MELANIE's "Madrugada"

Original Released on LP Neighborhood Records

NRS 48001(US 1974, February 3)

MADRUGADA, released in 1974, was Melanie's follow-up release to the double-album "Live at Carnegie Hall." The more sophisticated a recording artist Melanie became, the less successful her recordings were in commercial terms. What a pity!! Melanie is an underrated artist and songwriter with an incredibly devoted fan base. This album showcases Melanie as an excellent songwriter and interpreter of songs from top writers such as Randy Newman, Mick Jagger & Keith Richards, Woody Guthrie, and Jim Croce. Expertly produced by Melanie's husband Peter Schekeryk; engineered by Brooks Arthur with assistance from Larry Alexander. In the UK version of this album, the track "I Am Been Guided" was replaced by Carole King's "Will You Love Me Tomorrow" because the single had become a Top 40 hit in the United Kingdom.

A HERANÇA DO ZECA

A FALTA QUE FAZ

AS VOLTAS DE UM ANDARILHO

Dois anos depois, dando resposta a muitos pedidos, e para assinalar também mais um aniversário do 25 de Abril, volta aqui à toca do Rato a Antologia em três volumes da Obra de José Afonso, com mais de três horas e meia de duração. Convém aqui recordar uma entrevista já velhinha dada ao vespertino "A Capital", também ele já desaparecido na poeira do tempo. Com a notável despretensão que sempre o caracterizou, José Afonso confessava na altura:

«Estou empenhado em que se desfaça a impressão de que me tornei uma coisa que deve colocar-se numa redoma. Uma vez que me acusam de ter sido injustamente mitificado, quero apenas afirmar que sou uma pessoa comum. Recuso-me terminantemente a transformar-me num mito.»

Mito ou não mito, o que é certo é que a sua obra permanece imaculada, não acusando o desgaste dos anos. Ouve-se hoje com o mesmo prazer, a mesma emoção, o mesmo carinho do que há 30 ou 40 anos atrás. E não tenho qualquer dúvida de que a sua memória se irá perpetuar pelos tempos, recuperada por novas e sucessivas gerações. Até sempre Zeca!

CROONER FRANK

Original Released on LP Reprise FS 1029

(US, March 1969)

CROONER DEAN

Original Released on LP Reprise RS 6330

(US, November 1968)

TINTARELLAS DI LUNA

OS SUCESSOS DO POCHO

Edição Original em LP RGE XRLP 5076

(Brasil, 1960)

LEONARD COHEN: "SONGS FROM A ROOM"

Original Released on LP Columbia CS 9767

(US, April 1969)
O intimismo que se evola deste disco (#2 na GB e #63 nos EUA) quase que o torna monótono sendo isso, segundo os críticos, a principal qualidade deste trabalho. Quase todas as composições se referem a uma vivência social ligada com o amor - as mulheres na vida de Cohen - destacando-se, em excepção, a canção política "The Partisan" (escrita por Ana Marly e Hy Zaret), em que o poeta se coloca do lado da resistência, contra o nazismo e qualquer forma de imperialismo. Este tema, que Cohen aprendera na adolescência, tem um significado histórico e político a que se torna necessário dar o devido destaque.

Anna Marly tinha durante a guerra um clube francês em Green Park, onde os franceses de Londres tinham o hábito de se reunir. Ela tinha registado esta canção, de que escrevera a música e os versos na intenção de apoiar os resistentes que combatiam em França.

Infelizmente este registo foi destruído por acidente, quando duma acção de para-quedistas. E finalmente, graças à determinação de alguns elementos da Frente de Libertação Francesa, a canção foi transmitida e popularizada entre os resistentes por via oral, sendo altamente difundida na década de 40 pelas estações de rádio.

Leonard Cohen followed up his debut album with another masterpiece, this collection of magnificent songs of solitude, despair and resignation. Besides "The Partisan", a song about the French resistance with its beautiful French verses and female vocals, all compositions are by Cohen.

