пятница, 29 апреля 2016 г.

Various ‎– The Rough Guide To Psychedelic Bollywood

1-1 –Lata Mangeshkar, Asha Bhosle & Mahendra Kapoor Pyar Zindagi Hai 7:27
1-2 –Kalyanji Anandji* Cabaret Dance Music (Instrumental) 2:36
1-3 –Asha Bhosle Mera Naam Hai Shabnam 3:16
1-4 –Shiv Hari Moments Of Passion (Instrumental) 2:48
1-5 –R.D. Burman* Title Music (Instrumental) 2:48
1-6 –Asha Bhosle Yeh Mera Dil Yaar Ka Diwana 4:15
1-7 –Usha Iyer & Asha Bhosle Hare Rama Hare Krishna 4:01
1-8 –Laxmikant-Pyarelal Soul Of Bobby (Instrumental) 2:11
1-9 –Asha Bhosle Aye Naujawan Sab Kuchh Yahan (Apradh) 3:08
1-10 –Mohammed Rafi & Asha Bhosle Main Hoon Pyar Tera 5:23
1-11 –Lata Mangeshkar Apni To Jaise Taise 8:02
1-12 –Kalyanji Anandji* Dance Music (Instrumental) 2:10
1-13 –R.D. Burman* & Asha Bhosle Duniya Mein Logon Ko (Apna Desh) 5:49
1-14 –R.D. Burman* Freak Out Music (Instrumental) 3:19
1-15 –Mohammed Rafi Jaan Pehechaan Ho 5:36
The Rough Guide To R.D. Burman
2-1 –A Bhosle* & R.D. Burman* Piya Tu Ab To Aaja
2-2 –K Sanu* Ek Ladki Ko Dekha
2-3 –M Dey & Chorus* Aao Twist Karein
2-4 –M Rafi* Chand Mera Dil
2-5 –K Sanu* Kuch Na Kaho
2-6 –A Bhosle* & M Rafi* Chura Liya Hai Tumme
2-7 –V Mishra*, G Bapat* G G KAur* Lakdi Ki Kathi
2-8 –S.D. Burman* Safal Hogi Teri Aradhana
2-9 –M Rafi* Sar Jo Tera Chakraye
2-10 –A Bhosle* And M Rafi* Yah Ladka Hai Allah
2-11 –K Kumar* Yeh Shaam Mastani
2-12 –A Bhosle* Dum Maro Dum

Alan Haven ‎– I'll Walk Beside You 1974

Tracklist Hide Credits
A1 You've Lost That Lovin' Feelin'
Written-By – Barry Mann, Cynthia Weil, Phil Spector
A2a Day By Day
Written-By – Stephen Schwartz
A2a Prepare Ye
Written-By – Stephen Schwartz
A3 Travellin' Man
Written-By – Alan Haven
A4 My Man
Written-By – Maurice Yvain
A5 Wave
Written-By – Antonio Carlos Jobim
A6 I'll Walk Beside You
Written-By – Alan Murray, Edward Lockton
B1 I (Who Have Nothing)
Written-By – Carlo Donida, Jerry Leiber, Mike Stoller
B2 I Can't Stop Loving You
Written-By – Don Gibson
B3 The Look Of Love
Written-By – Bacharach And David
B4 You Are The Sunshine Of My Life
Written-By – Stevie Wonder
B5 Migration
Written-By – Alan Haven
B6 I Can't Get No Satisfaction
Written-By – Jagger-Richards
Drums – Robin Jones
Keyboards – Alan Haven
Organ – Alan Haven
Percussion – Tony Uter
Producer – Peter Johnson

Alan Haven (Born 1 April 1935 Died 12 Jan 2016) , Prestwich, Lancashire, United Kingdom) was an English, self taught, jazz organist. He married Miss World, Lesley Langly in the 60's. 
Alan Haven enjoyed success with John Barry on the soundtracks to 1960s film classics including The Knack, Goldfinger, From Russia with Love and critical acclaim for his performances and recordings with jazz drumming supremo Tony Crombie. He further scored a surprise single hit with his recording of “Image”. 
In 1969 and 1971 Haven recorded two albums for CBS, a mix of originals by Haven with his arrangements of covers. All benefiting from the distinctive Haven Lowrey Heritage keyboard sounds which he had been developing throughout the 1960s. “Haven For Sale” featured jazz trumpeter Maynard Ferguson and direction from Keith Mansfield. “St. Elmo’s Fire” saw Haven experiment more with the keyboards and its effects, also producing and including more originals than before. Both these LPs were released on a short-lived CD in 2010.

