суббота, 30 ноября 2019 г.

Оскар Строк -О, эти черные глаза


1. "О, эти черные глаза" (слова О. Строка). Петр Лещенко.
2. "Скажите, почему?" (слова О. Строка). Владимир Трошин.
3. "В разлуке" (слова Г. Бейлина). Николай Никитский.
4. "Спи, мое бедное сердце" (слова О. Строка и И. Альтшулера). Алла Баянова.
5. "Мусенька родная" (слова О. Строка). Петр Лещенко.
6. "Не надо вспоминать любви..." (слова О. Строка). Константин Сокольский.
7. "Марианна" (слова Н. Лабковского). Сергей Владимирский.
8. "Мечта". Ансамбль "Мелодия" п/у Георгия Гараняна.
9. "Звездное счастье" (слова А. Горохова). Юрий Гуляев.
10. "Не покидай" (слова О. Строка). Владимир Трошин.
11. "Былое увлечение" (слова О. Строка). Клавдия Шульженко.
12. "Танго-фантазия". Ансамбль "Мелодия" п/у Георгия Гараняна.
13. "Катя, Катя" (слова О. Строка). Петр Лещенко.
14. "Голубые глаза" (слова О. Строка). Петр Лещенко.
15. "Мой мальчик" (слова О. Строка). Трио ансамбля "Гренадита".
16. "Лунная рапсодия" (слова Н. Лабковского). Леонид Утесов.
17. "Моя Наталья" (слова Н. Лабковского). Владимир Трошин.
18. "Зимнее танго". Ансамбль "Мелодия" п/у Георгия Гараняна.
19. "Мое последнее танго" (слова О. Строка). Петр Лещенко.
2006

Этот диск - приложение к книге "Оскар Строк - Король и поданный" Анисима Гиммерверта.

Оскар Давыдович Строк (1893 — 1975) родился в Двинске (ныне Даугавпилс) в еврейской семье, младшим из восьмерых детей. Отец его в молодости был армейским музыкантом, впоследствии руководил ансамблем, играл на флейте, кларнете, фортепиано. Унаследовавший музыкальную одаренность Оскар поступил в Санкт-Петербургскую консерваторию по классу фортепиано и после завершения учебы работал как аккомпаниатор на эстраде и в кинематографе. После революции он вернулся в родную Латвию, ставшую независимой.
Интересно, что деятельность Строка не ограничивалась музицированием. Например, он издавал журнал «Новая нива». И именно с ним связана история появления романса «Черные глаза». С черноокой красавицей — секретаршей журнала Строк, бросив жену и детей, умчался в Париж, перевез туда редакцию и хотел обосноваться там навсегда. Но журнал оказался неконкурентоспособным, красотка — ветреной и неверной, а его денежные средства — слишком скудными. Пришлось отступить и примерно через полгода вернуться восвояси. Мудрая жена Луиза простила, а у Оскара появилась крылатая фраза «В нашей семье не разводятся!» Именно после этого и родилась целая обойма песен, которые прославили имя Строка. Одна за другой были написаны «Голубые глаза», «Когда весна опять придет», «Мое последнее танго» и, наконец, знаменитое «Ах, эти черные глаза».

Кстати, дальнейшая жизнь еще не раз подтвердила, что предпринимателем Строк был неважным. В начале 1930-х он откроет ресторан «Барберина», который почти моментально прогорит. Потом, при помощи брата, ставшего успешным импресарио на Западе, он отправится на гастроли в Китай и Японию, однако разругается с братом и обратно в Ригу будет возвращаться на перекладных через всю страну. Наконец, он создаст издательство «Казанова», но и то почти не приносило прибыли. Да, таким был Строк — склонным к авантюрам, увлекающимся, влюбчивым, неунывающим. 


Однако успех Строка-композитора был неоспорим. В 1931-м году он познакомился с Петром Лещенко, который поначалу выступал как танцор и пел лишь время от времени. Есть сведения, что именно Строк убедил Лещенко заняться вокальной карьерой, стал его аккомпаниатором и подключился к созданию репертуара. Оскар Строк был королем танго, и самое известное из его произведений — танго «Черные глаза», написанное в 1928 году, было с блеском исполнено Лещенко.

Еще одно произведение Строка, прославленное Петром Лещенко, — танго «Синяя рапсодия». Под другим названием оно входило в репертуар оркестра Леонида Утесова. Слова и музыка танго «Не покидай», «Скажите почему» и «Спи, мое бедное сердце» также принадлежат Строку. Композитор сочинял и в других жанрах. Так, в наследии Лещенко есть сочиненные Строком фокстрот «Катя» и песня «Цыганочка моя».

Все изменилось 22 июня 1941 года. Строку удалось вывезти семью к сестре в Алма-Ату — иначе они неминуемо оказались бы узниками гетто. Военные годы он провел в фронтовых концертных бригадах, были в том числе и совместные гастроли с Клавдией Шульженко. В 1942 году принял участие в создании музыки к фильму «Котовский». Композитор даже был приглашён участвовать в конкурсе по созданию гимна СССР. Хотя его мелодия не подошла, в 1944 году Строк получил благодарность правительства и денежную премию.

Однако после войны у композитора начались проблемы. Анкета у него была — хуже не придумаешь. Не пролетарского происхождения, еврей, жил в буржуазной Латвии, имеет родственников на Западе и пишет музыку в идеологически чуждых советскому народу жанрах. В 1948-м Строка — автора свыше трёхсот танго и других музыкальных произведений, исполняемых лучшими оркестрами многих стран мира, — исключают из Союза композиторов, что фактически означает запрет на упоминание его имени. В Советском Союзе новые пластинки с записями его песен и инструментальных композиций стали выходить лишь в начале 1970-х гг., когда композитор был уже стариком. Тем не менее, все эти годы Оскар Давыдович не сдавался. Он не был запрещен полностью, и потому стал рассылать собственные произведения руководителям эстрадных коллективов по всей стране — ночи напролет переписывал, переделывал, аранжировал вновь и вновь для конкретных исполнителей, писал в основном инструментальную музыку и ездил по стране с концертами. Были у него и ученики — например, одним из них был Раймонд Паулс.

