THE BEAT OF THE POPS - VOLUME 2

A Dream Made True

Este poderia ter sido o album dos Beatles que se seguiria a "Let It Be". Mas o grupo não chegou lá. Logo nos inícios de 1970 Paul McCartney anunciava ao mundo o fim dos Fab4. Mas durante aquele ano iriam aparecer gravações a solo de cada um deles. E como é verdade que a imaginação não tem limites, aqui fica uma sugestão - haverá outras - para um album muito esperado na altura, mas que nunca veria a luz do dia.

This could have been the Beatles album to follow "Let It Be". But the group didn't do it. Right on the beginnings of 1970, Paul McCartney announced to the world the end of the Fab4. But along that year each one of them edited solo albums. And as the imagination has no frontiers, here is a suggestion - another others could be possible - to an album very expected in those times, but which never saw the light of the day.

An Asylum For The Musically Insane

Looking back on the frenetic gearshifts and changing pace within the British underground music scene of the late '60s, some records transcend time and place while others become preserved in amber, emblematic of the age in which they first appeared. With its joyous, hedonistic overtones and kaleidoscopic sound, Tea & Symphony's 1969 debut album, originally issued on the fledgling Harvest label, falls proudly into that latter category. With no two tracks quite the same, "An Asylum For The Musically Insane" and its cornucopia of styles and moods, couldn't really hail from any other decade. And though other releases from the same period would ultimately command a greater amount of posterity's attention, Tea & Symphony's first album nevertheless presents a refreshingly different perspective on what was undoubtedly one of the most adventurous and momentous periods in music. Poor sales in 1969 rendered the album as one of the most collectable of Harvest's releases in the 21st Century, with vinyl aficionados prepared to pay hundreds of pounds for the pleasure. Of course the real item of value here is the music rather than the original medium on which it appeared, no matter what price it may command. As Mark Williams noted on his vrowded reviews page in the October's International Times, «possibly the nicest Harvest album to date. A record which maintains a consistent originality throughout its multi-plexity of instrumentations, tempos and musical 'styles'... To pick out specific numbers would be pointless, as they each have so many different facets that eventually the album becomes one huge trip. Very lovely». Lovely indeed. (Sid Smith, March 2015)

TOP OF THE POPS (1969-1971)

What is a hit tune? The producer of "Top of the Pops", a keen student of such things, reckons that, to be a hit, a tune must arouse a desire to possess. Ever since Man, having outlived the Sabre-toothed tiger, found time to whistle, there have been hit tunes. Most of these have their day and go their way; but every now and then one comes along which for some reason is different. It ENDURES. Take "Greensleeves", for example. Old Henry VIII, to whom it is generally attributed, admittedly was in a marvellous position in his day to influence the plugging; and might well have made it a hit by unfair trading. But, without its sheer quality, it could never have survived the centuries. The Hallmark "Top of the Pops" series was first released in June 1968, with the top session musicians and singers coming together to record the hits of the day. Fourteen years, 92 albums and millions of sales later, the series came to an end, although copies of the originals continue to turn up at charity shops the country over! Indeed, the original "Top of the Pops" series has developed a kitsch market all of it own. But back on the late 60s (and in all the subsequent years) those records accomplished their purposes. I think that everyone older than 55 has danced at least a couple of times to the sound of the "Pops", in those kid's afternoon garage's parties. And which one of you hasn't one copy or two of those albums? So, to remember those old and candid dancing parties (something that don't exist anymore for a long long time), Rato Records has assembled 32 outstanding tracks of the "Top of the Tops" series (from 1969 to 1971, because those are Rato's party years) and brought them together in two CD's. And if, in a few hundred years' time, your descendents find a "Greensleeves" or two in this collection, I will not be a bit surprised.

