GEOFF LOVE Orchestra: "Dreaming With Love"

Original released on LP Music For Pleasure MFP 50244

(UK, 1976)

SAM SKLAIR: "Dance Time '69"

Original released on LP RCA Camden CAS 10235

(GERMANY, 1969)

BARDOT et GAINSBOURG: "Bonnie and Clyde"

Original released on LP Fontana 885.529 MY

(FRANCE, January 1968)

BB SHOW

Original released on LP Disc AZ LP STEC 41
(FRANCE, 1968)

In the mid-'60s, sex kitten Brigitte Bardot released a series of mildly popular pop records, the most interesting of which being her collaborations with Serge Gainsbourg. Early on in her singing pursuits, rock video-type films were generated for each of her songs. The tracks on this "Brigitte Bardot Show" serve as a soundtrack to her long forgotten television show, which she produced and which served as a stage for her to perform her hits. The album contains 15 songs, five of which are instrumentals. The vocal tracks range from gentle ballads to bizarre psychedelic romps, all with an over-the-top theatricality and sung with a humorous pop assault. For fans of hip obscure French pop there are a half dozen groovy go-go tracks like "Harley Davidson" and "Contact" while for those of us who have long been hopelessly in love with the lovely Bardot, there is the sultry and dreamy "Mister Sun". While there was never any expectation that she would be asked to perform arias at the Paris opera house, her recordings are very fun and certainly entertaining (Zac Johnson in AllMusic)

«Figurez-vous que les shows télévisés, je les faisais gratuitement. C'était mon cadeau aux téléspectateurs, je les prenais comme une récréation. Je trouvais ça rigolo. Il faut dire que j'emmerdais bien tout le monde: je ne venais que quand je voulais, je faisais ce que je voulais, puisque je n'avais pas de contrat. C'était très artisanal, en fait. Je n'avais pas d'habilleuse, pas de maquilleuse, pas tout ce fourbi-là. Tout ce que je porte dans les chansons est à moi. (...) Je n'étais pas une professionnelle. J'avais beau avoir répété plus ou moins avec Claude Bolling, j'envoyais tout promener de temps en temps. J'essayais de faire les choses le mieux possible mais je les prenais un peu à la rigolade - et lui pas du tout. Il me faisait recommencer des passages qui n'étaient pas dans le tempo et moi, ça m'emmerdait. J'aimais tout faire d'un coup» (Brigitte Bardot)

WATERS: "The Pros and Cons of Hitch Hiking"

Original released on LP Harvest SHVL 2401051

(UK 1984, April 30)

When dissected carefully, "The Pros and Cons of Hitch Hiking" becomes a fascinating conceptual voyage into the workings of the human psyche. As an abstract peering into the intricate functions of the subconscious, Waters' first solo album involves numerous dream sequences that both figuratively and symbolically unravel his struggle with marriage, fidelity, commitment, and age at the height of a midlife crisis. While the songs (titled by the times in which Waters experiences each dream) seem to lack in musical fluidity at certain points, they make up for it with ingenious symbolism and his brilliant use of stream of consciousness within a subconscious realm. Outside from the deep but sometimes patchy narrative framework, the music slightly lacks in rhythm or hooks, except for the title track that includes some attractive guitar playing via Eric Clapton. David Sanborn's saxophone is another attribute, adding some life to "Go Fishing" and "The Pros and Cons of Hitch Hiking." But it's truly the imagery and the visual design of the album that is front and center, since the importance lies in what Waters is trying to get across to the audience, decorated somewhat casually by his singing and the music. With Pink Floyd, the marriage of Waters' concepts and ideas with the talented musicianship of the rest of the band presented a complete masterpiece in both thought and music, while his solo efforts lean more toward the conceptual aspects of his work. With this in mind, "The Pros and Cons of Hitch Hiking" continues to showcase Waters' unprecedented knack of addressing his darkest thoughts and conceptions in a most extraordinary fashion. (Mike DeGagne in AllMusic)

DONOVAN'S Greatest Hits

Original released on LP EPIC BXN 26439

(US, March 1969)

