The best and most valued volume of GLP series featuring the fantastic
modal madness of "André", "Peroche", "Suoni Distorti" and the milestone
“Alfio” feat the flute by Alfio Galigani. The music goes from insane
Psychedelic tunes to Jazz, Funk and more Bossa and Lounge tracks with
plenty of Fuzz guitars, amazing Hammond job, and totally catching drum
Breaks. An insane trip into early gold Italian Psychedelic and
Underground vibes with loads of laden beats and grooves with the mark of
the legendary Italian quartet. Simply essential!
We're glad to announce the reissue of this gem by the Library 'cult' group I MARC 4.
Probably the toughest and most Psychedelic Nelson volume by the
legendary italian studio combo. A killer blend of Downtempo Funk, dope
atmospheres and themes and Lounge Bossa cocktail music. Includes just
fantastic tracks like "Distorsion-Mind" and "The Trip", heavy
Psychedelic shots with screaming organ, "Compression" with mellow
acoustic guitar and raw drums break plus other rare and mental tracks
with great samples and loops. Totally KILLER session and essential
Italian Library record.
The first volume from the Nelson Records series by the infamous Italian
Jazz quartet composed of Maurizio Majorana on the bass (M), Antonello
Vannucchi at the organ (A), Roberto Podio at the drums (R), and Carlo
Pes (C) on guitar. Seminal, deeply Underground session by the legendary
Italian Library studio combo with tones of sleazy sounds starting from
the Psychedelic guitar riffs, the crazy tough Funk and the groovy
sharped beats to the lovely Jazz arranged theme music influenced by
Samba, Bossa Nova and Easy Listening vibes of the time. I Marc 4
provided some of the best cinematic and theme music of the time, and
this is one of their deepest productions. Top Italian Library LP
production and unmissable piece for collectors of the genre!
“Cream” by The Black Fire is a nearly impossible to find italian LP from
1973. A Library album that mix several themes including psychedelic
sexy whispered scat vocals, space synth lounge, lazy bossa with
spinetta, fender rhodes and a lot of congas, bongos and insane flutes;
it also includes the killer wah-wah funk tune “Alcoholic” used years
later as the opening song of the kung fu movie Operation Cobra aka
Squadra Omicidi Chiama Cobra.
Original colorful artwork by the painter G. Pinna.
The story of Movements began in 1969 with Johnny Harris being hired as
musical director for Lulu’s BBC television show, “A Happening For Lulu”
which would feature a different artist each week along with a featured
instrumental section of Johnny Harris and his band playing popular hits
of the day that were requested by viewers. Lulu with Johnny Harris would
go onto winning Eurovision in 1969 with “Boom Bang A Bang” and Johnny
was signed to a three album deal with the newly formed U.K arm of Warner
Bros. The first album in this deal was Movements in 1970. The second
release for Warner Bros in the U.K Movements was recorded live at the
Royal Albert Hall in London.
A legendary sound library set from the 70s Italian scene – exactly the
kind of record that got so many folks digging for sound library funk so
many years ago! The record's a masterpiece of funky rhythms, jazzy
instrumentation, and warmer touches – served up with plenty of Fender
Rhodes in the mix, plus sweet flute lines, wah wah guitar, and just the
right use of strings to give the whole thing almost a blacksploitation
vibe at times! The set was billed to the team of Jay Richford and Gary
Stevan – but it's actually the product of better-known sound library
maestros Sandro Brugnolini and Stefano Torossi, who work here at a level
that's at the top of their powers. There's almost a cop/crime vibe to
the record at times – and although some instruments solo at points, the
real groove lies in the tight vamping of the orchestra – which hits all
the right notes to really send the whole thing soaring – often with a
nice use of tone and color too!
A pugni nudi” (With bare fists) – presented with a more than explicit
subtitle “For a sad experience in a juvenile detention center” – is a
1974 film directed by Marcello Zeani; it can be associated to the
Italian police genre, but it stands on its own due to its being set in
the world of boxing.
It’s a drama movie too, with a non-optimistic nor hopeful ending at
all, accompanied by the music of Franco Bixio, with a distinctive
jazz-rock imprint, a strong presence of symphonic arrangements and a
singular more ‘disengaged’ episode (“Split second”, on the B side of the
LP).