Он всегда был молод душой. Рассказывают, что в день своего юбилея Строк философски изрек: «Мне не 80, а два раза по 40 лет». 22 июня 1975 года к Оскару Давыдовичу Строку приехала «скорая». Он, как всегда, шутил, играл для врача на рояле, подписал на память пластинку. А через несколько минут умер...



четверг, 28 ноября 2019 г.

среда, 27 ноября 2019 г.

Blackwell – Boogie Down


A1 Boogie Down And Mess Around 5:18
A2 Put The Funk Back 4:10
A3 That's What It's All About 4:31
A4 Move Your Ass Gringo 4:04
B1 I Love To See Ya Dancin' 4:46
B2 Give It All Ya Got 5:58
B3 Belly Button 4:21

1978




вторник, 26 ноября 2019 г.

Gil Scott-Heron ‎– Moving Target

Fast Lane 4:55
Washington D.C. 4:13
No Exit 4:08
Blue Collar 5:18
Explanations 4:10
Ready Or Not 4:32
Black History / The World 4:40
Flack

Gil Scott-Heron
Singer, spoken-word, activist and author of Jamaican descent
Born: April 1, 1949 (Chicago, IL, USA)
Died: May 27, 2011 (New York, NY, USA)

American poet, musician, and author known primarily for his late 1960s and early 1970s work as a spoken word soul performer and his collaborative work with musician Brian Jackson. His collaborative efforts with Jackson featured a musical fusion of jazz, blues and soul music, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. The music of these albums, most notably Pieces of a Man and Winter in America in the early 1970s, influenced and helped engender later African-American music genres such as hip hop and neo soul. Scott-Heron’s recording work is often associated with black militant activism and has received much critical acclaim for one of his most well-known compositions “The Revolution Will Not Be Televised”. On his influence, Allmusic wrote “Scott-Heron’s unique proto-rap style influenced a generation of hip-hop artists”.






понедельник, 25 ноября 2019 г.

Mirageman (Giovanni Fenati)

Thrilling 1970

Raptus 3:10
El Paso 2:45
Hashish 2:50
La Coruña 2:55
Thrilling 2:50
Hypnosis 2:50
Crimen 3:05
Gulp 2:35
Obsession 2:30
Paprika 2:05
Cincinnati 2:30

Thunder And Lightning 1972

A1 Thunder 2:43
A2 Paroxysm 4:10
A3 Hallucination 3:45
B1 Abstraction 3:20
B2 Apotheosis 2:40
B3 Lightning 4:05
C1 Paralysis 2:35
C2 Atmosphere 2:45
C3 Lycanthrope 2:50
C4 Intermission 2:35
D1 Nicaragua 2:35
D2 Spring Summer Winterland Full 1:59
D3 I'm Going Out Of My Head 2:32
D4 Yesterday When I Was Young 3:09
Giovanni Fenati
Hiding behind the Mirageman name was in fact pianist and composer Giovanni Fenati, who released a series of five (but some sources mention a sixth title) library albums between 1969 and 1972 on the Ariston label.
At least four known singles were taken from these albums.





воскресенье, 24 ноября 2019 г.

Giovanni Fenati ‎– In Concerto (Successi Internazionali Per Pianoforte E Orchestra)

Concerto Di Varsavia (Warsaw Concert) 3:29
Carioca 3:10
It's Romantic 2:52
Tico Tico 2:47
Notturno 2:51
Bahia 3:08
Ciaikowski Dreaming (Dalla Sinfonia N.6 In Si Minore - Patetica) 3:00
Lisboa Antigua 3:33
Rossini '76 (Da 'Il Barbiere Di Siviglia") 3:45
La Ragazza D'Ipanema (Garota De Ipanema) 3:01
1976

Giovanni Fenati
Italian pianist, composer and orchestra director (Bagnacavallo, January 1925 – Fidenza, November 17, 1981).
At the end of the 1960s he released five library albums, now very rare, with the alias Mirageman.





суббота, 23 ноября 2019 г.

Beegie Adair - Plays The Songs of Richard Rodgers

Have You Met Miss Jones
    The Lady Is A Tramp
    Bewitched
    Dancing on the Ceiling
    My Romance
    It Never Entered My Mind
    Where or When
    I Could Write A Book
    Spring Is Here
    You Took Advantage of Me
    Manhattan
    My Funny Valentine
Adair
Bobbe Gorin Adair
b. 11 December 1937, Barren County, KY, USA
Bobbe Gorin "Beegie" Adair, (née Long.) Studied piano at Western Kentucky University and Peabody College. Widow of Nashville musician William Adair.


Richard Charles Rodgers was born near Arverne, Long Island, New York, on June 28, 1902. His father was a successful physician and his mother, a well-trained amateur musician. Rodgers heard music in his home from earliest childhood and was regularly taken to the theater. He was especially delighted by the operettas (short operas) of Victor Herbert and other popular composers. A little later he was inspired by the musicals of Jerome Kern, whose influence, Rodgers said, was "a deep and lasting one."

By the age of six Rodgers was playing the piano by ear and had begun receiving piano lessons. He attended secondary schools in New York. By the age of fourteen he had written two popular songs. Before he entered Columbia University in 1919, he had already written music for two amateur shows and had met Lorenz (Larry) Hart (1895–1943), a literate, amusing, somewhat driven creator of verse, with whom Rodgers would collaborate for the next twenty-four years. Their first published song was "Any Old Place with You" (1919), and hundreds followed. Rodgers left Columbia at the end of his second year to devote himself full time to musical studies at the Institute of Musical Art, where he spent another two years.

