FAUSTO PAPETTI - 1ª / 2ª Raccoltas

Original released on LP Durium ms A1 77042

(ITALIA, 1960)

Original released on LP Durium ms A1 77054

(ITALIA, 1961)

THE CHIEFTAINS & DUBLIN FRIENDS

Original released on CD RCA Victor RD 60824

(UK, 1991)

“The Bells of Dublin” features The Chieftains with guest vocalists – Jackson Browne, Elvis Costello, Marianne Faithfull, Nanci Griffith, Rickie Lee Jones and Kate & Anna McGarrigle. And The Penguin does some narration! (that is Burgess Meredith). But the album is very much about The Chieftains who were – at the time – Derek Bell, Martin Fay, Sean Keane, Kevin Conneff, Matt Molloy and of course Paddy Moloney. Sadly, Derek Bell and Martin Fay are no longer with us but I see from Wikipedia that the others are still working and long may they continue. “The Bells of Dublin” features traditional Christmas tunes and more contemporary songs. For example the excellent “St Stephen’s Day Murders” sung by Elvis Costello was written by him & Paddy Moloney while Marianne Faithfull sings “I Saw Three Ships A-Sailing” and very well. The McGarrigles sing, wonderfully, of course, “Il Est Né/ Ca Berger” and there is also “Once In Royal David’s City”, “Ding Dong Merrily On High” & “O Come All You Faithful” among many traditional carols. And I see that the great Kathryn Tickell appears on the track “Brafferton Village/ Walsh’s Hornpipe” – she would have been in her early twenties then. Far too many highlights and wonderful performances to mention here – although Nanci Griffith sings “The Wexford Carol" beautifully. The album runs for about 63 minutes and every second is terrific. It is, I think, a “proper” Christmas album and stands alongside “The Holly Bears The Crown” by The Collins sisters and The Young Tradition as one of the great Folk Music Christmas albums. (in RateYourMusic)

Eric Is Back Home, To His Family

Original released on CD Reprise 49395-2

(US 2005, August 30)     

Eric Clapton claimed in the press release for "Back Home", his 14th album of original material, that «One of the earliest statements I made about myself was back in the late '80s, with "Journeyman". This album completes that cycle in terms of talking about my whole journey as an itinerant musician and where I find myself now, starting a new family. That's why I chose the title. It's about coming home and staying home.» With that in mind, it becomes clearer that the studio albums Clapton released during the '90s did indeed follow some sort of thematic logic. 1989's "Journeyman" did find Clapton regrouping after a muddled '80s, returning to the bluesy arena rock and smooth pop that had been his signature sound as a solo artist. He followed that with 1994's "From the Cradle", where he explicitly returned to the roots of his music by recording an album of blues standards. Four years later, he released "Pilgrim", a slick album that had Clapton strengthening his collaboration with producer/co-writer Simon Climie (who first worked with EC on his electronica side project T.D.F.). If "Pilgrim" touched on father issues, 2001's "Reptile" loosely returned Clapton to his childhood (complete with a smiling boyhood shot of him on the cover) and found the guitarist struggling with a seemingly diverse selection of material, ranking from '50s R&B to James Taylor. After a brief blues detour on 2004's "Me and Mr. Johnson", Clapton returns to the sound and feel of "Reptile" for "Back Home", but he doesn't seem to be as tentative or forced as he did there. Instead, he eases comfortably into the domesticity that isn't just the concept for the album, it's reason for being. In fact, the album doesn't need "back" in its title - ultimately, the album is just about being home (which, if the center photo of Clapton at home with his three young daughters and wife is to be believed, looks alarmingly similar to the set of Thomas the Tank Engine, complete with a painted rainbow shining through the window).