What a delightfully dark album! But if you know any Leonard Cohen songs, you already knew that, right? Wrong. This is dark even by his standards, a remarkable look at Vietnam and the 1960s generation gap from the enigmatic Canadian. Cohen being Cohen, of course, that can't be seen on the surface, which is what keeps the brilliant album brilliant instead of relentlessly depressing. The production style is extremely austere, apparently in reaction to what Cohen considered the excessive instrumental flourishes of his first album; whether intentional or not, this fits the lyrical atmosphere perfectly and adds to it.

This reissue booklet includes liner notes by Anthony DeCurtis, one full-color and four black & white photographs plus a full-color painting of a chair. Both extra tracks were originally produced by David Crosby and for reissue by Bruce Dickinson. The first, "Like A Bird", is an earlier version of "Bird On The Wire". This version is less flowing, more halting than the familiar one. "Nothing To One" is the earlier version of "You Know Who I Am". Cohen's sublime music has a transcendent, spiritual quality. These haunting songs "from a room" have lost none of their poetic impact after 4 decades; their grace, elegance and beauty shine on. (in Amazon)

COIMBRA 1969: REVOLTA ESTUDANTIL

Neste dia, há 40 anos, Alexandre Dubcek era distituído pelo Comité do Partido Comunista Checoslovaco e substituído por Gustavo Husak, notório inimigo das reformas liberalizadoras da Primavera de Praga.

Por cá era o início da prolongada crise académica em Coimbra, com greve a aulas e exames, encerramento da Universidade, detenções de estudantes e expulsão e incorporação militar de dirigentes associativos. O ministro da Educação Nacional, José Hermano Saraiva chega a prometer na RTP que «a ordem será inexoravelmente mantida e regressará à Universidade». Mas o desenrolar dos acontecimentos precipita-se e o antigo ministro de Salazar é substituído pelo reformista Veiga Simão. (ler mais aqui)

QMS - HAPPY TRAILS

Original Released on LP Capitol ST 120

(US, April 1969)

A maior parte dos temas são gravações ao vivo efectuadas no Fillmore East and West, em Junho de 68. Album de ouro nos EUA (#27), "Happy Trails" deixará para sempre uma sensação profunda no espírito de todos os que então descobriram a liberdade e o perfume de horizontes sonoros sem fim, até então apenas reservados ao universo do jazz.

The first side of the album is composed of one song, with various extensions, additions and adaptations of ‘Who Do You Love,’ by Do Diddley. Quicksilver moves from ‘Who Do You Love, When Do You Love, Where Do Yo Love, How Do You Love, Which Do You Love, and finally finishing with Part 2 of ‘Who Do You Love,’ to tie it all together. It’s everything you would expect of a psychedelic release of this genre. But you won’t find the thundering guitars you might expect. The guitars are mixed low, as if you’re in a room with the ceiling no more then eight feet high. There is no lead by design, each member adds the effects and efforts of their instrument to the ambiance of the whole ... blending, mixing, playing and bouncing off of each other. There are some very fine chord changes that have a definite line of demarcation brought on by the rhythm guitar. The drumming is something else, and when you have a chance to dig Greg Elmore, a smooth smile will cross your face. No lie, Greg sounds like he’s using cardboard boxes as drums, they are perfectly understated, designed to carry the time at heartbeat level. It’s not until the beginning of the song ‘Calvary’ that he steps out at all, and even there he is restrained.

Side two, which begins with ‘Mona,’ a piece of San Francisco musical history, and though it’s not, side two has the feel of being a live recording. There are nice sustained guitars trailing off in various directions, taking your head here and there, only to bring you back ... before they take you off on another journey. There was serious studio musical experimentation going on here, and it’s a shame that this star burned out so quickly, leaving us only three release.