Together with his brother Carlo, Franco Bixio was the founder of
Cinevox Record, which originally published this album in 1974, the same
year of the film screening in theaters. A small gem, equally able to
describe dramatic and tensive moments!
The soundtrack to Franco Rossi's 1962 film Smog is the second-to-last collaboration between famed Italian composer Piero Umiliani and then self-exiled trumpeter Chet Baker.
The pair had previously worked together on 1958's I Soliti Ignoti,
1959's Audace Colpo dei Soliti Ignoti, and 1960's Urlatori Alla Sbarra,
and later collaborated on 1964's Intrigo a Los Angeles. On Smog
we get the best of both worlds: the composer and arranger is featured
prominently his charts for "Dawn" and the title track -- both excellent
vehicles for vocalist Helen Merrill -- are the stuff of dreams. Umiliani's
sense of timing, space, texture, and color is magnificent. In addition,
his sophisticated sense of humor is displayed on "California in the
Summer," as it fully engages Latin rhythms in a hard bop setting (not to
mention deliberate quotes from "Tequila" in one section). Baker's
soloing is as meaty and muscular and as it is on his Roulette sides
from a year later. (Check "Tension," with the orchestra kicking in on
the back of the quartet delivering a mean Latin bop groove, or his
soulful flügelhorn on the noir-ish fingerpopper "Smog II.") That said,
whenever his requisite expressiveness is called for -- as on "Twilight
in Los Angeles" -- he delivers big. And though Baker doesn't solo on every track, Umiliani's
tunes are so hip and his charts so imaginative that he doesn't need to.
Schema's Rearward imprint has done it again in reissuing this priceless
gem. (A note for audiophiles: the sound on this single volume is far
better than on the box set of the complete film scores from the Moochin'
About label.)
Taste :
Piero Umiliani with Chet Baker – Neapolitan Phantasy
One of the grooviest albums we've ever heard from Erlon Chaves – a
Brazilian arranger who got his start in the bossa generation, later did
some more traditional music – but here explodes with this great fusion
of European and Brazilian soundtrack styles! The record's credited to
the Orquesta St Moritz – most likely a studio group with a European
name, for good pedigree – but there's a huge amount of sounds here that
rival some of the best modes coming from the EMI/Odeon label at the
start of the 70s – particularly the mix of samba and bossa elements with
larger funky arrangements, then given a more sophisticated twist – as
you'd find in the music of Marcos Valle!
Sweet vibes from the great Lionel Hampton – sounding different here than
both his early swing years, and his later small combo modes – and
working in a style that has his instrument in the lead over hip Chicago
soul backings from the team at Brunswick Records! The album's got a
nicely laidback vibe, and a mix of core instrumentation with larger
charts that's not unlike some of the cool Cadet Records work by Ramsey
Lewis at the end of the 60s – except with vibes, not piano. Willie
Henderson and Tom Tom Washington did the arrangements – and nearly every
track's an original by Eugene Record.
Creating a stirring and enriching blend of Spanish and Latin American flavors in his music, jazz guitar legend Charlie Byrd put Brazilian bossa nova on the map in the States with this follow-up, More Brazilian Byrd. With finesse and dexterity, the passion and lively soul of his melodies and lyricisms flow from Byrd's classical guitar like a river of musical heaven. From the charging and percussion-laden opening track, Antonio Carlos Jobim's "One Note Samba," to the mellowness and gentle innocence of "Pretty Butterfly," Byrd
tackles a wide variety of dynamic textures, beats, and color tones with
honesty and zest. Throughout the record, both its driving, uplifting
side and its peaceful, ethereal tones (as on "Felicidade" and the quite
sorrowful "How Insensitive"), Byrd
demonstrates his ability to capture the heart and soul of the pieces
with vintage style, grace, and a touch of romance. His backing band also
deserves much credit for presenting such compelling and richly textured
percussion and melodies. Joe Byrd takes the music to a higher level with richly textured, crisp basslines. Bill Reichenbach
assumes the duties of percussion and drums, bringing them to the center
with dazzling and soaring bossa riffs. The strings are orchestrated and
arranged by the genius of Tom Newsom, creating a brilliant portrait, both shadowy and haunting at times. Hal Posey puts a charge into the trumpet and flügelhorn, with producer Teo Macero sharing time on saxophone. The string arrangements sound quite eerily like Miles Davis' work with Gil Evans.