While it's hard to begrudge the 60-year-old guitarist for finding a happy home after all these years, what is puzzling about this calm, comfortable album is that Clapton is equating domestic bliss with a glossy, consciously classy sound that's swept clean of dirt and grit, or even the blues. Consequently, "Back Home" is pitched halfway between the lite contemporary soul of "Pilgrim" and Clapton's time as a Michelob spokesman in the late '80s. Each track rides a tight, professional groove - sometimes a bluesy vamp, sometimes a reggae jam, usually something soulful but relaxed - and while instruments sometimes bubble up from the mix (sometimes it's Clapton's guitar, but just as often it's Billy Preston's organ, or occasionally a synth straight out of 1987), the emphasis is always on the smooth, shiny surface. Unlike such peers as Bob Dylan, Elton John, and the Rolling Stones who revitalized their recording careers with back-to-basics moves that stripped their music down to its essence, Clapton seems to harbor an aversion to what he built his reputation on, whether it was the lean, sinewy blues of the Yardbirds and Bluesbreakers or the psychedelic freak-outs of Cream, or even the rootsy rock he learned from Delaney & Bonnie in the '70s. Based on "Back Home", it really does seem like he considers "Journeyman" ground zero for his solo career, but instead of replicating the well-balanced mix of rock, pop, and blues that made that record one of his best solo efforts, he settles into a tasteful adult pop sound that makes this record the ideal soundtrack to a pleasant Sunday afternoon at home with the family. (Stephen Erlewine in AllMusic)

Johnny Rivers Again at the Whisky à Go Go

Original released on LP Imperial 9274 (mono)

(US, November 1964)

KAREN SOUZA: The New Album

Original released on CD Music Brokers MBB9337

(EU 2017, November 24)

Diana Krall or Karen Souza? Which one do you prefer? I think the choice is very, very difficult. Both are wonderful and georgeous ladies, both sing passionately, with fabulous voices. And their last CDs (look at the resemblance of the sleeves) are magnificent pieces of music. In 2013, Karen Souza spent two months touring throughout Mexico. While she was known for her jazz renditions of 1980s hits, her repertoire includes a number of her own songs, such as "Paris", "Break my Heart" and "Lie to Me". Her version of "Creep" by Radiohead was used extensively in the film "The Zero Theorem" (2013), directed by Terry Gilliam. Three years after the release of her successful "Essentials II", Karen Souza is back with her fourth studio album. "Velvet Vault" is the title of a collection that combine jazz standards with jazz reworks of pop classics plus two songs co-written by Karen herself. Japan's superstar Toku duets with Karen on the track "You Got That Something". Also part of the album are Robin Banerjee (Amy Winehouse guitarist) and legendary Tom 'Bones' Malone (Blues Brothers, Saturday Night Live Band). Vocals has been recorded in New York at The Orchard studios and produced by Richard Gottehrer (of Blondie, Richard Hell and Dr. Feelgood fame). The album's first single "Don't Let The Sun Go Down On Me", was first available on November 10th. "Velvet Vault" is without a doubt, Karen Souza's most accomplished record to date and will definitely surpass the success of her previous efforts.

DIANA KRALL: "Turn Up The Quiet"

Original released on CD Verve B0026217-02

(US 2017, May 5)

Diana Krall spent the better part of the 2010s exploring byways of American song - her 2012 set "Glad Rag Doll" drew heavily on obscure jazz from the 1920s and '30s, its 2015 sequel "Wallflower" concentrated on pop and rock tunes - but 2017's "Turn Up the Quiet" finds the pianist/singer returning to well-known standards from the Great American Songbook. Reuniting with producer Tommy LiPuma for the first time since 2009's bossa nova-inspired "Quiet Nights", Krall works with a trio of lineups on "Turn Up the Quiet", alternating between a trio, quartet, and quintet. The album isn't divided into triads but rather gently shifts between these bands, a move that's sometimes imperceptible because the focus is firmly on Krall, the pianist. Her voice often operates at a hushed whisper - a decision that suits this collection of romantic, dreamy material; it also underscores the importance of the record's title - and that emphasizes her lithe piano along with the solo spotlights from her featured musicians. Krall gives her three bands plenty of space to shine - fiddler Stuart Duncan, in particular, stuns with his solo on "I'll See You in My Dreams," but there are nice turns from guitarists Russell Malone, Anthony Wilson, and Marc Ribot, along with supple playing by bassists Christian McBride, Tony Garnier, and Anthony Wilson - but what impresses is how these ensembles are all united in spirit and attitude, all thanks to their leader. Krall has a definite vision for "Turn Up the Quiet" - she wants to keep things smoky and subdued, a record for the wee hours - and the end result is so elegant, it seems effortless. (Stephen Erlewine in AllMusic)

