GOODBYE TO CREAM

Original Released on LP ATCO 7001 (US 1969/02/05)

Gravado em parte ao vivo, no Forum de Los Angeles, em Outubro de 1968, e em parte nos estúdios IBC de Londres, em Dezembro de 1968. Último album do grupo, e por isso mesmo com um título a condizer, atingiria o 1º lugar britânico e o 2º lugar norte-americano nas respectivas tabelas de venda.

After a mere three albums in just under three years, Cream called it quits in 1969. Being proper gentlemen, they said their formal goodbyes with a tour and a farewell album called — what else? — "Goodbye". As a slim, six-song single LP, it's far shorter than the rambling, out-of-control "Wheels of Fire", but it boasts the same structure, evenly dividing its time between tracks cut on-stage and in the studio. While the live side contains nothing as indelible as "Crossroads," the live music on the whole is better than that on "Wheels of Fire", capturing the trio at an empathetic peak as a band. It's hard, heavy rock, with Cream digging deep into their original "Politician" with the same intensity as they do on "Sitting on Top of the World," but it's the rampaging "I'm So Glad" that illustrates how far they've come; compare it to the original studio version on "Fresh Cream" and it's easy to see just how much further they're stretching their improvisation. The studio side also finds them at something of a peak. Boasting a song apiece from each member, it opens with the majestic classic "Badge," co-written by Eric Clapton and George Harrison and ranking among both of their best work. It's followed by Jack Bruce's "Doing That Scrapyard Thing," an overstuffed near-masterpiece filled with wonderful, imaginative eccentricities, and finally, there's Ginger Baker's tense, dramatic "What a Bringdown," easily the best original he contributed to the group. Like all of Cream's albums outside "Disraeli Gears", "Goodbye" is an album of moments, not a tight cohesive work, but those moments are all quite strong on their own terms, making this a good and appropriate final bow. (Stephen Thomas Erlewine in AllMusic)

FRANÇOISE HARDY: "L'Amitié"

Original released on LP Vogue CFH 3
(FRANCE, October 1965)

Na Hora da Morte de JOSÉ NIZA (16/9/1938 - 23/9/2011)

Edição Original em LP Orfeu STAT 013 (1972)

tempo de poesia

***

todo o tempo é de poesia

desde a névoa da manhã

à névoa do outro dia

desde a quentura do ventre

à frigidez da agonia

entre bombas que deflagram

corolas que se desdobram

corpos que em sangue soçobram

vidas que a amar se consagram

sob a cúpula sombria

das mãos que pedem vingança

sob o arco da aliança

da celeste alegoria

todo o tempo é de poesia

desde a arrumação do caos

à confusão da harmonia

BIOGRAFIA DE JOSÉ NIZA

(RE-UPLOAD)

DEBBIE'S "AM I THAT EASY TO FORGET?"

THE FABULOUS JOKERS

From the Netherlands... ZZ & DE MASKERS!

ORIGINAL RELEASED ON LP ARTONE POS 020 (ND, 1965)

This is a beat band from the Netherlands, which was formed in October 1962 in Amsterdam and lasted until October 65. In this short period they released 13 singles, 3 EPs and 2 original albums: the first one in 1964 (Artone PDR 138) and this second and last.

See the complete discography here.

HAROLD SMART: "29 POWER SONGS"

Harold Smart: famous because of his "At The Theatre Organ" lp. On this record Harold Smart not only plays 4 different Thomas Organs (Celebrity, Trianon, Cameo Royale and European) but also explores the Thomas Moog Satellite Synthesizer.

TRIO MELODIA INTEGRAL

O presente CD reúne os dois únicos albuns (1965 e 1966) gravados por este trio vocal brasileiro, incluindo ainda o compacto (muito raro) de 1962.

Atenção ao título da última faixa, "O Rock do Rato"...

Also from New Zealand...

From New Zealand... THE LA DE DA'S !

