Trio Odemira - A Praia (EP 1966)

AQUI:

Trio Odemira - A Praia (EP Columbia SEGJ 51, 1966).

(Acompanhamento da Orq. de Joaquim Luiz Gomes).

Faixas / Tracks:
A Praia / O Meu Amor / As Minhas Mãos Nas Tuas / Quando o Amor Acontece.

EP gentilmente cedido por Luís Futre.
Ripado, digitalizado e masterizado do vinil (capas e áudio) por Carlos Santos.

Trio Odemira - Menino de Oiro (EP 1961)

AQUI:

Trio Odemira - Menino de Oiro (EP RCA TP - 161, 1961).

Faixas / Tracks: O Beijo Que Tu Me Deste / La Bamba / Menino de Oiro / Alma Llanera

EP gentilmente cedido por Luís Futre.
Ripado, digitalizado e masterizado do vinil (capas e áudio) por Carlos Santos. 

Trio Odemira - Meu Coração É Louco (EP 1967)

AQUI:

Trio Odemira - Meu Coração É Louco (EP SLEM 2277, 1967).

Faixas / Tracks:
Sol Nas Minhas Mãos / Ciao Amor / Meu Coração É Louco / És a Minha Canção.

Biografia do Trio Odemira já inserida neste blogue.

EP gentilmente cedido por Luís Futre.
Ripado, digitalizado e masterizado do vinil (capas e áudio) por Carlos Santos. 

Billie Davis - Singles, rarities and unreleased (1963-1966)

AQUI:

Billie Davis - Watcha Gonna Do? (Singles,Rarities and Unreleased, 1963-66).

Carol Hedges was a 16-year-old aspiring singer when she was discovered as the result of a talent contest in 1962. Backed up in the competition by Cliff Bennett's support group, the Rebel Rousers, she won the contest and Bennett got her together with producer Joe Meek.

Hedges was recorded by Meek with his resident group, the Tornados, without achieving success. Luckily, a neophyte music talent manager named Robert Stigwood had also seen her and liked what he heard, and he ultimately took her away from Meek. He was impressed with Hedges' singing, a white soul sound similar to (though not as powerful as) Beryl Marsden's work, and also with the fact that her two musical inspirations were Billie Holiday and Sammy Davis Jr.. Stigwood renamed her Billie Davis and teamed her with Mike Sarne, another singer he had under contract, and the two scored a novelty hit in 1962 with "Will I What." For her solo debut, he gave her a song that he had heard on a visit to America. "Tell Him" had been recorded by the Exciters, but Davis' cover, released on English Decca, made the Top Ten in England in early 1963 despite the fact that the American original actually topped the U.K. charts at the same time. Davis recorded for both English Decca and Pye Records during the early and mid-'60s without ever duplicating "Tell Him"'s success — the closest she came to another hit was in 1968, with "I Want You to Be My Baby." Some of her work was reissued on compilation CDs, including her cover of Burt Bacharach's "The Last One to Be Loved," which appears on Sequel Records' Trains & Boats & Covers. Billie Davis is fondly remembered in England by her early pop/rock success in the pre-Beatles era.

