DONOVAN ~ ANTHOLOGY 6

This Donovan's Anthology ends here. Six CDs totalizing 8 hours and containing 145 songs, from 1964 to 1981

OMEGA ~ "TIME ROBBER"

Original released on LP Bacillus BLPS 19233 (RFA, March 1976)

JON ANDERSON ~ "OLIAS OF SUNHILLOW"

Original released on LP Atlantic K-50261 (UK 1976-07-09)

CARRIE OST

Original released on LP United Artists UA-LA716-H 

(US, 1976)

BETTE MIDLER ~ SONGS FOR THE NEW DEPRESSION

Original released on LP Atlantic SD 18155 (US, January 1976)

JOAN BAEZ LIVE: "From Every Stage"

Original released on Double LP A&M SP 3704

(US, January 1976)

Listening to this album a quarter century after the fact is an eerie experience; as a Baez fan of the same period and of a politically similar orientation at the time, this reviewer was shocked by the vitriol of the opening number, "(Ain't Gonna Let Nobody) Turn Me Around," especially given that the shows where this album was recorded dated from July and August of 1975. Was anyone (except maybe the Reagan-ites) ever really that angry at the Ford administration? Otherwise, Baez's trembling falsetto is in beautiful shape on songs ranging from Leonard Cohen's "Suzanne" to "Oh, Happy Day." The album was recorded on the tour supporting the release of "Diamonds & Rust", but nothing of that album except the title track is represented here; rather, Baez performs five Bob Dylan songs (which get the most rousing reception), three of her better originals, including "Blessed Are" and "Diamonds and Rust," and a brace of traditional songs and covers of a handful of other composers' work, including "The Night They Drove Old Dixie Down." Apart from the opening outpouring of political venom, there's not too much controversy here - a pair of songs, "Natalia" and "The Ballad of Sacco and Vanzett," dedicated to political prisoners and an ambitious but ultimately awkward adaptation of "Stewball" are as topical as most of the show gets. Baez is in superb voice and the backing septet, mostly heard on the second disc, has a surprisingly lean sound. Ultimately, "From Every Stage" is a good, albeit far slicker follow-up to Baez's two early-'60s live albums on Vanguard, though it says something about the nature of her history at A&M Records that five years into her contract with that label, all but a handful of the songs here were associated with her prior record label. (Bruce Eder in AllMusic)

OST ~ "The Tenant" (1976)

A Film by Roman Polanski (1976)

Music Composed and Produced by Philippe Sarde

"Já Muito Maroto Se Diz Revolucionário..."

Edição Original em LP Orfeu STAT 036 
(PORTUGAL 1976, Agosto 15)

"Com as Minhas Tamanquinhas" representa o regresso de José Afonso às gravações em estúdios portugueses depois de cinco discos gravados em Londres, Paris e Madrid. Musicalmente com coisas muito interessantes, onde as influências africanistas se fazem notar em diversos temas, é no entanto o album de Zeca em que as preocupações líricas foram positivamente atiradas às urtigas. Intencionalmente! Gravado logo a seguir ao fim do PREC (para os mais desatentos esta sigla significava “Processo Revolucionário Em Curso”), mostra-nos um cantor repórter e crítico da realidade portuguesa da altura, incisivo, agressivo, interveniente, revoltado, mas também desiludido. José Afonso passa assim mais uma vez ao ataque, chama “os bois pelos nomes” e dispara contra Kissinger, denuncia Aventino Teixeira ("Como se Faz um Canalha"), torna-se panfletário ao falar do 11 de Março e do Ralis ("No Dia da Unidade"), revolta-se com a exploração da Mulher ("Teresa Torga"). Num país "aliviado" pelo fim do gonçalvismo e ansioso pela instauração de uma democracia parlamentar burguesa não admira portanto que este disco tivesse sido tão odiado pelos poderes instituídos. E é claro que Zeca, em conformidade com a sua teoria do desassossego permanente, sempre afirmou ser este o seu melhor trabalho, num misto de provocação e de grande coerência.