The group was made up of John Cipollina [guitar], Jim Murray [harmonica, guitar and vocals], Greg Elmore [drums], Gary Duncan [guitar and vocals] and David Freiberg [bass guitar, viola, and vocals]. There were various other incarnations which included Dino Valenti, Nicky Hopkins and Chuck Steaks. At the end, nearly all of these guys folded back into the group for the last release. The album has a real personal feel, as if it were an extension of yourself. They don’t need a lot of tricks, gimmicks or volume to bring this across, they just need to step up to the mike, hit the reverb, wah wah and they are off and running. This is by far the best and most concise body of work from Quicksilver Messenger Service, so if you have to pick just one ... hands down, this is the one.

(in RateYourMusic)

THERE'S A MAN ON THE MOON...

SOUTH AFRICAN BEAT COLLECTION 7

DYLAN MAKES A DETOUR TO COUNTRY SIDE

Original Released on LP - 1969, April 9

US. Columbia KCS 9825 UK. CBS 63601

Album com grandes influências da música country ( a participação de Johnny Cash no tema de abertura é sintomática) atingiria contudo o 1º lugar na Grã-Bretanha e o 3º nos EUA. "I Threw It All Away" chegará ao #30 na GB e ao #85 nos EUA; "Lay Lady Lay" (um tema extremamente sensual, que tinha sido escrito de propósito para o filme "Midnigt Cowboy" e posteriormente recusado) será a faixa de maior êxito do album, conseguindo o #5 na GB e o #7 nos EUA. Finalmente, o 3º tema a entrar nas tabelas de vendas é "Tonight I'll Be Staying Here With You", que em Novembro chega ao #50 nos EUA.

One of Bob's sweetest,lightest albums and at about 28 mins his shortest too. Dylan turned his back on the counterculture and instead showed his longing to be a nashville crooner . His "country " voice sounds pretty good to me. Dylan had always had an appreciation of country music in particular Hank Williams and Jimmie Rogers. Hed hinted at approaching the music in places on BLONDE ON BLONDE but here he surrenders to it utterly. Its the best of Dylan's post accident records before PLANET WAVES its seems domestic bliss had made a more relaxed Dylan prepared to make more laid back, less demanding music.

Thats not to say the record is artless or without appeal , the songs all have a warmth and funkiness to them that was missing on JOHN WESLEY HARDING - heck its Dylan's sexiest record "to be alone with you", "tonight ill be staying here" and "lay lady lay" all create a warm romantic vibe; "country pie" is a whole heap of fun too; "I threw it all away" is a country classic, Dylan's wise lyric warns those who succumb to temptation of the consequences but the tune is just gorgeous .

NASHVILLE SKYLINE pissed off a lot of people at the time but Dylan never conforms to what people expect him to be , and he seems to take as much pleasure in dissapointing people as pleasuring them . This album sees Bob wandering off the highway to take in the air, to take in the sights . He'd be back on the highway again but not for a while and only when it suited him. Everyone likes to take a detour now and again. (in RateYourMusic)

ON THE MOVE WITH FOUR JACKS AND A JILL

Original Released on LP Gallo ML 4090

(SA, 1977, May 23)

GREAT GREAT NEWS FOR 09 - 09 - 09

Apple Corps Ltd. and EMI Music are delighted to announce the release of the original Beatles catalogue, which has been digitally re-mastered for the first time, for worldwide CD release on Wednesday, September 9, 2009 (09-09-09), the same date as the release of the widely anticipated "The Beatles: Rock Band" video game. Each of the CDs is packaged with replicated original UK album art, including expanded booklets containing original and newly written liner notes and rare photos. For a limited period, each CD will also be embedded with a brief documentary film about the album. On the same date, two new Beatles boxed CD collections will also be released.
The albums have been re-mastered by a dedicated team of engineers at EMI's Abbey Road Studios in London over a four year period utilising state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. The result of this painstaking process is the highest fidelity the catalogue has seen since its original release.
The collection comprises all 12 Beatles albums in stereo, with track listings and artwork as originally released in the UK, and 'Magical Mystery Tour,' which became part of The Beatles' core catalogue when the CDs were first released in 1987. In addition, the collections 'Past Masters Vol. I and II' are now combined as one title, for a total of 14 titles over 16 discs. This will mark the first time that the first four Beatles albums will be available in stereo in their entirety on compact disc. These 14 albums, along with a DVD collection of the documentaries, will also be available for purchase together in a stereo boxed set.

