DAY 41.
Stan Getz And Joao Gilberto........ Getz/Gilberto  (1963)



There's something about the samba/bossa nova beat that really appeals to me, this album is certainly not too jazzy/pretentious imho.

It put me in a pretty calm laid back mood after a bit of a shitty day, so for that reason and hopefully it's not a one of, this will be added to my collection and put in the "after a shite day" section.

This was my favourite track



and here's a little bit about it

• This song was written by two Brazilian composers: Antonio Carlos Jobim, who wrote the music; and Vinicius de Moraes, who wrote the lyrics in Portuguese. English lyrics were later written by their producer, Norman Gimbel.
Jobim and Moraes were inspired by Helo Pinheiro, a young Brazilian girl who wore a bikini and regularly walked "Like a samba" past the "Veloso" bar that they frequented. In a 2008 feature in The Seattle Times, Pinheiro revealed the she would walk by the songwriters on her way to buy cigarettes for her mother. She claims to be the first person on the beach to wear a 2-piece bathing suit. We also learn that she had four children, posed for Brazilian Playboy twice (the second time with her daughter), and opened a boutique in Sao Paulo called "Garota de Ipanema" (Girl from Ipanema).

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• Ipanema is a fashionable district in Rio de Janeiro. It was a fairly obscure stretch of beach until this song make it famous. The street where the songwriters used to sit and watch the girls go by has been re-named Vinicius de Moraes Street after the lyricist.
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• Stan Getz recorded the Getz/Gilberto album with João Gilberto, who is considered the father of Bossa Nova. In the studio, they convinced his wife Astrud, who had never sung a recorded note, to sing the English lyrics. The original choice as vocalist was Sarah Vaughan, but when Gilberto heard the English translation, he decided that Astrud should sing it. Her subtle vocal added a nuance to the song that worked surprisingly well with the music.
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• As well as being one of the most recorded songs of all time, this is probably the most famous Bossa Nova song ever written. Stan Getz' version of this song featuring his tenor saxophone helped popularize the Bossa Nova sound, which is a form of Brazilian music.
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• This won the 1964 Grammy Award for Record Of The Year. The album won for Best Jazz Performance and Album of the Year.
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• Many movies have used this song, including The Color Of Money (1986) and Girl, Interrupted (1999).
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• The song was recorded at A&R Studios in New York City, which was owned by Phil Ramone, who also engineered the session. Ramone carved out a niche recording Bossa Nova; he also did the Quincy Jones album Big Band Bossa Nova. Many of Dionne Warwick's famous songs were also recorded at A&R before Ramone moved on to a new studio in 1969, where his most famous client was Billy Joel.
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• The smooth jazz saxman Kenny G released a version of this song on his 1999 album Classics in the Key of G. Astrud Gilberto's stepdaughter, Bebel Gilberto, sang the vocal.
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• Bebel Gilberto recalled in an interview with the Metro newspaper that her father Joao Gilberto, who is credited with inventing Bossa Nova, helped write this: "He (Joao Gilberto) arranged the song, produced it and sang the Bossa Nova part. When it was first played at Carnegie Hall, he was playing and singing with Astrud Gilberto, who is my stepmother and Antonio Carlos Jobim, who played the piano. The truth is that Tom Jobim wrote the song, but he was a really bad singer, so my father helped him."
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• Co-writer Vinicius de Moraes led a remarkable life. A one-time diplomat, Moraes was first posted to Los Angeles in 1946 as a vice consul before later being sent to Paris and Rome. A free-spirit, he was married nine times and Moraes' overly liberated lifestyle led to Brazil's military dictatorship expelling him from the diplomatic corps in 1969. He died aged 66 in 1980 and in August 2010 the gregarious diplomat and poet was posthumously reinstated to the Foreign Office and given the rank of ambassador.
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• A version by Amy Winehouse appears on the late singer's posthumous album, Lioness: Hidden Treasures. Recorded in May 2002, it was the first song the 18-year-old Winehouse sang when she first went to Miami to record with Salaam Remi, who went on to work with the singer on her first two albums. Remi remarked during a listening session for the record, that, "the way she re-interpreted this bossa nova classic made me realize that I was dealing with a very special talent. Her approach to the song was so young and fresh, it really inspired the rest of our sessions."
•  
• During the opening ceremony at the 2016 Summer Olympics in Rio, Daniel Jobim, the grandson of the song's composer Antonio Carlos Jobim, performed the song as the 36-year-old Brazilian supermodel Gisele Bundchen made a very long walk across the stadium, portraying the Girl From Ipanema in a gold sequin gown and 5-inch stilettos. Her appearance enthralled the crowd and enraptured the American audience, who also know her as the wife of football hero Tom Brady.

