terça-feira, 26 de julho de 2016

BACK IN BLACK


CBS’ decision to drop Johnny Cash after unparalleled 28 year partnership angered many people. Even at that time, in 1986, Cash still had a loyal following, playing sell-out concerts throughout the world and shifting more than 40,000 copies of every album he released. But this was not enough to justify the record company’s investment. Never one to consider retirement, Cash started looking for a new label.



Seven years later, and still with no recording contract, Cash met Rick Rubin during a show in California in early 1993. Rubin, who had produced the Red Hot Chili Peppers’ was forming a new label, Def American (American Recordings) and wanted to sign the legendary country songer. «To work with Johnny Cash will be an honour», Rubin said at the time. «I have respected him for years, both as a performer and a writer, and it’s going to be a pleasure having him with American». Many of the early sessions were experimental. Cash would revisit old songs and pick a few favourites, then Rubin would suggest other material for Cash to cover. Many of Rubin’s suggestions seemed strange to Cash, but he recorded them, nonetheless, only to discover that they ‘felt’ right.


The first album that resulted from those sessions was released in April 1994 and called, simply, "American Recordings". The sleeve pictured Cash with two dogs, one white and one black, to illustrate the themes of sin and redemption that the album embodied. It was the first release to feature only the word “CASH” in big, bold letters on the front, a stark and iconic design that would appear on all five of the main American releases. «I think I’m more proud of this than anything I’ve ever done in my life.» Cash said on its release. «This is me. Whatever I’ve got to offer as an artist, it’s here. I don’t think I ever worked so well with a producer.» The album received rave reviews. The Los Angeles Times called it ‘a milestone work for this legendary singer’, and Billboard went even further, saying, ‘Never has the Man In Black produced a work of such brilliance.’ It went on to win a Grammy.


The second set was called "Unchained" and appeared in November 1996. It would be almost four years before Cash would release another new album. In that time, he was diagnosed with a nervous disorder, having been twice misdiagnosed. In fact he was suffering from autonomic neuropathy, a disease which affects the nervous system. As time went on, it became clear that Cash’s touring days were over. Apart from the occasional appearance at places such as The Carter Fold, he would not take to the stage again. Life on the road had been a major part of Cash’s life and it was hard for him to accept that he would never tour again. But being off the road did give Cash more time to concentrate on writing and recording. He started researching new material and turned to songs he remembered from his youth, as well as the contemporary material suggested by Rubin and his own compositions, which had been the staple of his last two albums. Work on a third American album started in late 1999, with members of The Heartbreakers, Cash’s daughter-in-law, Laura Cash, Norman Blake, Randy Scruggs and Marty Stuart.

"American III: Solitary Man" was released in October 2000 and Cash wrote in the sleeve notes: «This album has been a long time coming, and I feel another in there somewhere». He certainly didn’t waste time finding it, and started writing again almost immediately. But there was no doubt that Cash’s voice was getting weaker and, though keen to record, some days he struggled to finish a song. His vocal style had changed from the low baritone that had become his trademark, and was now closer to spoken word. The title track was one of Neil Diamond’s many hits and, while not at the cutting edge of much of his work with Rubin, reflects his lonesome persona.

"American IV: The Man Comes Around" was released in November 2002 and became Cash’s first-ever platinum studio record. It has moments that are simply stunning, and Cash had no doubts about how the album stacked up next to its predeccessors. «I firmly believe that it’s the best record we’ve done,» he said, «It reaches out even further than the others did. It goes in so many directions, but they all come together with me and how I could make these songs my own. They come together in being my songs.» He described the theme of the album as being «the human spirit fighting for survival», adding, «It probably reflects a little of the maturity that I’ve experienced with the pain that I’ve suffered from the illnesses that brought me so close to death.» The album’s closing song was the old Vera Lynn favourite,”We’ll Meet Again”, with accompaniment from the whole ‘Cash Clan’. It was a touching, but chilling finale.


When June Carter Cash died in May 2003, after complications following an operation to replace a heart valve, Cash was devastated. Due to his ill-health, the recording sessions to the next album went slowly and there were many days that he would not feel like recording at all. Cash began work on about 60 songs at this time, but was admitted to hospital in late August. He was discharged in early September, and intended to head back to the studio to select tracks for the new album, but it was not to be. He quickly returned to hospital, and on 12 September 2003 the news came that Johnny Cash had passed away.


