Jacques Brel – J’arrive (1968)

FrontCover1J’arrive (English: I’m coming) is Jacques Brel’s tenth studio album. Originally released in 1968 by Barclay Records

A jumbled up reissue of the 1968 original J’Arrive, which arrived at a time when Jacques Brel had pretty much receded into the background, having retired in 1967 as a full-time chansonier. But that’s not to say that he wasn’t writing spectacular songs — he was. After the smashing successes of the earlier “Ne Me Quitte Pas,” “Les Bourgeois,” and “Chanson de Jacky,” however, these later, less orchestrated compositions have become lost within the canon. With a set split between the two quintessential Brel styles — peppy chanson and introspective ballad — there’s a little something here for everyone. “Regarde Bien Petit” is stunning, sweeping and delightfully punctuated with Midsummer Night’s Dream touches, as is “En Enfant,” leaving the upbeat “Vesoul” and “Comment Tuer L’Amant de Sa Femme Quand On Ete Eleve Comme Moi Dans la Tradition” to balance nicely. Fans of Marc Almond’s brilliant renditions of Brel’s best, meanwhile, will recognize and delight in “J’Arrive” and “L’Eclusier.”


While bonus tracks have been tacked on to nearly all Brel reissues thus far, the real gems in this incarnation are two cuts from Brel’s film work. The first, “L’Enfance,” comes from the 1973 film Le Far-West. A French/Belgian production, the film follows Brel in the guise of a cowboy on a journey through modern America’s West as he tries and succeeds in building a utopian Old West town. The second bonus track comes from the cast LP of 1968’s L’Homme de la Mancha, with Brel’s powerful re-tooling of Don Quixote, staged at Paris’ Theatre des Champs-Elysees. “La Quete,” known to English-speakers as “The Impossible Dream,” is by far one of Brel’s finest and most stirringly passionate performances ever. Sung solo, the emotion that Brel imparts through this performance would be hard pressed to be duplicated by any one, in any language. ( by Amy Hanson)

Jacques Brel (vocals)
Orchestra conducted by François Rauber

01. J’Arrive (Brel/Jouannest) 4.43
02. Vesoul (Brel) 3.05
03. L’Ostendaise (Brel/Rauber) 4.46
04. Je Suis un Soir d’Été (Brel) 4.06
05. Regarde Bien Petit (Brel) 4.36
06. Comment Tuer l’Amant de Sa Femme Quand On a Été Comme Moi Élevé dans la Tradition? (Brel/Jouannest) 2.37
07. L’Éclusier (Brel) 4.16
08. Un Enfant (Brel/Jouannest) 3.41
09. La Biere (Brel) 3.11
10. La Chanson de Van Horst (Brel) 2.57
(1972 – Originally from the soundtrack to the film Le Bar de la Fourche (Alain Levent)
11. L’Enfance (Brel) 2.51
(1973 – Originally from the soundtrack to the film Le Far West (Jacques Brel)


Bernie Marsden – Look At Me Now (1981)

FrontCover1Before joining the original line-up of Whitesnake, Bernie Marsden had already enjoyed an illustrious career having been guitarist in Wild Turkey, Cozy Powell’s Hammer, Babe Ruth, UFO and Paice Ashton Lord (or PAL), a band featuring ex-Deep Purple and future Whitesnake members Ian Paice on drums and Jon Lord on keyboards. After PAL, Bernie found his niche as lead guitarist for David Coverdale’s new band Whitesnake in 1978 for David’s “North Winds” tour, “Snakebite EP” and “Trouble” LP.

Bernie Marsden’s second solo LP, made whilst he was still a full-time member of Whitesnake, was originally released by EMI on their Parlophone imprint in 1981.

