Based on the novel written by Australian actor Roger Ward (Mad Max,
Stone, Turkey Shoot) The Set was a highly controversial film upon its
release in 1970 in which it's alternate attitudes towards sexuality
challenged the traditional mores of the mainstream society. Scored by
the highly respected and unique jazz original Sven Libaek, the music has
also been unjustly overlooked from any recent focus on Australian
cinema. Incorporating elements of Baroque and sunshine pop as well as
moody mod jazz, The Set is an incredible timeðpiece of Swinging Sydney.
Featuring Libaek regulars and top rank Australian jazz players, (Don
Burrows, John Sangster, Errol Buddle etc).
Cult folk funk opus from two
Hawaiian sons of a dolphin whisperer, this self-titled album was written
and released 45 years ago but still sounds just as calming, alluring
and mystical as ever. The dreamy flutes and staggered tempo of "Wake Me
In The Morning", the gutsy ballad and soaring strings of "Joe Arnold",
the staccato bluesy pop of "Katy" and the positively Balearic classic
"High Tide"... Moments like this will always resonate. The only album
the Batteaux brothers ever released, relatively rare and prone to
bootlegs, this is the first official re-release in over five years and a
great chance to catch up.
Cinedelic Records present a reissue of Musica Amore, the extraordinary
album by Maestro Piccioni originally released in 1972. Musica Amore
includes songs from various soundtracks showing Piccioni's many facets.
He utilizes the gorgeous voice of Shawn Robinson in "Right Or Wrong" and
"Once and Again", from giallo thriller ...Dopo Di Che, Uccide Il
Maschio E Lo Divora (1971), the choir I Cantori Moderni di Alessandro
Alessandroni, the band of I Marc 4 (Maurizio Majorana, Antonello
Vannucchi, Roberto Podio, Carlo Pes) and soloists of the caliber of
Gianni Basso and Dino Piana. An absolutely killer album with superb
arrangements, funky beats, exotic sounds ("Ebony Ride"), breaks, erotic
lounge, beat, shake ("Abigaille"), psychedelia ("Fiore Nero"), and jazz,
that stands as a key album in the world of Italian library music and
soundtracks. By twoheadeddog
The Square Set was a 1960s rock band from Cape Town South Africa, known for their songs Silence is Golden (SA number 1 Hit (1967)) "Carol Corina" (SA number 10 hit (1968)), and "That's What I Want" (international number 1 hit in Brazil, Argentina, and Portugal (1971-1972)).
The band formed in March 1966 and was called Neville Whitmill and the
Humans. Founder members Nol, Neville, Derek and Keith rehearsed daily
for 6 months composing new songs and covers before contracting their
first professional gig at the Clifton Hotel.
Nol Klinkhamer hailed from the Conservetoire of Music in Holland
having a degree in Jazz played piano, organ and the vibraphone. Neville
Whitmill a Soul singer from Cape Town had influences from Buddy Holly,
Ray Charles, Ottis Redding, Marvin Gaye. Derek Marks from Cape Town
enjoyed rock bass playing with influences from bands like The Beatles,
Small faces, Dave Clark 5 and Keith Moffat from Cape Town also enjoy
playing Rock music. During the rehearsal stage they landed a gig at the
"Stables nite Club" in Church Street Cape Town which gave them a venue
to hone and perfect their craft. The venue was usually packed to
capacity to hear the band. At this time the band decided to record their
music and in August 1966 met Ian Martin (recording engineer) and
Lindsay du Plessis (owner) of A.V.S studios Bree Street CT. It was at
this time that a name change was much needed. During a studio break the
four got together to thrash out names and it was Nol Klinhamer who
suggested "The Square Set".
The band combined soul vocals and jazz organ (with the Hammond organ
growing in popularity at the time) with rock bass and drums. The Hammond
sound can be heard on most of The Square Set songs.