Disco comprometido e datado é, no entanto, um trabalho capaz de sobreviver às situações que lhe deram origem. A gravação, já nos anos 90, de "Os Índios da Meia Praia" por Dulce Pontes é a prova disso mesmo. Pela primeira vez o nome de José Afonso assina todas as faixas do LP, bem como a orientação musical, coisa que, aliás, ele nunca deixou de fazer em todas as gravações. Fausto voltou a estar no centro das operações (na direcção e arranjos), voltando a registar-se também as colaborações musicais de Michel Delaporte, Vitorino e Júlio Pereira. Ah, e ainda uma curiosidade histórica: a participação insólita nas gravações de Quim Barreiros!

MELANIE'S "Photograph"

Original Released on LP Atlantic SD 18190 0698

(US, 1976)

Regarded by many as Melanie's finest album, "Photograph" was critically acclaimed on its debut in 1976 and yet was only ever released in US, Australia and New Zealand. For reasons unknown Atlantic Records later pulled the album from distribution. By any measure, "Photograph" was a rare accomplishment, a successful fusion of traditional standards of studio finesse with Melanie’s unique and uncompromising gifts. It remains unclear, then, why the album didn’t get the shot that it deserved. Nearly 30 years later "Photograph" finally gets re-issued as a double-set CD including previously unreleased tracks, recorded during the album sessions.

SOME NOTES:

- "Love To Live Again" is a re-working of "Love To Lose Again" from LP "Madrugada".

- "Miranda" appeared on album "Ballroom Streets" but the version here is an earlier studio recording.

- "Ruby Tuesday" is, of course, a re-recording.

- "Unfinished Business" is perhaps better know as "Leftover Emotions", a version of which was later included on "Victim Of The Moon/Crazy Love".

- "Poem" was recorded live in Holland in 2005.

The version of "Nickel Song (Music! Music! Music!)" was also included on Melanie's 1983 release "Seventh Wave".

ORIGINAL ALBUM CREDITS:

All sections written by Melanie Safka except "The Letter" written by Wayne Carson Thompson; refrain From "Music! Music! Music!" written by Stephan Weiss and Bernie Baum; "Ruby Tuesday" written my Mick Jagger and Keith Richards; "Miranda" written by Phil Ochs.

"Save Me", "Groundhog Day", "Photograph" and "Friends & Co", arranged by David Campbell. All other string arrangements by Marty Paich.

Ahmet Ertegun: Creative Direction
Initial recording at Davlen Studios (Engineer: Tom Knox)
Final recording and all mixing at the Sound Factory by Peter Schekeryk and Gregory “Da Duke” Ladanyi, engineer (assisted by Dennis Kirk).
"Save Me" was recorded and mixed by Joel Soifer at Fidelity Sound Studios

Melanie, Dave Doran, Dean Parks and Louis Shelton: Guitars
David Paich and Jim Drennan: Keyboards
Jay Wolfe, Jerry Scheff and David Jackson: Bass
Jim Gordon, Jeff Porcaro and John Gueren: Drums
Milt Holland, Victor Feldman and Angelo Mauceri: Percussion
Melanie, Carole Parks, Denny Bell & some Edwin Hawkins Singers and “The Hand Made Band” (Jim Drennan, Jay Wolfe, Angelo Mauceri & Dave Doran): Backing Vocals
Art Pepper: Sax Solo on "I’m So Blue"
Richard Greene: Violin Solos
Robin Williamson: Mandolin solo on "Raindance"
David Campbell: Viola solo on "Raindance"

ROLLING STONE ORIGINAL REVIEW (1977, January 13):

