Sábado, Dezembro 30, 2006

THOSE CLASSIC GOLDEN YEARS 12


And here it is one more volume of classic songs.
Now you have the first douzen. Keep collecting...
SEE SOME SELECTED VIDEOCLIPS:
- "It Don't Come Easy", by Ringo Starr
- "Indian Lake", by The Cowsills
- "To Love Somebody", by The Bee Gees
- "Time Of The Season", by The Zombies
- "Born To Be Wild / Magic Carpet Ride", by Steppenwolf
- "Yer Blues", by Dirty Mac

Quinta-feira, Dezembro 28, 2006

THOSE CLASSIC GOLDEN YEARS 11


SEE SOME SELECTED VIDEOCLIPS:
- "Younger Generation"/ "I Feel Like I'm Fixin' To Die Rag" (John Sebastian and Country Joe & The Fish at "Woodstock")
- "Coming Into Los Angeles" (Arlo Guthrie at "Woodstock")
- "Close To You", by The Carpenters
- "Happy Together", by The Turtles
- "Morning Dew", by Episode Six
- "Raindrops Keep Falling On My Head", by B.J. Thomas
- "Raindrops Keep Falling On My Head", by B.J. Thomas (from the movie "Butch Cassidy & The Sundance Kid")
- "Minnie The Moocher", by Cab Calloway & Betty Boop
- "Rainbow", by The Marmalade

THE LOLLIPOPS


This was a 3-kid pop group from Copenhagen, Denmark: brothers Torben (rhythm guitar) and Jorgen (lead guitar) Carl Lundgreen, plus Poul Peterson on drums. They recorded all these tracks between 1963 and 1965, at the ages of 13 / 15 years and the result is a very enjoyable surprise!

Terça-feira, Dezembro 26, 2006

RATO'S NOSTALGIA COLLECTION 30


Sábado, Dezembro 23, 2006

A Special Xmas Song



Here is your special Xmas Song for this year!

Sexta-feira, Dezembro 22, 2006

DUSTY TWO


Terça-feira, Dezembro 19, 2006

FOR SALE! FOR SALE! FOR SALE!


ORIGINAL RELEASED AS LP EMI-PARLOPHONE PMC 1240; PCS 3062 (1964, December 4)
Forty-two years ago I've bought my first Beatles album. This one! I was then an 11 year kid and until that Christmas I'd have only listened The Beatles through 45 rpm, singles and eps. And I remember how important I've felt to be the lucky owner of an entire album, full with 14 tracks! And of course I've played it counteless times through all that Christmas and the following months. Always with the gatefold cover between my hands - hearing and looking, looking and hearing (it was like that the guys of my time used to hear music). My favourite tracks? "No Reply", "Baby's In Black", "I'll Follow The Sun", "Eight Days A Week" and "Words Of Love". The Top 5! And 42 years after it haven't changed. And of course all the album is great! Do you know any Beatles album that isn't great? But this was my first one and because of that I have a special tenderness for it. That's why I've decided to share it with all Rato's friends this Christmas. I've also added the two EPs that have followed the LP (the songs are also in the LP, of course, but the sound is a little better than the album).
«For this album Lennon and McCartney wrote eight new songs, and added a further six from the vast repertoire of other material which they had been performing for some time. Three of the new songs, "Eight Days A Week", "No Reply" and "I'm A Loser", were all considered as possible singles; The Beatles once again did not want to issue a single from the album. Instead, John came up with "I Feel Fine" and Paul with "She's A Woman", which were issued as a single on 27 November 1964, one week prior to the release of this album.
The Beatles had just completed their second major tour of the USA when they began work on this album during mid to late September 1964 and their obvious exhaustion can be heard in some of the tracks. On "Every Little Thing" and "I Don't Want To Spoil The Party", for example, the vocals sound rather weary and slightly strained. But, as they had issued an album in time for the Christmas market of 1963 they had planned to do the same for Christmas 1964 and so recording continued. (Each year they were to repeat this, and issued Christmas albums until 1969.)