Within each CD's new packaging, booklets include detailed historical notes along with informative recording notes. With the exception of the 'Past Masters' set, newly produced mini-documentaries on the making of each album, directed by Bob Smeaton, are included as QuickTime files on each album. The documentaries contain archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere.
A second boxed set has been created with the collector in mind. 'The Beatles in Mono' gathers together, in one place, all of the Beatles recordings that were mixed for a mono release. It will contain 10 of the albums with their original mono mixes, plus two further discs of mono masters (covering similar ground to the stereo tracks on 'Past Masters'). As an added bonus, the mono "Help!" and "Rubber Soul" discs also include the original 1965 stereo mixes, which have not been previously released on CD. These albums will be packaged in mini-vinyl CD replicas of the original sleeves with all original inserts and label designs retained.

MAURICE JARRE / "GRAND PRIX"

Maurice Jarre, recentemente falecido em Los Angeles, aos 84 anos (madrugada de domingo, dia 29 de Março de 2009), significou sempre um sinónimo de Cinema para mim, tantos foram os filmes que tiveram a sua inconfundível assinatura. Foi francês por nascimento (em Lyon, a 13 de Setembro de 1924) mas internacionalizou-se através das mais de 160 partituras que compôs ao longo da sua vida para grandes realizadores: Alfred Hitchcock, Luchino Visconti, John Huston ou David Lean, por exemplo. A colaboração com este último resultaria na obtenção de 3 Oscars da Academia pelos filmes “Lawrence of Arabia” (1962), “Doctor Zhivago” (1965) e “A Passage to India” (1984). Seria nomeado ainda por mais 6 vezes, a última das quais em 1990 pelo filme “Ghost”.

Muitos outros prémios lhe iriam parar às mãos, em variadissimas partes do mundo. Tem uma estrela na calçada da fama em Hollywood e, para além do cinema, compôs ainda ballets, concertos, óperas e cantatas. Recentemente recebeu o Urso de Ouro, um prémio honorífico do Festival de Cinema de Berlim, destacando-o como um dos compositores "mais importantes e ao mesmo tempo mais populares" da história da sétima arte: «Os compositores dos filmes estão freqüentemente à sombra de grandes realizadoress e actores. É diferente com Maurice Jarre. A música de "Doutor Zhivago", como grande parte de sua obra, é famosa no mundo todo e permanece na lembrança da história do cinema», afirmou o diretor do festival, Dieter Kosslick.

Da sua extensa e impressionante filmografia é meu desejo partilhar aqui e para já, a banda sonora do filme “Grand Prix” que Jarre compôs para John Frankenheimer em 1966 (gravações efectuadas nos MGM Studios Scoring Stage, Culver City, California, entre 25 de Novembro e 14 de Dezembro de 1966). Trata-se de uma edição especial, limitada a 3000 cópias, e que contém toda a música do filme, a maior parte da qual não usada no album editado na altura da estreia, em Dezembro de 1966. Quem quiser escutar o alinhamento original basta programar o leitor de CD’s com a sequência 1 – 22 – 23 – 24 – 7 – 13 – 26 – 27 – 4 – 29. De referir que nas faixas 13 e 29 foi eliminado o barulho dos escapes dos carros, constantes na versão original.