PAUL SIMON IN CONCERT AT HYDE PARK

Original released on 2CD/1 DVD Sony/Legacy 88985404822

(US 2017, June 9)

There are plenty of Paul Simon DVDs — not including ones with Garfunkel — already available that document different stages in the singer-songwriter’s extensive, 45 year solo career. But this one, recorded shortly after his less expansive but still impressive "Live in New York City" (with the same band), gets the nod for the most explosive, exciting and moving performance of the lot. It’s also arguably the best shot and recorded one with striking Blu-ray resolution, uncompressed PCM surround sound and multi-camera angles providing a stage eye view of one superb, memorable concert recorded at the titular location on July 15, 2012. Even with the overindulgent editing that’s occasionally a little too caffeinated, this is an extraordinary document. The circumstances of this particular night where Simon played to what looks like tens of thousands of London fans outdoors with special guests helps make it exceptional. Invitees include not just Jimmy Cliff, who turns in energetic versions of — surprise! —“The Harder They Come,” “Many Rivers to Cross” and “Vietnam,” and sticks around to join Simon for a stirring “Mother and Child Reunion,” but also the original touring version of the Graceland Band. While three of those remain in his outstanding backing unit, it’s a treat to see the great guitarist Ray Phiri, trumpeter Hugh Masekela and especially vocalist Ladysmith Black Mambazo take the stage to run through all but one track from that career high release.

Only one track from Simon’s then most recent disc, 2011’s "So Beautiful or So What" (“Dazzling Blue”), and two Simon & Garfunkel tunes make the cut. But both a solo acoustic “Sound of Silence” and “The Boxer,” featuring Jerry Douglas on unplugged slide, are riveting. Other highlights include an imaginative mash-up of “Hearts and Bones,” with Elvis’/Junior Parker’s “Mystery Train” and Chet Atkins’ “Wheels,” a creative combination that explores some of Simon’s deep Americana roots. With a back catalog as rich as Simon’s it’s impossible to include even some of his biggest hits. Still, the omission of “Bridge Over Troubled Water” is noteworthy in its absence and “The Cool Cool River” would have been a logical choice to perform on this night. But that’s splitting hairs on what is by any standard a rousing two and a half hour tour de force. Why it has taken five years to appear is unclear, but now that it’s here, it is the new standard for Simon shows. This is the single most economical way to show youngsters who may not be aware of Paul Simon’s genius, both the breadth of his catalog and his ability to mesmerize a massive audience through sheer talent, understated showmanship and great songwriting.   (in americansongwriter)

"Under African Skies"

PAUL SIMON: The Historic "Graceland"

Original released on LP Warner Bros 9.25447-1

(US 1986, August 25)

In the early 1980s, Paul Simon's solo career had hit a low point. Following a very successful but fraught reunion with former partner Art Garfunkel, Simon's marriage (with actress Carrie Fisher) fell apart and his previous record, "Hearts and Bones" (1983), was a significant commercial disappointment. In 1984, after a period of depression, Simon became fascinated with a bootleg cassette of South African township music. He planned a trip to Johannesburg in the new year with Roy Halee, where he spent two weeks recording with South African musicians. Simon returned home and "Graceland" was recorded throughout much of 1985–86, in several cities and locations, including New York, Los Angeles, London, and Louisiana. The tracks features an eclectic mixture of musical styles, including pop, rock, a cappella, zydeco, isicathamiya, and mbaqanga. Simon created new compositions inspired by the recordings made in Johannesburg, collaborating with both African and American artists. Executives at Warner Bros were unconcerned with Simon's material, viewing him as a "bad investment" due to the failure of his previous two solo albums. This worked in Simon's favor, he later argued, as they offered no input on his content. According to Halee, he believed executives at the label viewed the duo as "crazy".