In spite of the strain which shows through on a couple of tracks, this album contains some of the Beatles' classic early recordings, such as John's powerful rendition of the old Chuck Berry standard "Rock And Roll Music", and the Roy Lee Johnson classic "Mr. Moonlight", along with Paul's new song "I'll Follow The Sun".
As with the previous three albums, both George and Ringo feature on one track each, Ringo sings the old Carl Perkins standard "Honey Don't" and George takes lead vocal on another Carl Perkins track, "Everybody's Trying To Be My Baby".
The sleeve photographs for this album also reveal the strain in the form of four unsmiling Beatles. The inner photograph shows the Beatles standing against a background of photographs of various music hall and film stars, pieced together to form a collage. This is an obvious forerunner to the sleeve of the 1967 Sgt. Pepper album.»
(Jeff Russell in "The Beatles Album File And Complete Discography", 1982)


ORIGINAL RELEASED AS EP GEP 8931 (1965, April 6)

ORIGINAL RELEASED AS EP GEP 8938 (1965, June 4)

Domingo, Dezembro 17, 2006

RATO'S NOSTALGIA COLLECTION 29


Quinta-feira, Dezembro 14, 2006

LET US COMPARE MYTHOLOGIES


In 1970, Cat Stevens signed with Island Records (then rival A&M Records in North America), and released Mona Bone Jakon, an introspective, folk music-based album that was markedly different from his earlier work. The album featured the songs "Lady D'Arbanville" that was written for Stevens' girlfriend at the time, actress Patti D'Arbanville; "Pop Star" that commented on his mixed success as a '60s teen hitmaker; and "Katmandu", featuring Genesis frontman Peter Gabriel playing flute.
The album presaged the coming singer-songwriter boom and set the stage for Stevens' international breakthrough album, Tea for the Tillerman. Tillerman combined a brighter sound and subject matter with Stevens' new folk style, and became a hit on both sides of the Atlantic, highlighted by the top-10 single "Wild World".

Quarta-feira, Dezembro 13, 2006

"One day at a time, we can learn to live"


"The Universe is a very big place, and it's easy to get lost. I was no different"
Well, if Cat Stevens was lost for his countless fans all these years, now he's back again! With another name or another cup of tea, it doesn't matter. The voice is the same, and it's singing beautiful songs once more.
«The whole range of his remarkable career is represented: a new recording of "I Think I See The Light," originally from 1970's Mona Bone Jakon; a horn-powered "Midday" which, although it is a new song, wouldn't have sounded out of place on his very first album, 1966's Matthew And Son; "Heaven/Where True Love Goes," which expands on the final section of 1973's "Foreigner Suite." The album even closes with "Greenfields And Golden Sands," a previously-unrecorded early song dating from 1968! From start to finish, all are superb; there is a maturity in these tracks which in some ways surpasses his classic 1970s work.
This album is not for everyone. In the age of hard-edged, angry rap, some people will undoubtedly Yusuf's folky spiritualism out-moded and passe. For those of us who loved Cat Stevens thirty years ago, however, this CD represents a long-awaited return to a magical world we feared we had lost forever.»

«From the beauty of the "Harold and Maude", "Tea For The Tillerman" era Cat Stevens to this gorgeous, gentle and heart-felt CD seems only a moment, but it's been almost 40 years! If you are looking for clarity, generosity of spirit, trancendent truths, and lovely simple tunes, you'll find all of that here... »
«The voice, melodies, and ability to word a phrase are all there. Cat / Yusuf hasn't lost any of his wonderful ability to make beautiful music during his prolonged absence from the musical mainstream. There is something for every musical taste. Slow ballads, upbeat rock songs, easy going pop, soft-spoken spiritual numbers (no one has a voice as mesmerising as Yusuf's). I recommend this to all Cat Stevens fans who have missed his presence on the musical scene. This is the mature, evolved, fulfilled, seeker we all knew from the 70's all grown up. »
«The thirty years wait has been worth it, at least for me. The record is bang-on in every respect ... even though, I have been a fan all these years. Its lovely to hear the man once again, and have him back in my life after so long. »
(some comments in Amazon)

SEE VIDEOCLIP 1
SEE VIDEOCLIP 2
SEE VIDEOCLIP 3
SEE INTERVIEW
(FROM "JOOLS HOLLAND'S LATE SHOW")
READ AN INTERESTING REVIEW HERE

Sexta-feira, Dezembro 08, 2006

A POSTCARD FROM PAUL TO MARY


ORIGINAL RELEASED AS LP APPLE SAPCOR5 (UK 1969)
Mary Hopkin was born in Pontardawe, Glamorgan, Wales on May 3, 1950. At the age of 15, she mastered the guitar and began playing small clubs in South Wales and appeared on Welsh televison. With a few years experience under her belt, she tried out for stardom on the ITV's popular amateur programme "Opportunity Knocks". She eventually became a multi-time winner, taking top honours over 200 other contestans.
British model Twiggy spotted her on the show and mentioned her to Paul McCartney over the telephone one day. Paul and his fellow Beatles had just formed their own record company, Apple Records, and were now looking for new talent. Mary Hopkin was the right singer in the right place at the right time. Paul got in touch with Mary and fell in love with her voice immediately.