Tom Eagles-Short Affairs 1978

1-I Need A Sign
2-August Is A Lonesome Tune

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четверг, 28 апреля 2016 г.

Quincy Conserve ‎– The Very Best Of..  2001

1 Ride The Rain
2 Roundhouse
3 Aire Of Good Feeling
4 I've Been Loving You Baby
5 Hallelulah
6 All Right In The City
7 Soul Thing
8 I Feel Good
9 Lulu Belle
10 Keep On Pushing
11 Lovin' Look
12 Everybody Has Their Way
13 Somebody, Somewhere Help Me
14 Going back To The Garden
15 I'm So Proud
16 Here's to The Next Time
17 My Michellechan
18 Keep On Playing That Rock & Roll
19 Slut
20 Volcano

Quincy Conserve ‎– Tasteful  1973

A1 Volcano
Written-By – J.R.Robertson*
A2 Move On Up
Written-By – C.Mayfield*
A3 First
Written-By – D.Pomeranz*
A4 Keep On Pushing (Revised Version)
Written-By – D.Smelko*, M.Geraci*, J.Corrao*
A5 Live Today
Written By – G.Foster
A6 Keep On Playing That Rock And Roll
Written-By – Winter*, La Croix*
B1 My Brother Jake
Written-By – Fraser*, Rodgers*
B2 Lulu Belle
Written-By – Gary Coleman
B3 I Saw The Light
Written-By – Todd Rundgren
B4 Lazy Kind Of Day
Written-By – Smelko*, Sopuch*, Rastus
B5 Ain't Seen Nothing Yet
Written-By – D.Troiano*, R.Kenner*
B6 Slut
Written-By – Todd Rundgren

Arranged By – The Quincy Conserve*
Drums, Percussion, Vocal Backing – Tom Swainson
Electric Piano, Hammond Organ, Piano – Rufus Rehu
Engineer – Peter Hitchcock
Fender Bass – Graeme Thompson
Lead Guitar, Rhythm Guitar, Vocal Backing – Kevin Furey
Producer – Alan Galbraith
Tenor Saxophone, Alto Saxophone, Percussion – John McCormick
Trumpet, Conga – Barry Brown-sharpe*
Vocals – Graeme Thompson (tracks: A1, B1)
Vocals, Percussion – Malcolm Hayman

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Quincy Conserve ‎– The Quincy Conserve 1975

Quincy ConserveLuthaBlertaDesna Sisarich ‎– Live 1973

Quincy Conserve ‎– Epitaph - Quincy Conserve 1967-71

A1 Aire Of Good Feeling
A2 Peeling Paint
A3 My Michellechan
A4 That Same Feelng
A5 Going Back To The Garden
B1 Someone To Find
B2 Mystery Lady
B3 All Right In The City
B4 Here I Am Baby
B5 Common Man
All tracks were recorded between August and December 1971.

