HAPPY NEW YEAR !

https://happynewyears1.com/wp-content/uploads/2015/07/happy-new-year-resolutions-2016-1.jpg

Sad and lonely all the time
That’s because I’ve got a worried mind
You know the world is in an uproar
The danger zone is everywhere, everywhere

Just read your paper
And you’ll see
Just exactly what keeps worryin’ me
Yeah, you’ll see the world is in an uproar
The danger zone is everywhere

My love for the world is like always
For the world is a part of me
That’s why I’m so afraid
Of the progress that’s being made
Toward eternity

Every morning, noon, and night
Finds me hoping that everything’s alright
Mm-hmm, the world is in an uproar
The danger zone is everywhere

(Written by Percy Mayfield)

https://allerlei2013riffmaster.files.wordpress.com/2015/12/33f14-new-year-quotes-quotes-2016.jpg?w=410&h=410

Advertisements

Waldo de Los Rios – EL sonido magico de Walde De Los Rios 1 (1969)

Waldo de los Ríos (7 September 1934 – 28 March 1977) was an Argentine composer, FrontCover1conductor and arranger.

De los Rios was born as Osvaldo Nicholas Ferrara in Buenos Aires into a musical family; his father was a musician and his mother a well known folk singer; he studied composition and arranging at the National Conservatory of Music under Alberto Ginastera and Teodoro Fuchs. He was inspired by an eclectic range of music and formed a musical group called “The Waldos” which crossed folk music with electronic sounds. De los Rios turned to work in cinema and film sound tracks where his compositions were heard in the 1967 film Pampa Salvaje, for which he received a prestigious award from the Argentine Cinemagraphic Association. He relocated to the USA in 1958 and then to Spain in 1962.

He is best remembered for his ability to transform European classical music into pop music. His 1971 arrangement of Mozart’s Symphony No. 40, recorded with the Manuel de Falla orchestra, reached the top spot in the Dutch charts and scored a top 10 hit in several other European countries. In 1970, prior to this success, Waldo de los Rios had already climbed the charts around Europe and America with Ludwig van Beethoven’s Ode To Joy, which he arranged and conducted for Miguel Ríos.

Waldo01His record Mozart in the Seventies rearranged famous Mozart pieces in a contemporary style, with a large percussion section. Several tracks from it were used as theme tunes to BBC programmes of that era, including the theme to the BBC’s coverage of the Horse of the Year Show (his reworking of Mozart’s A Musical Joke). His re-working of Eine Kleine Nachtmusik, used for many years as the theme to the Radio 4 quiz show Brain of Britain, was the subject of frequent complaints from classical music fans (with whom the show was popular) and presenter Robert Robinson described it on air as “Mozart plus sacrilege”.

He also issued an album Symphonies for the Seventies which included Mozart’s Symphony no. 40 and other major composers including Dvořák’s New World. In 1971, he arranged and conducted the Spanish entry for the Eurovision Song Contest, “En un mundo nuevo” for Karina. The song landed a respectable second position and hit the charts in several European countries.

He was married to actress turned journalist/author Isabel Pisano (born in Montevideo, Uruguay, 1944). Pisano later documented part of his life in her autobiography El Amado Fantasma (Plaza y Janés, 2002).

A victim of an acute depression while working on “Don Juan Tenorio”, de los Rios committed suicide in Madrid in 1977. (by wikipedia)

This is a Waldo de Los Rios album before his great sucess with his “Symphonies for the Seventies” album including great versions of “Was ich dir sagen will” (written by the great German composer Udo Jürgens) and “The Good, The Bad And The Ugly” by Enrico Morricone.