The following day, the song was streamed 40,000 times on Spotify (it was typically streamed 3000 times a day on the service

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DAY 42.
The Beatles.........A Hard Day's Night (1964)



This one didn't disappoint. enjoyed all the tracks but got to admit i've been a Beatles fan for many years, so could be a bit biased, I forgot how good their early stuff was.
Am going to get this one on vinyl, and add it to my collection.

Having conquered hearts in the United Kingdom throughout 1963, The Beatles set their sights on the world in 1964. They started it with concerts in London and Paris, before making history by conquering America in February, appearing on The Ed Sullivan Show before an estimated 73 million viewers.They followed up their Stateside triumph with a world tour, numerous interviews, television appearances and new recordings, and starred in their debut feature film. And despite their whirlwind schedule of touring and studio sessions, the soundtrack to A Hard Day's Night turned out to be one of The Beatles' strongest long-players.


We were different. We were older. We knew each other on all kinds of levels that we didn't when we were teenagers. The early stuff - the Hard Day's Night period, I call it - was the sexual equivalent of the beginning hysteria of a relationship. And the Sgt Pepper-Abbey road period was the mature part of the relationship.
John Lennon, 1980
All We Are Saying, David Sheff

The album was recorded over nine non-consecutive days, between January and June 1964. In between the sporadic sessions The Beatles fulfilled their touring and filming commitments, with John Lennon and Paul McCartney writing some of their strongest songs to date.What's more, The Beatles refused to take the easy option and delve into their Cavern Club-era songbook, selecting some of the numerous cover versions in their repertoire to pad out the original compositions. A Hard Day's Night became their first album to consist solely of original material, and was The Beatles only release to consist solely of songs written by Lennon-McCartney.

The songsThe title of A Hard Day's Night had been coined by, Ringo Starr and first appeared in John Lennon's short story Sad Michael in his first book In His Own Write.When film director Richard Lester announced it would be the title of The Beatles' first film, Lennon took up the challenge to write the Theme song. At the time he and Paul McCartney were in competition to write the group's singles, and Lennon was entering a particularly productive songwriting phase.

The title was taken from an expression Ringo used to say. In a 1964 interview with DJ Dave Hull, Ringo explained: "We went to do a job, and we'd worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, 'It's been a hard day...' and I looked around and saw it was dark so I said, 'Night!' So we came to 'A Hard Day's Night.'"

I was going home in the car and Dick Lester suggested the title A Hard Day's Night from something Ringo'd said. I had used it in In His Own Write, but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringoism, where he said it not to be funny, just said it. So Dick Lester said we are going to use that title, and the next morning I brought in the song. 'Cause there was a little competition between Paul and I as to who got the A side, who got the hit singles.
John Lennon, 1980
All We Are Saying, David Sheff

The genesis of the song was later recalled by Evening Standard journalist Maureen Cleave, who was a friend to The Beatles.
One day I picked John up in a taxi and took him to Abbey Road for a recording session. The tune to the song A Hard Day's Night was in his head, the words scrawled on a birthday card from a fan to his little son Julian: "When I get home to you," it said, "I find my tiredness is through..." Rather a feeble line about tiredness, I said. "OK," he said cheerfully and, borrowing my pen, instantly changed it to the slightly suggestive: "When I get home to you/I find the things that you do/Will make me feel all right." The other Beatles were there in the studio and, of course, the wonderful George Martin. John sort of hummed the tune to the others – they had no copies of the words or anything else. Three hours later I was none the wiser about how they’d done it but the record was made – and you can see the birthday card in the British Library.
Maureen Cleave


When we knew we were writing for something like an album [John] would write a few in his spare moments, like this batch here. He'd bring them in, we'd check 'em. I'd write a couple and we'd throw 'em at each other, and then there would be a couple that were more co-written. But you just had a certain amount of time. You knew when the recording date was and so a week or two before then we'd get into it.It didn't seem like pressure. It was - I suppose you'd have to think it was but I don't remember it being a pressure. It was fun, it was great. I always liken songwriting to a conjurer pulling a rabbit out of a hat. Now you see it, now you don't. If I now pick up a guitar and start to conjure something out of the air, there's a great magic about it. Where there was nothing, now there is something. Where there was a white sheet of paper, there's a page we can read. Where there was no tune and no lyrics, there's now a song we can sing! That aspect of it made it a lot of fun. We'd be amazed to see what kind of rabbit we'd pulled out that day.
Paul McCartney
Many Years From Now, Barry Miles

A Hard Day's Night is one of only three Beatles albums to contain no lead vocals by Ringo Starr. The others are Let It Be and Magical Mystery Tour. 