After working on amateur shows and on a few unsuccessful professional attempts, Rodgers and Hart won acclaim for their review Garrick Gaieties in 1925. Also in 1925, Rodgers, Hart, and Dorothy Fields (1905–1974) collaborated on Dearest Enemy, "an American musical play" (as they called it), contributing respectively music, lyrics, and book, adding something new to the theatrical scene. Not only was the material original, charming, and witty, but the form and subject of the entertainment were distinctly unusual. Here was a play based on American history with unpredictable and pertinent musical sections.

During the next decade Rodgers and Hart wrote three shows for the London stage and a number of Broadway musicals and Hollywood films. Though not all of them were successful, they were distinguished by a number of fine romantic ballads such as "My Heart Stood Still" (1927), "With a Song in My Heart" (1929), "Dancing on the Ceiling" (1930), and "Lover" (1932). Hart's lyrics always managed to avoid too much sentimentality, and Rodgers matched them with tunes of grace and skill.

Among the nine stage shows written between 1935 and 1942 were several of Rodgers and Hart's most famous: Jumbo (1935); On Your Toes (1936), for which the distinguished Russian-born choreographer George Balanchine (1904–1983) created the ballet; Slaughter on Tenth Avenue; Babes in Arms (1937); The Boys from Syracuse (1938); and Pal Joey (1940). A number of the songs written during this time are among Rodgers and Hart's most durable: "There's a Small Hotel," "Where or When," "My Funny Valentine," "This Can't Be Love," and "The Lady Is a Tramp."

After Hart died in 1943, Rodgers entered a period of unprecedented (having never occurred before) success with lyricist Oscar Hammerstein II (1895–1960). Of their ten musicals, five were among the longest-running and biggest-grossing shows ever created for Broadway: Oklahoma! (1943), Carousel (1945), South Pacific (1949), The King and I (1951), and The Sound of Music (1959).

The best work of Rodgers and Hart was marked by a considerable measure of wit and sophistication. In contrast, the style of the Rodgers and Hammerstein collaboration was dominated by a basic, almost folklike, simplicity. In many songs both music and words seem stripped to the barest essentials. Romantic sentiment is a major ingredient.

Through touring productions, film versions, and recordings, the Rodgers and Hammerstein shows have become known around the world. Songs that have become popular standards include "Oh, What a Beautiful Morning," "People Will Say We're in Love," "If I Loved You," "You'll Never Walk Alone," "Some Enchanted Evening," "Hello, Young Lovers," and "Climb Every Mountain."

After Hammerstein's death in 1960 Rodgers for the first time served as his own lyricist for the score of No Strings (1962).

Rodgers's long association with the popular musical theater was an important one. His best projects were aimed at giving the musical play an ever more natural American expression. Oklahoma!, especially, brought an engaging simplicity and earthiness to the form. On many occasions Rodgers's choice of subject matter was unconventional (different from the norm), involving characters, situations, and themes of a seriousness seldom encountered previously in musical comedy. His work enriched and broadened a genre once regarded as little more than frivolous (not serious) entertainment and helped make it into an authentic American art form.

Rodgers's death on December 30, 1979, did not stop the popularity of his musical works, which enjoyed numerous revivals. Vintage original cast reissues and contemporary recordings, movies and videos, Broadway and community playhouse productions, and even illustrated books abound. They became the avenue through which the timeless works credited with launching the twentieth century musical continued to exist. Neither did Rodgers's shows lose dramatic impact. Their stories remained vividly current, such as South Pacific, which encompasses the uncertainties of its World War II (1939–45; when Great Britain, the United States, the Soviet Union, and France fought against Germany, Italy, and Japan) setting, and The King and I, which deals with racism and absolute authority.
Since music had to be hand-copied during most of Rodgers's lifetime, the musical scores from different productions did not always agree. Although there are some early recordings to follow for authenticity (similarity to the original), it still left room for changes in interpretation or even omission (leaving out) of particular numbers during performances.
The original shows were showered with honors, from an Academy Award for best song ("It Might as Well be Spring" from State Fair won this award in 1945) to another one ten years later for best score for Oklahoma! Three shows won Tony Awards for Best Musical— South Pacific (1949), The King and I (1951), and The Sound of Music (1959).
Later performances continued to bring fame and additional awards as top stars such as Julie Andrews (1935–) and Patti LuPone (1949–) recorded Rodgers's songs and acted in revivals. A revival of Oklahoma! was presented in London in 2001. It was shown on Broadway in 2002 to critical praise.
One of the biggest breakthroughs in carrying on Rodgers's work was the transfer to videotape of a superior 1954 original movie of Oklahoma! It surpassed a same-cast, second filming of poorer quality and performance that had circulated for years. It took until 1994, when equipment finally was developed to transfer the "original edition" onto video for mass distribution.
Rodgers is remembered not only for his beautiful melodies, but also for the advancements he made for the American musical theater through his work with Hart and, especially, with Hammerstein. 

пятница, 22 ноября 2019 г.

Rosie & The Originals ‎– The Best Of

1.Angel Baby (US Version)
2.I'm So Young
3.A Thousand Stars
4.Lonely Blue Nights
5 .There's No Other (Like My Baby)
6.The One Who Really Loves You
7.Confidential
8.Why Did You Leave Me
9.Angel From Above
10.My Darling Forever
11.We'll Have A Chance
12.Happy Happy Birthday Baby
13.Angel Baby (Re-Recording)
14.You're No Good
15.Guess Who
16.Lonely Blue Nights
17.I Found A Dream
18.Give Me Love
19.No Other Love Will Ever Do
20.Just Because
21.It's Time To Go Home
22.The Time Is Near
23.Angel Baby (UK Version)
1999

Made By – Universal M & L, UK
Phonographic Copyright (p) – Ace Records Ltd.
Copyright (c) – Ace Records Ltd.
Producer – Doug Salma (tracks: 2, 3, 5 to 7, 12 to 15, 20)
'Angel Baby' by Rosie & The Originals is one of those oldies around which an entire legend has been built. Rosie Hamlin' primordial squeak, with its pangs of earnest yearing, was a sound with which every kid in America could identify. John Lennon frequently cited 'Angel Baby' as one of his all-time favourite records.