Waldo02Personnel:
Waldo de Los Rios Orchestra

BackCover1Tracklist:
01. Ob-la-di, ob-la-da (Lennon/McCartney) 2.07
02. Was ich dir sagen will (Alguien cantó) (Jürgens) 3.20
03. Please Help Yourself (Mogol/Donida/Fishman) 2.46
04. Those Were The Days (Qué tiempo tan feliz) (Raskin) 2.31
05. Les bicyclettes de Belsize (Las bicicletas de Belsize) (Reed/Mason) 3.01
06. Mamá (Maman) (Song representing Monaco at Eurovision Festival 1969) (Perrier 2.26
07. Aranjuez mon amour (Rodrigo) 2.48
08. Little Green Apples (Manzanitas verdes) (Russel) 2.58
09. Laleña (Leitch) 2.47
10. The Good, The Bad And The Ugly (El bueno, el feo y el malo) (Morricone) 3.29
+
11. Symphony No 40 (Eine kleine Nachtmusik) (Mozart) 3.09

AlternateFront-BackCoverAlternate front+backcover

*
**

Cream – Wheels Of Fire (1968)

FrontCover1Wheels of Fire is the third album by the British rock band Cream. It was released in 1968 as a two-disc vinyl LP, with one disc recorded in the studio and the other recorded live. It reached #3 in the United Kingdom and #1 in the United States, becoming the first platinum-selling double album. In December 2015 it was ranked number 205 on Rolling Stone magazine’s list of the 500 greatest albums of all time. It was the world’s first double album to be certified with a Platinum disc.

It was also released as two single long-players, Wheels of Fire (In the Studio) and Wheels of Fire (Live at the Fillmore), released together with similar cover art. In the UK the studio album art was black print on aluminium foil while the live album art was a negative image of the studio cover. In Japan the studio album art was black on gold foil while the live album art was black on aluminium foil. In Australia both covers were laminated copies of the Japanese releases (the double album was never released in Australia).(by wikipedia)

CreamLive1967Cream’s third album was planned to be a double album on which Atco Records’ producer Felix Pappalardi and the group would include several live performances.

The group and Pappalardi had, in July and August 1967, recorded studio material at IBC Studios in London, and at Atlantic Studios in New York City during September and October of the same year. Additional studio material was recorded at Atlantic Studios in January and February 1968, during a break from the band’s heavy tour schedule. The following month, Pappalardi ordered for a mobile recording studio in Los Angeles to be shipped to the Fillmore auditorium and the Winterland Ballroom in San Francisco.

Six shows were recorded in San Francisco by Pappalardi and recording engineer Bill Halverson,[1] and extra performances not included on Wheels of Fire ended up on Live Cream, and Live Cream Volume II. (by wikipedia)

CreamLive1968If Disraeli Gears was the album where Cream came into their own, its successor, Wheels of Fire, finds the trio in full fight, capturing every side of their multi-faceted personality, even hinting at the internal pressures that soon would tear the band asunder. A dense, unwieldy double album split into an LP of new studio material and an LP of live material, it’s sprawling and scattered, at once awesome in its achievement and maddening in how it falls just short of greatness. It misses its goal not because one LP works and the other doesn’t, but because both the live and studio sets suffer from strikingly similar flaws, deriving from the constant power struggle between the trio. Of the three, Ginger Baker comes up short, contributing the passable “Passing the Time” and “Those Were the Days,” which are overshadowed by how he extends his solo drum showcase “Toad” to a numbing quarter of an hour and trips upon the Wind & the Willows whimsy of “Pressed Rat and Warthog,” whose studied eccentricity pales next to Eric Clapton’s nimble, eerily cheerful “Anyone for Tennis.” In almost every regard, Wheels of Fire is a terrific showcase for Clapton as a guitarist, especially on the first side of the live album with “Crossroads,” a mighty encapsulation of all of his strengths.