“Grand Prix” fez as minhas delícias de adolescente, quando o vi pela primeira vez em Johannesburg, em 19 de Agosto de 1967, um sábado. Tinha sido o filme escolhido para inauguração de uma nova sala de cinema chamada Royal Cinerama, especializada na passagem de flmes naquele formato (écran semi-circular com tripla projeção simultânea). Ao longo dos anos revi o filme dezenas de vezes, mas a memória daquela 1ª sessão nunca mais me abandonou. Recordo ainda o foyer do cinema todo ele engalanado com artefactos relacionados com o filme, onde nem sequer faltavam dois ou três prototipos dos bólides de Fórmula 1 da altura. E que lindos que eram esses carros...

Transcreve-se de seguida parte das notas que constavam da edição original do album (MGM) com a banda sonora, que na altura se resumia apenas a 10 faixas:

Grand Prix is the story of four drivers, the women behind them, the cars beneath them. These four daredevils dice with death across the race tracks of the globe. Each has his eyes and heart on the world championship. Only one can win. They are:

The American…Peter Aron (James Garner). Aron, a restless, abrasive personality, lives for driving. Starting the season with Jordan - BRM he is fired after a multiple crash at Monaco, rejected by the autocratic Manetta-Ferrari owner (Adolfo Celi), finally ends up in partnership with Japan’s ambitious Izo Yamura (Toshiro Mifune). Both badly want the world championship. Yamura for his cars. Aron for himself.

The Corsican…Jean-Pierre Sarti (Yves Montand). At an age when most top drivers have retired to the grandstands, he aims one last fling at the world title…and a win that could give him the elusive hat trick. An added tension to his bid is his blossoming love affair with fashion editor Louise Fredrickson (Eva Marie Saint). And at speeds approaching 200 miles per hour, tension spells trouble.

The Britisher…Scott Stoddard (Brian Bedford). A talented young Jordan-BRM driver, whose marriage and racing suffer from the shadow of his dead brother Roger, a former world champ whose personality still haunts the circuits in general and the Stoddard family home in particular. And then there is his wife, Pat (Jessica Walter). Pat is a problem - a bored ex-model, failed actress, indifferent wife and troublesome mistress to Stoddard’s archrival and ex-colleague Pete Aron.

The Sicilian…Nino Barlini (Antonio Sabato). A wild young driver played by a wild young actor. Barlini lives and dreams cars, motorbikes and girls. One of the girls is Lisa (Françoise Hardy), an enigmatic beauty who emerges from a Riviera discotheque to follow the racing season…and Barlini.Of the quartet, one will raise his hand in victory, another will die. Not one of them or their women will ever be the same.

Maurice Jarre was born in Lyon, France. He studied composition and percussion at the Conservatoire with Jacques de la Presle, Louis Aubert and Arthur Honegger. In 1944 he was called up by the Navy and saw active service in World War II.
When Jean Louis Berrault formed his own theatre company, he asked Jarre to become orchestral conductor and arranger. Jarre stayed with the Barrault company for four years.
In 1951, he joined Jean Vilar, who had started a national theatre company. For the first time Jarre composed music for a wide range of plays: Shakespeare, Moliere, O’Neill, Eliot and Victor Hugo.
In 1955 Jarre was awarded the Zurich prize for a symphony and violin concerto. That same year he won the Italian Opera Radiofoniche prize for a radio opera, "Ruiselle". In 1962 he again received the Radiofoniche prize, this time for a TV opera, "Les Filles du Feu". The composer has written concert music for the festivals at Aix-en-Provence and Strasbourg; ballets for the Paris Opera Comique and London’s Sadler’s Wells.
Jarre started writing music for films in 1952. His first feature film assignment was Franju’s "La tête contre les murs". In addition to Grand Prix he has done scores for 38 other foreign and American films, including "The Longest Day", "The Collector", "Is Paris Burning?", "Night of the Generals", "Lawrence of Arabia" and "Doctor Zhivago". He won the coveted Motion Picture Academy Oscar in 1962 for "Lawrence of Arabia" and again in 1965 for "Doctor Zhivago".