The Quincy Conserve was formed in Wellington in late 1967 by Malcolm Hayman. Malcolm was an extremely talented musician who had already been on the music scene for twelve years by that stage. Hayman was only 15 years old when he arrived in Wellington in 1955 as a member of the Maori Hi Fives showband. The following year the singer-guitarist formed the Trademarks, long-time residents at the Mexicali, a popular nightspot owned by American expatriate Harry Booth. The Trademarks were very popular, and after four years of constant playing, queues formed to see them every time they played. Over the years, 30-odd musicians passed through the ranks of the Trademarks, before Malcolm disbanded the group in 1961. The Trademarks owed more than a little to the Maori showband tradition, where Hayman had learnt his licks, but the group gave Wellingtonians their first taste of rock'n'roll. One member of the Trademarks was Rodney "Dody" Potter, who was later a member of the Keil Isles and Dallas Four.
Following the demise of the Trademarks, Malcolm spent 18 months at the New South Wales Conservatorium of Music, followed by two years on the Australian-Pacific cabaret circuit with a variety of bands. Malcolm was a severe diabetic and in 1965, during a residency in New Caledonia, he came down with tuberculosis, spending the next 14 months in a Noumea hospital. He returned to Wellington in the middle of 1966 and formed a new band called the Soundells.
The Soundells had a residency at the Downtown Club in Wellington and at the end of 1967 they were enticed to go to Auckland to play there. They accepted the offer, but Malcolm decided not to go. Now without a resident band at the Downtown Club, owner Roy Young had enough faith in Malcolm to give him a budget to recruit, equip and rehearse a new band for his club. Malcolm immediately tried the rhythm section of Sounds Unlimited, who had just dissolved, but at rehearsals found that they were not appropriate. He then started scouring the countryside, looking for the best musicians, with a promise of a regular gig and a steady wage.
Malcolm recruited bass player Dave Orams from the Underdogs, keyboardist Rufus Rehu from the Quin Tikis, another previous member of Sounds Unlimited, saxophonist Johnny McCormick, and an inexperienced saxophonist, Dennis Mason. On drums was Bryan Beauchamp, from Bari and the Breakaways, but he was quickly replaced by another former Quin Tikis, Earl Anderson.
Rehearsals over, the Quincy Conserve debuted at the Downtown Club in February 1968. They were one of the most talented and professional groups to appear on the New Zealand music scene in the late sixties. They were Wellington's first 'supergroup'. Ria Kerekere returned from the Soundells to provide some vocals for a little while, and not long after they got going, Earl Anderson came down with hepatitis and was replaced by Raice McLeod.
Malcolm Hayman 1969.
Word spread fast about this group and Roy Young soon recouped his investment. Patrons got their money's worth from the entertainment and the club even featured floorshows from the top soloists in the country. It was a top-class venue , which kept out riff-raff by strictly adhering to stringent dress regulations and an over 18 age restriction. Producer Howard Gable visited the venue and was impressed enough to sign the group to EMI, not only as artists but also as a studio band, to record backing's for the large roster of talent recording for the company, including Allison Durbin.
Releasing on the HMV label, their first single "I'm So Proud"/"I've Been Loving You Baby" came out in June 1968. This was followed in 1969 with "Hallelujah"/"Here's To The Next Time" and "Lovin' Look"/"Soul Thing". These records got very good revues, but that wasn't reflected in the sales. Unless you were from Wellington, no-one really knew anything about the group. This was rectified slightly when in December 1968, the group backed Allison Durbin on a national tour. This was the first time they had played outside their Downtown Club residency.
Kevin Furay, who had previously played with Top Shelf, joined the group on both guitar and trumpet in 1970. Two months after Kevin joined, Raice McLeod left and he was replaced by Bruno Lawrence. Raice actually took the seat Bruno had occupied in Sydney with Electric Heap.
Bruno had an immediate impact on the group. He wrote a song that was included on the group's first album, and the song became their biggest hit. The album released in 1970 was "Listen To The Band" and the single was "Ride The Rain"/"I Feel Good". The single was also released in Australia. Bruno's "Ride The Rain" became a finalist in the 1970 Loxene Golden Disc Awards. The second single from the album was "Everybody Has Their Way"/"Purple Frustration".
A second album "Epitaph" was released in 1971. It contained a number of excellent songs and from it came three singles, "Aire Of Good Feeling"/"Don't Arrange Me", "Alright In The City"/"Somebody Stole My Thunder" and "Going Back To The Garden"/"My Michelle Chan".
The Quincy Conserve was always Malcolm Hayman's band and he was a perfectionist and a strong disciplinarian. His rigid control of the group always went down well with venue owners, but didn't always sit too well with band members. It caused the unit to be unhappy at times and the band members resentment eventually tore the group apart. Bruno was always a hard person to manage and he treated Malcolm with casual disdain. Even though Bruno was good value to the group, his irreverence caused him to be fired by Malcolm. In February 1971, a new drummer Richard Burgess was acquired. Bruno was undeterred and moved on to form Blerta.