Inside the files, you'll find the first 21 original covers, from 1968 to 1971. The cover girls on the first eight discs were a mxed bunch, though mercifully whoever was responsible for the cutting out of the poor woman on Vol 1 (she lost half her hair in the process) didn't last long. The idea seems to have been to present an agreeable image that wouldn't put anyone off buying the albums. If there was a theme it was head-gear - hats, headbands and scarfs adorn the first six models. With Vol 7 the pulses quickened with a glimpse of a leather mini-skirt and on Vol 8 the first bikini - albeit a vaguely Christmassy affair (it was on sale during Nov/Dec 1969) in white fur! Now and then our corporate ears start to glow at a pleasant bit of news, such as when the girls of a factory floor sent a message to the effect that they've pretty much stopped buying singles, being now content to wait for each successive Hallmark LP.And it was true; "The Top Of The Pops" albums were starting to make the industry take notice, as people could buy a dozen potential hits for around 13s 11d. The cover girls also began to get a little more provocative as Hallmark gained confidence. So in 1970 the skirts got shorter (especially on Vol 9!) and the poses were certainly less inhibited than before. As 1971 came round, they risked all and went with the first glimpse of nudity initially with an open shirt and then a see-through top which, with the colours relected in the cover titles, was one of the best sleeves to date. The cover images became also a little more professional too (Vol 17 aside - surely a left over image from the first year?) but the basic layout of a simple border design with titles inside, plus the "The Top Of The Pops" logo which had adorned Vol 1, remained the same. It was this generic feel which contributed to the series' success (and which seems to have made them the most collectable of these cover albums today). Fashion historians can also deduce that 1971 was the year Hot Pants came in - while the bullet belt on Vol 20 was a must have accessory amongst many rock bands.

MEU NOME É GAAAAAL!

Edição original em LP Philips 6349 412

(Brasil, Julho 1979)

"Gal Tropical" é o décimo terceiro álbum de Gal Costa, lançado em Julho de 1979, no Brasil (Setembro desse mesmo ano em Portugal). A cantora veio a Portugal fazer o pré-lançamento, num espectáculo memorável no Coliseu dos Recreios de Lisboa, no dia 3 de Julho de 1979. Paguei na altura 400 escudos por um lugar na 1ª plateia (ainda conservo o bilhete) e não me arrependi. Do show (e posteriormente do disco) é de salientar uma versão arrebatadora de "Meu Nome é Gal", em que a voz da baiana se envolve num duelo arrepiante com a guitarra de Robertinho do Recife, chegando ao ponto de se fundirem os dois sons num único: «Eu amo igual, meu nome é Gal, e não faz mal que ele não seja branco, não tenha cultura, de qualquer altura, eu amo igual, meu nome é Gal..., é Gal..., é Gal...». Nesse ano, para além desse tema, foi também regravada "Índia", uma das canções mais emblemáticas de Gal Costa. Todas as doze canções que compõem este album são excelentes, mas quero destacar ainda mais uma, a "Força Estranha", da autoria de Caetano Veloso (escrita de propósito para Roberto Carlos), em mais uma interpretação memorável. Esta música foi um dos temas principais da novela "Os Gigantes", da TV Globo. "Balancê", marcha carnavalesca gravada por Carmen Miranda no carnaval de 1937, foi o grande sucesso do disco, tornando-se o carro-chefe do carnaval de 1980 e a música mais tocada nas rádios naquele ano. Quer o som do vinil quer o som do CD, apresentavam deficiências nos graves. Rato Records corrigiu esse problema e o que agora podem ouvir é um som cheio e harmonioso, que faz justiça a todo o esplendor de Gal Costa. Aproveitem!

BERT KAEMPFERT: "Hold Me"

Original released on LP Polydor 184 072

(Germany, 17/4/1967)