The Music

The relationship of the main characters in this film is a very close and personal one. Jarre expresses this musically, by intermingling the main characters’ identifying themes.

Side 1

1. Overture The Overture contains substantial portions of the three Main Themes from the film: 1) Theme From Grand Prix – relates to all the drivers. 2) Sarti’s Love Theme – is generally used in connection with the Frenchman’s (Yves Montand) adventurous and romantic schemes; 3) Scott’s Theme – serves as background music for scenes featuring the British Jordan BRM driver, Scott Stoddard (Brian Bedford). (4:35)

2. Scott & Pat – Sarti & Louise Unrequited love and fulfilled love. Mr. Jarre skillfully contrasts the Scott and Sarti themes. (2:20)

3. Theme From Grand Prix This version of the theme is heard at the finish of the Brands Hatch race. (1:55)

4. Sarti’s Love Theme (Bossa Nova) Employed by Jarre to underline portions of the racing sequences. (2:25)

5. The Zandvoort Race (Scott’s Comeback) The crippled Scott painfully lowers himself into his dead brother’s racing car and triumphantly roars away. The engine’s blast signals the start of the Zandvoort Race – and a glorious comeback for the determined Britisher. (5:21)

Side 2

1. The Clermont Race Unusual multi-camera shots – almost kaleidoscopic in effect. Sarti is driving but his mind is on Louise. Photographically and musically the Clermont Race has the quality of a racing car “ballet.” (2:15)

2. Scott’s Theme (Bossa Nova) Heard over the loudspeakers while the Clermont Race is in progress. (2:15)

3. Sarti’s Love Theme The scene is Sarti’s apartment at the Sports Club; Sarti and Louise first realize that they are deeply in love. (4:15)

4. In the Garden A tender scene between Sarti and Louise. Music is heard coming from Barlini’s victory party which they have just left. (3:00)

5. The Lonely Race Track It is the end of the film. The grandstands are empty. Pete (James Garner), deep in thought, is seen walking down the empty track reliving in his mind the races and events we have just seen. Sarti’s Theme comes first, then the roar of the invisible racing cars, followed by another version of the stirring Theme From Grand Prix, a dedication to all racing drivers. (2:26)

Produção: Edward Lewis
Realização: John Frankenheimer
Argumento: Robert Alan Aurthur e William Hanley
Música Original: Maurice Jarre
Montagem: Henry Berman, Stewart Linder e Frank Santillo
Estreia nos EUA: 1966, Dezembro 21

CAST:
James Garner >>> Pete Aron
Yves Montand >>> Jean-Pierre Sarti
Eva Marie Saint >>> Louise Frederickson
Brian Bedford >>> Scott Stoddard
Toshiro Mifune >>> Izo Yamura
Jessica Walter >>> Pat Stoddard
Antonio Sabato >>> Nino Barlini
Françoise Hardy >>> Lisa
Adolfo Celi >>> Agostini Manetta
Claude Dauphin >>> Hugo Simon
Geneviève Page >>> Monique Delvaux-Sarti
Enzo Fiermonte >>> Guido
Jack Watson >>> Jeff Jordan

etc.

“Thank you for loving me”

CONHECE JOE BLACK?

Produção e Realização: Martin Brest
Argumento: Ron Osborn, Jeff Reno, Kevin Wade e Bo Goldman,

segundo a peça "Death Takes a Holiday", de Alberto Casella
Cinematografia: Emmanuel Lubezki
Música Original: Thomas Newman
Montagem: Joe Hutshing e Michael Tronick
Direcção Artística: Robert Guerra
Cenários: Leslie Bloom
Guarda-Roupa:Auden Bronson-Howard e David C. Robinson
Estreia nos EUA: 1998, Novembro 13

Estreia em Portugal: 1999, Janeiro 15

Meet Joe Black é um filme curioso que se desenvolve a partir de um argumento baseado numa peça de teatro levada originariamente ao cinema em 1934: "Death Takes a Holiday", realizado por Mitchell Leisen e com Fredric March no protagonista. Mais tarde, em 1971, seria ainda feita uma versão vídeo com Melvyn Douglas e Myrna Loy.