четверг, 21 ноября 2019 г.

Shelley Fabares ‎– Growing Up The 1962 Recordings

Shelley! (Colpix SCP 426) 1962 BB LP No 106
1 Love Letters 2:11
2 Picnic 2:07
3 Johnny Angel 2:18
4 True Love 2:31
5 Boy Of My Own 2:04
6 Where's It Gonna Get Me 2:08
7 It's Been A Long Long Time 2:10
8 Funny Face 1:59
9 I'm Growing Up 2:15
10 Hi Lilli Hi Lo 2:11
11 Very Unlikely 2:24
The Things We Did Last Summer (Colpix SCP 431) 1962 BB LP No 121
12 The Things We Did Last Summer 2:27
13 Vacation 2:20
14 Breaking Up Is Hard To Do 2:06
15 Roses Are Red 2:42
16 Johnny Loves Me 2:21
17 Sealed With A Kiss 2:39
18 The Locomotion 2:09
19 It Keeps Right On A Hurtin' 2:51
20 Johnny Get Angry 2:24
21 See You In September 2:11
22 Palisades Park 1:55
Bonus Tracks
23 What Did They Do Before Rock And Roll
Vocals – Paul Peterson
2:06
24 Big Star 2:40
25 Telephone (Won't You Ring) 2:38
2014

2014 Jasmine Records--Shelley Fabares is one -- and maybe the best -- of a handful of young actresses/singers who emerged from the end of the 1950s through the mid-'60s, in an attempt to extend television stardom into action on the pop charts. Most didn't last, and none made the impact of their rivals, the singers who tried acting (Connie Francis, Sandy Stewart, Lulu, etc.), but Fabares did score a huge hit with "Johnny Angel."

The Band Wagon [Original Soundtrack] [CBS]Shelley Fabares was born on January 19, 1944 in California, to a family that already had a background performing (her aunt is Nanette Fabray, the actress best remembered for movies such as The Band Wagon), and she began working as a dancer and model while still a child. By the mid-'50s, she had appeared in such movies as Never Say Goodbye and Summer Love. In 1958, Fabares won the role of Mary Stone in the ABC television series The Donna Reed Show -- the show was a hit, and over the next five years, in tandem with former Mouseketeer Paul Petersen, who played her brother Jeff on the show, Fabares was one of the most visible and popular young performers on television, and the quintessential TV "daughter."
The Monkees The series was produced by Columbia Pictures Television, and the two young performers were asked to try working with the studio's label, Colpix Records. Although the demos failed to impress the label's executives, Donna Reed Show producer Tony Owen (Reed's husband) insisted that they try and make a proper record, and even financed the recording session himself with producer Stu Phillips (The Monkees, Battlestar Galactica) at the helm.
Girl HappyFabares' debut release, "Johnny Angel," reached number one on the charts in early 1962, and is regarded today as a quintessential "girl group" record. None of her subsequent records ever came close to that exalted level, but Fabares recorded for the next three years, in between acting assignments that included movies with Elvis Presley (Girl Happy, Spinout, Clambake), releasing three modestly successful singles ("Johnny Loves Me," "The Things We Did Last Summer," "Ronnie, Call Me When You Get a Chance") and a pair of albums (Shelley, The Things We Did Last Summer). To Fabares, who never conceived of a singing career for herself and wasn't entirely comfortable in that role, these recordings were all a lark, but they constituted little more than a footnote to her early career.
One Day at a Time Despite her indifference to recording, Fabares' first husband was producer Lou Adler. She didn't remain in the music business, and even her acting career had stalled at the end of the '60s. During the '70s, she resumed her career as an adult performer, appearing as a regular on series such as Forever Fornwood and One Day At A Time. She later married actor Mike Farrell (M*A*S*H) and has since emerged as a major television star again, as Craig T. Nelson's wife in the hit series Coach. She and Farrell have also been very visible as activists, raising money and the public's consciousness on behalf of numerous causes, most notably

Shelley Fabares is one -- and maybe the best -- of a handful of young actresses/singers who emerged from the end of the 1950s through the mid-'60s, in an attempt to extend television stardom into action on the pop charts. Most didn't last, and none made the impact of their rivals, the singers who tried acting (Connie Francis, Sandy Stewart, Lulu, etc.), but Fabares did score a huge hit with "Johnny Angel."

The Band Wagon [Original Soundtrack] [CBS]Shelley Fabares was born on January 19, 1944 in California, to a family that already had a background performing (her aunt is Nanette Fabray, the actress best remembered for movies such as The Band Wagon), and she began working as a dancer and model while still a child. By the mid-'50s, she had appeared in such movies as Never Say Goodbye and Summer Love. In 1958, Fabares won the role of Mary Stone in the ABC television series The Donna Reed Show -- the show was a hit, and over the next five years, in tandem with former Mouseketeer Paul Petersen, who played her brother Jeff on the show, Fabares was one of the most visible and popular young performers on television, and the quintessential TV "daughter."
The Monkees The series was produced by Columbia Pictures Television, and the two young performers were asked to try working with the studio's label, Colpix Records. Although the demos failed to impress the label's executives, Donna Reed Show producer Tony Owen (Reed's husband) insisted that they try and make a proper record, and even financed the recording session himself with producer Stu Phillips (The Monkees, Battlestar Galactica) at the helm.
Girl HappyFabares' debut release, "Johnny Angel," reached number one on the charts in early 1962, and is regarded today as a quintessential "girl group" record. None of her subsequent records ever came close to that exalted level, but Fabares recorded for the next three years, in between acting assignments that included movies with Elvis Presley (Girl Happy, Spinout, Clambake), releasing three modestly successful singles ("Johnny Loves Me," "The Things We Did Last Summer," "Ronnie, Call Me When You Get a Chance") and a pair of albums (Shelley, The Things We Did Last Summer). To Fabares, who never conceived of a singing career for herself and wasn't entirely comfortable in that role, these recordings were all a lark, but they constituted little more than a footnote to her early career.
One Day at a Time Despite her indifference to recording, Fabares' first husband was producer Lou Adler. She didn't remain in the music business, and even her acting career had stalled at the end of the '60s. During the '70s, she resumed her career as an adult performer, appearing as a regular on series such as Forever Fornwood and One Day At A Time. She later married actor Mike Farrell (M*A*S*H) and has since emerged as a major television star again, as Craig T. Nelson's wife in the hit series Coach. She and Farrell have also been very visible as activists, raising money and the public's consciousness on behalf of numerous caus