Following the album's success, Simon faced accusations by organizations such as Artists United Against Apartheid, antiapartheid musicians including Billy Bragg, Paul Weller, and Jerry Dammers, that he had broken the cultural boycott imposed by the rest of the world against the apartheid regime in South Africa. Preceding his trip to South Africa, Simon sought advice from Harry Belafonte, with whom he had recently collaborated on "We Are the World". Belafonte had mixed feelings on Simon's idea, and advised him to discuss the matter with the African National Congress (ANC). At an album launch party, Simon bluntly clarified his opinions on the controversy: «I'm with the artists. I didn't ask the permission of the ANC. I didn't ask permission of Buthelezi, or Desmond Tutu, or the Pretoria government. And to tell you the truth, I have a feeling that when there are radical transfers of power on either the left or the right, the artists always get screwed.»

Despite the controversy, "Graceland" was a major commercial hit, becoming Simon's most successful studio album. His highest-charting effort in over a decade, Simon's return to the forefront of popular music was considered a remarkable comeback. It was lauded by music critics, won the 1987 Grammy Award for Album of the Year, and is estimated to have sold up to 16 million copies worldwide. "Graceland" has frequently been called one of the best albums of the 1980s, and is present on lists of greatest albums created by numerous publications. It was added to the National Recording Registry in 2007, having been judged to meet the registry's admission criterion of being "culturally, historically, or aesthetically important". Alongside albums such as Peter Gabriel's "So" and Talking Heads' "Remain in Light", writer Jon Pareles of The New York Times singled "Graceland" out as an album that popularized African rock in the western world. A 2012 documentary film, "Under African Skies", directed by Joe Berlinger celebrates the 25th anniversary of the album's release, and includes archival footage, interviews, discussion of the controversy associated with the original release, and coverage of an anniversary reunion concert. «"Graceland" transcended racial and cultural barriers. The album was never just a collection of songs, after all; it was a bridge between cultures, genres and continents, not to mention a global launching pad for the musicians whose popularity been suppressed under South Africa's white-run apartheid rule,» said Andrew Leahey of American Songwriter.

The Original Album:

A1. The Boy in the Bubble (Forere Motloheloa/P. Simon)

A2. Graceland (P. Simon)

A3. I Know What I Know (General MD Shirinda/P. Simon)

A4. Gumboots (Lulu Masilela/Jonhjon Mikhalali/P. Simon)

A5. Diamonds on the Soles of Her Shoes (Joseph Shabalala/P.Simon)

B1. You Can Call Me Al (P. Simon)

B2. Under African Skies (P. Simon)

B3. Homeless (Joseph Shabalala/P. Simon)

B4. Crazy Love, Vol. II (P. Simon)

B5. That Was Your Mother (P. Simon)

B6. All Around the World of the Myth of Fingerprints (P. Simon)

Bonus Tracks:

C1. Homeless (demo)

C2. Diamonds on the Soles of Her Shoes (alternate version)

C3. All Around the World of the Myth of Fingerprints (early version)

C4. You Can Call Me Al (demo)

C5. Crazy Love, Vol. II (demo)

C6. The Story of "Graceland" (as told by Paul Simon)

FOR TWO IN LOVE

Original Released on 
10" LP (8 tracks) Capitol H420 (US, August 1953)
and 12" LP Capitol T 420 (US, 1955)

(alternative cover)

