Edição original em EP Columbia SLEM 2066
(PORTUGAL, 1960)
quinta-feira, 31 de agosto de 2017
DARIN INSIDE OUT
Original released on LP Atlantic SD 8142
(US, May 1967)
Encouraged by the critical reception to the Carpenter album if not by its failure to make the Top 40, Darin returned to the recording studio in March 1967, to fashion a follow-up. The result was this "Inside Out", a similarly folk-inclined offering. One that, again, dipped into the Hardin and Sebastian songbooks but also included Randy Newman's reflective "I Think It's Gonna Rain Today", a subtle interpretation of the Stones' "Back Street Girl", and a trio of songs penned by Gary Bonner and Alan Gordon, formed members of New York group The Musicians, who'd become suppliers of hits to The Turtles. Additionally, Bobby had shaped a couple of originals that fitted snugly into the concept, "Hello Sunshine" sounding for all the world like something Lovin' Spoonful might have cooked up, I am proving to be a ringer for anything that might have appeared on a Best Of Tim Hardin album. Darin, not just vocally but also from a songwriting point of view, was always the chameleon (Fred Dellar)
SMALL FACES: "From The Beginning"
Original released on LP Decca LK 4879
(UK, June 1967)
The Small Faces only ever officially released one studio album with Decca, their debut “Small Faces”. Following their departure to Andrew Loog-Oldham's Immediate label, Decca released this album, “From The Beginning", cash in's by Decca... not the band. So, this second Small Faces’ album is basically a collection of tunes recorded during the band’s time with Decca - a compilation. Most people I know who have any interest in the Small Faces prefer the Immediate output, but listening to the Decca years you cannot ignore how dynamic, tight, melodic and powerful the Small Faces were as a young British R&B band, Steve Marriott's voice is impeccable. This CD reissue contains five extra tracks: “My Mind's Eye” (French EP version), “Hey Girl” (French EP version), “Take This Hurt Off Me” (different version), “Baby Don't You Do It” (different version) and “What'cha Gonna Do About It” (French EP version).
quarta-feira, 30 de agosto de 2017
ADAMO: EP "Tombe La Neige"
Original released on EP La Voix de Son Maitre EGF 683
(FRANCE, January 1964)
ADAMO: EP "Vous Permettez, Monsieur?"
Original released on EP La Voix de Son Maitre EGF 740
(FRANCE, July 1964)
terça-feira, 29 de agosto de 2017
PETULA CLARK: EP "Los Vientos Que Soplan"
Original released on EP Vogue Hispavox HV 27-151
(SPAIN, 1966)
DUSTY SPRINGFIELD: EP "I Only Want To Be With You"
Original released on EP Philips BE 12560
(UK, March 1964)
GILLIAN HILLS: Vue intégrale (1960>>>1965)
The Story Of Gillian Hills by Sheila Burgel
Since she was discovered in 1958, Gillian Hills was seen as nothing more than a beautiful face, bearing an uncanny resemblance to Brigitte Bardot. She was indeed a real beauty, but there is much more to Gillian Hills than her kittenish good looks. Born in Cairo, Egypt in 1944, Gillian Hills was pursued by infamous playboy, Roger Vadim, who was by no means a stranger to the world's most beautiful women. While Vadim was primarily a film director, he is remembered mostly for wooing the most gorgeous of starlets- Brigitte Bardot, Catherine Deneuve, and Jane Fonda to name a few. Gillian Hills was Vadim's latest discovery, and in 1958 he offered her a steamy role in a film called "Dangerous Liaisons". Unfortunately for Vadim, Gillian was much too young to sign a contract, and the lead role was given to prominent French actress, Jeanne Moreau. Two years later, a 16-year-old Gillian boarded a plane to London for a starring role in the film "Beat Girl", the definitive sixties youth-gone-wild movie. She plays the part of Jennifer, a rich teen with a sour attitude who attends art school in the day, and sneaks out at night to hang with her clique at seedy jazz clubs. Jennifer is the ultimate bad girl; she mouths off to her parents and takes her fascination with stripping a bit too far. The same year "Beat Girl" hit theaters, Gillian appeared on the front cover of Paris Match sporting brown hair and a more subdued look- perhaps to escape the endless Bardot comparisons. 1960 also saw the release of Gillian's first single for Barclay Records. Her sultry teasing voice worked perfectly with "Ma Premiere Cigarette." However, 1960 was still a bit early for the approaching yé-yé rage, and her early releases were most often ultra-cute covers of Marilyn Monroe ("Aimons-Nous"), The Shirelles ("En Dansant Le Twist") and Helen Shapiro ("Mon Coeur Est Pret"). In 1963 Gillian joined ill-famed songwriting genius, Serge Gainsbourg for a duet called "Une Tasse D'Anxiete." Although a video was shot with Serge and Gillian flirting in a convertible, the song was never officially released.
After releasing five EPs worth of mostly American cover versions, Gillian began composing her own songs, defying the perception of Gillian as a substandard Brigitte Bardot. "Maintenant Il Telephone," her ultimate yé-yé disc, and the beat-rocker "Oublie" demonstrate Gillian's ability to write in a variety of styles. Among the Lollipops and Zombies covers featured on her last French EP, Gillian's self-penned "Rien N'est Changé" is by far the strongest. It's Gillian Hills attempting Françoise Hardy and succeeding. The track is gentle, with a distinct acoustic guitar sound and delicate vocals. Sadly, even her self-written discs sold close to nothing. Her last release, strangely enough, was for Vogue Records in England. "Look At Them" was released in 1965 and shares much in common with the folk sound of "Rien N'est Changé." She sings it beautifully, yet even in the land of Beat Girl, the record was a flop. By 1966 it seemed that Gillian had given up on music and her long blonde locks. A short brown haired Gillian makes a brief appearance in Michelangelo Antonio's sixties mod movie, "Blow Up". She certainly lives up to her nymphet reputation; she and Jane Birkin are shown tearing the clothes off of their blue-eyed photographer, and engaging in the wild sex orgy that is implied before the camera cuts to another shot.
In the seventies Gillian Hills continued to play small roles in feature films, and even landed a role on a British TV mini-series called "Casanova". In Stanley Kubrick's "A Clockwork Orange", Gillian's minute on screen is spent bare-naked, engaged in yet another sex scene! According to Gillian Hills experts, Micheline de Séraulx & Michel Feron, in 1975 Gillian decided it was time to stop making movies, and she moved to New York to work as an illustrator for various books and magazines. Her disappearance in the '80s prompted a rumor that she had died (suicide according to some French newspapers, or burnt alive when her apartment caught fire). However, Jukebox magazine writer Jean-William Thoury discovered, some 15 years later, that she had suffered from a very long illness, but was in good health now. Also, she was no stranger to the world of music as she married Stewart Young, the manager for the Scorpions. Though Gillian Hills had what it took to be a star, she was never able to achieve major success. From her songwriting, record releases, and film roles, she was always a minor player. But she sure was a fabulous one.
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