The previously unreleased 'Silence Is Golden' had a makeover with
Graham Beggs at the helm and was released on Gallos Continental label in
or about March 1967. It reached number 1 on the Springbok radio charts
around July 1967.This led to the release of the bands first full album, 'Silence Is Golden'.By Wikipedia
'That's What I Want', a song first recorded by UK group The
Marauders in 1963, was also recorded by by The Ronnie Singer Sound, a
Cape Town band Marks had previously worked with. The latter version was
given to The Square Set to record. The song was changed to accommodate
the lineup and added to the 'Silence Is Golden' album. This song was
later released in South America on the Decca label and rose to number 1
in Brazil, Argentina 1971 and number 1 in Portugal in 1972.
A seminal set from Ned Doheny – a lasting bit of California cool from
the 70s, and a record that's every bit as refreshing as its image on the
cover! The sound is tight, but never too slick – well-crafted
songwriting with equally well-crafted production and studio execution –
but somehow in a space that's far from the charts, too – which makes the
whole thing a really great discovery in music! Ned Doheny's got a way
of hitting an AOR vibe, but holding into more personal elements too –
and the vocals glide along with the music with the same charming vibe.By Dusty
Polish composer, arranger, vocalist and keyboardist Piotr FIGIEL
(1940.04.13 - 2011.12.22) is probably best known for composing music for
other artists, movies, TV, radio and theatrical plays. But in the
1960's he was an active musician himself, and toured Scandinavia with
The Clivers. Later he would concentrate on studio work, as a
collaborator with other artists in one capacity or another or for
recording material for a wide variety of purposes.
Figiel also
recorded and released a couple of solo albums: Piotr in 1971 (also known
as Organ Hammondy) and Music in 1976. Of these two productions it's the
former that will be of interest to fans of progressive rock, especially
if you have a soft touch for jazzrock and fusion. The latter appears to
be more of a purebred pop production, and from some descriptions
apparently more of a compilation in spirit, but issued under Figiel's
name.
.
Όταν είσαι στον χώρο του θεάματος-ακροάματος πάνω από τριάντα χρόνια,
όταν στην αρχή της καριέρας σου είχες χαρακτηρισθεί το «τρομερό παιδί» των
(ελληνικών) σόου-μπίζνες όταν στην εποχή της βασιλείας της ιδιωτικής τηλεόρασης
είχες διαπρέψει μπροστά και πίσω από την κάμερα, φτάνοντας στο σημείο να
σφετεριστείς ένα πετυχημένο αμερικανικό sitcom και να το μετατρέψεις σε «δική
σου» κωμω¬δία καταστάσεων, θα ήταν αδύνατο να μην είχες διαπρέψεις σε αυτό που
οι ξένοι ονομάζουν exploitation film.
Ο λόγος, φυσικά, για τον Νίκο Μαστοράκη,
ο οποίος, μετά «Το κορίτσι βόμβα» (η γαλανομάτα Μαρία Αλιφερη, άβουλη μαριονέτα
στα χέρια της Ανατολικογερμανίδας κατασκόπου Τζέσικα Ντάμπλιν προστατεύεται από
τους αεικίνητους και διόλου νωθρούς ζιγκολό Χρήστο Νομικό και Πάερ Γουίντερ),
υπέγραψε αυτό το τολμηρό για την εποχή του θρίλερ τρόμου, με πρωταγωνιστές δύο αδέλφια
και εραστές.
Θέλοντας να ξεφύγουν από τον Άγγλο αστυνομικό Φόστερ (Τζέραρντ
Γκόναλονς), που τους καταδιώκει για μια σειρά εγκλημάτων τους, ο Κρίστοφερ
(Μπομπ Μπέλινγκ) και η Σέλια (Τζέιν Ράιολ) έρχονται στη Μύκονο, αποφασισμένοι
να επαναφέρουν στο νησί την αρχική του αθωότητα, αυτήν που του στέρησαν οι
–κατ' αυτούς- διεφθαρμένοι κάτοικοι του.