среда, 20 ноября 2019 г.

The Poni-Tails ‎– Born Too Late

1.Born Too Late
2.Before We Say Goodnight
3.Come Be My Love
4.I'll Keep Tryin'
5.Early To Bed
6.I'll Be Seeing You
7.Father Time
8.Seven Minutes In Heaven
9.Come On Joey Dance With Me
10.Wild Eyes And Tender Lips
11.Moody
12.Omm Pah Polka
13.Close Friends
14.You Wild Heart
15.Que La Bozena
16.It's Just My Luck To Be Fifteen
17.Can I Be Sure
18.Still In Your Teens
1994
American girl group from Cleveland , OH who achieved chart success in 1958 with "Born Too Late". The group consisted of Toni Cistone, Karen Topinka (replaced by Laverne Novak in 1958), and Patti McCabe. The group retired in 1960.








вторник, 19 ноября 2019 г.

The Honeys ‎– The Honeys Collection

1–The Honey-Shoot The Curl
2–The Honeys Surfin' Down The Swanee River
3–The Honeys Raindrops
4–The Honeys From Jimmy With Tears
5–The Honeys Pray For Surf
6–The Honeys (Ole Oxen Free Free Free) Hide Go Seek
7–Gary Usher And The Usherettes Three Surfer Boys
8–The Honeys The One You Can't Have
9–The Honeys In The Still Of The Night
10–The Honeys Love On The Run
11–The Surfaris I Want To Take A Trip To The Islands
12–The Honeys Darlin' I'm Not Steppin' Out On You
13–The Honeys He's A Doll
14–The Honeys The Love Of A Boy And Girl
15–Gary Usher Sacramento
16–Glen Campbell Guess I'm Dumb
17–The Honeys No Bobby No
18–The Honeys It's The Thought That Counts
19–The Honeys I Love You Much Too Much
20–Ginger And The Snaps Seven Days In September
21–Ginger And The Snaps Growing Up Is Hard To Do
22–The Honeys Come To Me
23–The Honeys (Let's Take A) Holiday
24–The Honeys Goodnight My Love (Pleasant Dreams)
25–The Honeys Running Away From Love
26–The Honeys Girls Are Vicious
2001 (C)
The Honeys
Two-thirds of The Honeys, the two sisters Marilyn and Diane Rovell, also formed the group Spring  (known outside the US as American Spring, due to another band with the same name).
Ginger & The Snaps




понедельник, 18 ноября 2019 г.

Various ‎– Vanishing Point - Original Motion Picture Soundtrack

A-1–J.B. Pickers Super Soul Theme 1:50
A-2 –Bobby Doyle The Girl Done Got It Together 2:47
A-3–Jimmy Walker Where Do We Go From Here 2:54
A-4–Jerry Reed Welcome To Nevada 1:52
A-5–Segarini & Bishop Dear Jesus God 3:57
A-6–The Doug Dillard Experience Runaway Country 4:10
A-7–Delaney & Bonnie You Got To Believe 3:00
B-1–Jimmy Bowen Love Theme 2:40
B-2–Eve So Tired 2:11
B-3–J.B. Pickers Freedom Of Expression 5:48
B-4–Mountain Mississippi Queen 2:33
B-5–Big Mama Thornton Sing Out For Jesus 1:48
B-6–Segarini & Bishop Over Me 3:05
B-7–Kim & Dave Nobody Knows 2:23
1971





Повнимательнее отнеситесь к этому кинопроизведению. “Vanishing point” 1971 года не просто «фильм, процитированный Тарантино в «Death proof”, это вполне самоценный cult classic.
Не слишком примечательный постановщик Сарафьян достиг небывалых для себя высот в странном синтезе фильма-погони и почти сюрреалистической медитации об индивидуализме и бунтарстве. Получились разом безукоризненный образец жанра «автоэкшн» и гимн саморазрушительному одиночеству. К тому же портрет Америки конца 60-х - начала 70-х исполнен авторами «Точки» даже более убедительно, чем в картинах более знаменитых («Беспечный ездок» Хоппера) или снятых видными режиссёрами «Шугарлендский экспресс» Спилберга).

Ковальски (Бэрри Ньюман) зарабатывает на жизнь перегоном машин из города в город. Вот очередное задание – доставить белый «Додж Челленджер» в Сан-Франциско из Денвера. Заглотнув горсть кислоты, Ковальски пускается в дорогу. Вскоре его пытаются остановить полицейские по неясной причине. Не тут-то было – наш герой жмёт на газ и…начинается погоня по трём штатам. Ковальски демонстративно отказывается подчиняться властям и упорно уходит от преследования, следя лишь за тем, чтобы никто из гонящихся за ним полицейских не погиб. Флэшбеки и полицейское расследование немного проясняют прошлое. У Ковальски какое-то шокирующее имя (его мы так и не услышим), он воевал во Вьетнаме, был отличным полицейским детективом, но из-за конфликта с коллегами лишился работы, выступал в «гонках на уничтожение», тяжело переживал гибель любимой девушки-сёрферши. В общем, типичный одиночка-аутсайдер, не вписавшийся в жизнь и затеявший последнюю гонку на уничтожение со всем миром. К странному автобунтарю проявляют внимание СМИ, у него появляется летописец и мифотворец, слепой ди-джей, объявляющий Ковальски «Последним американским героем». Неприкаянные одиночки видят в Ковальски воплощение двух основных американских добродетелей – индивидуализма и неприятия власти, узколобые патриоты, напротив, готовы без всякой полиции разделаться со смутьяном. А большинство людей просто глазеет на занимательное приключение – один против всех.