 It is believed that The Beatles may have intended to record a 14th song for A Hard Day's Night, However, Ringo Starr was taken ill with tonsillitis and pharyngitis during a photo session that morning, and stand-in drummer Jimmie Nicol was brought into Abbey Road for a rehearsal ahead of The Beatles' imminent world tour.The rehearsal took place between 2.30 and 5.30pm, replacing a pre-booked recording session. After Nicol had left the studio, The Beatles recorded demos of ,You Know What To Do, No Reply, and It's For You. The latter song was given to Cilla Black.

It is not known whether the group intended for any of these songs to feature on A Hard Day's Night. However, The Beatles' failure to record a final song for the album meant that it was released, unusually, with 13 tracks.
Whether I'll Be Back was always intended to be the album's last song is not known, but it intriguing to imagine how the album might have sounded if accompanied by a full version of one of the three demo songs.

The 'A Hard Day's Night' opening chordThe clanging chord which opened the title track of The Beatles' first film, third album and seventh UK single remains one of the most iconic moments of their career. Along with the final piano chord that ends A Day In The Life in 1967, it bookended what was perhaps the group's most creative phase as songwriters and recording artists.
We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning. The strident guitar chord was the perfect launch.
George Martin

A Hard Day's Night had advance orders of over 250,000 in the United Kingdom. By the end of 1964 A Hard Day's Night sold 600,000 copies. It spent 21 consecutive weeks at number one in the UK from 25 July 1964, and remained in the charts for 38 weeks.More than a million advance orders were placed in the United States before its release. Within three months it had sold another million copies, making it one of the fastest-selling albums of all time.

It topped the US Billboard album chart for 14 weeks, the longest run for any album that year.The Beatles made chart history in the week of 5 August 1964, by topping the US and UK single and album charts simultaneously with releases all titled A Hard Day's Night. This is the only time such a feat has occurred.

Last edited by arabchanter (20/9/2017 11:32 pm)

DAY 43.
Jaques Brel.........Olympia 64  (1964)





Brel's second album of 1964 was also his second recorded at the Parisian concert hall, a venue that was to the French what Carnegie Hall or the Royal Albert Hall were in their respective countries, you hadn't made it until you played there

Brel hadn't just made it, as far as the French and the Belgians were concerned, he was the king of the world. Unlikely as it may seem, French chanson was even starting to build a hip following in the notoriously resistant Britain and America. (Bob Dylan once described Charles Aznavour as one of the greatest performers he had ever seen.


At Olympia, he inhabits the songs,living the stories, throwing himself in from the outset, acting them out. There is no let up in drama, satire, or passion. He dies many,many times over the course of the 48 minutes, the rest is spent in sick beds, mobile brothels and bars. In "Les Toros," he becomes a dying bull, staring up at his tormentors, relating it to Waterloo, Verdun, and contemporaneous wars on formely French territories.


Got to be honest, I've never heard of him, and no' to sure after reading that lot, but it's in the book, so bring it on.

DAY 43.
Jaques Brel.........Olympia 64  (1964)




The laddie was just a wee bit too intense for me, I should believe he's value for money if that's your bag, but between that and no' being able to understand French I shant be putting this in my collection.

During his high school years in Brussels, Belgium, he pursued his interests in drama and creative writing. He wrote his first songs in 1952 and released his debut recording, La Foire, the following year.

His most famous chansons, many of which were later covered by other artists and recorded in various languages, include "Mathilde," "Les Bonbons," and "Amsterdam."


If you once grooved to Westlife’s 1999 hit ‘Seasons in the Sun’ (or maybe Terry Jack’s 1974 rendition), you may be surprised to know the song is an English cover of Brels’ ‘Le Moribond’. And the track is the essential Brel: deliberate and pensive, he croons about the temporal state of relationships, set to the tentative lilt of violins, trumpets and clarinets. 