Donovan is a sometimes forgotten figure in today’s music world, but during the 1960s many ranked him second only to Bob Dylan in the pantheon of folk poets. His series of hit singles and successful albums made him a superstar during the second half of the decade. His mystical prose, for want of a better definition, and quiet music explored the gentle side of the violent sixties. His place in the upper echelon of folk artists and troubadours made him a 60s icon. He released this Epic's "Donovan's Greatest Hits" album at the height of his popularity. It was the most successful album release of his career in the United States, reaching number four on the Billboard’s Pop Album Chart. The album contains the re-recordings of two of his earliest folk songs, "Catch the Wind" and "Colours," (longer versions) and that is the first reason to have this album in your collection. I've bought it when it came out 50 years ago (I was just 15 years old), and it was my first Donovan album. I heard all these great songs over and over for months and only much later I went to discover the early albums. And all the songs here, prove Donovan and producer Mickie Most could craft irresistible folk-rock and psychedelic pop singles. Some of the sounds and sentiments may sound a little dated, but the productions and the songs - "Sunshine Superman," "Jennifer Juniper," "Wear Your Love Like Heaven," "Season of the Witch," "Mellow Yellow," "Hurdy Gurdy Man," "Epistle to Dippy," "There Is a Mountain," "Lalena" - have proven to be classics of the era, and this is the best place to get them all on one collection. 

DONOVAN - Season Of The Witch (1966)

ARCHIE SILANSKY: Club International (Volumes 1 & 2)

Original released on LP Gallotone GALP 1005
(SOUTH AFRICA, 1959)

Original released on LP Gallotone GALP 1053 
(SOUTH AFRICA, 1961)

Curiosos e raros albuns do Quinteto de Archie Silansky que nos finais da década de 50 fazia as delícias dos apreciadores de música para dar um pézinho de dança. GRANDE orquestra, GRANDE som, GRANDES discos! Mais umas relíquias que aqui o vosso amigo Rato foi descobrir no baú dos tesouros esquecidos. O som mono foi significativamente melhorado e acredito que só aqui terão a oportunidade de ouvir estes discos como se apenas ontem chegassem às lojas e não se tivessem passado já 6 décadas sobre as suas gravações na África do Sul.

WALKER BROS 2nd Album + 14 Bonus Tracks

Original released on LP Philips BL 7732

(UK 1966, August 26)

The Walker Brothers' second U.K. album was their most commercially successful, reaching number three, yet its quality was quite erratic. Like some other pop/rock LPs of its time, it suffered from an apparent strategy to appeal to a wider demographic than those that typically bought pop/rock records, adding a cover of Louis Armstrong's "Just for a Thrill," the moldy standard "Old Folks," and the pedestrian white-boy soul workout on Curtis Mayfield's "People Get Ready." On the other hand, this had the dramatic "In My Room," a fine antecedent of Scott Walker's moody, late-'60s solo outings. The two songs Scott actually wrote or co-wrote, "Saturday's Child" (which sounds too close to "River Deep, Mountain High" for comfort) and the easygoing crooner pop of "I Can See It Now," are OK but nothing more. The LP was filled out by a decent reading of "Summertime," covers of a couple of obscure Leiber/Stoller tunes ("Take It Like a Man" is very much in the Drifters style), and the melodramatic "No Sad Songs for Me," perfect for weeping to in French cafes. "Sad Songs" was penned by Tom Springfield (who had sung with sister Dusty Springfield in the Springfields), and is the best tune that doesn't show up on the "After the Lights Go Out" compilation. Some of the bonus tracks are among the Walkers' best, such as "The Sun Ain't Gonna Shine Anymore," "After the Lights Go Out," and "Archangel."  (Richie Unterberger in AllMusic)

WALKER BROS Debut Album + 8 Bonus Tracks

Original released on LP Philips BL 7691

(UK 1965, November 26)

The track listing for the Walker Brothers' first British album is similar to the one for their debut American LP ("Introducing the Walker Brothers"), except that it's missing their first single ("Pretty Girls Everywhere"/"Doin' the Jerk") and "My Ship Is Coming In," and adds three cuts not on the U.S. release. As it happens, these three tracks are worth having, particularly the David Gates-penned ballad "The Girl I Lost in the Rain" and "First Love Never Dies," another son-of-Righteous Brothers epic that would have made a reasonable single. (Richie Unterberger in AllMusic)