BernieMarsdenProduced by Bernie Marsden himself, the album features the rare non-album b-side ‘Always Love You So’ + two live tracks. (by cherry red)

Marsden’s second solo album did a little better than his first, charting at number 71 in the U.K. It wasn’t much different in style than his debut, And About Time Too, featuring as it did pretty ho-hum mainstream hard rock and unmemorable songwriting and vocals. Jon Lord, Ian Paice, and Cozy Powell were again on hand as session men.(by Richie Unterberger)


Jon Lord (keyboards, synthesizer)
Bernie Marsden (guitar, vocals)
Neil Murray (bass)
Ian Paice (drums)
John Cook (synthesizer)
Doreen Chanter (background vocals)
Irene Chanter (background vocals)
Cozy Powell (drums on 04.)
Michael Schenker (handclaps on 03.)
Simon Phillips (drums, percussion on 06., 08., 09.)

01. Look At Me Now (Marsden)
02. So Far Away (Marsden)
03. Who’s Foolin’ Who?” (Bernie Marsden)
04. Shakey Ground (Al Boyd, Eddie Hazel, Jeff Bowen)
05. Behind You Dark Eyes (Marsden) 4.42
06. Byblos Shack: Part One & Two (Marsden) 4.04
07. Thunder And Lightning (Marsden/Murray) 4.21
08. Can You Do It?”(Rock City Blues) (Marsden)
09. After All The Madness” (Bernie Marsden)
10. Always Love You So (Single B-side) (Marsden)
11. Look At Me Now (live) (Marsden)
12. Byblos Shack (live) (Marsden)


SinglesSingle releases

Pat Martino – Desperado (1970)

FrontCover1Desperado is a 1970 post-bop jazz album by Pat Martino.

“A key album in the shift in Pat Martino’s sound at the end of the 60s — with one foot in the soul jazz camp in which he got his start, and the other in the freer, open-minded style he used a lot in the 70s!”

Recorded at the legendary Rudy Van Gelder studios, Mr. Martino chose a 12 string guitar to define his interpretations of his own compositions and “Oleo” by Sonny Rollins.

Guitarist Pat Martino’s first five recordings as a leader were made for the Prestige label, and this one (the fifth) has been reissued on CD by Original Jazz Classics. Martino performs Sonny Rollins’ “Oleo” and five of his originals, using the 12-string guitar. The rhythm section (keyboardist Eddie Green, electric bassist Tyrone Brown, and drummer Sherman Ferguson) is funky in spots, electric, and swinging when called for. Eric Kloss makes a guest appearance on soprano for the opening “Blackjack,” but otherwise, most of the focus is on Martino’s consistently inventive playing. (by Scott Yanow)

Tyrone Brown (bass)
Jimmy Cobb (drums)
Sherman Ferguson (drums, bells)
Eddie Green (piano)
Eric Kloss (saxophone)
Pat Martino (guitar)

01. Blackjack (Martino) 7.45
02. Dearborn Walk (Martino) 3.50
03. Oleo (Rollins) 4.53
04. Desperado (Martino/Green) 7.55
05. A Portrait Of Diana (Martino) 4.30
06. Express (Martino) 6.43


Philippe Clay – Same (1975)

FrontCover1Philippe Clay (March 7, 1927 – December 13, 2007), born Philippe Mathevet, was a French mime artist, singer and actor.

He was known for his tall and slim silhouette (he was 1.90 m tall) and for his interpretations of songs by Charles Aznavour, Claude Nougaro, Jean-Roger Caussimon, Boris Vian, Serge Gainsbourg, Jean Yanne, Léo Ferré, Jacques Datin, Jean-Claude Massoulier or Bernard Dimey. He interpreted “La Complainte des Apaches” for the TV series Les Brigades du Tigre, written by Henri Djian and composed by Claude Bolling.