"American V: A Hundred Highways" was only released three years later, on 4 July 2006 in the States. One of the best tracks on the album is “Rose Of My Heart”, about his love for his late wife. “We’re the best partners this world’s ever seen”, he sings. “Together we’re close as can be / But sometimes it’s hard to find time in between / To tell you what you mean to me.” Cash’s voice may not have been strong, but the emotion he wrings out of almost every word is outstanding.


Once more Rato Records made all the homework and selected the very best from these five albums to assemble a great and lasting collection: 32 tracks in a double CD, representing the legacy of this Country True Legend. Hope you like the selection and the art work as well. Enjoy, this is for you.

MAURICE JARRE / "GRAND PRIX"


Maurice Jarre, falecido em Los Angeles, aos 84 anos (madrugada de domingo, dia 29 de Março de 2009), significou sempre um sinónimo de Cinema para mim, tantos foram os filmes que tiveram a sua inconfundível assinatura. Foi francês por nascimento (em Lyon, a 13 de Setembro de 1924) mas internacionalizou-se através das mais de 160 partituras que compôs ao longo da sua vida para grandes realizadores: Alfred Hitchcock, Luchino Visconti, John Huston ou David Lean, por exemplo. A colaboração com este último resultaria na obtenção de 3 Oscars da Academia pelos filmes “Lawrence of Arabia” (1962), “Doctor Zhivago” (1965) e “A Passage to India” (1984). Seria nomeado ainda por mais 6 vezes, a última das quais em 1990 pelo filme “Ghost”.


Muitos outros prémios lhe iriam parar às mãos, em variadissimas partes do mundo. Tem uma estrela na calçada da fama em Hollywood e, para além do cinema, compôs ainda ballets, concertos, óperas e cantatas. Recebeu também o Urso de Ouro, um prémio honorífico do Festival de Cinema de Berlim, destacando-o como um dos compositores "mais importantes e ao mesmo tempo mais populares" da história da sétima arte: «Os compositores dos filmes estão freqüentemente à sombra de grandes realizadoress e actores. É diferente com Maurice Jarre. A música de "Doutor Zhivago", como grande parte de sua obra, é famosa no mundo todo e permanece na lembrança da história do cinema», afirmou o diretor do festival, Dieter Kosslick.




Da sua extensa e impressionante filmografia é meu desejo partilhar aqui a banda sonora do filme “Grand Prix” que Jarre compôs para John Frankenheimer em 1966 (gravações efectuadas nos MGM Studios Scoring Stage, Culver City, California, entre 25 de Novembro e 14 de Dezembro de 1966). Trata-se de uma edição especial, limitada a 3000 cópias, e que contém toda a música do filme, a maior parte da qual não usada no album editado na altura da estreia, em Dezembro de 1966. Quem quiser escutar o alinhamento original basta programar o leitor de CD’s com a sequência 1 – 22 – 23 – 24 – 7 – 13 – 26 – 27 – 4 – 29. De referir que nas faixas 13 e 29 foi eliminado o barulho dos escapes dos carros, constantes na versão original.



“Grand Prix” fez as minhas delícias de adolescente, quando o vi pela primeira vez em Johannesburg, a 19 de Agosto de 1967, um sábado à noite. Tinha sido o filme escolhido para inauguração de uma nova sala de cinema chamada Royal Cinerama, especializada na passagem de flmes naquele formato (écran semi-circular com tripla projeção simultânea). Ao longo dos anos revi o filme dezenas de vezes, mas a memória daquela 1ª sessão nunca mais me abandonou. Recordo ainda o foyer do cinema todo ele engalanado com artefactos relacionados com o filme, onde nem sequer faltavam dois ou três prototipos dos bólides de Fórmula 1 da altura. E que lindos que eram esses carros...




Transcreve-se de seguida parte das notas que constavam da edição original do album (MGM) com a banda sonora, que na altura se resumia apenas a 10 faixas:

Grand Prix is the story of four drivers, the women behind them, the cars beneath them. These four daredevils dice with death across the race tracks of the globe. Each has his eyes and heart on the world championship. Only one can win. They are:

The American…Peter Aron (James Garner). Aron, a restless, abrasive personality, lives for driving. Starting the season with Jordan - BRM he is fired after a multiple crash at Monaco, rejected by the autocratic Manetta-Ferrari owner (Adolfo Celi), finally ends up in partnership with Japan’s ambitious Izo Yamura (Toshiro Mifune). Both badly want the world championship. Yamura for his cars. Aron for himself.