Сам Ковальски героем себя не ощущает, помощи не просит, хотя от случайных союзников не отказывается. И встречает на пути всё более странных людей. Доброжелательный собиратель змей в пустыне Невады, прячущиеся от всех недобитые хиппи-целители, общительный байкер с постоянно голой подружкой, комичный дуэт геев-грабителей, наконец, загадочная красавица в облике Шарлотты Рэмплинг. Не то скучающая искательница приключений, не то сама Смерть, пришедшая напомнить ветерану Вьетнама, полицейских облав и автогонок, что его время пришло. Впрочем, отказывающийся спать и живущий только на таблетках Ковальски к тому моменту уже и сам кажется ирреальным персонажем. А путешествие его движется к логическому финалу. И там не будет славы, денег и семейных ценностей. Мощные бульдозеры уже перегородили путь.
«Пейзаж после битвы» Сарафьяна получился убедительным. Кончились забавы «детей цветов» и «лета любви». Мир не изменился. Поэтому приходится либо принимать его правила, либо прятаться в пустыне, теша себя иллюзиями, что пацифистская символика, свободная любовь и проч. и являются «верностью идеалам». А можно сесть за руль (как и положено американцу) и отправиться в путешествие, сделав его символом обречённости, но и одновременной притягательности бунтарства. И, кстати, виртуозные автотрюки отнюдь не мешают достаточно серьёзному подтексту фильма. Напротив, усиливают его. «Исчезающая точка» напоминает нам об истинном смысле истерзанного ныне слова «драйв». «Драйв» - это не монтаж спецэффектов под техно-музыку. «Драйв» - это почувствовать себя на месте Ковальски. Один, без иллюзий, без привязанностей, за рулём несущегося «Доджа Челленджера», в радио классный рок 60-х, под рукой вредная дрянь для приёма внутрь, сзади безликие представители власти, за окном проносится мир добрых, злых, хороших, плохих, разных, но всё равно чужих людей, а впереди – какая разница. И какой смысл теперь думать, что лобовое столкновение с бульдозером неизбежно. Взялся за роль «последнего американского героя», доводи её до конца.
с рута

воскресенье, 17 ноября 2019 г.

The Slades ‎– The Slades

1 Baby 2:33
2 You Mean Everything To Me 2:5
3 Waddle 2:14
4 You Cheated 2:28
5 No Time 2:05
6 You Gambled 1:59
7 Just You 1:32
8 It's Better To Love 2:31
9 It's Your Turn 2:00
10 Take My Heart 1:50
11 You Must Try 2:02
12 Summertime 2:09
13 Right Here 2:20
14 After You've Gone 2:17
15 I Cheated 2:05
1994
Originally known as The Spades , the Slades were a vocal group from Austin Texas, and attended McCallum High School. Personnel included John Goeke, Don Burch, Tommy Kaspar, Bobby Doyle, and Jimmy Davis.

Their second recording for Domino records was their biggest; "You Cheated" peaked at number 42 in 1958 on the Billboard charts. It was the original recording of the song, recorded before the Los Angeles based Shields covered it. The Shields had the bigger hit with it. The Slades record was still popular enough to earn them a spot on American Bandstand, though



суббота, 16 ноября 2019 г.

Johnny Hammond

Breakout 1971

It's Too Late 10:50
Workin' On A Groovy Thing 6:35
Never Can Say Goodbye 5:35
Blues Selah 6:40
Breakout 4:45

Wild Horses Rock Steady 1972

Rock Steady 6:55
Who Is Sylvia? 7:27
Peace Train 4:28
I Don't Know How To Love Him 7:30
It's Impossible 5:25
Wild Horses 6:20

John Robert Smith
American organist, composer, artist.
Born: 16 December 1933 in Louisville, Kentucky, USA.
Died: 4 June 1997 in Victorville, California, USA (aged 63).

Smith became known as Johnny 'Hammond' Smith in the mid-1950s as he emerged as an organ player, to avoid confusion with the guitarist John Smith, and the more famous organist Jimmy Smith. He dropped the Smith part of his name when he signed for the Kudu label in 1971.

Smith played with Paul Williams and Chris Columbo before forming his own group. His bands featured singers Etta Jones, Byrdie Green, saxophonists Houston Person, Earl Edwards, guitarists Eddie McFadden, Floyd Smith, James Clark, vibist Freddie McCoy. His career took off as he was serving as accompanist to singer Nancy Wilson. One of his last accomplishments also included Nancy Wilson. He wrote the song "Quiet Fire" for her "Nancy Now" release in 1989.
After a 10-year spell on Prestige Records throughout the 60s resulting in a series of albums, he signed for soul/R&B influenced Kudu imprint of the well-regarded CTI Records label in 1971. His first album for CTI, "Breakout" was chosen that year to launch Kudu. The album featured Grover Washington Jr. as a sideman prior to the launch of his career as a solo recording artist. Three further albums followed on Kudu, as he decided to refer to himself as "Johnny Hammond", after deciding to drop "Smith" from his name.
His style had become increasingly funky as he adapted to the style changes in music, culminating in two popular albums with the Mizell Brothers, "Gambler's Life" (1974) for the CTI offshoot, Salvation Records (US) and then in 1975, "Gears" after switching to another jazz label, Milestone Records. He began using electric and acoustic pianos, starting with "Gambler's Life", in addition to his signature instrument. Hammond's song "Shifting Gears" was featured on the breakbeat compilation Ultimate Breaks and Beats, and was also featured in the soundtrack of the 2006 video game Driver: Parallel Lines as well.
Smith also  taught at the Cal Poly Pomona music department for several years, beginning in January 1987.