When this album was released in 1967, Bert Kaempfert was already well down the road leading to success. As bandleader-arranger-composer, he had finally established himself world wide. For example, on the margin of one of his own scores, composer Henry Mancini left the instructions, “With Bert Kaempfert’s drum brush,” and Nelson Riddle wasn’t above demanding the “Bert Kaempfert Sound” from his own musicians, when he felt it necessary. This year saw Frank Sinatra climbing the American charts with the new Kaempfert composition “The World We Knew (Over And Over)” and Al Martino found himself sharing the top spots on hit lists across the world with his own, and Kaempfert’s instrumental version of “Spanish Eyes” (“Moon Over Naples”). “Hold Me” is an album which production proves the many faceted expertise of Bert Kaempfert. Everybody who adores Bert Kaempfert’s typically swinging and sometimes humorous style of interpretation will be more than satisfied with “Majoram”, “Pussy Footin'” and “So What's New”. At the time, all these numbers were warm favorites on US radio. “Hold Back The Dawn”, a very melodic composition from Bert Kaempfert was especially loved, particularly the vocal versions from Baby Washington, and Gloria Lynne. With “Lady”, Jack Jones stole the charts and later many stars were to include this number in their repertoires. The best dance numbers are “Love For love”, “It's The Talk Of The Town” and “Rose Room”, unlike the masterful “Take Seven”, composed in 7/4 time; even the musicians had to be careful not to fall out of step during this recording. As always, well loved standards are given fresh life without losing their authenticity.

In this year the European and American public were able to experience the, until now, ‘Invisible Mr Hitmaker’ on television:  August 1967 saw the launching of German color television, during the 25th annual Broadcasting Exhibition in Berlin. Amongst the crowd of international stars was Bert Kaempfert and his Orchestra. The Gala-Show took place within the framework of a Eurovision broadcast.  During previous years Bert Kaempfert and his Orchestra had received many invitations to appear in front of the American public. Unfortunately this was never possible, due to the fact that the work permits, necessary for foreigners, were to all intents and purposes, practically impossible to attain. In addition, the unions demanded that for every foreign musician who appeared, an American one had to be compensated. These conditions combined to make it financially impossible for any promoter to consider organizing a concert tour for the numerically imposing Bert Kaempfert and his Orchestra. Despite this, it proved possible in the end, to engage on the Jackie Gleason Show, the then most popular show in the US. The show was scheduled once a week, during peak viewing time and was broadcast from ‘coast to coast.’ Bert Kaempfert took only four of his own musicians along with him, drummer Rolf Ahrens, his bass guitarist Ladi Geissler, bass player Karl-Heinz (Kuddel) Greve, and solo trumpeter Manfred Moch. The rest of the team were substituted by the excellent Jackie Gleason-Big Band, as well as a strings section and a choir. Given Bert Kaempfert’s ability and talent for writing arrangements, the rehearsal time of only one day was more than enough to allow this improvised ensemble to present the American public the typical Kaempfert sound with two medleys of his most successful hits. Bert Kaempfert is the only German composer and bandleader of entertainment music that has achieved not only notable, but really huge success. Right up until today his music enjoys worldwide respect and continues giving pleasure to many across the world.

Wanna Make Love To Julie?

Original Released on LP Liberty LRP 3060

(US, 1957)

Julie London's concise and melodic versions of standards were quite popular during the latter half of the 1950s. Her subtle sensuality and lightly swinging style made for a potent combination. This album matches London's voice with an orchestra arranged by Russ Garcia on standards and a couple of newer tunes, including Bobby Troup's "It's Good to Want You Bad". Among the more memorable selections are "If I Could Be With You", "Alone Together", "I Wanna Be Loved" and "You're My Thrill".

THE BEAT OF THE POPS - VOLUME 1

Because of many, many requests, to re-upload this great collection from the early sixties (1960-1964), Rato Records begin today to satisfy all those friends that for one reason or another couldn't achieve all the volumes.