The Corsican…Jean-Pierre Sarti (Yves Montand). At an age when most top drivers have retired to the grandstands, he aims one last fling at the world title…and a win that could give him the elusive hat trick. An added tension to his bid is his blossoming love affair with fashion editor Louise Fredrickson (Eva Marie Saint). And at speeds approaching 200 miles per hour, tension spells trouble.

The Britisher…Scott Stoddard (Brian Bedford). A talented young Jordan-BRM driver, whose marriage and racing suffer from the shadow of his dead brother Roger, a former world champ whose personality still haunts the circuits in general and the Stoddard family home in particular. And then there is his wife, Pat (Jessica Walter). Pat is a problem - a bored ex-model, failed actress, indifferent wife and troublesome mistress to Stoddard’s archrival and ex-colleague Pete Aron.

The Sicilian…Nino Barlini (Antonio Sabato). A wild young driver played by a wild young actor. Barlini lives and dreams cars, motorbikes and girls. One of the girls is Lisa (Françoise Hardy), an enigmatic beauty who emerges from a Riviera discotheque to follow the racing season…and Barlini.Of the quartet, one will raise his hand in victory, another will die. Not one of them or their women will ever be the same.


Maurice Jarre was born in Lyon, France. He studied composition and percussion at the Conservatoire with Jacques de la Presle, Louis Aubert and Arthur Honegger. In 1944 he was called up by the Navy and saw active service in World War II. When Jean Louis Berrault formed his own theatre company, he asked Jarre to become orchestral conductor and arranger. Jarre stayed with the Barrault company for four years. In 1951, he joined Jean Vilar, who had started a national theatre company. For the first time Jarre composed music for a wide range of plays: Shakespeare, Moliere, O’Neill, Eliot and Victor Hugo. In 1955 Jarre was awarded the Zurich prize for a symphony and violin concerto. That same year he won the Italian Opera Radiofoniche prize for a radio opera, "Ruiselle". In 1962 he again received the Radiofoniche prize, this time for a TV opera, "Les Filles du Feu". The composer has written concert music for the festivals at Aix-en-Provence and Strasbourg; ballets for the Paris Opera Comique and London’s Sadler’s Wells. Jarre started writing music for films in 1952. His first feature film assignment was Franju’s "La tête contre les murs". In addition to "Grand Prix" he has done scores for 38 other foreign and American films, including "The Longest Day", "The Collector", "Is Paris Burning?", "Night of the Generals", "Lawrence of Arabia" and "Doctor Zhivago". He won the coveted Motion Picture Academy Oscar in 1962 for "Lawrence of Arabia" and again in 1965 for "Doctor Zhivago".



The Music

The relationship of the main characters in this film is a very close and personal one. Jarre expresses this musically, by intermingling the main characters’ identifying themes.

Side 1

1. Overture - The Overture contains substantial portions of the three Main Themes from the film: 1) Theme From Grand Prix – relates to all the drivers. 2) Sarti’s Love Theme – is generally used in connection with the Frenchman’s (Yves Montand) adventurous and romantic schemes; 3) Scott’s Theme – serves as background music for scenes featuring the British Jordan BRM driver, Scott Stoddard (Brian Bedford). (4:35)

2. Scott & Pat – Sarti & Louise Unrequited love and fulfilled love. Mr. Jarre skillfully contrasts the Scott and Sarti themes. (2:20)

3. Theme From Grand Prix - This version of the theme is heard at the finish of the Brands Hatch race. (1:55)

4. Sarti’s Love Theme (Bossa Nova) - Employed by Jarre to underline portions of the racing sequences. (2:25)

5. The Zandvoort Race (Scott’s Comeback) - The crippled Scott painfully lowers himself into his dead brother’s racing car and triumphantly roars away. The engine’s blast signals the start of the Zandvoort Race – and a glorious comeback for the determined Britisher. (5:21)



Side 2

1. The Clermont Race - Unusual multi-camera shots – almost kaleidoscopic in effect. Sarti is driving but his mind is on Louise. Photographically and musically the Clermont Race has the quality of a racing car “ballet.” (2:15)