Μία νεαρή ζωγράφος, ένας ομοφυλόφιλος (Ρέι Ρίτσαρντσον) και ο εραστής του, μια
πλούσια νυμφομανής (Τζέσικα Ντάμπλιν) μία τοξικομανής λεσβία σερβιτόρα (Τζέσικα
Μακ Κονελ) δύο χίπις και φυσικά, ο ίδιος ο Φόστερ συγκαταλέγονται ανάμενα στο
θύματά τους. Η Σέλια και ο Κριστοφερ τους σκοτώνουν όλους εν ψυχρώ, με
διάφορους τρόπους : τους φυτεύουν μία σφαίρα στο κεφάλι, τους σφάζουν με σπαθί,
τους βάζουν φωτιά με σπρέι, τους καρφώνουν με τσιγκέλι , τους αποκεφαλίζουν με
το πιρούνι μιας μπουλντόζας. Όταν η αστυνομία τους υποψιάζεται, φεύγουν στα
ορεινά και βρίσκουν καταφύγιο στη μάντρα ενός βοσκού (Νίκος Τσαχιρίδης), που
πετά τον Κρίστοφερ σ’ έναν λάκκο με ασβέστη και βιάζει την αδελφή του. Η βροχή
που πιάνει ενεργοποιεί τον ασβέστη και οι ηδονικοί αναστεναγμοί της Σέλιας
αναμιγνύονται με τα ουρλιαχτά του Κρίστοφερ, που σιγοκαίγεται!Η ανάμειξη των ερωτικών εικόνων (που
περιορίζονται στις προ και μετασυνουσιακές στιγμές) και των μοτίβων διαστροφής
(ο ηδονοβλεπτισμός των δύο πρωταγωνιστών, η εκστρατεία του Κρίστοφερ ενάντια
στους τοξικομανείς, τους ομοφυλόφιλους, τις λεσβίες και κάθε γυναίκα ελευθερίων
ηθών) με την απροκάλυπτη βία (την ωμότητα των τρόπων εκτέλεσης των –
διεφθαρμένων - κατοίκων του νησιού ), συνθέτουν μια σχεδόν σαδιστική
τοιχογραφία, με ερεθιστική εικονογραφία και φρικτά φονικά.
Ωστόσο, στην
αποφασιστικότητα του νεαρού να εξοντώσει τους παραβάτες της ηθικής (συχνά υπό
το άγρυπνο βλέμμα της αδερφής του),αντανακλάται ο σεξισμός του σκηνοθέτη που παραμένει ζωντανός ακόμα και
μετά την πικρά ειρωνική, κυνική και συνάμα ευτυχή κατάληξη.
GRUPA 220 was formed in 1966, in Zagreb, Croatia (ex-Yugoslavia) with
members of bands "Ehosi" and "Jutarnje zvijezde" . They had their first
gig in october the same year. In december they record their first song
"Osmijeh" which becomes a big hit right away. Very soon they become one
of the most popular bands in former Yugoslavia. Long hairs and "flower
power" clothes attracted lot of young people. Flowers were the tickets
for their concerts. In 1967 and 1968 Drago Mlinarec (vocal and guitar)
composed music for two films "Protest" and "Tri sata ljubavi". They take
part in "Zagreb 68" and "Split 68" festivals, and also first "Pop
festival" in Zagreb. Grupa 220 released the first rock long play record
in ex-Yugoslavia "Naši dani". They played as support band on the
concerts of Marmelade, Status Quo and Mungo Jerry when they were touring
ex Yugoslavia 1968. 1971 Drago Mlinarec leaves the band and goes solo.