A classic re-issue expanded from it's original form. Originally a ten inch album, four other selections were added to make it a 12 inch album. This album is one of Nat's most pleasing. Filled with standard songs that became associated with him, "Tenderly", "A Handful of Stars" and others. Nelson Riddle's great arrangements gently softens the mood and supports Nat's tender vocals perfectly. Definitely music to impress your date over dinner and cuddle! "Love Is Here to Stay" had only recently been introduced (by Gene Kelly) in "An American in Paris". Here it receives an intimate treatment somewhat reminiscent of the arrangement from the film, at least in the occasional use of brass. Nat and Nelson next gather us "A Handful of Stars". This rarely heard song is pure, blissful Nat King Cole balladry. Nat is magical at "reading" intros in song like this. They follow by a more uptempo number, "This Can't Be Love". Timing is the key to Nat's deft, yet seemingly effortless performance here. Nelson proves as adept at big band as he is with full string and band orchestra. Nelson Riddle's arrangement on "Autumn Leaves" is definitive, a fine example of 'classic pop'; simple yet elegant, and able to convey quite a range of colors and feeling. Ranging from the awesome ethereal string and horn introduction to delicate brushes, Nelson's palette of darkly golden colors and underlying drama both paint autumn in sound and compliment Nat's similar color palette and elegant warmth edged in turns with a subtly bitter sorrow. It might be of interest to vocalists and admirers that this album gives us some good examples of Nat in a vocal transition. One should consider that at this time, recording technique and technology had recently leapt into modern quality with the magnetic open reel, and this gives us much more presence and resonance, particularly in the upper and lower frequencies. Taking this into account, one can still hear the deepening of tone and raspy qualities his voice had taken on since, say, 1950. In his mature style, Nat would sing out more in longer lines when desired and make more use of contrasting a biting "attack" quality with his more common smooth, warm tones. This album catches a mid-way point slightly leaning towards his mature style. One can clearly hear examples of both his early and late voice. "Let's Fall In Love" is one persuasive ballad, performed with appropriate warm affection.

"There Goes My Heart" is just as exquisite, vocally and its complimentary arrangement. It's incredible how much feeling such a plaintive, understated and undramatic reading of such a simple lyric can bring. Matching Nat's vocal is Nelson's hushed break, featuring a very warm yet soft flute-like effect. This sort of particular sound and texture requires skill and care on the part of Nelson, the musicians and the sound engineer, it is not something that happens from cookie-cutter part filling, absent readings and generic audio engineering. Yes, there really is art in the pop music here. "Dinner for One Please, James" seems a lesser tune, with some awkward lines. Working the same phrases differently within a musical structure like this would have been hard to the point of unlikely, however, so one can overlook that. It's a bit tricky in some ways, musically, but Nat and Nelson both pull it off smoothly, with the focus firmly on the wistful melancholy. It doesn't seem to be clear if that's Nat playing the brief piano spot in "Almost Like Being In Love" but just like his joyful vocal and Nelson's spunky arrangement, it's delightful, a very uplifting listen. This tune was from the broadway musical 'Brigadoon', made into a film starring Gene Kelly at about the time of this recording. It's far faster in tempo here. This song, like "Autumn Leaves", has been sung by many people. As with "Leaves", this version is by far the favorite of this writer.

"Tenderly" is not, frankly, a good song. It so happens, however, that a sympathetic performance can go a long ways in making that fact irrelevant. It never had a more sympathetic performance and setting than here. This is owing in no small part to the fact that Nat happens to be the greatest singer this writer has ever heard at "reading" a simple line with succinct effectiveness and utter sincerity. "You Stepped Out Of A Dream" was arranged by Pete Rugolo. This bouncy number has a marvelously intricate amount of contrast in the arrangement on all fronts, and Nat's deft if lighter vocal shows what a change just a couple of years had made. Last on the set is "There Will Never Be Another You". With an uncanny warm intimacy, this song exemplifies the experience Nat King Cole the vocalist could create more potently, in my opinion, than any other. But in addition to his affectionate expression, his timing between and during lines and beats is interesting, and becomes so integral to the work that when I later heard another performer try it, I was a little surprised at hearing how plain it seemed with someone else singing. It's an excellent closing tune for this set, by the way.

MEMÓRIAS LUSAS 3

DAVID BOWIE: "Aladdin Sane"

Original released on LP RCA Victor LSP 4852

(UK 1973, April 12)

"Ziggy Stardust" wrote the blueprint for David Bowie's hard-rocking glam, and "Aladdin Sane" essentially follows the pattern, for both better and worse. A lighter affair than "Ziggy Stardust", "Aladdin Sane" is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on "Aladdin Sane", there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of "Ziggy Stardust", which means there's a wealth of classic material here, but not enough focus to make the album itself a classic. (Stephen Erlewine in AllMusic)