song "Blowin' in the Wind" in France with her 1963 interpretation. On the B-side of the same EP she sings the classic American folk ballad "House of the Rising Sun". Other folk recordings include: "Viens Sur la Montagne", a 1964 French adaptation of the African-American spiritual "Go Tell It on the Mountain", recorded by American folk trio Peter, Paul and Mary the previous year, "Coule Doux" ("Hush-a-Bye"), another Peter, Paul and Mary song, 1966's "Sur les Chemins des Andes", a French version of the traditional Peruvian song "El Cóndor Pasa", and "La Voix du Silence", a 1966 cover of American duo Simon and Garfunkel's first hit, "The Sound of Silence". She also recorded some rock songs in the 1960s, her most famous being "Marie-Douceur, Marie-Colère", a 1966 cover of the Rolling Stones hit "Paint It Black". 

Another popular recording was 1965's girl group-style "A Demain, My Darling", known by English-speakers as "The Sha La La Song" written by Marianne Faithfull on her debut eponymous album. Some of her most memorable pop songs are those written or arranged by French composer André Popp, such as "Entre Toi et Moi", "L'Amour en Fleurs", "Les Noces de Campagne", "Mon Amour, Mon Ami", and "Manchester et Liverpool". The melody of the latter song gained fame in the former Soviet Union as the background music to the Vremya television news programme's weather forecast in the 1970s. The quiet, bittersweet and minimally arranged ballad "Je Voudrais Tant que tu Comprennes" (1966), composed by Francis Lai, is a Marie Laforêt favorite. Homage was paid to the song in the 1980s when French pop superstar Mylène Farmer added it to her own concert repertoire.

At the end of the 1960s, Marie had become a rather distinctive figure in the French pop scene. Her music stood out, perhaps too much for her new label CBS Records, which expected of her more upbeat, simpler songs. She was interested in making more personal records, but finally gave in. Although her most financially successful singles ("Viens, Viens", a cover of the German hit ″Rain Rain Rain″, and "Il a neigé sur Yesterday", a ballad about the break-up of the Beatles) were released in the 1970s, Marie progressively lost interest in her singing career, moving to Geneva, Switzerland in 1978, where she opened an art gallery and abandoned music. In the 1980s, Marie concentrated on her acting career, appearing in a few French and Italian films. Some music singles were eventually released, but were not popular. She made a comeback, however, in 1993 with her final album, for which she wrote the lyrics. In the 1990s, she again continued to work as an actress, both on screen and on stage. She has performed in a number of plays in Paris over the years, acclaimed by audiences and critics alike. In September 2005, she sang once again, going on tour in France for the first time since 1972. Every concert was sold out. Laforêt still currently resides in Geneva and has obtained Swiss citizenship.

A Dupla Antologia de CELLY CAMPELLO

Nascida em São Paulo, Brasil, a 18 de Junho de 1942 (nesse mesmo dia nascia também Paul McCartney em Liverpool, Inglaterra), Celly Campello (de seu nome próprio Célia) foi a grande referência da música brasileira no período pré - Jovem Guarda (movimento que Roberto e Erasmo Carlos encetariam com estrondoso sucesso em 1963). Apenas com 16 anos gravaria um primeiro tema (“Handsome Boy”) num compacto de 78 rpm a meias com o seu irmão, Tony Campello (tudo porque a letra da canção não se prestava a uma interpretação masculina). Seis meses depois, em Março de 1959, viria a gravar a canção que a tornou famosa de um dia para o outro: “Estúpido Cupido”, a versão de Fred Jorge para “Stupid Cupid”, de Neil Sedaka e Howard Greenfield (o disco vendeu mais de 120.000 cópias, quebrando todos os recordes da época). Até o expoente máximo da bossa nova se rendeu aos seus encantos. «É uma moça que sabe usar com grande tarimba seu afiado aparelho vocal», disse Tom Jobim. Nos 3 anos seguintes Celly Campello criou as raízes da futura pop brasileira através da gravação de 5 albuns fundamentais: “Estúpido Cupido” (Setembro de 1959), “Broto Certinho” (Abril de 1960), “A Bonequinha Que Canta” (Novembro de 1960), “A Graça de Celly Campello e as Músicas de Paul Anka” (Abril de 1961) e “Brotinho Encantador” (Outubro de 1961). Na onda da inocência feminina daqueles anos, Celly cantou ingenuidades como "Túnel do Amor", "Lacinhos Cor-de-Rosa", “A Lenda da Conchinha” ou "Os Mandamentos do Broto", em oposição à rebeldia do rock masculino.

Era tão popular que inspirou uma fábrica de brinquedos a criar uma boneca com o seu nome e outra de chocolates a lançar o bombom Cupido. Foi ainda o pivot do programa Crush em Hi-Fi, o primeiro da TV brasileira dedicado ao rock. Apelidada de namoradinha do Brasil (muito antes, portanto, de Elis Regina ter direito a essa distinção), foi eleita em 1961 como a Rainha do Rock (o rei seria Sergio Murillo) pela “Revista do Rock”. Em janeiro de 1962 Celly abalou os fãs anunciando o seu casamento com José Edwards Gomes Chacon, um contador da Petrobras com quem namorava desde os 14 anos, e a consequente decisão de abandonar a vida artística. O casamento ocorreu na cidade de São Paulo no dia 7 de maio de 1962, passando Celly a chamar-se Célia Campello Gomes Chacon, e encetando assim uma viragem radical na sua vida. Encantada com a vida pacata do interior, Celly referia-se mais tarde aos anos de fama sem arrependimento. Ocupava-se com pinturas, colaborando com obras assistenciais, cuidando dos dois filhos e dos dois netos ao lado do marido, com quem viveu até o fim dos seus dias. O irmão Tony Campello, que a introduziu no mundo artístico, acha que a cantora deveria ter continuado a gravar, mas respeitou sua decisão: «Ela viveu em paz, encontrou a felicidade pessoal dessa maneira».