Grupa 220 continues to exist and record without him till 1975 when they
split up.By Jugo Rock Forever
Britxotica - London's Rarest Primitive Pop & Savage Jazz
Label : Trunk
Value :
Not exotica, but Britxotica – a cool variant of the American postwar
love of the sounds of the islands and the jungles – served up here in a
really hip batch of tracks from the UK scene of the late 50s and early
60s! Many of these numbers are rooted in jazz, and there's definitely
some key jazz musicians in the mix – but you'll also hear lots of the
percussion, global instruments, and moody orchestrations you'd find on
American records by folks like Les Baxter or Martin Denny – although
sometimes with an even groovier vibe, and a nice London twist – similar
to some of the Croydon Municipal compilations from Cherry Red!By Dusty
Britxotica Goes East! – Persian Pop & Casbah Jazz From The Wild British Isles!
Label : Trunk
Value :
Groovy Brit tunes with exotic Far East influences – affectionately
compiled by the deep digging geniuses at Trunk Records! Persian Pop
& Casbah Jazz From The Wild British Isles is an apt description,
alright – as the vibe is very much in a bright, groovy late 50s/early
60s Brit mode, with jazzy pop and hip soundtrack style to spare – with
lyrical and instrumental odes to the Far East that are sweet and
endearing in ways that transcend the cheeky exotica of the time.
Wonderful stuff – with tunes by The Beverley Sisters, Chico Arnez,
Johnny Keating, Tony Osborne, Ray Ellington and more. By Dusty
Taste :
Kenny Day The sheik of Marocco
Tropical Britxotica! – Polynesian Pop & Placid Jazz From The Wild British Isles
Label : Trunk
Value :
The Britxotica sound is back in wonderful form – that fantastic postwar
meeting of musical modes that happened every bit as much on the London
scene as it did in the US! In fact, given the Caribbean and colonial
ties of British culture, we might almost make the argument that some of
these tunes have more of an authentic imprint than American exotica of
the time – although "authentic" is hardly the name of the game here – as
the music really gets its charms from the way that the sounds of the
islands are reworked for the dancefloors of Soho at the end of the 50s. By Dusty
Rita Lee of Os Mutantes and her friend Lúcia Turnbull's first outside
project, these recordings were done for Philips in 1973. Cilibrinas Do
Éden have played at Os Mutantes show in May 1973, at Palácio de
Convenções do Anhembi, in São Paulo. It was Cilibrinas' first gig. At
this show, Rita and Lúcia played with all the Os Mutantes backline, the
show appeared to be a psychedelic edge with Rita and Lúcia dressed like
some outside aliens for that time. They also dressed in colored clothes
and feathers like a progressive rock band. Never officially released on
vinyl or CD,
Now a group of Brazilian fans with European residence pick
the recordings and put them in this deluxe vinyl format, with only 500
numbered copies done.
This release contain also two rare outtakes from Os
Mutantes. You will certainly dig this if you like Mutantes: these
recordings are a mix of the psychedelic Os Mutantes with some glam-rock
freakness. Fantastic, professionally remastered sound, unbelievable
material for all the Os Mutantes fans, and one of the best lost albums
of Brazilian psychedelia!
P.S The original album was recorded, but never came out in 1973. I didn't want to merge this with the 2008 Brazil unofficial release.
To 1975 στο φεστιβάλ Καννών προβάλετε το πορνογράφημα του
Lasse Braun (κανονικό του όνομα Alberto Ferro) με τίτλο
"Sensation".Το φιλμ προκάλεσε έντονες αντιδράσεις. Λογικό, αφού η ιστορία
έχει να κάνει με δυο Αγγλιδουλες οι οποίες ταξιδεύουν ως το Άμστερνταμ αναζητώντας
την απόλυτη σεξουαλική εμπειρία δίχως όρια και ενδοιασμούς. Προσπερνώντας το
στορρυ και παρατηρώντας τα πλάνα τη φωτογραφία (Falcon Stuart συνεργάστηκε με
Peter Blake και Robert Altman) την παράγωγη και την αισθητική βλέπουμε ένα αποτέλεσμα
που όμοιο του δεν υπάρχει. Ακόμα και η μουσική είναι γραμμένη εξ ολοκλήρου γι αυτό
το φιλμ απο κάποιον Richard Moore. Ένα mix απο prograssive rock,pop και funk! Δεν
ξέρω ποιος κρύβεται πίσω απ το όνομα Richard Moore. Ξέρω όμως ότι στο μπάσο ήταν
ο Adrian Shaw (The Crazy World Of Arthur Brown και Hawkwind) και στη παράγωγη
του δίσκου ξανά βλέπω τον Falcon Stuart ο οποίος ήταν μάνατζερ και μουσικός παραγωγός
αργότερα των X-Ray Spex,Adam and the Ants και της Danielle Dax. Τέλος το
Sensation είναι η πρώτη πορνογραφική ταινία που κυκλοφόρησε επίσημα στις ΗΠΑ.
