BACK TO THE FIFTIES 7

"You're only pretty as you feel inside..."

JEFFERSON AIRPLANE: "BARK"
Original Released as LP GRUNT FTR-1001, (UK, 1971/09)

Brown paper bag. Fold out sized lyric sheet. Fish wrap pic on the inner cover, and the thinnest, floppiest vinyl record I have ever held between my index fingers. Every thing about the packaging was spectacular with the first batch of BARK as it hit the shops some 36 years ago.
It is hard to believe that upon its release in 1971, BARK was poorly reviewed. In retrospect, its musical closeness to Jefferson Airplane's earlier work, especially 1969's Volunteers, is striking. "When the Earth Moves Again" is a collective, anthemic song in the same mould and of the same quality as "We Can Be Together," and "Crazy Miranda" is clearly by the author of "rejoyce." What makes BARK special is the move of Slick and the astonishingly under-valued Jorma Kaukonen to the foreground and the new casual, almost frayed approach to performing and recording. Also new is a shift away from the already-qualified counter-culture sentiments of Volunteers towards a more resigned, knowing worldview: "Third Week in the Chelsea" is painful in its directness, but gorgeous in its craftsmanship and execution; Slick's "Law Man" projects a tired, slightly annoyed, spirit that Slick could tap into so well. New to the band was the funky and sensual punch of tunes like "Feel So Good" and "Pretty As You Feel," which project a randy-to-sultry adult sexuality absent from their more whimsical "love" songs of the '60s. Confirms that the early '70s were the high water mark for the extended Airplane family.

This new Rato's sharing (ripped at 256 kb) was digitalized from the mint (sealed) original vinyl album (I've wasted a little fortune on it, but what the hell!) because it's very difficult to find the whole album in a fairly priced CD (I've only heard of an expensive japanese collector's limited edition, surely out of the market by now). I don't know the reason why, 'cause all of the others Airplane's albums are normally available on CD. Except THIS ONE! But you don't need to waste your money or expect for a decent CD release anymore. Just download this rare jewel and you'll be amazed by its Super Sound Quality. Enjoy BARK as you never did it before!

THE BEAT OF THE POPS 14

ELVIS IN PERSON AT THE INTERNATIONAL HOTEL, LAS VEGAS, NEVADA

Original Released as the first disc of a double-set LP RCA LSP6020 "From Memphis To Vegas/From Vegas To Memphis" (1969/11)

When Elvis and the Colonel decided it was time to start appearing live again, they assembled a crackerjack band (featuring James Burton) and took on Vegas full-bore. Easily the King's best live album, In Person at the International Hotel featured a slew of hits, including "Johnny B. Goode," "My Babe," the "Mystery Train/Tiger Man" medley, and "Suspicious Minds." If the album had a flaw, it was its skimpy running time (36 minutes). We now know, from the unissued tracks from these same performances that were added to the remastered On Stage (1970), that there was more to the repertory of those five days of August 1969 shows than is represented here; but the producers, limited to a single LP, faced a major problem: Should they weigh the tracks more toward his current repertory and recent singles, or toward his classic songs? The classic songs sort of won out, but in the decades since, those then-recent singles have risen in stature. Regardless of what they're playing, the band really rock throughout, and that's not just Burton — who sounds like he's wearing his fingers ragged as he puts a new edge on "Hound Dog," coming up with something different than, yet vaguely similar to, Scotty Moore's approach to the song in concert 14 years earlier — but also the entire guitar contingent of John Wilkinson and Charlie Hodge (not to mention Elvis himself, who strums along here and there) and the muscular rhythm section of bassist Jerry Scheff and drummer Ronnie Tutt. The vocal support by Hodge, Millie Kirkham, the Sweet Inspirations, and the Imperials is soaring and tasteful, never more so than on the album's seven-minute version of "Suspicious Minds" and the soaring finale, "Can't Help Falling in Love."

(Cub Koda & Bruce Eder in AllMusic)

A BOY CALLED DAVID

Original Album Released in 1967

THE FRENCH SONG

Original Released on LP A&M LAM 2007 (1964)

1964 has been a particularly good year for Lucille Starr. She was presented with her first gold record by Quality Records Limited, in her native land, Canada, for the equivalent of a million sales of "The French Song". The same recording was also Lucille's first big hit in the U.S. most recently, it was the year she recorded a collection of some of her very favorite songs in her first album. After listening to this marvelously talented artist, we know you'll agree with us that this is only the first spark of a future magnificent glow - THAT IS LUCILLE STARR!

This was a special request from Anton Strydom for his mom.

I hope she's by now one of the happiest people on the planet...

RATO'S NOSTALGIA COLLECTION 34

Hope you don't find that blonde too spicy...