William Parrish (Anthony Hopkins), multimilionário à beira de completar o seu 65º aniversário pressente a vinda da morte. Só que, desta vez, a premonição habitual vai mais além e manifesta-se mesmo materialmente. A Morte entra-lhe em casa e na vida do dia-a-dia, personificada num corpo de homem recém-falecido num acidente de viação - chegou Joe Black (Brad Pitt).

O objectivo final é logicamente o acompanhamento na derradeira viagem mas, por curiosidade, a Morte decide atrasar um pouco a partida para em troca conhecer o modo de vida dos humanos. E tudo não passaria de um simples contrato de adiamento se essa vida fosse linear, sem altos nem baixos, desprovida de sensações.

Mas como rapidamente a Morte percebe, a vida humana é completamente o oposto, complicada, cheia de nuances e paixões. E o inevitável acontece: Joe Black apaixona-se, descobre a razão principal da vida na pessoa da filha mais nova do seu anfitrião, Susan (Claire Forlani).

Meet Joe Black, nas suas 3 horas de duração, não é um filme de fácil aceitação - ou se gosta muito ou se detesta. Considerado por muita crítica como um dos piores filmes do ano (teve mesmo alguns "prémios" especiais a distingui-lo nesse sentido), foi por outro lado muito bem aceite pelo público, que nele encontrou razões de sobra para de algum modo se rever nos anseios e esperanças de uma vida que vale a pena ser (bem) vivida enquanto dura:

« Love is passion. Obsession. Someone you can't live without. Someone you fall head over heels for. Find someone you can love like crazy, and will love you the same way back. Listen to your heart. No sense in life without this. To make the journey without falling deeply in love, you haven't lived a life at all. You have to try, because if you haven't tried, then you haven't lived».

Uma referência final para a excelente banda-sonora, da autoria de Thomas Newman ("The Shawshank Redemption") e onde se encontram também referências obrigatórias da música americana, de Gershwin ("Our Love is Here to Stay") a Irving Berlin ("Let's Face the Music and Play", "Cheek to Cheek"), passando por Jerome Kern / Oscar Hammerstein II ("Can't Help Loving That Man") e Richard Rodgers / Lorenz Hart ("Where or When"). De salientar, no genérico final, uma brilhante interpretação de Israel Kamakawiwo'ole de "Somewhere Over the Rainbow / What A Wonderful World".

Esta é uma edição especial da banda sonora original, à qual foram adicionados diálogos do filme, bem como algumas versões dos temas principais.

ART GARFUNKEL'S 2ND ALBUM

Original Released on LP, October 1975

UK: CBS 40 86002 - US: Columbia PC 33700

Soft, lush pop for winding down after hours, maybe after a night about town like on the iconic album cover shot of ladies' man Garfunkel. Opens beautifully with Stevie Wonder's "I Believe (When I Fall in Love It Will Be Forever)" and continues smoothly down the line of cover songs with highlights like the wonderful "99 Miles from L.A.", "Waters of March", an angelic rendition of "I Only Have Eyes for You", "Break Away", "Disney Girls", "Rag Doll" and the Simon & Garfunkel reunion "My Little Town". A good choice for when you need some peaceful and pleasant pop tunes.