While at the Blue Angel Club in London a few years earlier, Paul had heard the American duo Gene and Francesca perform a tune called "Those Were The Days". Paul remembered the song fondly and felt it would be perfect for his new protégé. Originally an East European traditional folk song, Gene (Raskin), of the duo, had adapted the song for The Limeliters, a top American folk act that featured Glenn Yarbrough. They recorded it during the folk boom of the early sixties. Mary Hopkin's treatment would be quite different.
Paul recorded the song with Mary, as a creative marketing ploy, had her do additional versions sung in Italian, Spanish, French and German. Paul was determined to make the record an international hit. He succeeded.

Paul McCartney's perceptions of what Mary Hopkin should record didn't always sit well with Mary, but she was young and new to the business and went along with it. Her favourite tracks were written by Donovan, who had released his version of "Pebble And The Man (Happiness Runs)" on his "In Concert" LP, but wrote "Lord Of The Reedy River" and "Voyage Of The Moon" especially for her.
Paul and Donovan provided the back-up guitars on these recordings. Paul McCartney also contacted Harry Nilsson, a red hot singer/writer and he quickly delivered, brand new, "The Puppy Song". It was received so warmly that the label almost issued it as a single.
It was the show tunes and pop standards that Mary wasn't enamoured with. "Love Is The Sweetest Thing" was originally a hit for its writer, Ray Noble, in 1933. "Lullaby Of The Leaves" was a hit a year earlier when recorded by George Olsen. "Someone To Watch Over Me" dates back even further to 1927. There were several hit versions of the tune, including one by George Gershwin himself, who wrote it for the Broadway production "Oh, Kay". "There's No Business Like Show Business", from "Annie Get Your Gun", has been recorded many times, but is mostly associated with Ethel Merman. The last of the genre of songs is "Inch Worm", originally sung by Danny Kaye in the 1956 motion picture, "Hans Christian Andersen".

The rest of the LP is a mixed bag. "Young Love" is a remake of the 1956 Sonny James chart-topper that was also Nº1 by Tab Hunter that same year. Beatles producer George Martin is represented on the album by a song he gave Mary called "The Game". "The Honeymoon Song" has always been a favourite of Paul's. He recorded it with The Beatles for the BBC in a similar arrangement. It was originally a hit in England for Manuel And His Music Of The Mountains back in 1959. The remaining two songs were sung in foreign languages, "Prince En Avignon" in French (and a single release in France) and "Y Blodyn Gwyn" ("The White Flower") sunh in her native Welsh.
The American release of the LP (ST-3351, 1969, March 3) deleted "Someone To Watch Over Me", and put in its stead the hit single, "Those Were The Days".

Quinta-feira, Dezembro 07, 2006

NANCY IN LONDON


ORIGINAL RELEASED AS LP REPRISE RS-6221 (1966)
The change of locale for Nancy's third album didn't change her approach much: it's dominated by humdrum covers of contemporary pop and rock hits and pop standards, with some second-rank Lee Hazlewood country songs thrown in, though his compositions "Friday Child" and "Summer Wine" (the second of which is a Nancy/Lee duet) are strong, moody highlights. The four bonus tracks, taken from singles, outclass the original LP: "100 Years," "You Only Live Twice" (the single version), "Tony Rome," and her cringingly dated duet with her father, "Life's a Trippy Thing."

Quarta-feira, Dezembro 06, 2006

DUSTY ONE


On December 20th, 1963 the "New Musical Express" printed the lifelines of Dusty Springfield which contained much interesting information. We would like to turn the spotlight on three of the points raised.
Of her tastes in music she quoted «All types» and it is significant to note that on her great LP "A Girl Called Dusty" (BL 7594) she ran the whole gamut of pop music from the wildly exciting "Don't You Know" to her beautifully expressive "Colouring Book".
Her personal ambition was stated «to be happy». Fortunately she has a very happy disposition but regarding her work she will never be completely happy for no matter how great her perfomance is, she is always striving for something greater.
The third point is regarding her professional ambition and to this question her reply was: «To be an international star». This she is well on the way to achieving for as these notes are written her record of "I Just Don't Know What To Do With Myself" lies at nº 3 in the English Hit Parade, "Wishin' And Hopin'" is nº 8 on the U.S.A. charts and she has just finished a very exciting week of recording sessions in French and German, to be followed shortly by Italian and Spanish versions of her hits. When one realizes that the solo career of Dusty Springfield commenced only nine months ago it seems that this ambition will be fully realized in a very short space of time.
(John Franz, 1964, July 22)