Not long after Richard joined, Kevin Furay left to form Tanglefoot, and he was replaced by a new trumpet player Barry Brown-Sharpe.
Pressure within the group exploded towards the end of 1971 when Malcolm fired Dave Orams during a rehearsal session. Dennis Mason took exception to this and an argument took place, basically with everybody being sick of being in a band where they had absolutely no say. Dennis said if Dave goes, so do I, and Barry Brown-Sharpe and Johnny McCormick both agreed. The result of the argument was the group was four members less. Hayman decided that there was no point continuing with the group, so he officially disbanded it. Putting their grievances aside, they did get together to do a farewell performance at the Downtown Club on October 30, 1971. Dennis Mason went on to become a member of Arkastra.
Malcolm then joined Furay at Tanglefoot, but before the end of 1971, Roy Young was concerned at the drop of patronage at the Downtown Club, and started putting pressure on Malcolm to form a new band.
Malcolm swallowed his pride and put together a new Quincy Conserve, promising that it would be a more democratic outfit. From the first version remained Malcolm and Rufus Rehu. Malcolm convinced Johnny McCormick and Dave Orams to return and they added Mike Conway on drums and two temporary members, Australian Peter Cross on trumpet and Harry Leki on guitar.
1972 L to R: Mike Conway, Dave Orams, Kevin Furay, Johnny McCormick,Barry Brown-Sharpe, Malcolm Hayman and Rufus Rehu.
At the beginning of 1972 they were back at the Downtown Club, just as popular as before and as if they had never left. After just a month, Peter Cross and Harry Leki had gone and back from the original version were Barry Brown-Sharpe and Kevin Furay. Dave Orams also went and was replaced by Frits Stigter on bass guitar. Now with the band members having more say, they musical direction moved towards a more jazz-rock style.
Two new singles were released in 1972, "Somebody Somewhere Help Me"/"Tango Boo Gonk" and "Roundhouse"/"You Can Take Your Love".
In November 1972, EMI promoted a concert at the James Hay Theatre in Christchurch. Quincy Conserve performed there along with Blerta, Lutha and Desna Sisarich. The event was recorded and released early in 1973 as an album called "Live". They contributed three tracks to the album.
By the end of 1972, Quincy Conserve were no longer resident at the Downtown Club. In 1973 the breweries had begun to recognise the value of live music in their taverns. Lion Breweries opened a rock venue in the Spectrum Room at the Lion Tavern. Their second venue was at the Cornhill Tavern and Quincy Conserve were installed as residents. They also held a residency at the Speakeasy Bar in Manners Street.
In 1973 their third album was released. It was called "Tasteful" and came with a 7" EP called "Extra Tasteful". Two singles were released from the album, "Keep On Pushing"/"Lady Listen" and "Slut"/"Keep On Playing That Rock'n'Roll".
A deal with Lion Breweries was signed in 1974, and the group spent most of the next year constantly touring the country. They spent on average a week in each town and during that time musicians came and went. By 1975 the group found that their most appreciative audiences were found at jazz festivals. By this stage the line-up consisted of Hayman, Paul Clayton on lead guitar, Peter Blake on keyboards, Rodger Fox on trombone, Geoff Culverwell on trumpet, Murray Loveridge on bass and Billy Brown on drums. Geoff Culverwell had previously been with the Wedge. This combination recorded the group's last album called "The Quincy Conserve" in 1975 for the Ode label and also released two singles, "Song For The Man"/"Epistolary" and "Rockin' Chair"/"Super Strut".
In September 1975, Jack Cooper, manager of Wellington's newly opened 1860 Tavern, invited Rodger Fox to form a jazz band for Saturday afternoon entertainment. He created the 1860 Band, and it comprised Fox, Blake, Brown and Culverwell from Quincy Conserve, plus bassist Dave Pearson. By the end of 1975, the 1860 Band had greater pulling power than Quincy Conserve themselves, so it became a full-time venture in the new year, officially putting an end to Quincy Conserve for good. Hayman and Loveridge went on to form a pub band called Captain Custard.
Rodger Fox went on to form the Rodger Fox Big Band in the late seventies. They recorded a number of albums and included quite a few respected musicians within their ranks over the years. They included Geoff Culverwell from Quincy Conserve and David Feehan from Lost Souls and Tapestry.
Malcolm continued playing for a number of years, but finally his diabetes caught up with him and he died as a result of complications on the 5th November 1988.
Quincy Conserve were never a true pop group, they were more of a musicians band, with Malcolm Hayman possessing one of the most distinctive voices in Kiwi Rock.
In 2001 EMI released a CD called "The Very Best Of Quincy Conserve", which contained most of their singles and some good album tracks.