The reason may lie in the identification of the sheer sound of '60s
jazz, this record especially being used as a key model of the decade's
most defining works. Wonderfully arranged and lavishly produced, this
record is a perfect fit into the collection of any avid jazz fan. Filled
with marvelous guitar phrasing, radiant horn and flute leads, and
crackling percussion, More Brazilian Byrd is just plain "more Brazilian."By All music
Από τις αρχές τις δεκαετίας του 70 ως και το 2000 στη Ελλάδα
γυρίστηκαν περισσότερες από 250 πορνογραφικές ταινίες. Οι περισσότερες ήταν “μαλακές”
στις οποίες βλέπαμε να πρωταγωνιστούνγνωστά ονόματα ηθοποιών του εμπορικού σινεμά και σχεδόν το ένα τέταρτο
από αυτές ήταν οι “σκληρές” με αγνώστους
μάγκες και άσημες μόρτισσες όπου χρησιμοποιούσαν ψευδώνυμα. Υπήρξαν δε χρονιές
που οι ταινίες αυτές αποτελούσαν τη πλειοψηφία τις εγχώριας κινηματογραφικής
παραγωγής. Ένα παράδειγμα26 απ τις 38
ταινίες που κυκλοφορήσαν την περίοδο 75-76ήταν τέτοιες , ενώ δεν έλειψαν οι περιπτώσεις που ανέβηκαν μέχρι την
δεύτερη θέση του πίνακα των εμπορικότερων ταινιών της χρονιάς , με διαφορά
μόλις 11 χιλιάδες εισιτήρια απ το καλλιτεχνικό Χάππυ Νταίη που την περίοδο
76-77 βρισκόταν στηνπρώτη θέση.
Αυτό που πάντα μου προκαλούσε έκπληξη, ήταν το soundtrackη
το scoreσ αυτές τις ταινίες. Προσωπικά εγώ τα χωρίζω σε τρεις
κατηγορίες.
H
πρώτη είναι τα soundtracksταινιών που είδαν το φως της δημοσιότητας μέσα από επίσημες
κυκλοφορίες. Το “Αγκίστρι” η “Αναζήτηση”το “Σπίτι στους βράχους”το “Κυνηγημένοι
εραστές” “Τα παιδιά των λουλουδιών” “Εκείνο Το Καλοκαίρι” ‘Κατήφορος” "Οργια στην Κερκυρα"η κάποια κομμάτια σε συλλογές από την “Γυναικοκρατία”
“Ίλιγγος” “Εγωισμός” “Μεγάλος έρωτας” και
άλλα.
Μια δεύτερη κατηγορία είναι αυτά τα soundtracksπου
ποτέ δεν είδαν το φως της δημοσιότητας είτε γιατί δεν ενδιέφεραν κανέναν, είτε
γιατί χάθηκαν, είτε γιατί πάνω στις ταινίεςγραφτήκαν άλλα. Ελπίζω κάποια στιγμή να βρεθούν (ότι μπορεί να βρεθεί)
και να κυκλοφορήσουν.Κάποια από αυτά
είναι τα “Διαμάντια στο γυμνό σου σώμα” “Κάνε με δική σου” “Το Κορίτσι και το
άλογο”, “ Μαύρη Αφροδίτη ” με
πρωταγωνίστρια την Ιταλίδα τρανςέξουαλ Ατζίτα Γουίλσον και με soundtrack (κατηγορίας Εκείνο Το Καλοκαίρι) γραμμένο από τον Γιάννη Σπανό (αυτό θέλει ένα ψάξιμο
αν τελικά ο Σπανός είχε γράψει το soundtrackη δεν ήταν “δανικά”τα κομμάτια που ακούγονται) το “Νησίτης Αμαρτίας” με την μουσική του Γιώργου Κριμιζάκη κ.α.
Η τρίτη κατηγορία είναι τoscoreη αλλιώς η μουσική επιμέλεια.Νομίζω ότι αυτή η κατηγορία κερδίζει κατά
κράτος τις δυο παραπάνω .Έτσι λοιπόν
καλούνταν ο μουσικός επιμελητής (μπορούσε να ήταν ο οποιοδήποτε από την ομάδα
παραγωγής)να ντύσειμε ότι μουσική ήθελε
την ταινία φτάνει μόνο η μουσική να ανταποκρινόταν στις αντίστοιχες σκηνές
(φαντάζομαι) και στο περιεχόμενο αυτών. Φυσικά δεν ήταν πάντα πετυχημένες.