2. Scott’s Theme (Bossa Nova) - Heard over the loudspeakers while the Clermont Race is in progress. (2:15)

3. Sarti’s Love Theme - The scene is Sarti’s apartment at the Sports Club; Sarti and Louise first realize that they are deeply in love. (4:15)

4. In the Garden - A tender scene between Sarti and Louise. Music is heard coming from Barlini’s victory party which they have just left. (3:00)

5. The Lonely Race - Track it is the end of the film. The grandstands are empty. Pete (James Garner), deep in thought, is seen walking down the empty track reliving in his mind the races and events we have just seen. Sarti’s Theme comes first, then the roar of the invisible racing cars, followed by another version of the stirring Theme From Grand Prix, a dedication to all racing drivers. (2:26)


Produção: Edward Lewis
Realização: John Frankenheimer
Argumento: Robert Alan Aurthur e William Hanley
Música Original: Maurice Jarre
Montagem: Henry Berman, Stewart Linder e Frank Santillo
Estreia nos EUA: 1966, Dezembro 21



CAST:
James Garner - Pete Aron
Yves Montand - Jean-Pierre Sarti
Eva Marie Saint - Louise Frederickson
Brian Bedford - Scott Stoddard
Toshiro Mifune - Izo Yamura
Jessica Walter - Pat Stoddard
Antonio Sabato - Nino Barlini
Françoise Hardy - Lisa
Adolfo Celi - Agostini Manetta
Claude Dauphin - Hugo Simon
Geneviève Page - Monique Delvaux-Sarti
Enzo Fiermonte - Guido
Jack Watson - Jeff Jordan
etc.


segunda-feira, 25 de julho de 2016

THE VENTURES PLAY TELSTAR

Original released on LP Dolton 
BLP 2019 (mono) / BST 8019 (stereo)
(US, 1962)

As one of the foremost instrumental surf rock bands of their day, the Ventures produced what seemed like endless collections of standard tunes in their unique beachy style. Originally released in 1962, "The Ventures Play Telstar" is one of the band's more recognizable titles. Covering a vast array of early-'60s hit paraders, the album is kicked off by a rival surf band's huge hit. "Telstar" was a hit earlier that same year in a much wobblier Joe Meek-produced version by interstellar outliers the Tornados. Taking on a few Latin-tinged easy listening numbers made famous by Herb Alpert as well as Booker T. & the MG's' soul groover "Green Onions," the record hits these numbers with a varied degree of inspiration. Despite a somewhat wooden performance on many of the tracks, the hard-panned stereo production makes for a very big sound. While reading somewhere between campy and nostalgic in the context of the decades that followed, "The Ventures Play Telstar" is still a high point in the band's overwhelming discography, and as strong a sample of early-'60s commercially viable surf rock as you're likely to find. (Fred Thomas in AllMusic)

domingo, 24 de julho de 2016

CURVED AIR - "Phantasmagoria"

Original released on LP Warner Bros K 46158
(UK, April 1972)

The sonic caveats which accompany Collector's Choice's other Curved Air reissues remain in force; the historical truth that what sounded timelessly groovy in 1971 is not necessarily so finger-snapping three decades later remains unimpeachable. But still, "Phantasmagoria" is a fabulous album, the culmination of all that Curved Air promised over the course of its predecessors; the yardstick by which all rock/classical hybrids should be measured. The opening "Marie Antoinette" sets the scene with lovely melody, impassioned vocal and a terrifically understated band performance which complements every syllable uttered by vocalist Sonja Kristina. The bridge into revolution («the rabble have gone insane») is breathtaking - history lessons should all sound this good, and the amazing thing is that the album has only just got started. The gentle "Melinda More or Less" is swirling, sweet folky psychedelia, while "Not Quite the Same," a somewhat self-conscious ode to masturbation, disguises its proggy inclinations with a barrelhouse 6/8 rhythm and a genuinely catchy hook. 