As an actor, he appeared in many movies (Bell, Book and Candle) and television films. One of his famous roles is in the Jean Renoir film, French Cancan, where he played Casimir le Serpentin (a character inspired by Valentin le désossé). (by wikipedia)

PhilippeClayChansonnier Philippe Clay emerged as one of the most successful French pop stars of the postwar era, popularizing songs from composers including Charles Aznavour, Boris Vian, and Serge Gainsbourg.
Among international audiences, he remains best known for his appearances on film, most notably Jean Renoir’s 1954 effort French Cancan and the 1958 Hollywood hit Bell, Book and Candle. Born Philippe Mathevet in Paris on March 7, 1927, he quit school at PhilippeClay216 to fight alongside the resistance during the remaining years of World War II, and upon returning to civilian life he enrolled at the National Conservatory of Dramatic Art. Despite majoring in the school’s mime program, Clay’s romantic baritone impressed his fellow students, who entered him in a local singing contest — he won, and began appearing at Montmartre’s Théâtre des Trois Baudets, performing venerable classics and contemporary hits. Within months Clay boasted a devoted fan following, headlining as many as six 20-minute club gigs per night, often splitting bills with Aznavour, and in 1951 made his celluloid debut with a brief role in the feature Le Crime du Bouif.

In mid-1953, Clay mounted a national tour, with then-unknown Jacques Brel as his opening act. His debut single, the Aznavour-penned “Le Noye Assassine,” soon anticipated the release of a self-titled LP, and in the years to follow he enjoyed a series of hits including “Si Vous M’Aviez Connu,” “Nous Avons Toujours Habite Cette Maison,” and “Au Volant de Ma Valse.”

PhilippeClay3After appearing at the acrobatic Valentin in French Cancan, Clay co-starred in 1956’s Notre Dame de Paris. As his celebrity grew, he headlined Paris’ famed Olympia Theater in 1957, and the following year made his U.S. film debut as a French club entertainer in the feature adaptation of the stage comedy Bell, Book and Candle. With “Les Poinçonneur des Lilas,” Clay was one of the first singers to dip into the Gainsbourg songbook, beginning a collaboration that continued off and on for years to come. He also recorded everything from “Hello, Dolly!” to “Mes Universités,” a self-penned response to the French student rebellion of 1968. Although he continued recording and touring, Clay focused largely on film and television in the decades to follow, appearing in more than 80 features in all. He died of heart failure on December 13, 2007. (Jason Ankeny)

This is an brilliant album from his later period and he sounds like one of these good old whiskies

And if you like these typical French chansons, then you should listen or: it´s time to discover Philippe Clay !

Listen to the funny “Le répondeur automatique” and to “Marie la France”, a perfect hit-single !

Philippe Clay (vocals)
and a bunch of unknown studio musicians

01. La fanfare (Saget/Gilbert)
02. Notre fils a grandi (Djian/Faure)
03. Les villes étrangères (Sagetzy/Gilbert)
04. Le répondeur automatique (Rognoni/Alec)
05. A refaire (Djan/Alec)
06. Marie la France (Djian/Faure)
07. Les juifs (C’est pas qu’on n’les aime pas) (Djian/Alec)
08. Quand je ne dis rien (Balasko/Faure)
09. Ma bourlingue (Djian/Faure)
10. Les français sont comme ça (Djian/Alec)
11. Gégène (Djian/Faure)
12. Kilmarnock (Djian/Miltenberger)



Bruce Springsteen – The Lost Radio Show (1974)

AnotherFrontCover1Springsteen signed a record deal with Columbia Records in 1972 with the help of John Hammond, who had signed Bob Dylan to the same label a decade earlier. Springsteen brought many of his New Jersey–based colleagues into the studio with him, thus forming the E Street Band (although it would not be formally named as such for several more years). His debut album Greetings from Asbury Park, N.J., released in January 1973, established him as a critical favorite though sales were slow.

Because of Springsteen’s lyrical poeticism and folk rock–rooted music exemplified on tracks like “Blinded by the Light” and “For You”, as well as the Columbia and Hammond connections, critics initially compared Springsteen to Bob Dylan. “He sings with a freshness and urgency I haven’t heard since I was rocked by ‘Like a Rolling Stone'” wrote Crawdaddy magazine editor Peter Knobler in Springsteen’s first interview/profile in March 1973. Photographs for that original profile were taken by photographer Ed Gallucci. Crawdaddy discovered Springsteen in the rock press and was his earliest champion. Knobler profiled him in Crawdaddy three times, in 1973, 1975 and 1978. (Springsteen and the E Street Band acknowledged by giving a private performance at the Crawdaddy 10th Anniversary Party in New York City in June 1976.) Music critic Lester Bangs wrote in Creem in 1975 that when Springsteen’s first album was released “… many of us dismissed it: he wrote like Bob Dylan and Van Morrison, sang like Van Morrison and Robbie Robertson, and led a band that sounded like Van Morrison’s”. The track “Spirit in the Night” especially showed Morrison’s influence, while “Lost in the Flood” was the first of many portraits of Vietnam veterans, and “Growin’ Up”, his first take on the recurring theme of adolescence.