Rutherford High School in Te Atatu Auckland was the origins of what was to become The La De Da's. Schoolmates Kevin Borich, Brett Neilsen and Trevor Wilson got together in late 1963 and formed a band, calling themselves the Mergers. They were inspired, like so many other groups around Auckland at the time, by the sounds of the Shadows. They managed to play at a number of local dances and socials.
Kevin Borich had already had a taste of studio experience when in 1961 at the age of 12 he recorded a demo with his then neighbours, Sue and Judy Donaldson, who were later to become major New Zealand recording artists, the Chicks. The Beatles visit to New Zealand in June 1964 changed the musical direction of almost all the current groups who were playing. They realised at that point that they needed to drop the instrumentals and get into the new 'beat' music. A good vocalist was required. Trevor Wilson knew a guy at Mt Albert Grammar School who could sing. His name was Phil Key and he was recruited as vocalist and rhythm guitarist. Although initially inspired by the Shadows and the Beatles, it was the Rolling Stones that they now modelled themselves on.
Phil Key's sister was an avid record collector whose taste took in lesser known British groups, as well as hard-line American R&B. Through her brother she provided the Mergers with the bulk of their early repertoire. Despite their early popularity, they weren't happy with their name. A promoter even changed their name to the Gonks for an early 1965 gig at a summer carnival. Trevor wanted to call the band the Criminals, but it wasn't until after rehearsals one night at the Wilson household where they were suggesting names that Trevor's mother came up with the suggestion, The La De Da's.
Playing the gamut of high school and church hall dances, the band was gaining the attention of Auckland's hip inner city teen mod set. When not performing, the teenagers would venture into the city to frequent the Durham Lane Clubs, the Top Twenty and the Platterack. In November 1965 the band got its big break by filling in for the then resident band at the Platterack, the Dallas Four, eventually becoming regulars and finally replacing them as resident band.
In April 1965, NZBC producer Robert Handlin caught the band at the Platterack and offered them a strange deal. He wanted someone to sing the title to a new movie that was being released that he was featuring on his show. In return he would finance, produce and release a one-off single for the group. The song they had to sing was "Those Magnificent Men In Their Flying Machines". They went through with it because of the deal and also for the television exposure. Released on the Talent City Label in June 1965 was the single "Little Girl"/"Ever Since That Night". Both songs were originals in the Stones R&B style. The single went absolutely nowhere and these days is extremely rare. Bruce Howard, keyboard player with the Feetbeats, had grown tired of his combo and was watching The La De Da's at the Platterack every opportunity he could. His interest didn't escape the group and the band invited him to audition at their next rehearsal. He passed the test and the four became five. They knew he could fill out and extend their R&B repertoire and they now could boast to be the only band around that featured an organ. Thus at this point, the classic line-up of The La De Da's was complete.