Various ‎– Funk Mode

–Blackbusters Old Man
–Arp Life Bu Bu
–Helmuth Brandenburg Love Like A Man
–Yamasuki Yama Yama
–Orchestra Henryk Debich Bez Metalu
–Billy And Friends Ua Ua Rock
–Erotissima Le Cuple
–Les Mogol Wild Flower
–Patucchi Red Lamp
–Jose Roberto Aventura
–Max Middleton Viva Bass And Drums
–Plus Put Everything Together
–Santisteban Zorongo
–Frits Kaatee & Jeanette Cordee Easy Evil
–Sigurd Cochius Indianenmars
–Rino De Filippi Orientale Contemplatino

2004




DJ Spinna ‎– Brazilian Funk Mode




1 –Claudia  Baobá 4:15
2 –Azimüth Periscópio 2:27
3 –Antonio Carlos & Jocafi Hipnose 2:56
4 –Waltel Branco Meu Balanço 3:27
5 –Marcos Valle Mentira 2:09
6 –Evinha Esperar Prá Ver 2:02
7 –Di Melo Se O Mundo Acabasse Em Mel 3:28
8 –João Donato Malando 2:19
9 –Dom Salvador Tio Macro 2:50
10 –João Donato Cala Boca Menino 2:00
11 –Emilio Santiago Bananeira 3:16
12 –Quarteto Em Cy Tudo Que Você Podia Ser 2:06
13 –Helio Matheus Eu, Réu, Me Condeno 3:52
14 –Joao Donato & Deodato Whistle Stop 3:01
15 –Franco  Ei, Você, Psiu! 2:36
16 –Ana Mazzotti Bairro Negro 2:27
17 –Célia Na Boca Do Sol 2:28
18 –Waltel Branco Tema De Zorra 2:35
19 –Azimüth Caça A Raposa 3:49
20 –Eklipse Soul Psicose 1:58
21 –Dom Salvador Barumba 1:57
22 –Sérgio Mendes & Brasil '77 Zanzibar 4:17
23 –Miguel de Deus Black Soul Brothers 1:49
24 –Ed Lincoln Assim Não Da 2:16
25 –Wilson Simonal Mexerico Da Candinha 2:22
26 –Som Três Tanga 2:06
27 –Wilson das Neves Na Na Hey Hey Kiss Him Goodbye 2:11
28 –Marcos Valle Vôo Cego 3:32
2004
DJ Mix – DJ Spinna

Soulful & Funky Brazilian Rare Grooves Mixed By DJ Spinna
The Basement Archive Sessions Vol. One
© Tube Records

Issued as a factory-pressed CDr in a standard jewel case with printed colour card inlay and tray liner. There is no date listed on the release but Japanese websites list the date of manufacture as this. There are no artists or track durations listed on the release but the track titles are listed on the back side of the colour card inlay. Some of the tracks are misspelt on the release and fixed. There is no catalog number listed anywhere but some websites have listed the catalog number as being "BD1003".

Original tracklist on colour card inlay back:
1. Baoba / 2. Periscopo / 3. Hipnose / 4. Meu Balanco / 5. Mentira / 6. Esperar Praver / 7. Se O Mundo Acabasse Em Mel / 8. Malandro / 9. Tio Macro / 10. Caca Boca Minino / 11. Bananeira / 12. Tudo Que Voce Podia Ser / 13. Eu Reu Me Condeno / 14. Whistle Stop / 15. El Voce Psiui / 16. Bairro Negro / 17. Na Boca Do Sol / 18. Tema Da Zorra / 19. Caca A Raposa / 20. Psicose / 21. Barumba / 22. Zanzibar / 23. Black Soul Brother / 24. Assim Nao Da / 25. Mexerico Da Candinha / 26. Tanga / 27. Na Na Hey Hey / 28. Voo Cego

пятница, 15 ноября 2019 г.

Sugar & Candy – Come To The Party

A1 Come To The Party
A2 Chapel Of Love
A3 Teardrops On My Pillow
A4 Breaking Up Again
A5 I Don't Bake Cake
B1 Monkey Dance
B2 Breaking Up Is Hard To Do
B3 Casanova
B4 Voulez-Vous Coucher Avec Moi
B5 Sunny
Bonus Tracks

1979
Веселые девчата какого то размытого образа,То напоминают Баккару,то скорее девиц конца 80-х !




четверг, 14 ноября 2019 г.

Various-The Basic Principles Of Sound

The Basic Principles Of Sound (Music For The Modern Listener Volume 2)

1–Johnny Lytle Babo 5:36
2–Buck Clarke Sound Night In Tunisia 5:40
3–Johnny Lytle One For Carter 5:38
4–Guru Guru Taoma 6:12
5–Dave Pike Regards From Freddie Horovitz 4:49
6–Doug Lucas Niara 4:21
7–Lorez Alexandria Morning 3:46
8–Michael Garrik Septet Ursula 5:54
9–Paul Khun Memphis Underground 4:21
10–Zumbo Cinco Blusology 2:31
11–Trio Camara Berimbao 3:03
12–Trio Camara Upa Neguino 1:56
13–Sergio Mendes And Bossa Rio Neurotico 2:18
14–Dudley Moore Trio Amalgam 4:00

Various ‎– The Basic Principles Of Sound Vol. 3 (Music For The Modern Listener With A Brazilian Flavour)