In September 1973 his second album The Wild, the Innocent & the E Street Shuffle was released, again to critical acclaim but no commercial success. Springsteen’s songs became grander in form and scope, with the E Street Band providing a less folky, more R&B vibe, and the lyrics often romanticized teenage street life. “4th of July, Asbury Park (Sandy)” and “Incident on 57th Street” would become fan favorites, and the long, rousing “Rosalita (Come Out Tonight)” continues to rank among Springsteen’s most beloved concert numbers.

ClemonsSpringsteenClarence Clemons + Bruce Springsteen, 1974

In the May 22, 1974 issue of Boston’s The Real Paper music critic Jon Landau wrote, after seeing a performance at the Harvard Square Theater, “I saw rock and roll future, and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time.” Landau subsequently became Springsteen’s manager and producer, helping to finish the epic new album Born to Run. Given an enormous budget in a last-ditch effort at a commercially viable record, Springsteen became bogged down in the recording process while striving for a “Wall of Sound” production. But, fed by the release of an early mix of “Born to Run” to progressive rock radio, anticipation built toward the album’s release. (by wikipedia)

And the rest is history …

BruceSpringsteenAnd this is a rare bootleg from the early days of Bruce Springsteen:

The setlist represents the complete performance by Bruce and band inside a recording studio, KLOL-FM. This is lengthiest of all Bruce’s radio station sojourns; in fact this is practically a concert in itself. A stunning “The Fever” is performed because a studio demo of the song (later issued on the official Columbia 1998 release Tracks) had been sent to the station by Mike Appel a couple of months earlier and had been receiving strong phone-in requests. The entire show can be found in excellent quality on the CD ‘The Lost Radio Show’ from various labels including Whoopy Cat, Kiss The Stone, Postscript and Audifon. The two reels used for ‘The Lost Radio Show’ were rescued from the trash after KLOL were purging their tape library. Before they were bootlegged by Whoopy Cat, the reels were offered to Springsteen’s people, but they declined. The so-called intro/tuning includes parts of “Satin Doll” and “Beer Barrel Polka”. Comments made during this show positively confirm the stations as KLOL-FM and the recording and broadcast date as the afternoon of March 9.

Recorded live at KLOL FM Studios, Houston, Texas on March 9, 1974

Clarence Clemons (saxophone)
Danny Federici (keyboards)
Garry Tallent (bass)
Bruce Springsteen (guitar, vocals)

AlternateFrontCoverAlternate frontcover

01. Soundcheck 2.35
02. Satin Doll/Beer Barrel Polka (Ellington/Strayhorn/Vejvoda) 2.30
03. Does This Bus Stop At 82nd Street (Springsteen) 5.56
04. Growin’ Up (Springsteen) 10.16
05. Mary, Queen Of Arkansas (Springsteen) 6.49
06. Wild Billy’s Circus Story (Springsteen) 5.40
07. Sentimental Journey (Brown/Homer/Green) 3.03
08. The Fever (Springsteen) 8.43
09. Something You Got (Kenner) 7.09
10. Interview with Ed Beauchamp  18.26


Ray Conniff – The Happy Beat Of Ray Conniff His Orchestra And Chorus (1963)

FrontCover1Joseph Raymond “Ray” Conniff, also known as “Jay Raye” (November 6, 1916 – October 12, 2002) was an American bandleader and arranger best known for his Ray Conniff Singers during the 1960s.