At her commercial high point, Melanie's quavering, often frenzied wailings made her the darling of some listeners and an object of scorn among others. Her best qualities were detailed in her three hits: "Brand New Key" was a delightful focal point for her childish, fun-loving side; "Lay Down (Candles in the Rain)" showed her tortured, naked soul; and "Look What They Done to My Song, Ma" captured the essence of her European cabaret influences. "Photograph" is Melanie's first album in two years and it finds her touching all bases with enough confidence and maturity to regain her old following and surprise some of her detractors. It's an uneven record, but the bright spots shine. The best song here is "Cyclone," a tense rocker with Melanie's raw, unbridled vocal perfectly matching the angry and confused lyrics ("Found love in the music but lost in the overtones/ Sweat on the brow, blood on the lips, love for the money but gold at the fingertips"). Also impressive are some of the love songs which are incredibly more perceptive than her previous "hold me, touch me" psychodramas. On "Save Me," she successfully confronts her own former, wide-eyed self with the changes she's gone through. There's some wasted space here, notably a rather mediocre remake of the Box Tops' "The Letter" and a dull update of her own "Nickel Song." But on the whole, Melanie seems to have made the transition from flower child to woman rather nicely, and with her talents intact.

RAINBOW: "Rising"

 

Original released on LP Polydor 2391.224

(UK 1976, May 17)

On their second release, Rainbow not only avoid the sophomore jinx; they hit a home run. After replacing the entire band (except Ronnie James Dio) immediately following the recording of the first album, Ritchie Blackmore and the "Rising" lineup (Blackmore; Dio; Tony Carey, keys; Jimmy Bain, bass; and the late, great Cozy Powell, drums) had plenty of time on the road touring the first album to get the chops and material together for their second. In particular, "Stargazer" really came together on the 1975 tour and featured stunning keyboard work from Carey. The material is uniformly strong, with "Starstruck" and "A Light in the Black" standing out in particular. Ronnie Dio turns in a great vocal on the stunningly direct (under three minutes!) "Do You Close Your Eyes." All six songs on the album are up there with anything the band has done, before or since. The playing has a very tight, colorful feel to it, which was lacking a bit on the first record. This album can legitimately be mentioned in the same breath as classic Deep Purple. (Geoff Ginsberg in AllMusic)

CARLOS DO CARMO: "Fados e Canções"

50 Fados e Canções que reflectem o que de melhor Carlos do Carmo gravou até 1980

BANDIDO NEY

Original released on LP Continental 1.36.404.002

(BRASIL, 1976)

The GRATEFUL DEAD: "Steal Your Face"

 

Original released on Double LP Grateful Dead GD-LA620-32
(US 1976, June 26)

Some Deadheads and enthusiasts have dismissed this two-disc live set as being foul-sounding and wholly unrepresentative of a typical Grateful Dead show circa 1974. These are undeniably accurate thumbnail assessments. However, somewhat obscured beneath what is not on this collection are a few salvageable performances. The story of why the Dead would contribute to such substandard workmanship has long been grist for the rumor mill. The evidence, however, speaks in the package's indescribably poor song selection and complete lack of cohesion. "Steal Your Face" is compiled from the same four-night stand (October 16 through October 20, 1974) at Winterland Arena that the Dead filmed for the "Grateful Dead Movie" (1976). Because the band had announced their decision to cease their incessant touring and essentially go on sabbatical, these concerts were being touted at the time as the "final four." By all accounts there was plenty of inspired musical interaction during the course of the run. So, why weren't those tracks accessed for this release? In essence, this boils down to two factors: the absence of quality control at the time the recordings were made, and some decidedly unsavory and unethical conduct by the band's concurrent management. What listeners are left with is a loose assortment of shorter tracks and self-contained performances. 

This was written off by the band as an attempt not to duplicate the style of their previous concert releases "Live/Dead" (1969), "Grateful Dead" (1971), and "Europe '72" (1972) - all of which were infinitely more realistic and warmly received. There are a few throwaways, such as the Chuck Berry covers "Promised Land" and "Around and Around" as well as Bob Weir's cowboy tunes "Big River" and "El Paso." It should be noted that these particular cuts are not all that bad. However, none of the songs have much room for any ensemble work or extended improvisation - key elements when capturing the essence of the Grateful Dead live. Conversely, newer originals such as the Jerry Garcia/Robert Hunter ballads "Ship of Fools," "It Must Have Been the Roses," and the album's unmitigated gem, "Stella Blue," rate among the package's most thoughtful and lyrical moments. (Lindsay Planer in AllMusic)