Quincy Conserve ‎– Listen To The Band  1970

A1 Introduction - Faith
A2 Somebody Stole My Thunder
A3 Ride The Rain
A4 Sugar Man
A5 I Feel Good
A6 Frustration
B1 Does Anybody Really Know What The Time Is
B2 Everybody Has Their Way
B3 Baby I Couldn't See
B4 What Is The World Coming To
B5 Finale (Encouragement)

По Просьбе Коллеги Carlos Mad

Let My People Come"  1974

Opening Number
Give It To Me
I'm Gay
Come In My Mouth
Dirty Words
Linda, Georgina, Marilyn & Me
I Believe My Body
Take Me Home With You
Choir Practice
And She Loved Me
Whatever Turns You On
Doesn't Anybody Love Anymore
Let My People Come

"Let My People Come" was born on January 8, 1974, of Capricorn birthright, truly destined to reach the people.

This sexual musical, called a "theatrical emancipation" and a "milestone for freedom of expression", touches upon all forms of human sexuality in the disguise of a thought-provoking, suggestive, bitingly satirical, outrageously refreshing, innocent and entertaining childish romp.

The ingenious music, "light and refreshing, yet dark and searching", will revitalize, replenish, and touch your soul with its message.

The message: People are sexual, if only because they are human and mortal, and if they understand and deal with that fact they will be able to move on to something else, something more spiritual.

Earl and Phil are presently working on a new Broadway Musical called "Spirit."

Music by Earl Wilson, Jr.
Lyrics by Earl Wilson, Jr. & Phil Oesterman
Music arranged & conducted by Billy Cunningham
Choreography by Ian Naylor
Lighting by Centaur Productions
Produced & directed by Phil Oesterman
Published by Gnostic Music Co., ASCAP

CAST: Christine Rubens, Ray Colbert, Tobie Columbus, Denise Connolley, Daina Darzin, Lorraine Davidson, Marty Duffy, Joe Jones, James Morgan, Ian Naylor, Barbara Niles, Larry Paulette, Peachena, Shezwae Powell, Dean Tait, Alan Evans, Jim Rise

Show produced for records by Henry Jerome for Green Menu Music Factory Inc.

Music arranged & conducted for records by Billy Cunningham
Choral Direction: Jerry Graff
Art direction & cover design: Jim Rise
Recording Studios: A & R Studios and Soundtek Studios, New York City
Chief Recording Engineer: Stephen Y. Scheaffer
Session Engineer: Elliot Shiner
Mixing Engineer: Stephen Y. Scheaffer
Photography: Tim Boxer
"LET MY PEOPLE COME" opened at Village Gate on January 8, 1974
Original Cast Album recorded April 29, 1974

Let My People Come: A Sexual Musical (Original Cast Album) LP        19,321 views
TAGS: Let My People Come
Not actually Rocky Horror related at all, this musical opened off-Broadway in 1974. According to its creator, Earl Wilson Jr: "it is a musical revue about SEX... with some nudity and a lot of X-rated language. It was nominated for a Grammy in 1974 and has appeared all over the world. It is a really fun show that takes the attitude that everyone loves sex... when they are honest enough to admit it... and that we'd probably all be a lot better off if we were less uptight about it". A review of the time said: "it broke all barriers - simulated sex, orgies, lesbianism, homosexuality, simulated oral sex, bisexuality, all celebrated, all hilariously carefree."

"Let My People Come" opened at the Village Gate Theater on Bleecker Street in Greenwich Village, New York. It apparently came about during a conversation between Earl Wilson, Jr. and Phil Oesterman: "Phil told me that the time was right to do a show about sex, and make it explicit and beautiful and funny and young. I said, 'Didn't they do that in Oh, Calcutta!?' and he said 'No, there were no songs to speak of in Oh, Calcutta! Sit down and write a song and make it outrageous." The show broke all box office records at the Village Gate and played for 1,167 performances. Its transfer to the Morosco Theatre on Broadway was not as successful though, and closed after 106 performances.

One of the show's songs, The Cunnilingus Champion of Company C, was the subject of a copyright infringement lawsuit by MCA Music in 1976 (MCA Music v. Earl Wilson). They claimed copyright infringement and wrongful appropriation of their copyrighted song, "Boogie Woogie Bugle Boy". Earl Wilson Jr claimed that the song was a parody or burlesque on Bugle Boy and that any similarity between the two songs was permissible fair use. The court disagreed, arguing that Cunnilingus Champion could not be construed as a parody of Bugle Boy specifically but was instead a vehicle for a broad burlesque of the 1940s, World War II activity, and in particular the sexual mores and taboos of the time. Later pressings of this album replaced Cunnilingus Champion with a different song, "Whatever Turns You On".

Lester Paul Orchestra - Tenor Saxophone Mood Collection 

A1 Harlem Nocturne
A2 Danny Boy
A3 I Left My Heart In San Francisco
A4 Stardust
A5 Ebb Tide
A6 Autumn Leaves
B1 Broken Promises
B2 Red Sails In The Sunset
B3 The Lonely One
B4 Days Of Wine And Roses
B5 Hush-A-Bye
B6 You And The Night And The Music
C1 Summertime
C2 Love Is A Many Splendored Thing
C3 To Love Again
C4 Johnny Guitar
C5 Three Coins In The Fountain
C6 The Shadow Of Your Smile
D1 Moon River
D2 Tara's Theme
D3 Secret Love
D4 Over The Rainbow
D5 East Of Eden
D6 Good Night Sweetheart