FESTA NA ÁFRICA DO SUL

E uma vez mais Rato Records volta a disponibilizar a todos os amigos deste blogue uma jóia rara! Ou melhor, duas, uma vez que são dois albuns reunidos num só CD. Tratam-se de dois discos gravados na África do Sul, em 1976 e dos quais até há uns anos atrás desconhecia por completo a existência. Mas pelos vistos foram mesmo gravados, e por intérpretes portugueses. Três deles, Ana Maria Froes, Natércia Barreto (a popular Techa) e Zito, oriundos de Moçambique, de onde tiveram de sair após a Independência, para se radicarem na vizinha África do Sul, onde creio que ainda hoje se encontram a viver. Ana Maria Froes (ou Fróis) teve um êxito importante em 1970/71 com o tema “Topsi”, amplamente publicitado pelo suplemento musical Onda Pop do jornal “Notícias” de Lourenço Marques. Zito (de seu verdadeiro nome José Eduardo), do qual já aqui foi apresentada uma antologia, foi um popular fadista da capital moçambicana nos fins dos anos 60, princípios dos anos 70. Quanto à Natércia Barreto, as apresentações são desnecessárias visto a intérprete de “Óculos de Sol” e tantos outros êxitos ser sobejamente conhecida. O cantor Jimmy, já falecido, era o irmão mais novo do popular Max. Nascido no Funchal, foi para Moçambique nos finais dos anos 50, onde fez parte de um grupo em que figuravam outros nomes bem conhecidos do público laurentino, como a Maria Adalgisa ou o acordeonista David Pantoja. Depois de alguns anos a residir na África do Sul regressou ao Funchal, onde chegou ainda a actuar na Casa de Fados “Marcelino Pão e Vinho”. Quanto ao Conjunto Símbolos de Esperança, pouco se sabe. Era formado por portugueses radicados na África do Sul, onde durante os anos 70 actuavam para a comunidade portuguesa.

À distância de 4 décadas, todas estas músicas continuam a ouvir-se agradavelmente, com um sorriso nos lábios. Muitas versões de grandes êxitos da época (“Goodbye, My Love, Goodbye”, “Feelings” ou “Save Your Kisses For Me”), outros menos conhecidos (“Lady in Blue”, “To The Door Of The Sun”) e também alguns temas portugueses (“Canoas do Tejo”, “Hambanine”, “Que Linda Que És Madeira"). De registar a colaboração do célebre trompetista inglês Eddie Calvert (“O Mein Papa”, “Zambesi”, “Stranger in Paradise”, “The Man With The Golden Arm”, “Jealousy”, e tantos outros instrumentais famosos) que viria a falecer aos 58 anos, apenas dois anos depois da gravação destes discos. O produtor é o sul-africano John Gibson, cujos magníficos arranjos contribuiram para a longevidade de todas estas canções que podem agora ser de novo ouvidas com uma excelente qualidade sonora.

LIVE AT CAESARS PALACE, 1971

Original Released on Double LP London 2XPAS 71049/50

(US, November 1971)

"Live Caesars Palace" is recorded from Tom Jones 1971 shows, just as he was reaching his pinnacle as a live performer. In many ways this live recording also marks the dawning of a new era when he decided to make live performance his primary concern foresaking much of his career as a recording artist. He would now focus his energies exclusively on the U.S. and in particular Las Vegas. By the turn of the seventies Tom was injecting a little more soul into his sound and this is perfectly demonstrated by the contents of this album. With his regular backing band and aided by his backing singers the Blossoms, Tom's voice was tearing through the concert performances with great dynamism and energy. Many of his well known hits are in the form of a medley (Side 4) at this point in time - "I'll Never Fall In Love Again", "Love Me Tonight" and "It's Not Unusual" for example, but it's the collection of covers where the true strength of this album lies. "Dance Of Love", "Bridge Over Troubled Water", "My Way", "God Bless The Children" and "I Who Have Nothing" (amongst others) are simply sensational with his wonderful hard edged, soulful vocals. "Live Caesars Palace", in retrospect, is one of the great live albums ever released. It's underated, that's for sure, but it's brilliant nonetheless. Be quick and add this magnificent album to your collection.