The Belgian’s mastery of the modern chanson – stories told through song – is evident in many singles, including ‘La Chanson de Jacky’, off his 1966 album, Ces Gens-L[i]à. [/i]And it ain’t no fairy tale. The tune drew flak for its references to drugs, virgins and drinking – themes that resonated throughout his career.

Brel’s single, ‘Ne Me Quitte Pas’ (French for don’t leave me), has been covered by the likes of Frank Sinatra, Édith Piaf, Sting and Nina Simone – but the story behind it is a sour one. Brel penned the song when his mistress, Zizou, left him while pregnant with his child (his refusal to acknowledge the child led to Zizou’s decision to abort the baby). Seven years later, Brel famously described the song as a hymn to the cowardice of men. Gavin Friday, the Irish singer and ex-Virgin Prune who has recorded several of Brel's songs, recalls seeing him perform for the first time. "I didn't know what the fuck was coming at me," he says. "I just couldn't believe the man. The kicking-against-the-pricks theory, that's what I picked up on. It was like the next stage up from David Bowie doing Starman or Johnny Lydon doing Pretty Vacant on Top of the Pops. The physicality. The expression. I became obsessed."

Less astounding are the disastrous transformations where, like some drunken game of Chinese Whispers, the original meaning is obliterated. In the hands of McKuen, the acerbic Le Moribond - a bitter, briskly cynical farewell from a dying man to his unfaithful wife and hypocritical friends - became the saccharine Seasons in the Sun, last heard being trilled by Westlife. Zach Condon of the band Beirut, who often performs Le Moribond in concert, dismisses Seasons in the Sun as a song where "the dagger of his words has been taken out: 'I can see you all crying and wiping your noses above my grave, and I laugh at you.' That's all gone.

"For the Divine Comedy's Neil Hannon, he was "beautifully ugly" - an odd, unreliable man who wore good suits and whose music set "a wonderful example of the absolute need to be yourself and say exactly what you think, regardless of what the public seem to want".

Marc Almond, a longtime fan who once recorded an entire album of Brel songs, says: "He's in everything I do. Songs like Say Hello Wave Goodbye have a Brelian sense of disillusioned romance. As a singer, I've always looked at myself as an expressive storyteller rather than a technician, and that comes from him.




A slight difference eh!

Last edited by arabchanter (21/9/2017 11:28 pm)

That Rock 'N Soul is a fine album. Lots of well known stuff on it, sung with depth.

Better than jazz by a mile.

DAY 44.
Solomon Burke ......... Rock 'N Soul   (1964)




thoroughly enjoyed this album, brought back a few memories especially with" He'll have to go," my old mum god bless her soul, was right into Jim Reeves and played that song constantly as well as " Distant Drums," but sorry mum I think Solomon Burke's version was way better.
If i didn't have all the Solomon Burke songs that I like on various albums I would add this one to my collection, but as I have this wont be getting added.

Burke was born c. 1938, the eldest of seven children in a deeply religious west Philadelphia family. Both his mother and uncle were ministers, and Burke stepped up to the pulpit himself at the age of nine. He enjoyed some success as the “Wonder Boy Preacher” on the East Coast revival circuit over the next few years, but when he entered his teens, his interests turned to music. He wrote his first song, “Christmas Presents from Heaven,” in December of 1953. He recorded it, and when it garnered local airplay on Philadelphia radio stations, it made the teen a star at his junior high school. In 1955 Burke won a talent contest and was signed to Apollo Records. He cut singles for the label that did well, and performed at its showcase Apollo Theater in Harlem. There were questions over royalties, however, and Burke, like many artists of his era, believed he was being cheated out of his due by fraudulent business practices. He quit in 1957.

Burke left the music business to study mortuary science, but his singing career was unexpectedly revived in 1960 when the editor of Billboard magazine championed executives at a new label, Atlantic, to sign him. After his first recording session for them, Burke couldn’t even stay to hear the finished tape because he was moonlighting as a snowplow operator and was due at work that night. Over the next few years, Burke worked closely with Atlantic’s famed producer, Jerry Wexler. He also became the first soul performer to cut a country-and-western single, “Just Out of Reach,” which was released three months before Ray Charles’s first foray into the genre.

Burke and Wexler—who later went on to make stars out of Aretha Franklin and Wilson Pickett—collaborated on a number of songs, 19 of which made it onto the Billboard Hot 100 chart. “There were great vibes in those days,” Burke recalled in his interview with Moon for the Philadelphia Inquirer. “People were always coming by, walking in off the road just to see what was going on at the (Atlantic) studios. You’d do everything live, all within two or three hours.”