BERT'S 1ST ALBUM

Original Released on LP Decca DL78881 (1959)
Bert Kaempfert's debut U.S. LP release is a smooth, sweetly (and lightly) exotic musical travelog made up mostly of Portugese source material (in contrast to his later albums, there are no Kaempfert originals here). The title track is the jewel here, a brash big band piece without a lot of southern European flavor to it, but so catchy that it can be heard several times without offense (which was sort of the point of albums like this). Similarly, "Petticoats of Portugal" could be an instrumental referring to anyplace, but it offers some engaging trumpet work that makes it stand out. And the rest constitutes some of the most interesting listening in Kaempfert's catalog. There is, understandably, more emphasis on the guitar on some tracks — especially "Sempre Que Lisboa Canta" and "Por Deus te Peço" — than is usual on his arrangements, not that the piano and strings don't get their due on "Fora de Portas" and "Tudo Isto é Fado," respectively. There's also more focus on dance rhythms, as opposed to the slow, moody instrumentals that filled up parts of Kaempfert's subsequent records, thus making this one of the more exciting of his early albums. The familiar lush sound, including enveloping harp arpeggios, also manifests itself, and the vivid hi-fi sound and stereo separation made this a prime MOR selection in many bachelor's dens of the era. (Bruce Eder in AllMusic)

"I was born under a wanderin' star..."

What's not to like? This music from "Paint Your Wagon" is as much a joy as the film itself. The story of a gold mining town, full of burly men who haven't see a woman in like forever, was one of the most fun, bawdy and raucous musicals of it's time. The men hoping to strike it rich ("I'm On My Way"), the joy of seeing a woman, the lonely life ("They Call The Wind Maria"), the lack of scruples ("the Gospel of No Name City"), the friendships, the romance ("I Talk To the Trees"), the hijacking of a wagon load of prostitutes to fill the town needs ("There's A Coach Comin' In"), the lust for the gold ("Gold Fever"), and moving on ("Wandrin' Star"), all tell the story on this fabulous album.

The music is sung by the original cast and chorus. This includes the vocal stylings of Clint Eastwood ("I Still See Elisa" and "I Talk To The Trees") and Lee Marvin ("The First Thing You Know" and, of course, the hit "Wandrin' Star"), making this album a treasure right there. But top that off with the rich tones of Harve Presnell ("Maria"), the fun sound of the Nitty Gritty Dirt Band("Hand Me Down That Can O' Beans"), music by Frederick Loewe, lyrics by Alan Lerner, the wonderful orchestrations, and I repeat...What's not to like??? (in Amazon)

Rato's office

To satisfy some curiosity, here's a photo of Rato's work table. I hope you find me.
One hint? I am a yellow guy...

THE BEAT OF THE POPS 13

And more thirty beats for your dancing shoes...

THE BEAT OF THE POPS 12

THOSE CLASSIC GOLDEN YEARS 20

THOSE CLASSIC GOLDEN YEARS 19

THOSE CLASSIC GOLDEN YEARS 18

"Lourenço Marques fadista..."

O nome José Eduardo provavelmente não dirá nada a ninguém. Rigorosamente mesmo nada! Mas se vos falar em ZITO, talvez se acendam umas luzitas aqui e ali, sobretudo nas gentes de Moçambique que gostavam de ouvir o fado. Pois é, este Zito de que vos falo era moçambicano e foi um dos expoentes dos valores artísticos moçambicanos no final da década de 60. Cantava o fado, naturalmente, e chegou a constituir uma moda na bela Lourenço Marques daqueles anos ir ouvi-lo à Adega da Madragoa, que se situava na cave do edifício onde se alojava o Clube dos Lisboetas (avenida Brito Camacho).
Esta coleção engloba o primeiro EP, editado em 1968 (faixas 13 a 16), bem como o single aparecido dois anos depois (faixas 17 e 18), ambos gravados na África do Sul. Os primeiros 12 temas foram extraídos de um CD intitulado “O fado, é tudo o que sinto, mais... o que não sei dizer”, que mão amiga me ofertou (olá Carlos Santos!), o qual terá sido editado há alguns anos, também na África do Sul, onde suponho que o Zito se encontra presentemente a viver.
Deixo-vos com as notas da contra-capa do primeiro EP:«Sem falsos transportes, porque eles pertencem escravizadamente ao berro (surdo) da sua dor e ao grito (louco) da nostalgia (que talvez esvoace nos corvos negros de que fala) aqui estão os primeiros quatro fados, em disco, do Zito. Ouvi-lo é a certeza de um encontro com uma procura de algo infinitamente certo para se definir mas que ele mesmo tenta em cada jeito. Oiçamos então. E (propositadamente) foi respeitada a respiração.» (S.L.A.)

KILL BILL SELECTED

Tarantino’s films are always a good source for music lovers and this collection is no exception. Music plays such a big part in Tarantino's films that it is hard to separate the images from the soundtrack. While this is true of most great directors, none have recently exposed so many forgotten treasures and used them to such great effect, it often leaves you annoyed that you didn't think of it yourself

The soundtracks to his double feature “Kill Bill” is no exception. Considering his penchant for the wilfully obscure and talent for dusting off old gems, it's not surprising this overtly eclectic collection makes fascinating listening.

However, I thought that the two parts could be assembled into only one with much better results. That’s why I’ve made this compilation, with my favourites from each part of the movie. If you want the whole story go on and buy the two cd’s. But if you just pretend, like me, to recall the film through its best pieces of music you’ll find here everything you need.

THE BOB DYLAN SONGBOOK VOLUME 5

One more Dylanesque collection, for your pleasure!

20 BEAT CLASSICS

Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Booker T. & the MG's, and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.

ThIs 20 Beat Classics is the best compilation of Fame's work, finding his R&B-jazz fusion at its most potent (and most commercially successful) on these 20 cuts from the mid-'60s (1964 - 1966). Like a Mose Allison for the British Invasion, Fame sings and plays with a soulful verve on this set of blue-eyed soul.