1–Deodato & Os Catedraticos Os Grillos 2:18
2–Les Masques & Trio Camara Il Faut Tenir 2:52
3–Don Um Romao Jangal 1:49
4–Deodato & Os Catedraticos Ataque 2:08
5–Jaime Marques Berimbau 5:44
6–Joao Donato Tim Dom Dom 2:45
7–Tempo Trio Carcara 2:33
8–Wis Carlos Vinhas Batucada Sergiu 2:19
9–Mary Lou Williams A Grand Nite For The Swinging 2:51
10–Bossa Tres Influencia Do Jazz 2:45
11–Larry Willis Consolaçao 5:19
12–Joao Donato Noa Se Acabau 2:14
13–Dave Grusin Captain Bacardi 2:20
14–Ricardo Marrero And The Group Un Sabor Latino 3:51
15–Osmar Milito Mudei De Idea 1:44
16–Carlos Penha Cobranca 1:40
17–Wilson Simonal Nem Vem Que Nao Tem 2:24
18 –Rosinha De Valencia Tema Pro Lins 2:32
19–Hot Salsa Get In The Groove 4:40
20–Gojkovic - Novacek Quo Vadis Samba 5:28
21–Jayme Marques Vera Cruz 5:42







среда, 13 ноября 2019 г.

Various ‎– The Basic Principles Of Sound

A1–Astrud Gilberto Beginnings
A2–Anita O'Day Sunny
A3–Emil Richards Blues For Hari
B1–The Free Pop Electronic Experiment Chewing Gum Delirium
B2–Bob Bernard Coming Home Baby
B3–Cicero Come Together
C1–Fat Sadi Little Green Apples
C2–Rock Ayers Lady Montego
C3–Clea Bradford My Love Is A Monster
C4–Prazky Big Band Podobizna
D1–San Francisco Lmt. Mambo Del Norte
D2–Sonny Teupen Sambleebloo
D3–Ed Lincoln Cochise
D4–Stanley Black Berimbau
1998




вторник, 12 ноября 2019 г.

Clea Bradford

1965

Row,Row, Row 2:44
Don't Let It Rain On My Parade 2:47
Hey Look Me Over 2:38
Once Upon A Time 3:45
The Other Half Of Me 2:38
All Around The World 3:02
I Had A Ball 3:00
Ol' Man River 3:05
Come Rain Or Shine 2:20
After You 2:18
What's A Poor Fool To Do 2:15
Little Boy Bad 2:12
Credits
Bass – George Duvivier, Milt Hinton
Cello – Alla Goldberg, Tony Sophos, Pete Makas
Drums – Osie Johnson
Flute, Clarinet – Joe Soldo, Leon Cohen
Flute, Clarinet, Tenor Saxophone, Alto Saxophone, Baritone Saxophone – Bob Tricarico, Romeo Penque, Sid Cooper, Stan Webb, Walter Levinsky
Trombone – Eddie Bert, John Messner, Tony Studd, Urbie Green
Viola – Alfred Brown, David Mankovitz, Emanuel Vardi
Violin – Anthony Zungolo, Ariana Bronne, Bernard Eichen, Fred Buldrini, Jack Zayde, Joe Cali, Norman Carr, Pete Buonconsiglio, Walter Legawiec
Vocals – Clea Bradford


1968

A1 My Love's A Monster
A2 Spring Is Here
A3 Summertime
A4 The Thrill Is Gone
A5 Bye Bye Blackbird
A6 Think About That
B1 I Need Love
B2 A Place In The Sun
B3 What Is This Thing Called Love
B4 Anything Goes
B5 Any Day Now


Clea Bradford, 67, a versatile jazz singer who toured the Soviet Union with Earl “Fatha” Hines and recorded with Clark Terry in the 1960s, died Aug. 19 of complications from breast cancer at Holy Cross Hospital. She lived in Silver Spring.
Ms. Bradford, who settled into a second career as a voice coach in the Washington area after two decades of touring, was not a big star but a “huge twinkle,” as she once joked to The Washington Post, and was a favorite of critics. She performed locally in the 1970s and '80s, and reviewers found her compelling, noting her range, versatility and hornlike phrasing.

“Clea Bradford has been compared to other vocalists but the equation fails on two counts,” former Washington Post critic W. Royal Stokes wrote. “One, despite surface similarities, she is not an imitation. Two, attentive listening reveals that her craft derives from horn players rather than singers.”

Critics commented on her striking looks as well as her vocal expertise. She was almost 6 feet tall with high cheekbones and long straight hair, characteristics that she attributed to her mixture of Choctaw Indian and Ethiopian ancestry.

Clea Bradford - американская джазовая певица. Родилась в 1941 году в семье баптистского священника и начала петь в церковном хоре в возрасте 13 лет. Ее семья переехала в Сент Луис и их соседом оказался тенор-саксофонист Джимми Форрест. В его доме на джем-сейшнах бывали Майлз Дэвис, Кларк Терри и Оливер Нельсон. Именно с Форрестом и Айком Тернером Бредфорд начала выступать в Faust Club, сразу после окончания школы. Позднее была работа в клубах Чикаго, Детройда, Кливленда.
Первый альбом, "These Dues", Клиа записала в 1961 году с Кларком Терри. Затем, в 1965 последовал "... Now" с оркестром и арранжировками Jim Tyler.
В 60-х Бредфорд гастролировала с Playboy Club, выступала d The Joey Bishop Show и CBS Jazz Workshop. В 1966 году она с Эрлом Хайнцем совершила гастрольный тур в Советский Союз.
В 1975 переехала в Вашингтон, где какое-то время выступала в клубах, но в конце концов занялась преподованием вокала.

Умерла в 2008 году.
Клеа Бредфорд универсальная певица с замечательным голосом широкого диапозона, богатыми интонациями. И весьма примечательной внешности - высокая (более 180 см), с индейскими скулами и длинными прямыми волосами.