Depois de “Live At The Talk Of The Town” (Junho 67) e “Live At The Flamingo, Las Vegas” (Outubro 69), este é o terceiro album ao vivo de Tom Jones, gravado uma vez mais em Las Vegas, na primavera de 1971. Salvo honrosas excepções, nunca fui grande entusiasta de albuns ao vivo, sempre preferi o rigor das gravações em estúdio. Esta é uma dessas excepções, um duplo album que nos consegue transmitir toda a força de Tom Jones em cima de um palco, numa altura em que o cantor enveredava em definitivo pelas actuações ao vivo, sobretudo no grande carrocel do espectáculo chamado Las Vegas. O CD reeditado pela Varese apresentava um som aquém do vinil original, sobretudo (e como de costume) ao nível dos graves. Esse problema foi resolvido aqui pelo Rato, bem como a amplitude da estereofonia. O resultado é um som cheio e profundo, melhor do que o do vinil ou do CD original. Aproveitem!

DOUG ASHDOWN: "Leave Love Enough Alone" or "Winter In America"

Original released on LP Billingsgate L35294

(Australia, 1974)

Douglas Wesley Ashdown nasceu em Adelaide, Australia, no dia 29 de Julho de 1942. Cantor folk e country, aos 17 anos já tinha viajado para Inglaterra para tocar e cantar num conjunto de Rock, mas sem grande sucesso, regressando em 1961 à Austrália como vocalista do grupo The Bowmen. Em 1965 grava o seu primeiro album, "This Is Doug Ashdown". Nos finais da década de 60, edita dois singles que se tornaram muito populares na Austrália, "Something Strange", em 1968, e em 1969, "Whole Lotta Shakin' Goin' On" (uma versão do êxito de Jerry Lee Lewis). Em 1970, assina contrato com a editora independente Sweet Peach e lança o single "The Saddest Song Of All", composta por Ashdown e Jim Stewart, que se tornou o seu co-produtor e co-autor da maior parte das suas composições. Segue-se, em 1970, "The Age Of Mouse", que foi o primeiro album duplo de originais gravado por um australiano. Depois de um album ao vivo em 1971, "Doug Ashdown Live", segue-se em 1974 este belissimo "Leave Love Enough Alone", muito provavelmente o seu melhor trabalho de sempre. Dois anos depois seria de novo reeditado, então com o nome de "Winter In America", e chegaria ao Top 14 em Melbourne.

"when I was small, and Xmas trees were tall..."

"MELODY"

(S.W.A.L.K.)

PRODUÇÃO: David Hemmings e David Puttnam

(UK, 1971)

REALIZAÇÃO: Waris Hussein

ARGUMENTO: Alan Parker

CINEMATOGRAFIA: Peter Suschitzky

MONTAGEM: John Victor Smith

DIREÇÃO ARTÍSTICA: Roy Stannard

CAST:

Mark Lester ... Daniel

Tracy Hyde ... Melody

Jack Wild ... Ornshaw

Colin Barrie ... Chambers

etc.

Estreia em New York a 28 de Março de 1971

Estreia em Londres a 21 de Abril de 1971
Estreia em Portugal a 11 de Setembro de 1975

Quem se lembra deste filme? Eu conheço as canções de cor e salteado, mas nunca tinha visto o filme. Até agora, que o Daniel Bacelar (sempre uma "caixinha de surpresas" este homem) me ofereceu uma cópia em DVD. É uma espécie de antecedente do "Friends", só que as idades dos protagonistas são uns anitos mais novas. Enquanto que no "Friends" a transição era da adolescência para a fase adulta, aqui assistimos mesmo ao primeirissimo amor, naquela época em que ainda não sabíamos lá muito bem as diferenças entre meninos e meninas. Para nós elas eram umas "chatas" que não apreciavam as nossas brincadeiras e para elas..., bom, acho que para elas nós não passávamos de uns "parvos". Escusado será dizer que "Melody" é um filme muito ternurento (só podia, com todas aquelas canções dos Bee Gees) e que hoje é capaz de não fazer lá muito sentido para a novissima geração. Mas a nós, guedelhudos grisalhos, faz-nos recordar a "nossa meninice" e traz-nos ainda alguns vestígios da era Vitoriana inglesa - julgo até que o Roger Waters se deve ter inspirado na figura do reitor para compor a personagem do seu teacher de "The Wall". Aqui vos deixo a banda-sonora original.