The split of Billie Davis' 1960s recordings between three different labels seems to have made it impossible to compile a truly definitive retrospective of her work, which would take two CDs if it were to be complete. Should you want everything she recorded between her two separate stints with Decca Records, however, this compilation is exemplary, even if its omission of that Decca material (which included all three of her British chart hits) means that this shouldn't be mistaken for a best-of. All of her 1963-1966 singles for Columbia and Piccadilly (including her duets as half of Keith & Billie) are on this 28-track anthology, along with five previously unreleased 1963 cuts (two studio outtakes and three live performances). These show Davis to be a singer worthy of attention by serious British Invasion fans, yet not one who was quite good enough to demand re-investigation by less intense specialists. Influenced by both girl group and soul, she had a perky, girlish, vibrato-heavy sound that wasn't far off the standards of, say, Lulu. Yet she was clearly not in the same league as Lulu either vocally or in terms of the quality of the material she recorded. Some of the tracks are dull or hindered with cheaper, more dated early-'60s British pop production than the likes of Dusty Springfield or Lulu ever had to overcome. Still, there are some very good songs here, like the sassy, swaggering "Whatcha Gonna Do" — the one track here you could peg as a should-have-been hit that never was — and its swinging, infectiously catchy girl group-ish B-side, "Everybody Knows." Other singles (like 1966's "Just Walk in My Shoes"/"Ev'ry Day") showed her gravitating toward credible blue-eyed soul, and "The Last One to Be Loved" is a good and sumptuously orchestrated cover of a Bacharach/David song that's highly reminiscent of Dionne Warwick's mid-'60s recordings — no real surprise, since Warwick herself recorded it too. The duets with Keith Powell (billed to Keith and Billie), however, were tame soul-pop tunes that undermined her strengths. The liner notes give a good account of Davis' career during this hitless period, and if you pick this up in conjunction with the compilation Tell Him: The Decca Years, you'll have everything you need to hear by the singer.

by Richie Unterberger (in Old Melodies)

Álbum gentilmente cedido por Luís Futre

Bruce Johnston - Surfin' 'Round The World / Going Public (1963)

AQUI:    ou    ALI:

 Bruce Johnston - Surfin' 'Round The World / Going Public (1963) - Includes alternate versions of some songs from the original LP

Originally released on Columbia (LP CS 8857) in 1963.

Bruce Johnston was a member of the early 1960s pop/rock/surf duo Bruce and Terry (Terry being Doris Day's son Terry Melcher) and an on-and-off member of the Beach Boys. But back in 1963, he decided to strike while the iron was hot and recorded this strange surf-inspired "cash-in" album. (His timing was good--a year or so later, the first British Invasion would, sadly, bury surf music.) SURFIN' is mostly instrumental, featuring some cool surf-y guitar, drenched in reverb, and, unusual for the genre, interesting horn and keyboard parts.

The tracks with vocals are truly hilarious. The song "Hot Pastrami, Mashed Potatoes, Come On To Rincon--Yeah!!!" (it's not only the title; it's virtually all the lyrics, too!) features call-and-response vocals that make The Carpenters sound like Ray Charles and The Raylettes. The lyrics generally concern surfing and the search for the Perfect Wave, and they sound like they were written in 20 minutes. With this album, hard-core surf-music collectors will think they've died and gone to Wakiki.

1963's Surfin' Around The World is a mixture of vocal and instrumental tracks recorded with his band The Surf Stompers, while Going Public from 1977 focuses on his songwriting abilities including his own version 'I Write The Songs', which was turned into a massive hit by Barry Manilow.

Personnel:

Bruce Johnston (piano, electric piano, background vocals); Bruce Johnston; Michael Anthony , Michael Anthony (acoustic guitar); Igor Horoshevsky, Igor Horoshevsky (cello); Kathy Dragon, Kathy Dragon (flute); Joe Chemay (bass guitar, background vocals); California Boys Choir (background vocals); Chad Stuart (acoustic guitar, background vocals); Ed Carter (acoustic guitar); Richie Zito, Caleb Quaye (electric guitar); Jon Joyce (cello, background vocals); John Hobbs (piano, electric piano); Gary Mallaber (drums); Cindy Bullens, Jim Haas, Brent Nelson, Diana Lee, Gary Puckett, Curt Becher (background vocals).

John Tobler.

Album gentilmente cedido por Luís Futre, a quem agradecemos.

Os Incríveis - Antologia (Jovem Guarda Brasil 60's)

AQUI:

Os Incríveis - Antologia (Jovem Guarda Brasil 60's).

Esta é uma compilação particular que reúne alguns dos maiores sucessos desta extraordinária banda da Jovem Guarda brasileira.