Sensations is a 1975 hard core pornographic film written by Veronique
Monet and directed by Alberto Ferro. It stars the writer and Brigitte
Maier and features an appearance by Tuppy Owens. It was exhibited at the
Cannes Film Festival and became the first European pornographic film to
be distributed in the USA.
The music is a mix of prog rock , funk, and strange French 70s pop, with a small funk group backing.
Action Beat & Psycho Grooves is yet another sensational explosion of audio excitement from the 1960s/1970s Italian cinema and library scene. Landmark recordings of top-shelf compositions by Ennio Morricone, Nora Orlandi, Cipriani, Fidenco, and others from the pantheon of the genius Italian composers pool. Performed by some of the best studio musicians on earth at the time, the works on this volume range through shimmering psych, mod-pop nuggets, breathless Euro folk-rock, sinister crime hard-rock, and a host of other addictive tracks that will blow your mind! Full-color gatefold sleeve bearing collage artwork with still shots from Italian films of the period.
....The rains tumble down in the sky
Young swallows have learned how to fly
The leaves that were green are no longer so green
And it looks like the summer is over...
Γιοι
του ντράμερ Hugh και της τραγουδίστριας
Barbara, οι τρεις αδερφοί Gibb πραγματοποίησαν
την πρώτη τους επαγγελματική εμφάνιση
το 1955, όταν ο Barry ήταν εννέα ετών και οι
δίδυμοι Robin και Maurice επτά. Ως Bee Gees (από
τα αρχικά του Brothers Gibb) κυκλοφόρησαν το
ντεμπούτο άλμπουμ τους το
1967 και μέχρι τα τέλη της δεκαετίας του
'60 δημιούργησαν μια σειρά από ιδιαίτεραενδιαφέροντα pop τραγούδια, που εντυπωσίαζαν κυρίως για τις
ενορχηστρώσεις των εγχόρδων και τη soul μελαγχολία τους (εκείνη ακριβώς που κάπου δέκα χρόνια αργότερα θα εξαντλούσε τα όρια της μελιστάλαχτης υπερβολής). Η καριέρα των αδερφών Gibb ως κύριο χαράκτηριοτικό της ανέκαθεν είχε το φωνητικό τους μείγμα τις περίπλοκες -αλλά πάντα απόλυτα φυσικές- τριμερείς τους αρμονίες. Από εμπορική άποψη, οι Bee Gees είναι αναντίρρητα ένα από τα πιο επιτυχημένα μουσικά σύνολα στην ιστορία της δισκογραφίας: Μόνο οι John Lennon και Paul McCartney έχουν γράφει περισσότερα No 1 σινγκλ των αμερικανικών τσαρτ απ οτι Barry Gibb. Οι πωλήσεις των δίσκων τους άλλωστε (πάνω από 100 εκατομμύρια αντίτυπα παγκοσμίως) μιλούν από μόνες τους.