Burke seems to be a showman no matter what his medium. Philadelphia Daily News writer Mark de la Vina remarked that “the man can convince you that the world is flat.” De la Vina noted that their conversation ranged from Burke’s appearance on American Bandstand the day that Dick Clark debuted as its host to “how he was banned from the Apollo Theater in New York for trying to sell porkchop sandwiches and magic popcorn at his shows; or how he was dubbed the King of Rock & Soul in the early ‘60s and was later offered $10,000 by James Brown to hand over his title and the crown Burke wore on stage.”

His minister’s faith displayed itself in other ways: a few tracks featured racy—but never explicit—lyrics, a balance that had long been a hallmark of Burke’s style. “My kids will say, ‘Dad, what are you saying? You’re a religious man,’” he said in the interview with Newman. “But I say, that’s a reality. I got 21 children.”

Burke thanked those 21 children, 58 grandchildren, and seven great-grandchildren when he was inducted into the Rock and Roll Hall of Fame in the spring of 2001. Others who took the stage that night to accept their honors were Michael Jackson, Aerosmith, and Paul Simon. Burke was introduced by Mary J. Blige and made a characteristically royal appearance in a velvet and ermine cape.

Two of Burke’s children are also morticians and run branches of the family business in California and North Carolina. Burke himself has made southern California his home for many years. From there he serves as bishop of his own nonsectarian religious denomination, the House of God for All People.

“The secret of longevity is people,” Burke told Moon in the Philadelphia Inquirer interview. “I learned a long time ago that big people get their records for free. The little people are the ones you pay attention to—the janitors, the cooks, the cab drivers. They’re the ones who have been with you through the thick and thin. You need to thank those people, make them feel special.” He recalled meeting a man who had one of his records on the long-defunct eight-track cartridge format and told the singer “he wore it out. He wanted to know where he could get it transferred. Those are the kind of fans I like.”

 Solomon Burke, who claimed to be "a church minister first, then an entertainer", died at Schiphol airport, Amsterdam, after flying in from Los Angeles.He never smoked or drank; was thrice married; and had 21 children and more than 80 grandchildren.  







 

Last edited by arabchanter (23/9/2017 10:08 am)

I'm a wee bit behind the now, but in reply to arabchanter re 'jazz', it's Delicious Hot, Disgusting Cold. 

I enjoy trad stuff in small measure...................





Dusty was something else as a singer, but I'm not familiar with that album. She first 'aroused' me with her look rather than voice, peroxide beauty which confused me as a primary school boy.

But a great singer on reflection.

DAY 45.
Dusty Springfield.......A Girl Called Dusty  (1964)




That was a brilliant listen, in fact I enjoyed it that much I've just ordered a used/original 1964 copy off of amazon!
There wasn't a track I didn't like, and what a voice that lady had, i would thoroughly recommend this album as it's got a bit of everything, and of course Dusty's superb voice.

• Dusty Springfield was born Mary O'Brien to a Catholic family in North London, England. She was considered to be a tomboy and was given the nickname Dusty because she liked to play soccer with the boys. Later, her distinctive smoky voice earned her the nickname "The White Queen of Soul." Showing tremendous diversity, Springfield recorded in numerous genres, including rock, pop, folk, and country.
•  
• As a member of her brother's folk music trio, The Springfields, Dusty took on Springfield as her stage name. The group had a modest hit with "Silver Threads And Golden Needles" in 1962, but Springfield left the group to pursue a solo career in 1963. A fan of the Motown sound that was sweeping the United States, Springfield helped introduce Britain to soul music.
•  
• Cliff Richard famously called her "The White Negress," intending it as a compliment, which is how Dusty took it. "You can't get a more pleasing compliment when you really go for the groups like the Shirelles and the Crystals, can you," said Springfield.
•  
• Springfield was a performer and interviewer for the live British television program Ready Steady Go in the 1960s. Comparable to American Bandstand, British children rushed home after school to see and hear some of the biggest artists in music. Springfield interviewed The Beatles on the show in October 1963, just as Beatlemania was about to take off.
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• In addition to hits such as "You Don't Have to Say You Love Me" and "The Look of Love," which was on the soundtrack for the James Bond film Casino Royale, Springfield is known for the 1969 single "Son Of A Preacher Man" from the album Dusty in Memphis. While the song was a hit, the album was a commercial flop. The album was originally supposed to be recorded in Memphis with session players who had played with Aretha Franklin and Otis Redding, but Springfield was so intimidated by her surroundings that she refused to sing there. Her vocals were done in New York and added in later. She was not happy with the final results, but Rolling Stone magazine ranked Dusty in Memphis as #89 on its list of the 500 Greatest Albums of All Time.
•  
• After "Son of a Preacher Man," Springfield did not have another hit until 1987 when she sang with the Pet Shop Boys on "What Have I Done To Deserve This"
 The song made it to #2 on both the US and UK charts. Springfield said she was such a fan of their song "West End Boys" that she nearly drove off the road when she first heard it. She readily agreed to make "What Have I Done to Deserve This" when approached by the Pet Shop Boys' lead singer, Neil Tennant.