Segunda-feira, Dezembro 04, 2006

CHRISTOPHE: LES ANNÉES AZ (1964-1966)


Daniel Bevilacqua est né le 13 octobre 1945 à Juvisy-sur-Orge en banlieue parisienne. Il est le fils d'un entrepreneur en maçonnerie d'origine italienne. Le jeune Daniel est parfaitement rebelle à la vie scolaire dans laquelle il s'ennuie. Il va donc écumer les pensions et fréquenter pas moins d'une dizaine de lycées jusque vers ses 16 ans.
Il connaît ses premières émotions musicales vers 8 ans. Edith Piaf et Gilbert Bécaud sont ses premières idoles, bientôt supplantés par le blues, véritable révélation pour l'adolescent : il découvre Robert Johnson et surtout John Lee Hooker. Bien plus tard, il collectionnera les 78 tours de blues.
A la fin des années 50, il reçoit de plein fouet la vague rock'n'roll, les Bill Haley, Little Richard et évidemment Elvis Presley. La musique est devenu sa passion, il joue d'ailleurs de l'harmonica et de la guitare.
Daniel Bevilacqua crée son premier groupe en 61, Danny Baby et les Hooligans. Il reprennent Gene Vincent, ou des standards rock'n'roll comme "Heartbreak Hotel". Il est chanteur-guitariste.
En 64, il enregistre son premier 45 tours sur le label de la célèbre salle parisienne, Golf Drouot. "Reviens Sophie", inspirée par la musique noire américaine passe totalement inaperçu.
Il faut en fait attendre 1965 et la sortie de "Aline" sous le pseudonyme de Christophe pour voir arriver le succès. En ce qui concerne ce slow de l'été, il s'agirait plus d'un raz-de-marée car ce sont quelques 1 million d'exemplaires de ce 45 tours sorti chez Disc'AZ qui sont vendus. La même année, Christophe chante les "Marionnettes", nouveau grand succès. Il récidive avec "J'ai entendu la mer" en 66. A l’époque, Christophe arbore plutôt un style de minet séducteur. Sa carrière semble alors faite comme ses marionnettes de ficelle et de papier. Il quitte Disc'AZ, change son style et commence toute une autre carrière. C'est la fin du période yé-yé et des chansons de coeur. Mais seront cettes années qui tous les teenagers de l'époque garderont dans ses mémoires. Comme votre ami souris, aussi, qui a réuni pour tous ses copains cette merveilleuse collection de pure nostalgie.

Domingo, Dezembro 03, 2006

Pay a visit to MISTER FIVE!

Todas estas capas foram retiradas de um novo Blog brasileiro chamado "Mr. Five", que aqui o vosso amigo Rato vos aconselha vivamente: grandes coletâneas, nacionais e estrangeiras, com muitas raridades à mistura e todas elas feitas com um toque muito profissional e denotando um grande carinho pela música. Vale mesmo a pena tornar-se cliente habitual, pois os posts são renovados regularmente.

Sábado, Dezembro 02, 2006

ALEXANDER THE GREAT


During the early Sixties, Arthur Alexander (1940, May 10 - 1993, June 9) wrote a famous clutch of compact, well-crafted country-soul songs. Stories of inconstant love and private gloom, they were covered by The Beatles - 'Anna', The Rolling Stones - 'You Better Move On' and more recently, Ry Cooder - 'Go Home Girl'. Alexander, wrote Michael Gray, introduced the word "girl" as in 'I wanna tell you girl..." to common lyric Parlance, greatly to the convenience of John Lennon and others thereafter. Other artists who have covered Arthur's songs include The Bee Gees, Dusty Springfield, Tina Turner and a host of black vocal groups including The Tams, The Fiestas and The Drifters. In addition, a generation of British R & B bands were raised on Alexander's original versions of' ‘Where Have You Been' and 'A Shot Of Rhythm And Blues' The Beatles also recorded 'Where Have You Been' and 'Soldier Of Love'. Arthur sang his precise. geometric songs with a dark and wholly individual intensity; his languorous understatement, that sense of emotion only barely concealed, has always defied accurate attempts at imitation In short, his sadly underrated singing is as memorable as his uncommonly interesting songs.