In January 1966, Eldred Stebbing invited the band to record a couple of songs he had from the US that he thought could be local hits. The songs featured an organ, which is why he was interested in hearing the group play them. Because the songs were so obscure, there seems to be some contention as to whether the songs were by the Blues Magoos or the Changin' Times. The songs were "How Is The Air Up There" and "Pied Piper". The single came out on the Phillips label in late February and was an instant hit with Auckland teenagers. On May 13 the song entered the recently started New Zealand Hit Parade, eventually peaking at number 4. The song was picked up by Sydney radio stations and before long it was number one on the Sydney charts.
Despite the unexpected success of "How Is The Air Up There" in Sydney, The La De Da's decided to build up their New Zealand following before venturing further afield. They toured the country extensively before releasing their follow-up single. It was a Howard-Wilson original called "Don't You Stand In My Way" backed with "I Take What I Want". The single was a dismal failure and didn't even chart, prompting Stebbing to insist on another cover for the next release. They chose a John Mayall song called "On Top Of The World". The single was released in November 1966 with "Hey Girl" on the reverse and before long it was number two on the National charts. Now with two hits behind them, Eldred Stebbing offered the group residency at his nightclub, the Galaxie. They accepted and the fashion conscious band adopted a Mod image, setting Auckland trends with their tartan trousers, satin shirts and buckle shoes. In November 1966 they reached the finals of the Loxene Golden Disk awards with "How Is The Air Up There". There were a lot of rock fans who felt that they should have won, but that's history. In the meantime they began laying down tracks for their self titled debut album. It was a collection of their stage favourites and although they were all covers, each one was a gem. The "La De Da's" LP was released prior to Christmas 1966 and sold out of its first pressing.
The group spent the early part of 1967 doing more extensive touring of the country. Before departing on the tour, another single was chosen for them and the band reluctantly recorded a cover of Bruce Channel's "Hey Baby". This song became very popular with the pop fans of New Zealand and the song, released with "Other Love" on the reverse, made it all the way to number one on the National charts in March 1967, the first local recording to do so. Around the same time the "Stupidity" EP was released. It was really an extension of their album, with the songs all being stage favourites. The songs were "Stupidity", "Coming Home", "I Ain't Gonna Eat Out My Heart Anymore" and "Respect".
While preparing for their second album, Trevor Wilson envisaged a time when rock music would be taken a little more seriously, and he had something in mind which would keep the group well ahead of local contemporaries, and even make them stand out in the international arena. He wanted to create a rock opera and adapt the childrens' tale written by Oscar Wilde, "The Happy Prince", but Bruce Howard was the only other enthusiastic band member. Even so, they started to work on piecing it together. It would take a number of years for it to be completed. It was also the beginning of a division within the band. The second album, "Find Us A Way" showed a more progressive direction for the band, with a deliberate move away from their R&B roots. It contained some original compositions as well as stage cover favourites.
The La De Da's crossed the Tasman in May 1967. They had well and truly conquered New Zealand and really had no choice but to try there luck at the big time in Australia. While on tour there, the band was shown the finished product of their second album and were not happy. They were not consulted over the final track selection, nor the cover art. But the album still sold exceptionally well for a local album. During their absence overseas, two singles were culled from the album. The first was "All Purpose Low"/"My Girl" released in June and reaching number 3 on the charts. The second, "Rosalie"/"Find Us A Way" was released in August at charted at number 5. The initial visit to Australia wasn't overly successful. They returned to Auckland later in the year to regroup, earn some money and put together a new repertoire. Just as they were preparing to return to Australia, Brett Neilsen decided not to go. He was replaced by Brian Harris, drummer with the Action. Brett actually took his now vacant seat with Action and then had a stint with a later version of the Music Convention before going on to join the Breeze.
Following their departure back to Australia, this became the end of The La De Da's story from a New Zealand point of view. They did go on to become successful and Kevin Borich in particular is regarded as one of Australia's top rock guitarists. After the demise of The La De Da's he formed the Kevin Borich Express. The "Happy Prince" did finally get released in 1969. Phil Key went on to form Band Of Light in 1972.
In 1973 an album was released in Australia called "Rock and Roll Sandwich". This was followed in 1975 with "Legend". Trevor Wilson still lives and plays in Australia. Bruce Howard lives in London and Brett Neilsen still lives in Auckland. Brett stayed with the Action from 1967 to 1969 and later moved to Cruise Lane. He was also later a member of the Medicine Show. Phil Key died of a heart attack in 1984. The La De Da's came together one more time in New Zealand in 1992 for the Galaxie reunion gig and played a blistering set which they dedicated to the memory of Phil Key.

KNOX & BOWEN - 1957/58

4 LADS: SWING ALONG / EVERYTHING GOES

Arthur's Murray's CHA CHA - 1959

A DOUZEN OF INTERNATIONAL HITS

Original Released on LP MGM E/SE 4298 (1965)

AFTER THE LIGHTS GO DOWN LOW