Os Incríveis foi uma banda brasileira de pop/rock dos anos 60 e 70, formada em São Paulo por Domingos Orlando, ou "Mingo" (voz e guitarra), Waldemar Mozema, "Risonho" (guitarra), Antonio Rosas Seixas, "Manito" (teclados, vocal e sax), Luiz Franco Thomaz, "Netinho" (bateria), Demerval Teixeira Rodrigues, "Neno" (baixo), substituído em 1965 por Lívio Benvenuti Júnior, "Nenê".

Inicialmente, a banda chamava-se The Clevers e, nos seus shows, tocava principalmente twist, estilo em moda no início da década de 60. O sucesso veio durante o período da Jovem Guarda, com a mudança de nome e canções populares como "Era um Garoto Que, Como Eu, Amava os Beatles e os Rolling Stones", "O Milionário" e "Eu Te Amo, Meu Brasil".

Ao longo dos anos 70, ex-integrantes dos Incríveis formariam outras importantes bandas do rock brasileiro. Netinho montou Casa das Máquinas e Manito juntamente com Pedro Baldanza e Pedro Pereira da Silva Formaram o famoso grupo Progressivo Som Nosso de Cada Dia.

Recentemente, o grupo voltou a reunir-se em algumas ocasiões. A banda Engenheiros do Hawaii regravou uma das suas músicas de sucesso.

Fonte: Wikipédia, a enciclopédia livre.

Faixas/Track List:


01- Cavalgada
02 - Pipeline (Oleoduto)
03 – Geronimo
04 - Knock On Wood
05 - Amor Perdido
06 - Estrada do Sol
07 - Tema Para Jovens Enamorados
08 - Piangi Con Me
09 - Ritmo da Chuva
10 - O Milionário
11 - Anel de Diamante
12 - Não Há Você
13 – Apache
14 - Hold Tight
15 - Czardas
16 - O Vagabundo (Giramondo)
17 - I Got You (I Feel Good)
18 - Honky Tonky Song
19 - Na Cidade (down town)
20 - The Girl Like You
21 - Tic Tic Tic
22 - Flamengo
23 - El Relicário
24 - Dó Ré Mi

Compilação particular disponibilizada por João Romão.
Adaptação das capas e grafismos, por Carlos Santos.

Jorge Costa Pinto & The SABC Light Orchestra (S.A.) (LP 1970)

AQUI:

Jorge Costa Pinto, músico, editor e arranjador, nasceu em Campo de Ourique, Lisboa. O seu pai era músico profissional tendo sido o primeiro pianista a tocar em Portugal standards de Jazz com uma grande orquestra.Mas Jorge preferia a bateria.
Músico: Quando tinha 12 ou 13 anos foi baterista da Orquestra Baía. Depois entrou para a famosa Orquestra Bolero.

Trabalhou no cabaret Arcádia e depois passou para o Negresco, onde tocava bateria, piano e acordeão. Foi aí que conheceu Amália Rodrigues em 1953. Com 26 anos foi convidado a integrar a orquestra do Ray Martino, que fez furor no final dos anos 50. Nos anos 60 efectuou trabalhos para Simone de Oliveira, Madalena Iglésias, António Calvário e para o tenor José António. Em 1965 frequentou o Colégio de Música de Berklee, em Boston, onde tirou o curso de orquestração, direcção de orquestra e [Harmonia (música)|[harmonia]] modal. Depois estudou percussão com Alan Dawson. Foi aluno dos professores Fernando Lopes Graça (composição e arranjos), Maria Victória Quintas e Francine Benoit. Também estudou música contemporânea com Jorge Peixinho e Louis Saguer. Em Londres fez cursos de captação de som, corte de acetatos, galvanoplastia e prensagem.
Editor e arranjador:
Fundou a editora Tecla em 1967. Os primeiros disco foram de João Maria Tudela e Florbela Queiroz. Depois editaram vários discos de Madalena Iglésias, numa altura em que trabalhava como arranjador para outras editoras. Fez os arranjos da canção “Por Morrer uma Andorinha” de Carlos do Carmo ainda na editora Philipps. Depois ele veio para a Tecla e gravaram canções como “Gaivota”, “Canoas do Tejo” e “Pedra Filosofal”. No cinema fez a banda sonora dos filmes “Portugal Desconhecido”, de Raúl Faria, “Campista em Apuros” de Herlander Peyroteo e “Sarilho de Fraldas” de Constantino Esteves. A editora Tecla fechou após o 25 de Abril.