Em 1965, Celly foi sondada para apresentar o programa Jovem Guarda, com Roberto e Erasmo Carlos. Declinou o convite, abrindo o caminho para o estrelato de Wanderléa. A última volta de Celly aos palcos foi breve, em 1976, quando a Rede Globo lançou a novela "Estúpido Cupido" e a convidou para alguns episódios, interpretando-se a ela própria. Gravou ainda mais 2 albuns (um em 68 e outro em 76) e alguns compactos mas sem o sucesso do início da década: a voz continuava óptima, mas os tempos, esses, tinham mudado definitivamente. Morreu em Campinas, cidade paulista onde residia, numa terça-feira de Carnaval, a 4 de Março de 2003, vítima do cancro detectado sete anos antes na mama direita. Os anos de tratamento reduziram o avanço da doença, mas não impediram a metástase óssea que acabaria por lhe tirar a vida. Celly tinha 60 anos de idade. A dupla Antologia que aqui se disponibiliza reúne o essencial da época de ouro de Celly Campello. Posteriormente será apresentada uma outra coleção dos anos de retorno (1968-1979) que servirá apenas como uma curiosidade, visto não ter o significado e a importância destes primeiros anos.

Having been born in São Paulo, Brazil, the 18th of June 1942 (in this exactly day was also born Paul McCartney in Liverpool, England), Celly (Célia) Campello was the great reference of Brazilian music in the period before Jovem Guarda (the musical stream that Roberto and Erasmo Carlos would begin with tremendous success in 1963). With only 16 years she recorded the second side (“Handsome Boy”) in a 78 rpm single with her brother, Tony Campello, recording the first half (this happened only because the lyrics of the song were not meant to be sang by a male singer). Six months later, in March of 1959, she recorded the song that turn her to a celebrity from one day to another: “Estúpido Cupido”, Fred Jorge’s version of “Stupid Cupid”, by Neil Sedaka and Howard Greenfield (the record sold more than 120,000 copies, breaking all the sale records of the time). Even the top voice of bossa-nova surrended to her charms: «She is a young woman who knows how to use like great tarimba her sharp vocal device», said Tom Jobim. In the three following years Celly Campello created the roots of future pop Brazilian music through the releases of 5 basic albums: “Estúpido Cupido” (September of 1959), “Broto Certinho” (April of 1960), “A Bonequinha Que Canta” (November of 1960), “A Graça de Celly Campello e as Músicas de Paul Anka” (April of 1961) e “Brotinho Encantador” (October of 1961). Following the wave of the feminine innocence of those years, Celly sang naïve songs as “Túnel do Amor, “Lacinhos Cor-de-Rosa”, “A Lenda da Conchinha” or “Os Mandamentos do Broto”, in opposition to the revolt of the masculine rock. 

She was so popular that inspired a toys factory to create a doll with her name and another one of chocolates to launch the Cupido bonbon. She was also the host of the TV show Crush in Hi-Fi, the first one to be dedicated to rock music. Nicknamed little sweetheart of Brazil (long before of Elis Regina to have the right to this distinction), she was elect in 1961 as the Queen of the Rock (the king would be Sergio Murillo) by the “Magazine of the Rock”. In January of 1962 Celly shocked her fans by announcing the marriage with Jose Edwards Gomes Chacon, an accountant from Petrobras, with whom she flirted since her teens, and the consequent decision to leave the artistic life. The marriage took place in the city of São Paulo in the 7th of May, 1962, having Celly changed her name to Célia Campello Gomes Chacon, beginning that way a drastic change in her life. Seduced by the country life, Celly would talk later about the years of fame without any regret. She used to spend the time with paintings, collaborating with charity works or taking care of her two children and later of her two grandsons, living with her husband until the end of her days. Her brother Tony Campello, who introduced her in the artistic world, thinks that she must had continued to record, but he respected her decision. «She lived in peace, found the personal happiness in that way».

In 1965, Celly was invited to present the TV show Jovem Guarda, with Roberto and Erasmo Carlos. She declined the invitation, opening the way for the stardom of singer Wanderléa. The last return of Celly to the stages was brief, in 1976, when the TV Globe launched the "Estúpido Cupido" novel and invited her for some episodes, making the role of herself. She recorded two more Albums (one in 68 and another one in 76) and some singles and EPs but without the success of the beginning of the decade: the voice was still excellent, but the times, those, had changed forever. She died in Campinas, São Paulo city, where she lived, in a Carnival tuesday, the 4th of March, 2003, victim of a cancer detected seven years before in her right breast. The treatment years had reduced the advance of the illness, but they not could prevent a bone metathesis that would took her life away. Celly was 60 years old. The double Anthology which is presented here, reunites the essential of the golden period of Celly Campello. Later, another collection from the return years (1968-1979) will be presented here. It will be just a curiosity, because it will have not the meaning and the importance of these first years.

JOÃO GILBERTO: The Master Of Bossa Nova

Edição original em LP Odeon 3073

(BRASIL, Abril 1959)

Edição original em LP Odeon 3151

(BRASIL, Junho 1960)

Edição original em LP Odeon 3202

(BRASIL, Novembro 1961)