Για παράδειγμα στην ταινία “Ανώμαλοι έρωτες στη Σαντορίνη” σε
μια καυτή σκηνή στην ακροθαλασσιά ακούς “Poussez - Come on and do it” η στο “Γυναίκες που ζητούσαν τον έρωτα” σε
σωστή σκηνή ακούς το LonelyDaysτου PaulMauriat.
Στο “Έξι διεστραμμένες ζητούν δολοφόνο” η Σπάθη μαστιγώνει την Αντα
Βαρθολομαίου υπό τους ήχους του “AnnieBelle” (FrancoBixio)
και σε πιάνουν γέλια . Στο“Οι νονοί της
νύχτας” σε καυτή ερωτική σκηνή ακούς “OliverSain - GoinBackToMemphis”
η στην αγαπημένη μου “Νεφέλη” ξεκινάει με το βασικό θέμα απ την ταινία “Τα
παιδιά του Διαβόλου” με την φωνή τηςΜίλλη Κάραλη για να συνεχίσει παρακάτω με μιαφοβερή loungeκιθαριστική διασκευή στο κομμάτι “Το
παλιό ρολόι”που τραγούδησε ο Γιάννης Καλατζής.
Είναι τόσα πολλά που μπορώ να γράφω σελίδες ολόκληρες.
Η αφορμή για το ψάξιμο στο “Μέλι το κορμί της” ήταν ότι το βασικό
θέμα της ταινίας είναι το “EvenIfYou’reNotTheFirstOne” (το οποίο είχα στην δισκοθήκη μου) από την
ταινία “LosAmigos”
1973. Στην Ελλάδα παίχτηκε με τον τίτλο “Το Πέμπτο Έγκλημα” σε σκηνοθεσία του Πάολο
Καβάρα και την μουσική του Daniele Patucchi . Την μουσική είχε επιμεληθεί (όχι μόνο
για αυτήν την ταινία) ο γνωστός σκηνοθέτηςΒαγγέλης Φουρνιστάκης, ο οποίος υπήρξε
ιδιοκτήτης της εταιρίας παραγωγής κινηματογραφικών ταινιών & βιντεοταινιών "Ανδρομέδα
Φιλμ" .
Το… “Μέλι το κορμί της” η με τον δεύτερο τίτλο “Παράλογοι
Πόθοι” 1975(σκηνοθεσία Ηλία Μυλωνάκου και
παραγωγής “Ανδρομέδα Φιλμ") , είναιη μοναδική φιλμική υπεράσπιση του Μυλωνάκου, για τηνγυναικεία ομοφυλοφιλία , έστω κι αν ο λόγος
της διέπεται από την συντηρητική ηθική του 70,που δεν επιτρέπει στις δυο
ηρωίδες (Τίνα Σπάθη και Μάγδα Μακρή) να δουν τον ερώτα τουςνα ανθίζει. Είχαμε βέβαια προγενέστερη, αντίστοιχης
υπόθεσης τον “Λεσβιακός Αύγουστος” 1974
η αλλιώς “Οι Λύκαινες” τουΕρρίκου
Ανδρέου, αλλά αυτό είναι μια άλλη ενδιαφέρουσα ιστορία που θα την πούμε κάποια
άλλη στιγμή.
Από κει και πέρα για μένα, ξεκινά μια πραγματική περιπέτεια
με ώρες ψαξίματος και ακροάσεων μέχρι να φτάσω (ενάμιση χρόνο μετά), στην ολοκλήρωση
αυτού του score. Ελπίζω
να το απολαύσετε! Καλή ακρόαση!
Σημείωση 1 : Οι τίτλοι των κομματιών είναι δικιάς μου
εμπνεύσεως.
Σημείωση 2 : Υπάρχει
μέσα στο scoreκαι ένας Armando Trovajoli με το κομμάτι “MoonOverParaggi” (ο δικός μου τίτλος “The
Foor”) το οποίο μπήκε στην ταινία “Luna di miele in tre” του 1976.
Σημείωση 3 : Το
κομμάτι “Club Background Source” δεν περιέχεται στην ταινία.