Ως
τραγουδοποιοί, οι Bee Gees έγραψαν δεκάδες
επιτυχίες για τους ίδιους αλλά και για
πολλούς άλλους καλλιτέχνες, από τον
Elvis Presley ως τον Αl Green και από τη Nina Simone ως
την Janis Joplin. Έχουν κερδίσει πέντε φορές
το βραβείο Grammy και το 1997 εκλέχτηκαν μέλη
του Rock n Roll Hall Of Fame. Μετά το θάνατο του
Maurice από καρδιακή προσβολή τον Ιανουάριο
του 2003» οι Robin και Barry αποφάσισαν να
διαλύσουν οριστικά το συγκρότημα.
To 1st είναι ένα ψυχεδελικό pop album το τρίτο στούντιο άλμπουμ των Bee Gees.Κυκλοφόρησε 14 Ιουλίου 1967 στο Ηνωμένο Βασίλειο, και 9 Αυγούστου 1967 στις Ηνωμένες Πολιτείες. Παρά τον τίτλο του άλμπουμ δεν ήταν η πρώτη δισκογραφικη δουλεια τους. Η πρώτη ήταν το 1965 και ήταν διαθέσιμο μόνο στην Αυστραλία και τη Νέα Ζηλανδία.Ήταν όμως το πρώτο τους άλμπουμ που θα κυκλοφορήσει «διεθνώς» κατω απ τηνετικέτα της Polydor.
Το εξώφυλλο του άλμπουμ έχει σχεδιαστεί από τον Klaus Voormann ο οποίος είχε προηγουμένως κάνει το εξώφυλλο για το Revolver των Beatles.
Οι Los Angeles Negro σχηματίζονται
το 1968 στο San Carlos της Χιλής. Η αρχική
σύνθεση της μπάντας ήταν οι Germaín de
la Fuente τραγούδι, Mario Gutiérrez κιθάρα ,
Jorge González πλήκτρα, Miguel Ángel "Nano"
Concha μπάσο και Luis Ortiz ντραμς.
Η μουσική τους είναι
ένα μείγμα από ψυχεδελική funk,bolero και
pop, γνωστό στη Χιλή όλο αυτό το μείγμα
ως Balada rockmántica.
Τον Ιούνιο του 1968 μετά
από έναν τοπικό διαγωνισμό συγκροτημάτων
κερδίζουν το πρώτο βραβείο και ηχογραφούν
το πρώτο τους 45's "Porque Te Quiero",αυτό
κέρδισε την προσοχή των εκπροσώπων της
Odeon Records Χιλής, προτρέποντας όμως τα δύο
από τα τέσσερα μέλη του συγκροτήματος
να γράψουν ένα άλμπουμ.
Τελικά τα
δύο από τα τέσσερα μέλη με ακόμα
τρεις studio μουσικούς κυκλοφορούν το 1969
το "Porque Te Quiero" και σαρώνει όλοι
την λατινική Αμερική.
Οι Los Angeles Negros έχουν
αρκετά μεγάλη δισκογραφία που ξεκινάει
από το 1969 ως και το 2003!! Φυσικά όπως
συμβαίνει πάντα η αρχική σύνθεση της
μπάντας έχει αλλάξει πάρα πολλές φορές.
Σημαντικό όμως
είναι πως απ την δισκογραφία 1969-70
σημερινοί μουσικοί, παραγωγοί , dj's έχουν
χρησιμοποιήσει samples απ τα τραγούδια
τους όπως οι Funkdoobiest,
Damian
Marley, Beastie
Boys, Jay-Z
και άλλοι.
Εδω ο τριτος δίσκος τους με τίτλο “Y Volvere” 1970
στην Χιλιανή “Parnaso” με πιο πρόσφατο
τα samples απ τα “Como Quisiera Decirte” και “Tanto
Adios” που δανειστηκε το 2013 ο Monetrik για το Latin Beauty.
Every now and then a band catches my ear that possess the magic ingredients of being able to create a following on two fronts; the Mod / 60s crowd and the more eloquent ear holes of music lovers who can distinguish between quality, original retro sounds and manufactured retro sounds.