Foi convidado por João Soares Louro, para trabalhar na RTP como assessor do Departamento de Programas Musicais e Recreativos na direcção de Carlos Cruz e Maria Elisa. Criou a editora Jorsom onde edita trabalhos próprios, música clássica portuguesa, etc. Aos 70 anos continua a dirigir a sua orquestra de Jazz.

Neste album Jorge Costa Pinto dirige a formidável SABC Light Orchestra, da África do Sul. Edição de 1970/TECLA.

Fonte: Wikipedia.

LP ripado e masterizado do vinil. Ripped from vinyl by Carlos Santos.
Many thanks to John Lyle, my dear South African friend.

Glenda - Snake Dancer - South African OST (1976)

NEW DOWNLOAD LINK:   http://www.megaupload.com/?d=REUH2ZFR

Glenda - Snake Dancer - Various (South African OST 1976)

First regular release of the Soundtrack album to the censored South African cult movie "Snake Dancer (aka Glenda)" from 1976. Music composed and arranged by Zane Cronje and Charles Segal, performed by various bands and singers. A variety of disco funk, psych rock, blue-eyed soul, odd afro drumming and easy bossa jazz make this 14-track selection a resurrected winner. Rare boilerplate find including a wide spectrum of excellent tunes, produced as a product of Western decadence during the repressive times of Apartheid. Comes with unique cover art and extensive liner notes, remastered 2009, including club tracks "The Hustler", "Get It Up With Music" and "Show Me What You Are"... There are many surprisingly different sides to the soundtrack. Most of the arrangements capture the harsh glare and heat of erotic live club performances, evoking a liberated but "vulgar" atmosphere, that probably many young South Africans were longing for during the 1970s. The funk and disco inspired tracks still have the ability to rock clubs around the world today, thanks to the extraordinary ideas and studio skills of producer Zane Cronje.

Album gentilmente cedido por Luís Futre.

Duo Arco Negro (2º EP - 1970)

AQUI:

Duo Arco Negro - Recordação (2º EP Ofir/Président PRC 662, 1970).

Faixas / Tracks:
1 - Duo Arco Negro - Recordação
2 - Duo Arco Negro - Canção dos Pobres
3 - Duo Arco Negro - O Amor Brilhará
4 - Duo Arco Negro - Mulher Infiel

EP gentilmente cedido por Luís Futre, a quem agradecemos.
Ripado do vinil. Digitalização (capas e áudio) e masterização, por Carlos Santos.

Duo Arco Negro (1º EP 1969)

AQUI:

Duo Arco Negro (1º EP Président/Ofir PRC 633 - 1969)

Pouco se sabe acerca deste Duo. Do que se conseguiu apurar é que gravaram 2 únicos EPs entre 1969 e 1970, pela OFIR/Président. São EPs considerados raros, muito procurados e praticamente desconhecidos. Não há certeza que ainda tenham gravado um single com 2 temas retirados destes 2 EPs (a confirmar).

Não temos informação adicional sobre a sua constituição (membros).

Dado que se tratam de temas retirados do vinil, o som poderá não estar nas melhores condições, mas a raridade compensa.

Faixas / Tracks:

01 - Duo Arco Negro - Foi Numa Praia

02 - Duo Arco Negro - Uma Garota e Uma Boleia

03 - Duo Arco Negro - Madalena

04 - Duo Arco Negro - Ob-La-Di, Ob-La-Da

EP gentilmente cedido por Luís Futre.
Ripado do vinil. Digitalização (capas e áudio) e masterização, por Carlos Santos.