William Sheller – Erotissimo (Bande Originale Du Film)  1969

A1 Erotissimo 4:15
B1 Generissimo 1:45
B2 Excitissimo 1:10

The Hollyridge Strings - The George, John, Paul,Ringo Songbook

01- Here Comes The Sun  (02:44) 
02- Hey Jude  (04:26) 
03- Another Day  (03:04) 
04- Let it Be  (02:19) 
05- The Long and Winding Road  (03:15) 
06- My Sweet Lord  (03:27) 
07- Uncle Albert ~ Admiral Halsey  (04:55) 
08- Something  (02:40) 
09- It Don't Come Easy  (02:55) 
10- Bangla-Desh  (03:57) 

Martin Denny ‎– 20 Golden Hawaiian Hits  1965

01  Hawaiian Village
02  Little Brown Gal
03  The Cockeyed Mayor Of Kaunakakai  
04  To You, Sweetheart, Aloha
05  The Hukilau Song
06  Diamond Head 
07  Lovely Hula Hands  
08  Across The Sea  
09  Princess Poo-poo-ly
10  On The Beach At Waikiki  
11  My Little Grass Shack 
12  Off Shore 
13  Hawaiian Paradise  
14  Pagan Love Song 
15  The Hawaiian Wedding Song
16  The Moon of Manakoora 
17  Aloha Oe  
18  Now Is The Hour 
19  Hawaii Is Waiting For You
20  Hawaiian War Chant

Born Losers 1967-Soundtrack

–The Sidewalk Sounds Billy Jack's Theme
–The Sidewalk Sounds The Losers Bar
–Terry Stafford Forgive Me
–The Sidewalk Sounds Gangreens Fight
–The Sidewalk Sounds The Born Losers Theme
–Terry Stafford Alone-Never To Love Again
–Summer Saxaphones Billy Jack's Theme
–The Sidewalk Sounds Born Losers Stripper
–The Sidewalk Sounds Vicki's Theme
–The Sidewalk Sounds The Born Loser's Dirgo

Культовый Американский Фильм 60-х Годов !

вторник, 26 апреля 2016 г.

Warren Covington-Everybody Twist 1962

Track List
The Twist
Peppermint Twist
Don't Bug Me Twist
Shortenin' Bread Twist
Everybody Twist
Let's Twist Again
Mama and Papa Twist
Dear Lady Twist
Kick Off Your Shoes
For Twisters Only
The Honeydripper

понедельник, 25 апреля 2016 г.

Кола Бельды-Увезу тебя в Тундру

01. Рыбачка
02. Увезу тебя я в тундру
03. Весна на полюсе
04. Песня влюблённого якута
05. Эх, озёра
06. Песня оленевода
07. Песня рыбака
08. Ты меня ещё не знаешь
09. Рыбацкая песня
10. Полюбите меня
11. Сыны России
12. Приветствие
13. Андаха эксэлни
14. Озеро моё
15. Мой Нарьян-Мар

Николай Иванович Бельды(2 мая 1929, село Муха, Нанайский район, Дальневосточный край — 21 декабря 1993, Хабаровск), больше известный как Кола Бельды — советский, российский певец, популярный артист эстрады 1950—1980-х годов, Заслуженный артист Российской Федерации, Заслуженный артист Республики Саха, Заслуженный артист Бурятской АССР. Нанаец по национальности.

Кола Бельды родился в маленьком селе Муха Нанайского района Хабаровского края в семье охотника. Детство было голодным. Рано осиротев, Кола пережил нервное потрясение и стал заикаться. Имеет родную сестру, которая ещё жива: Пассар, Надежда Петровна проживает в Нанайском районе с. Троицкое.

Рос и воспитывался в школе-интернате, откуда во время Великой Отечественной войны сбежал на фронт, приписав себе два лишних года, стал юнгой Тихоокеанского флота. Участвовал в боевых действиях за освобождение Кореи. Выступал в ансамбле песни и пляски Тихоокеанского флота. Закончив экстерном музыкальное училище, Бельды продолжил службу мотористом-дизелистом на тральщике Тихоокеанского флота.

После службы на флоте Кола поступил в Саратовскую консерваторию. Учёбу совмещал с работой на станкостроительном заводе, в Саратовском драматическом театре. Некоторое время работал в ансамбле песни и пляски Воронежского военного округа, затем в Калининской и Хабаровской филармониях, а с 1959 года — во Всероссийском концертно-гастрольном объединении, впоследствии реорганизованном в Москонцерт, в качестве солиста-вокалиста до 1990 года.

Творческий путь Бельды интересен и удачен. В 1957 году он с блеском становится лауреатом Всемирного фестиваля молодёжи и студентов в Москве. Молодое дарование заметили многие деятели культуры (М. Кольцов, С. Михалков и др.). Обратила внимание и министр культуры Е. Фурцева. Талантливого артиста пригласили работать в Москву. И уже в 1960 году Кола Бельды становится лауреатом Всероссийского конкурса артистов эстрады.