"Ultra-Vivaldi" updates the first album's "Vivaldi" by, apparently, letting the Chipmunks have a go at playing it. And the four-part, side-long title track switches moods, effects, and even genres (jazz, mariachi, and the avant-garde all get a look in) to create an dazzling soundscape which allows every members a moment to shine - without once stepping into the treacherous swamps of solos and virtuosity. This was the original Curved Air's final album - by the time the accompanying tour was over, only Kristina and bassist Mike Wedgwood (himself a spanking new arrival) remained to carry on the good work. As farewells go, then, it is magnificent, the band's grandest hour by far. And listening to it all these decades later, one cannot help but wonder how much grander they might have become? (Dave Thompson in AllMusic)


CREAM's SECOND ALBUM

Original released on  LP Reaction 594 003 
(UK 1967, November 10)

Cream teamed up with producer Felix Pappalardi for their second album, "Disraeli Gears", a move that helped push the power trio toward psychedelia and also helped give the album a thematic coherence missing from the debut. This, of course, means that Cream get further away from the pure blues improvisatory troupe they were intended to be, but it does get them to be who they truly are: a massive, innovative power trio. The blues still courses throughout "Disraeli Gears" - the swirling kaleidoscopic "Strange Brew" is built upon a riff lifted from Albert King - but it's filtered into saturated colors, as it is on "Sunshine of Your Love," or it's slowed down and blurred out, as it is on the ominous murk of "Tales of Brave Ulysses." It's a pure psychedelic move that's spurred along by Jack Bruce's flourishing collaboration with Pete Brown. Together, this pair steers the album away from recycled blues-rock and toward its eccentric British core, for with the fuzzy freakout "Swlabr," the music hall flourishes of "Dance the Night Away," the swinging "Take It Back," and of course, the old music hall song "Mother's Lament," this is a very British record. Even so, this crossed the ocean and also became a major hit in America, because regardless of how whimsical certain segments are, Cream are still a heavy rock trio and "Disraeli Gears" is a quintessential heavy rock album of the '60s. Yes, its psychedelic trappings tie it forever to 1967, but the imagination of the arrangements, the strength of the compositions, and especially the force of the musicianship make this album transcend its time as well. (Stephen Erlewine in AllMusic)

AMERICA - "Hideaway"

Original released on LP Warner Bros K 56236
(UK, April 1976)

"Hideaway" finds America in fine form, serving up punchy pop from a diverse range of styles. Their style is a lot more lush and orchestrated here, and they actually kind of sound like an American version of the Moody Blues. Tracks like "She's a Liar" and "Letter" have undeniable hooks and the latter has poetic lyrics. Also particularly interesting is the Dan Peek number "Can't You See" with a really strong melody. Along with his other song "Today's the Day", it keeps the acoustic flavour to their sound. And this album benefits from a couple of interesting instrumentals (the title tracks Pt.1 and 2). And it is a George Martin production. (in RateYourMusic)

AGE OF MOUSE

Original released on LP Sweet Peach SP 12001
(AUSTRALIA, 1970)

Doug Ashdown had released several albums in his native Australia in the 1960s prior to 1970's "The Age of the Mouse", which got an American release (Coral Records CRL 757514). It was slightly odd, but overall unimpressive, singer/songwriter folk-rock-pop. Vocally he sounded a little bit like a more overwrought, straighter Tim Buckley. While the production was at its essence commercial folk-rock, it was also loaded down with the kind of horns and backup vocals you'd expect to be more apt to come across on a late-'60s California pop record. "I've Come to Save Your World" he announces on one track, which can't help but beg the question: who asked you? For there's a slight sense of self-importance and over-seriousness to the singing and songs, which sometimes have a vague though not explicit judgment-day-at-hand tone, with references to Jesus Christ on the cross and the condemned being sent to death. Some more romantic ruminations like "I Remember Alice" and "Holly" break up the program, but not the ponderous mood. There's considerable ambition at work here, but the melodies are lukewarm and the lyricism not deft enough to make a lasting imprint. (Richie Unterberger in AllMusic)

sábado, 23 de julho de 2016

THE ALAMO ALBUM


Original released on LP Atlantic SD 8279
(US, 1971)


Impressive album of southern rock, or classic rock if you wish, the Alamo do a tremendous job playing very hard in all the album. Heavy Hammond, heavy guitars, heavy drums and heavy bass. The group manages to put some special touch of avant rock in order to not look ordinary hard rock players. Impressive organ player that deserve to sing not so good his roughness add another special flavour: organ playing is as rough as the voice. Alamo is a toe tapper start to finish. This is early 70's very good hard psych blues acid rock. If early 70's hard psych blues acid rock is your thing, get this. Balls to the wall good old fashion rock'n'roll with cool dual guitars and some cool Hammond organ. (in RateYourMusic)
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