The Travellers contain the correct authentic musical touches along with a vocalist who will draw comparisons to both Julie Driscoll and Grace Slick thanks to a deep, soulful style that is perfect for the Motowny.
Psyche sounds that they conjure up. So far two singles have surfaced the exquisite Summer With No Sun all Jefferson Airplane, late '60s with a modern edge. Listen for that fuzz guitar! It came out in late 20I2 on their own Lemoncake imprint, the same as the second single: the more soulful "Stay". Gemma Marchi's soaring vocals come to the front besides the piano keyboard, the flip is one of my favorite tracks by the band. The Julie Driscoll / Brian Auger style "Don't look For Me" with its jazzier overtones. Heavy Soul magazine
Usually thought of as a middle-of-the-road popular singer, Françoise Hardy -- at the beginning of her career, at least -- covered more stylistic ground and owed more debts to pop/rock than she's given credit for. Immensely popular in her native France, the chanteuse first displayed her breathy, measured vocals in the early and mid-'60s. Her (mostly self-penned) recordings from that era draw from French pop traditions, lightweight '50s teen idol rock, girl groups, and sultry jazz and blues -- sometimes in the same song. The material is perhaps too unreservedly sentimental for some (in the French tradition), but the songs are invariably catchy and the production, arrangements, and near-operatic backup harmonies excellent, at times almost Spector-esque. Fans of Marianne Faithfull's mid-'60s work can find something of a French equivalent here, though Hardy's material was stronger and her delivery more confident.
In the 1950s, Hardy was inspired by early rock recordings to pick up the guitar, and was already writing her own songs by the time she was a teenager. By the age of 17, she was already singing her own compositions in French clubs, and successfully auditioned for Vogue Records in France in late 1961. Her debut EP appeared the following year, inaugurating a series of successful EPs and albums that would last through the '60s. Hardy sang of young love with both fetching moodiness and unrestrained ebullience; although she often wrote both her music and lyrics, she co-wrote tunes with others as well. She was greatly aided by a number of talented arrangers who seemed to be attempting (usually successfully) to blend American and British production sophistication with a Continental European sensibility. Charles Blackwell was the most notable and effective of these figures; in 1964, interestingly, she recorded some tracks under the direction of the great American R&B guitarist Mickey Baker (yes, the same one who played on Mickey & Sylvia's "Love Is Strange"), who was then based in France.
Starting in 1964, Hardy made periodic attempts to capture the international market with English-language recordings. Although these weren't entirely unsuccessful ("All Over the World" was actually a British Top 20 hit in 1965), by the late '60s she was concentrating on more mainstream, middle-of-the-road material and arrangements on both her French and English sessions. She has remained popular in France and continued recording well into the 2000s, releasing such notable albums as 2006's Parenthèses, a 12-track collection of duets with the likes of longtime collaborator Henri Salvador, Jacques Dutronc (Hardy's husband), Julio Iglesias, and relative newcomer Ben Christophers. In the following decade, her success continued with 2010's La Pluie sans Parapluie, and 2012's L'Amour Fou, which came bundled with an accompanying novel of the same title also written by Hardy, and saw her nominated for two Victoires de la Musique.
All the freaky, funky Serge Gainsbourg
you could ever want -- served up in a single set! The package pulls
together some of the grooviest tracks by Serge from a host of late 60s
and early 70s albums -- including some of his super-rare French
soundtrack work -- from movies that include Le Pacha, Anna, Ce Sacre
Grand-Pere, Cannabis, and Manon 70! The double-length set is overflowing
with great grooves -- tracks done with that subtly funky style that
Serge cooked up with arrangers Michel Colombier and Jean-Claude Vannier,
all topped with that breathy, nearly-spoken style that made Gainsbourg
so great back in the day. A few of the most break-heavy cuts are even
presented with special bonus beats". by Dusty Groove
Taste :
Serge Gainsbourg - Je n'avais pas qu'un seul mot a lui dire