Более 30 лет Кола Бельды гастролировал по стране и за рубежом, выступил в 46 странах мира, став в Европе, например, таким же узнаваемым и популярным, как в СССР. Об этом свидетельствуют многочисленные интервью журналистов газет, журналов, передачи на радио и телевидении, отзывы слушателей и зрителей о его неповторимом голосе, своеобразной манере исполнения и личном обаянии.

Наибольшая популярность пришлась на 1972-73. В 1972 Кола Бельды с песней «Увезу тебя я в тундру» выходит в финал фестиваля «Песня года», а 25 августа 1973, за исполнение песен «Природа поёт» и «Увезу тебя я в тундру», получает вторую премию в главном конкурсе Международного фестиваля польской песни в Сопоте (Польша). Итогом творческой деятельности певца стали 7 виниловых дисков, многочисленные аудиокассеты, видеоклипы, несколько фильмов о жизни и творчестве Кола Бельды.

Голос Кола Бельды — звонкий, приятного тембра, нечто среднее между тенором и лирическим баритоном. Пение Бельды несёт в себе некоторые черты бель канто — певческое дыхание, выровненность тембра по диапазону, кантилену, но с другой стороны производит впечатление самодеятельного, а сам артист — самородка. Будучи нанайцем, Кола Бельды как бы выступал от имени всех малых народностей Дальнего Востока, Сибири и Крайнего Севера. Можно сказать, что тема малых народов СССР, живущих практически натуральным хозяйством, чей быт бережно сохранён советской властью — принадлежала только К. Бельды. Герои его песен — чукчи, нанайцы, удэге, нивхи, орочи, чудь, ханты, коми и пр., живущие своей немудрёной жизнью, бесхитростные, добродушные труженики — рыболовы, моряки, охотники, оленеводы. Кола Бельды воспевал красоту тундры и Крайнего Севера, поэтизировал занятия малых народов. Он пел про Чукотку, Нарьян-Мар, Сахалин, про тундру и тайгу. Отдельным мотивом в его творчестве проходят северные олени и всё, что с ними связано — олень — это главный кормилец таких людей.

Творчество Кола Бельды, его сценический успех служили иллюстрацией мер советского правительства по поддержке малых народов, льготной политики советской власти по отношению к малым и исчезающим народам. Именно как результат большой популярности Кола Бельды в стране возникли и распространились многочисленные анекдоты про наивных и простодушных чукчей, про их непонимание городской, а особенно московской жизни.

Последние годы
В 1990 году артист оставил благополучие и стабильность московской жизни и решил поселиться ближе к земле своих предков нанайцев в Хабаровске. Женился. В начале 1991 года у него родилась дочь Елена.

Кола Бельды скоропостижно умер от инфаркта миокарда 21 декабря 1993 года. Похоронен в Хабаровске. После смерти Кола его супруга, врач детской поликлиники, организовала общественный фонд «Кола Бельды» — общественную некоммерческую организацию.

Кола Бельды (Бельды Николай Иванович) – заслуженный артист Российской Федерации, заслуженный артист Якутской (Саха) республики (1929 – 1993 гг.)

Родился Кола в маленьком селе Муха Нанайского района Хабаровского края в семье охотника. По паспортным данным (являющимся приблизительными по объективным причинам) родился 2 мая 1929г. Раннее детство было голодным. Рано осиротев, пережил нервное потрясение и стал заикаться.

Рос и воспитывался в школе-интернате, откуда во время Великой отечественной войны в 1943г. сбежал на фронт, приписав себе 2 лишних года, стал юнгой Тихоокеанского флота. Участвовал в боевых действиях за освобождение Кореи. Награждён орденом отечественной войны 11 степени, медалью Ушакова, другими наградами. Выступал в ансамбле песни и пляски Тихоокеанского флота. Закончил экстерном музыкальное училище. Затем продолжил службу мотористом – дизелистом на тральщике Тихоокеанского флота.

После службы на флоте Кола поступил в Саратовскую консерваторию. Учёбу совмещал с работой на станкостроительном заводе, в саратовском драматическом театре. Некоторое время работал в ансамбле песни и пляски Воронежского военного округа, затем в Калининской и Хабаровской филармониях, а с 1959 г. – во Всероссийском концертно-гастрольном объединении, впоследствии реорганизованном в Москонцерт в качестве солиста-вокалиста до 1990 г.

