DANA VALERY: "Everybody's Doin' The Twist"

Original released on LP CBS ALD 6562

(SA, 1962)

                   (Directly ripped from a copy of the original LP)

JOAN BAEZ IN CONCERT (Parts 1 & 2)

Original released on LP Vanguard VRS-9112

(US, September 1962)

Originally released in 1962, "In Concert, Pt. 1" captures the undisputed queen of folk music at the onset of her fabled career. Featuring 20-bit remastering from the original analog tapes, exact replicas of the original artwork and liner notes, previously unreleased cuts, and additional liner notes, this installment of Vanguard's Original Master Series is a historic collection of contemporary and traditional folk. Though Baez was reportedly suffering from stage fright at the time of these recordings, which were cobbled from the fall of 1961 to the spring of 1962, her delivery is crystal clear and confident. The exhaustive selection of material represents her diverse influences, most notably African tradition ("Kumbaya"), gospel ("Gospel Ship"), negro spiritual ("My Lord What a Morning"), West African ("Danger Waters"), Brazilian ("Até Amanhã," which is sung in Portuguese), and blues ("Babe I'm Gonna Leave You"), Baez's performances still retain freshness and vitality after six decades. (Tom Semioli in AllMusic)

Original released on LP Vanguard VRS-9113

(US, November 1963)

Like its predecessor, "Joan Baez in Concert, Pt. 1", this live album was a huge success, making the Top Ten. However, though it was recorded not long after "Joan Baez in Concert, Pt. 1" and is also a live album on which the only accompaniment is her own acoustic guitar, it's not merely a second set of recordings of similar material. Her repertoire was evolving from purely traditional folk to encompass significant work by contemporary folksinger / songwriters. Most prominent among those, of course, was Bob Dylan, and "In Concert, Pt. 2" features her first two Dylan covers, "With God on Our Side" and "Don't Think Twice, It's All Right." For that alone, the album was notable, but there were other notable expansions into interesting new territory, like the country classic "Long Black Veil," Derroll Adams' great melancholy "Portland Town," the civil rights anthem "We Shall Overcome," and bossa nova great Luiz Bonfá's "Manhã de Carnaval." Baez's growth was not so radical as to alienate any of her folk followers, and the album still featured several traditional folk songs of the sort that had launched her career, like "Once I Had a Sweetheart" and "Jackaroe." The introduction of less-hidebound excursions, though, did much to lighten her approach and keep her from falling into too much of a maiden-of-constant-sorrow rut. (Richie Unterberger in AllMusic)

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.

The First Two EPs By THE TORNADOS

Original released on EP Decca DFE 8510
(UK, October 1962)

Original released on EP Decca DFE 8511
(UK, November 1962)

SANTO & JOHNNY: "Sleep Walk" + Bonus

SID HAMILTON: "Dance, Philicorda, Dance"

Original released on LP Philips D 88045 L

(Netherlands, 1962)

These charmin' dancing couples happily demonstrates the possibilities of the Philicorda Organ. Philicordas were made in the early sixties in Holland by Philips (that's where their name comes from...). The back cover says: "Demonstration record. Not for sale". Sid Hamilton was the artist alias of Pierre Palla, who was born with the name Peter Pala (1902-1968). Well, what's wrong with this name? In 1922 he started as a pianoplayer in the Theater Orchestra of Max Tak in Theater Tuschinsky in Amsterdam. In 1928 he became an adviser and player of the organ and piano factory of Phillips in Germany. He did a lot of radio and televisionwork until his retirement in 1967.

Viens Danser Le Twist Avec Les CHATS!

Voici de nouveau l'anthologie des Chats Sauvages: ce sont 30 chansons qui représentent le meilleur de la première formule du groupe (1961/1962) avant que Dick Rivers s'en aille en été 62 pour embrasser une carrière en solo (il serait remplacé par Mike Shanon, jusqu' à la fin de la bande en 64), et qui démontre, s'il était nécessaire, l'importance de ce groupe mythique et légendaire du rock français du débout des années 60. Et bien, madames et monsieurs, les garçons et les filles, viens tous twister avec Jean-Claude Roboly (John Rob), Gérard Roboly (James Fawler), Gérard Jacquemus (Jack Regard), William Taïeb (Willy Lewis) et, naturellement, Hervé Forneri (Dick Rivers)

JET BLACK'S (1962 - 1966)

Grupo brasileiro constituído por:

Gato: guitarra e teclado

Orestes: guitarra

José Paulo: baixo

Jurandi: bateria

Ernestico: saxofone

Formado na Cidade de São Paulo em 1961. Inicialmente, seu nome era the Vampires, porém, logo foi modificado para o actual em homenagem ao grupo inglês the Shadows, dos quais um dos maiores sucessos foi o tema "Jet Black". Além dos Shadows, outra influência do grupo foi a do conjunto norte-americano The Ventures. Ambos tinham como repertório básico rocks e twists instrumentais feitos para bailes. Em 1962, assinaram com a Chantecler e lançaram o seu primeiro disco, um 78 rpm, no qual fizeram dois covers dos Shadows: "Apache" e "Kon-Tiki". Com o sucesso da estréia, a gravadora investiu no grupo com o lançamento de dois LPs. O primeiro, lançado ainda no mesmo ano, foi "Hully Gully", e o segundo foi gravado no ano seguinte, "Twist - The Jet Blacks again". Ao longo da década de 1960 foi um dos grupos mais requisitados para shows e gravações de intérpretes como Celly Campelo, Ronnie Cord (que acompanhou na gravação do sucesso "Rua Augusta"), Roberto Carlos, Sérgio Reis e outros astros da Jovem Guarda. Em 1965, passaram a fazer gravações vocais e lançaram o LP "Jet Blacks", no qual se destacaria a regravação do clássico do rock norte-americano "Suzie Q", de Dale Hawkins. Ainda no mesmo ano, gravaram aquele que seria seu maior sucesso: "Tema para jovens enamorados", versão para "Theme for young lovers", lançado em compacto que incluía também "Suzie Q". A partir de 1968, o guitarrista Gato saiu e foi substituído por Guilherme Dotta. Com o declínio da Jovem Guarda, no final dos anos sessenta, o grupo entrou em crise apresentando várias formações, sempre em torno de Jurandi. Na década de 1970, caíram no ostracismo e encerraram as suas atividades, somente retomadas no início da década seguinte, com a revitalização do rock no Brasil. Em 1982, os remanescentes do grupo, Jurandi e Guilherme, assinaram com a Som Livre e lançaram o LP "Rides again", com novas versões para sucessos da década de 1960. Em 1998, Douglas Dotta, filho de Guilherme, retomou o trabalho do grupo. Participaram das comemorações referentes aos 30 anos da Jovem Guarda, regravando "Apache" para a caixa de CDs "30 anos da Jovem Guarda", lançada pela PolyGram, em 1995.

(in Dicionário Cravo Albin da Música Popular Brasileira)

ELIZETE CARDOSO: 1957 >>> 1962

A Chave do DIVO

Edição Original em LP Musidisc Hi-Fi 2.053 

(BRASIL, 1962)

Compositor, cantor e percussionista surgido no fim dos anos de 1950, Orlann Divo começou cedo, tocando gaita de boca aos seis anos de idade. Nascido em Itajaí (SC), a 5 de Agosto de 1937, Orlann Divo muda-se para o Rio e nos anos de 1960 apresenta-se ao público como crooner da banda de Ed Lincoln, com a qual participa de diversos bailes de formatura realizados em clubes do Rio de Janeiro e em casas noturnas como o "Vinicius", o "Café Nice" e o "Carinhoso". Os anos de 1960 foram de extrema importância para a carreira artística de Orlann Divo: lança vários álbuns-solo, como os clássicos "A Chave do Sucesso" (1962) e "Samba em Paralelo" (1965). Passado o tempo, infelizmente Orlann Divo acabou caindo no ostracismo, assim como uma infinidade de músicos brasileiros de sua época; mas, recentemente foi redescoberto por DJs ingleses que começaram a prestigiar sua obra. Fundou a Ipanema Dance, banda de 12 músicos que se apresenta em eventos patrocinados pela prefeitura do Rio, e toca no grupo Brincando de Samba e Bossa Nova, que conta com a presença do clássico guitarrista e compositor de bossa nova e balanço Durval Ferreira. (in CliqueMusic)

BILLY VAUGHN - "A Swingin' Safari"

Original released on LP DOT DLP 25458

(US, 1962)

NAT KING COLE - The Third Spanish Album

Original released on LP Capitol W 1749

(US, April 1962)

Original liner notes:

Over the past few years the millions of Nat King Cole fans in the United States have come to realize that they must share their favorite singer with people in many parts of the world, especially with their friendly Spanish-speaking neighbors to the South. And the overwhelming success of his two previous albums recorded in Latin America furnishes more than ample proof that Nat’s wonderfully warm singing style is every bit as appealing in Spanish as it is in English. Maybe that’s because the smooth, naturally romantic voice of Nat Cole lends itself so perfectly to a love song, and the language of love is indeed a universal one. Here, in answer to countless requests for more “Cole Español”, Nat applies his charm, his voice, and his Spanish to another fine assortment of ballads and folk songs, aided by the arrangements of Ralph Carmichael and some of Mexico’s top musicians and singers. Most of the songs were done with strings and full orchestral accompaniment, while a mellow marimba ensemble provided the backgrounds for “Las Chiapanecas” and “Vaya Con Dios”. And on three numbers, including  the rousing favorite “Guadalajara”, Nat was assisted by the delightful singing and playing of one of Mexico’s foremost Mariachi bands. The recording was done in Mexico City, and among the enthusiastic spectators and admirers present was Nat’s good friend, the famed Latin singing idol Lucho Gatica. In tribute to their friendship, Nat included his version of “No Me Platiques”, a lovely ballad first made popular by Lucho several years ago.

"More Cole Español" was Nat King Cole's third album of songs sung in Spanish, following "Cole Español" (1958) and "A Mis Amigos" (1959). Recorded in Mexico City with Mexican singers and musicians, but arranged and conducted by Ralph Carmichael, the collection demonstrated that Cole had made significant advances as a singer in Spanish in a few years. "Cole Español" had found him providing tentative, phonetically learned syllables over pre-recorded tracks imported from Cuba, giving him the sound of someone trying to avoid making mistakes. "A Mis Amigos", cut in Rio de Janeiro during the South American tour promoting "Cole Español", was better, but still not a truly complete fit for Cole. He still didn't sound like he always knew what he was singing, and he still seemed to be working on his pronunciation, but on this "More Cole Español" he was clearly having a lot more fun. In part, this had to be because the arrangements were more rhythmic and uptempo, and Cole must have been taking enthusiasm from the Mexican musicians who accompanied him. And he must have been more familiar with material that included crossover hits like "Vaya con Dios." Whatever the reasons, "More Cole Español" was his most successful effort at making music for fans south of the border. (William Ruhlmann in AllMusic)