On demand jazz library album on the cult french label Neuilly. Really
pleasant album with Guy Boyer on vibes and arrangement. Includes the
deep modal jazz tunes like "Vibra conceptions", "Jazz on vibes" or the
on fast paced "Bongos and Sound" with brilliant drum breaks and killer
vibes solo. This is the Creasound version of the same release on Neuilly
called "Ballade pour un Vibra" with one extra track.
This LP from Stringtronics offers a genuinely psych/baroque
exploration, that could be considered the missing link between David
Axelrod’s “Song of Innocence” and Ennio Morricone’s Sergio Leone period,
with a light exotic touch. It features an astonishing dynamic 6-track
suite, written and conducted by the versatile virtuoso Barry Forgie.
Stringtronics also gives stunning ethno-lounge music from famous French
composers Nino Nardini & Roger Roger.
Amazing work from the legendary Piero Umiliani – a perfect soundtrack to
show the warmer sound of his talents, which are sometimes eclipsed by
his weirder electronic modes! The soundtrack's from an erotic film
starring sex-goddess Zeudi Araya, but despite the kinky origins of the
material, the music's actually got a lot more sophistication than you'd
expect – and the score feels more like a Morricone cerebral one than a
cheesy sexy one – with dreamy wordless vocals floating around in the
mix, and these sweet-stepping basslines that are especially wonderful –
setting a slow funk current at great moments, in that Euro easy way of
blending some hip bass with warmer strings and other instrumental
touches. There's some haunting piano at points, too – and Umiliani has a
great way of making the music sound emotive, but never sappy at all.
The film
Also known as The Sinner on UK VHS, this one could almost be mistaken
for a D'Amato Black Emanuelle film (as well as Jess Franco who also had a
film with the same video title). The Italian title translates
as The Moon-Skinned Girl, a reference to the amazingly attractive Zeudi
Araya, who made two other films with the same director. As a film it
really typifies the 'eurotika' of the 1970s - the story concerns a
couple with marital problems who escape to the Seychelles and the
husband meets - and has an affair with - the title character. The wife
meanwhile meets an ex-pat living there (Giacomo Rossi-Stuart!) with whom
she has a fling. The couple realise their love for each other and
return home stronger for it.
Value : From 280 to 400 euros (the original issue)
A very cool record from Luis Bacalov – and one with a sound that's quite
different than some of his more familiar, more sentimental soundtrack
material! This one's got a wild mix of modes – from moody, atmospheric
tracks, to funky bits, to more tripped-out passages – all with
instrumentation that feels much more like it's from the Piccioni or
Umiliani camp than the usual Bacalov styles! The whole thing's one of
the more obscure numbers in Luis' soundtrack catalog.
An incredible little record with a sound that's unlike anything else
we've ever heard before – a set that mixes jazzy inflections on vibes,
organ, guitar, percussion, and flute – the last of which is played here
by a young Hermeto Pascoal! The set was done after Pascoal's work in
Quarteto Novo but before some of his more complicated jazz albums of the
70s – and it's got a style that mixes his own love of playful rhythms
and complicated shadings with a lighter, freer approach to the music –
one that's almost in line with some of the EMI/Odeon work of the time,
but which comes off with a slightly different feel. The drums get quite
funky at times, and the mix of instruments reminds us a fair bit of the
legendary Aquarians album on Uni from the US – but with an influence
that's more bossa-driven, in comparison to the Latin modes of that set.
At times, there's a lightly dancing beauty to the record that's almost
in soundtrack mode – but tunes are more focused overall, and clearly
aware of their own instrumental power.By Dusty
One of those rare gospel albums that sounds nothing like conventional
gospel – and which instead is a wonderful criss-crossing of soul, funk,
and spirit – all guided by an artist who's as righteous as his message!
The set was recorded in Nashville, and has a nicely laidback approach –
with lead vocals from Andre Wartts, in a raspy style that almost owes a
bit to Curtis Mayfield – especially in the way that Curtis could easily
shift between the secular and spiritual, and always make the whole
thing sound incredibly personal. Yet there's also some currents of
jazz, some moments of funk, and a really collaborative approach to the
album – as the Gospel Storytellers are clearly a very close-knit,
intimate group – one who really come alive when some of the backup
vocalists join Andre's lead.By Dusty
Taste :
Andrew Wartts And The Gospel Storytellers - There Is A God Somewhere