•  
• Springfield battled drug and alcohol addiction at times, particularly in the early days of her career. In an interview with British television talk show host Michael Aspel in 1989, Springfield said, "I was addicted to all sorts of things in those days." She also commented that "stopping" was easy, but "it is not easy to stay stopped."
•  
• Springfield died after a five-year battle with breast cancer at the age of 59 in 1999. She was inducted into the Rock and Roll Hall of Fame later that year. Her fans hold "Dusty Day" every year in London to remember her music and raise money for breast cancer research. Country singer Shelby Lynne released a tribute album to Springfield in 2008 called Just a Little Lovin' and said she was so nervous about covering Springfield's hits, she had to resort to drinking a little extra whiskey to get through the sessions. Lynne told NPR that she would never try to cover "Son of A Preacher Man," though, which was like trying to cover Patsy Cline's "Crazy" and just should not be done.

Have a wee listen to this voice

•  
• 
  

Tek wrote:

Love a bit of Dusty.

Arguably Britain's greatest ever female singer infact.

You're not wrong there Sir
 

Always preferred the Stones, The Pretty Things, The Kinks and Small Faces to the Beatles. I imagine this will be the first of many Rolling Stones albums on the list.

Although it looks like all but one of the songs are covers, three of the songs were written by the Stones, as they used a pseudonym to make sure royalties were shared out among the members.

Soon arch-right winger Jagger would alter this approach in his chase for more hard cash..............

DAY 47.
Buck Owens And His Buckaroos.........  I've Got A Tiger By The Tail   (1965)





One of the brightest luminaries of the Bakersfield scene was Buck Owens, the son of a Texas sharecropper, In 1951, when he was 22, Owens moved to Bakersfield and began honing his sound in honky-tonk bands, the most distinctive component of which would eventually be the guitar playing of Don Rich,

Rich famously played a telecaster, the twangy Fender instrument that has become country music's standard guitar.

Well after a couple of good days we come to this!
I'm guessing I might  not like this one, buy who knows?



 

DAY48.
Jerry Lee Lewis........Live At The Star Club, Hamburg   (1965)




When he arrived at the Star Club in April 1964, Lewis had just toured Britain with another group of Liverpudlians, The Nashville Teens, who were booked into a residency in Hamburg, so the American joined them for one night.

Mayhem from the second he hurtles into "Mean Woman Blues," it is safe to say that his pianoo stool lay in splinters by the end of the first song, count ins? synchronized endings? Nowhere.

The band can barely keep up with Lewis for the first twenty minutes, which include "Mean Woman Blues," "High School Confidential," and perhaps the definitive version of "What'd I Say," which removes any reference to gospel sensuality and replaces it with pure lust.

The home straight , "Hound Dog," "Long tall Sally," and "Whole Lotta Shakin'" is distilled anarchy.

Supercharged? This is rock as it was always meant to be, faster, more breathless, and more possessed than anything the world would pay money to hear until the arrival of The Ramones.

After this build up I'm really looking forward to hearing this one, and I know there is plenty triv about Mr Lewis.

arabchanter wrote:

DAY 7.
songs for swingin' lovers!  (1956)
[url=https://en.wikipedia.org/wiki/File:Songsforswinginlovers.jpg]

This will be added to my collection, Sinatra as the suave, debonair, laid back crooner we all remember him as.
But it would all be wasted without Riddle's glorious scoring. Legend has it his unsurpassable arrangement for "I've Got You Under My Skin,"  hurriedly completed the night before the session, was greeted with spontaneous applause by the musicians who played it on January 12, 1956.


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Old meets new... start at the beginning...
 

Last edited by Arabnophobia (26/9/2017 10:32 pm)