Conniff was born in Attleboro, Massachusetts, and learned to play the trombone from his father. He studied music arranging from a course book.

After serving in the U.S. Army in World War II (where he worked under Walter Schumann), he joined the Artie Shaw big band and wrote many arrangements for him. After his stint with Shaw, he was then hired by Mitch Miller, then head of A&R at Columbia Records, as their home arranger, working with several artists including Rosemary Clooney, Marty Robbins, Frankie Laine, Johnny Mathis, Guy Mitchell and Johnnie Ray. He wrote a top 10 arrangement for Don Cherry’s “Band of Gold” in 1955, a single that sold more than a million copies. Among the hit singles he backed with his orchestra (and eventually with a male chorus) were “Yes Tonight Josephine” and “Just Walkin’ in the Rain” by Johnnie Ray; “Chances Are” and “It’s Not for Me to Say” by Johnny Mathis; “A White Sport Coat” and “The Hanging Tree” by Marty Robbins; “Moonlight Gambler” by Frankie Laine; “Up Above My Head,” a duet by Frankie Laine and Johnnie Ray; and “Pet Me, Poppa” by Rosemary Clooney. He also backed up the albums Tony by Tony Bennett, Blue Swing by Eileen Rodgers, Swingin’ for Two by Don Cherry, and half the tracks of The Big Beat by Johnnie Ray.


In these early years he also produced similar-sounding records for Columbia’s Epic label under the name of Jay Raye (which stood for “Joseph Raymond”) amongst them a backing album and singles with Somethin’ Smith and the Redheads, an American male vocal group.

Between 1957 and 1968, Conniff had 28 albums in the American Top 40, the most famous one being Somewhere My Love (1966). He topped the album list in Britain in 1969 with His Orchestra, His Chorus, His Singers, His Sound, an album which was originally published to promote his European tour (Germany, Austria, Switzerland) in 1969. He also was the first American popular artist to record in Russia—in 1974 he recorded Ray Conniff in Moscow with the help of a local choir. His later albums like Exclusivamente Latino, Amor Amor, and Latinisimo made him very popular in Latin-American countries, even more so after performing in the Viña del Mar International Song Festival. In Brazil and Chile he was treated like a young pop superstar in the 1980s and 1990s when he was in his 70s and 80s. He even played live with his orchestra and eight-person chorus in large football stadiums as well as in Viña del Mar.

RayConniff1967Conniff commented, “One time I was recording an album with Mitch Miller – we had a big band and a small choir. I decided to have the choir sing along with the big band using wordless lyrics. The women were doubled with the trumpets and the men were doubled with the trombones. In the booth Mitch was totally surprised and excited at how well it worked.” Because of the success of his backing arrangements, Mitch Miller and the new sound Conniff created Miller allowed him to make his own record, and this became the successful “‘s Wonderful!”, a collection of standards that were recorded with an orchestra and a wordless singing chorus (four men, four women). He released many more albums in the same vein, including “‘s Marvelous” (1959, gold album), “‘s Awful Nice” (1958), “Concert in Rhythm” (1958, gold album), “Broadway in Rhythm” (1958), “Hollywood in Rhythm” (1959), “Concert in Rhythm, Vol. II” (1960), “Say It With Music” (1960), “Memories Are Made of This” (1960, gold album), and “‘s Continental” (1962). His second album was “Dance the Bop!” (1957). It was an experiment by one of the brass at Columbia to cash in on a conceived dance step creation, but from the outset, Conniff diskiled it. When it sold poorly, he had it withdrawn from the market.