(in RateYourMusic)

BLUES IN THE NIGHT

PROMISE ME YOU'LL REMEMBER

Promise me you'll remember

This love together today

We may not have tomorrow

It's not for us to say

Fate isn't kind to lovers

It breaks the hardest hearts

Promise you'll remember

How good we are

----------

Why do I find the sadness

Under your sweetest kiss

Destiny seems to whisper

It won't stay like this

----------

Whenever we're together

I feel time standing still

I only know I love you

And I always will

If we should lose each other

Somewhere inside the dark

Promise me you'll remember

How good we are

(Carmine Coppola / John Bettis)

MARCH 1969: NEW SONGS ON THE TOPS

(a compilation from the TOPs of France, UK and US):
Aretha Franklin:The Weight
Arthur Conley: Ob-La-Di, Ob-La-Da
Beach Boys: I Can Hear Music
Beatles: Bungalow Bill
Bee Gees: First Of May
Bill Deal & The Rhondels: May I
Blood, Sweat & Tears: You've Made Me So Very Happy
Bobbie Gentry & Glen Campbell: Let It Be Me
Bubble Puppy: Hot Smoke & Sasafrass
Clarence Carter: Snatching It Back
Claude François: Eloise
Claude François: Reste
Cliff Richard: Good Times (Better Times)
Consortium: All The Love In The World
Cowsills: Hair
Dave Dee, Dozy, Beaky, Mick & Tich: Don Juan
Dean Martin: Gentle On My Mind
Diana Ross And The Supremes & The Temptations:

I'll Try Something New
Donovan: To Susan On The West Coast Waiting
Eddy Mitchell: Où Étais-Tu?
Edwin Starr: Twenty-Five Miles
F.R. David: Bal, Joli Bal
Fifth Dimension: Aquarius/Let The Sunshine In

Foundations: In The Bad Bad Old Days
Frankie Laine: You Gave Me A Mountain
Gary Pucket & The Union Gap: Don't Give In To Him
Gene Pitney: Maria Elena
Glen Campbell: Galveston
Hollies: Sorry Suzanne
Hubert: Un Petit Bout De Bambou
Inez & Charlie Foxx: Mockingbird
Isley Brothers: It's Your Thing
Jacques Brel: Vesoul
Jamo Thomas: I Spy (For The FBI)
Jerry Butler: Only The Strong Survive
Joe Dassin: Ma Bonne Étoile
Joe Simon: The Chokin' Kind
Long John Baldry: It's Too Late
Love Affair: One Road
Lulu: Boom Bang-A-Bang
Melanie: Bo Bo's Party
Meters: Sophisticated Cissy
Mongo Santamaria: Cloud Nine
Monty: Je N'ai Rien À T'Offrir
Neil Diamond: Brother Love's Travelling Salvation Show
Noel Harrison: The Windmills Of Your Mind
Paul Revere And The Raiders: Mr. Sun, Mr. Moon
Rascals: Heaven
Robert Charlebois et Louise Forestier: Lindbergh
Salvatore Adamo: Les Gratte-ciel
Sir Douglas Quintet: Mendocino
Spirit: I Got A Line On You
Steppenwolf: Rock Me
Stevie Wonder: I Don't Know Why
Sylvie Vartan: On A Toutes Besoin D'Un Homme
Temptations: Get Ready
Three Dog Night: Try A Little Tenderness
Vogues: No, Not Much

Watts 103rd Street Rhythm Band: Do Your Thing

"One I'm sure they wrote for you and me..."

Original Released on LP A&M SP 4327 (US, 1971)

Here Williams came into his own, writing the bulk of his material single-handedly. Just An Old Fashioned Love Song boasts "We've Only Just Begun" — one of his signature compositions — and finds him in wistful, melancholic form. The uncluttered arrangements, and the fact that Williams has learned to use his weak voice for emotional effect make his second album a comparative success. While it's not really right to assess him in singer/songwriterly terms (he never played piano, guitar, or indeed any instrument, and is more accurately termed an easy-listening tunesmith), Just an Old Fashioned Love Song is a worthy addition to the genre. "Waking Up Alone," "A Perfect Love," and "Gone Forever" form a touching triptych of moving, and surprisingly subtle love-gone-wrong songs. Each adequately displays Williams' growth as both a performer and composer.

(Charles Donovan in AllMusic)