CreamLive1968_02Some of that is studio trickery, as producer Felix Pappalardi cut together the best bits of a winding improvisation to a tight four minutes, giving this track a relentless momentum that’s exceptionally exciting, but there’s no denying that Clapton is at a peak here, whether he’s tearing off solos on a 17-minute “Spoonful” or goosing “White Room” toward the heights of madness. But it’s the architect of “White Room,” bassist Jack Bruce, who, along with his collaborator Peter Brown, reaches a peak as a songwriter. Aside from the monumental “White Room,” he has the lovely, wistful “As You Said,” the cinematic “Deserted Cities of the Heart,” and the slow, cynical blues “Politician,” all among Cream’s very best work. And in many ways Wheels of Fire is indeed filled with Cream’s very best work, since it also captures the fury and invention (and indulgence) of the band at its peak on the stage and in the studio, but as it tries to find a delicate balance between these three titanic egos, it doesn’t quite add up to something greater than the sum of its parts. But taken alone, those individual parts are often quite tremendous. (by Stephen Thomas Erlewine)

JackBrucePersonnel:
Ginger Baker (drums, percussion, glockenspiel)
Jack Bruce (bass, vocals, guitar, cello)
Eric Clapton (guitar vocals)
+
Felix Pappalardi (organ pedals on 01., trumpet, tonette on 95., Swiss hand bells on 07., viola on 09.)

Booklet1Tracklist:

In the Studio:
01. White Room (Bruce/Brown) 4.58
02. Sitting On Top Of The World (Vinson/Chatmon/Burnett) 4.58
03. Passing The Time (Baker/Taylor) 4.37
04. As You Said (Bruce/Brown) 4.20
05. Pressed Rat And Warthog (Baker/Taylor) 3.13
06. Politician (Bruce/Brown)  4.12
07. Those Were the Days (Baker/Taylor) 2.53
08. Born Under A Bad Sign (Jones/Bell) 3.09
09. Deserted Cities Of The Heart (Bruce/Brown) 3.38

Live at the Fillmore:
01. Crossroads (Johnson) 4:13
02. Spoonful (Dixon) 16.43
03. Traintime (Bruce) 7.01
04. Toad (Baker) 16.15

LabelC1*
**

Front+BackCover1

The Hanna-Fontana Band – Live At Concord (1975)

FrontCover1This album preserves a great performance by a rare gathering of players, with drummer Jake Hanna and trombonist Carl Fontana as the headliners. Fontana, one of the top jazz soloists on his instrument, is featured on the first two tracks, “A Beautiful Friendship” and “Sweet and Lovely.” Tenor sax and trumpet are added for the rest of the tunes, except the ballad “Old Folks” which features the tenor alone with the rhythm section. The soloist is Plas Johnson, a star in his own right, who is perhaps most widely remembered for his famous Pink Panther solo with Henry Mancini.
JakeHannaJake Hanna was not a flashy drummer in the style of Buddy Rich, but he knew how to lead a rhythm section with the beauty and precision of the proverbial Swiss watch. For that he shares the credit with legendary players Dave McKenna on piano and Herb Ellis on guitar.
The 49 minutes of music offered here are great stuff (by James A. Vedda)

There are very few recordings of the great trombonist Carl Fontana, so this is reason to celebrate. An electric jam session recorded live at the 1975 Concord (CA) Jazz Festival, Carl and friends ( Dave McKenna, Herb Ellis, Jake Hanna,to name a few) truly shine, and they sound like they are really enjoying themselves. The result is a very swinging, underrated album that should not be missed. (by an amzon customer)

Fantastic collection of jazz musicians. Carl Fontana is just magnificent on this album as are Plas Johnson,Herb Ellis and Dave McKenna. This is a rare find. (by Barbara P. Maine)

CarlFontanaPersonnel:
Bill Berry (trumpet)
Herb Ellis (guitar)
Carl Fontana (trombone)
Jake Hanna (drums)
Plas Johnson (saxophone)
Dave McKenna (piano)
Herb Mickman (bass)

BackCover1Tracklist:
01. A Beautiful Friendship (Styne/Kahn) 8.02
02. Sweet And Lovely (Arnheim/Tobias/Lemare) 6.14
03. Jumpin’ The Blues (McShann/Parker) 5.32
04. Old Folks (Hill/Robison) 4.42
05. Take The A Train (Strayhorn) 8.37
06. I’ve Found A New Baby (Palmer/Williams) 6.41
07. I Let A Song Go Out Of My Heart (Mills/Nemo/Redmond/Ellington) 6.27

LabelB1*
**

Uriah Heep – Very ‘eavy Very ‘umble (1970)

FrontCover1A killer, a monster, a classic hard-rock album !