In 1959 he started The Ray Conniff Singers (12 women and 13 men) and released the album It’s the Talk of the Town. This group brought him the biggest hit he ever had in his career: Somewhere My Love (1966). The lyrics of the album’s title selection were written to the music of “Lara’s Theme” from the film Doctor Zhivago, and the result was a top 10 single in the US. The album also reached the US top 20 and went platinum, and Conniff won a Grammy. The single and album also reached high positions in the international charts (a.o. Australia, Germany, Great Britain, Japan). Also extraordinarily successful was the first of four Christmas albums by the Singers, Christmas with Conniff (1959). Nearly 50 years after its release, in 2004, Conniff was posthumously awarded with a platinum album/CD. Other well-known releases by the Singers included Ray Conniff’s Hawaiian album (1967), featuring the hit song “Pearly Shells;” and Bridge Over Troubled Water (1970), which included Coniff’s original composition “Someone,” and remakes of such hits as “All I Have to do is Dream,” “I’ll Never Fall in Love Again,” and “Something.”

RayConniff1958Musically different highlights in Conniff’s career are two albums he produced in cooperation with Billy Butterfield, an old friend from earlier swing days. Conniff Meets Butterfield (1959) featured Butterfield’s solo trumpet and a small rhythm group; Just Kiddin’ Around (after a Conniff original composition from the 1940s), released 1963, featured additional trombone solos by Ray himself. Both albums are pure light jazz and did not feature any vocals.

Conniff recorded in New York from 1955 through 1961 and mainly in Los Angeles from 1962 through 2000. Later in the 1960s he produced an average of two instrumental and one vocal album a year.

In 1979, Conniff was hired to re-arrange and record a new version of “Those Were The Days” and “Remembering You”, the opening and closing themes to All In The Family for Carroll O’Connor’s new spin-off, Archie Bunker’s Place on CBS with a small ensemble, trombone solo, and honky-tonk piano.

Conniff sold about 70 million albums worldwide, and continued recording and performing until his death in 2002.

He died in Escondido, California, from a fall he suffered in a bathtub, and is interred in the Westwood Village Memorial Park Cemetery in Los Angeles, California. His grave marker bears a musical score with the first four notes of “Somewhere My Love”. Conniff was survived by his wife, Vera; a daughter, Tamara Conniff; son, Jimmy Conniff; and three grandchildren. (by wikipedia)

RayConniffAnd this is one of his countless albums, and it´s a real nice one. My edition from this album is a low budget version from the early seventies with a nice “flower power” cover.

OriginalFront+BackCoverOriginal front+back cover

John Bambridge (clarinet)
Ray Conniff (melodica on 08. + 09.)
Conrad Gazzo (trumpet)
Bobby Hammack (piano)
Ray Conniff & His Orchestra + Chorus


01. Volare (Nel Blu Dipinto Di Blu) (Modugno/Migliacci/Parish) 2.43
02. Gigi (Lerner/Loewe) 3.02
03. Yellow Rose (Traditional) 2.36
04. Wheel Of Fortune (Benjamin/Weiss) 2.34
05. The Song From Moulin Rouge (Where Is Your Heart) (Auric/Engvick) 2.53
06. Mack The Knife (Brecht/Weill/Blitzstein) 2.49
07. I’ll Walk Alone (Styne/Cahn)  2.13
08. Never On Sunday (Towne/Hadjidakis) 2.30
09. Chanson D’Amour (Song Of Love) (Shanklin) 2.44
10. Blueberry Hill (Lewis/Stock/Rose) 3.02
11. Cry (Kohlman) 2.15
12. My Prayer (Boulanger/Kennedy) 2.47

Taken from the original liner notes:

Mr. Ernie Altschuler
Columbia Records
799 Seventh Avenue
New York 19, New York

Dear Ernie:

Having just concluded a “grass roots” survey to determine why my albums are so popular with all record buying age groups, I suggest that we call the new album THE HAPPY BEAT for the following reasons:
Our studies show that the Ray Conniff record buyers like the arrangements and the way the voices are used, but most of all they like THE HAPPY BEAT of the rhythm section .
Housewives start their day to it, college students study and relax to it, bachelors do whatever bachelors do to it (with honorable intentions of course), married couples entertain to it, teenagers do their homework to it, people who attend our concerts tap their feet to it, and everyone likes to dance to it.
Listen to a few bars of “Volare” and “I’ll Walk Alone” and see if you don’t agree that the only correct title for this album is:


Best Regards,

Ray Conniff