Интересен и удачлив творческий путь певца. В 1957г. он с блеском становится лауреатом Всемирного фестиваля молодёжи и студентов в г.Москве. Молодое дарование заметили многие деятели культуры (М.Кольцов, С.Михалков, М.Пляцковский и др.). Обратила внимание и министр культуры Е.Фурцева. Талантливого артиста пригласили работать в Москву. И уже в 1960 г. Кола Бельды становится лауреатом Всероссийского конкурса артистов эстрады.

В книге Ю.Дмитриева «Искусство советской эстрады», выпущенной в Москве в 1960 г. имя Кола Бельды стоит рядом с именами любимых артистов: Л.Утёсова, О.Лундстрема, К.Шульженко, Эдди Рознера, А.Райкина и др.

Более 30 лет Кола гастролировал по стране и за рубежом; по линии Госконцерта и Москонцерта выступил в 46 странах мира, став в Европе, например, таким же узнаваемым и популярным, как в СССР. Об этом свидетельствуют многочисленные интервью журналистов газет, журналов, передачи на радио и телевидении, отзывы слушателей и зрителей о его неповторимом голосе, своеобразной манере исполнения и личном обаянии.
В 1973 г. Кола Бельды стал лауреатом международного конкурса вокалистов в г.Сопоте (Польша). Он был первым из советских певцов, удостоенных столь высокого звания на международной арене. После него такое же звание получили А. Пугачёва и В.Леонтьев. Из советских певцов никто больше не смог подняться на столь престижный мировой эстрадный олимп.

В 1985 г. за заслуги в области эстрадного искусства Кола Бельды было присвоено звание заслуженного артиста Российской Федерации.

Труд и блистательный певческий талант Кола Бельды были вознаграждены многими правительственными и международными орденами и медалями. Но самая большая награда для певца – всенародная любовь к его голосу, полному жизненной энергии, неповторимому шарму исполнительской манеры и сценическому обаянию, позволившие ему завоевать сердца зрителей и слушателей нескольких поколений наших сограждан.

Итогом творческой деятельности певца стали 7 виниловых дисков, многочисленные аудиокассеты, видеоклипы, несколько фильмов о жизни и творчестве Кола Бельды (съёмки творческого объединения «Экран», Мосфильма, Дальневосточной студии кинохроники в г. Хабаровске – последний фильм «Я не знаю, где родился»).

«Золотой голос Севера!» – такой отзыв о выступлении Кола Бельды во Франции оставил мэр г.Мезен. Эпитет этот как нельзя лучше подходит к нашему любимому артисту. Он и послужил названием для серии компакт-дисков, видео- и аудиокассет, в которую войдут не только песни в исполнении Кола Бельды, но также мелодии и ритмы коренных народов Севера, Сибири и Дальнего Востока, шаманские камлания, языческие и бытовые ритуалы, музыка, живые голоса истории.

Искренний интерес к удивительной культуре коренных народов Севера, Сибири и Дальнего Востока вызывало появление на сцене оригинального артиста с уникальной музыкой аборигенов Севера повсеместно, включая французов на ежегодном празднике газеты «Юманите» в г.Париже, куда привозят культурные программы из сотен стран мира.
В 1990 г. Кола оставил благополучие и стабильность московской жизни с её привилегиями для избранных и решил поселиться ближе к земле своих предков нанайцев в г.Хабаровске (кстати, нанайское название г.Хабаровска – Бури). Женился. В начале 1991г. у него родилась дочь Елена. Единственная и любимая им безумно.

Кола Бельды скоропостижно умер от инфаркта миокарда 21 декабря 1993 г. на руках у жены и ребёнка. Похоронен в г.Хабаровске.

После смерти Кола его супруга, врач детской поликлиники, организовала общественный фонд «Кола Бельды» – общественную некоммерческую организацию.

В 1996 г. в Японии выпущен компакт-диск «Белый остов» в исполнении Кола Бельды

Закрытый концерт в The Appolo Theatre, 12 августа 1965 года. В тот вечер никто не дарил друг другу нательных крестов, приносящих удачу. Совместное выступление Кола Бельды и Стоунз стало одной из первых в мировой музыке попыток по скрещеванию американского ритм-энд-блюза с напевами якутских шаманов. Немногочисленные зрители этого концерта отзывались о шоу только в превосходных тонах, имея в виду сильнейшее эстетическое потрясение полученное от выступления артистов. Публика просто впадала в экстаз, когда Кола Бельды и Билл Уайман соединяли ритмы своих барабанов и бубнов, добиваясь просто феноменальных крещендо в Satisfaction, Little Red Rooster, Route 66, She Said Yeah.