…Very ‘Eavy …Very ‘Umble is the debut album by British rock band Uriah Heep, released in 1970.

It was issued in the United States as Uriah Heep with different sleeve artwork, and with the track “Bird of Prey” in place of “Lucy Blues”. The album shows the band trying out various genres – a mix of heavy metal and progressive rock – rather than the hard rock that they would become known for on later albums.

The album was generally panned by the mainstream critical press upon its release, although it has since been acknowledged as an early classic of the heavy metal genre. Rolling Stone magazine’s Melissa Mills began her review by saying, “If this group makes it I’ll have to commit suicide. From the first note you know you don’t want to hear any more.”

The original vinyl release was a gatefold sleeve, featuring David Byron on the front sleeve, almost unrecognisable beneath cobwebs.

The album was first released on the Vertigo label in the UK, as was the follow-up Salisbury, but both were quickly reissued by Bronze when the band signed to that label.(by wikipedia)

US Cover

US Cover

This album was the debut of Uriah Heep, an English band that would become one of the Titans of the ’70s heavy metal sound. Despite their eventual hard-rocking reputation, Very ‘Eavy…Very ‘Umble finds the band trying on different stylistic hats as they work towards finding their own sound. At this juncture, their music falls halfway between the crunch of heavy metal and the dramatic arrangements of prog rock. When this style jells, the results are quite powerful: “Dreammare” blends psychedelic lyrics and a complex vocal arrangement with a stomping beat from the rhythm section to create an effective slice of prog metal fusion while “I’ll Keep on Trying” presents a head-spinning, complex tune with enough riffs, hooks, and tempo changes to fill three or four songs. However, the album’s finest achievement is “Gypsy”: this heavy metal gem nails the blend of swirling organ riffs, power chords, and leather-lunged vocal harmonies that would define the group’s classic tunes and remains a staple of the band’s live performances today. Unfortunately, the focus of the album is diluted by some unsuccessful experiments: “Lucy Blues” is a dull, unmemorable stab at a Led Zeppelin-style heavy blues tune and “Come Away Melinda” is an overproduced, melodramatic cover that tries to marry the band’s full-throttle musical style to a message song. Despite these occasional moments of stylistic schizophrenia, Very ‘Eavy…Very ‘Umble is a likable album that shows the promise that Uriah Heep would soon realize. Those unfamiliar with Uriah Heep may want to try out Demons and Wizards or a compilation first, but anyone with a serious interest in Uriah Heep or the roots of heavy metal will find plenty to like on Very ‘Eavy…Very ‘Umble. The American edition of this album was retitled Uriah Heep and omits “Lucy Blues” in favor of the track “Bird of Prey” from Salisbury. (by Donald A. Guarisco)

UriahHeep1970Personnel:
Mick Box (guitar, vocals)
David Byron (vocals)
Ken Hensley (keyboards, slide guitar, vocals)
Alex Napier (drums)
Paul Newton (bass, vocals)
+
Nigel Olsson (drums, percussion on 04 – 05.)
Colin Wood (keyboards on 03. + 08.)

Booklet1Tracklist:
01. Gypsy (Box/Byron) 6.37
02. Walking In Your Shadow (Byron/Newton) 4.31
03. Come Away Melinda (Hellerman/Minkoff) 3.46
04. Lucy Blues (Box/Byron) 5.08
05. Dreammare (Newton) 4.39
06. Real Turned On (Box/Byron/Newton) 3.37
07. I’ll Keep On Trying (Box/Byron) 5.24
08. Wake Up (Set Your Sights) (Box/Byron) 6.22
+
09. Gypsy (single edit) (Box/Byron) 2.57
10. Come Away Melinda (“Spice” version) (Hellerman/Minkoff) 3.42
11. Born In A Trunk (“Spice” version) (Box/Byron) 3.45

Label1*
**

 

Teegarden & Van Winkle – But Anyhow (1969)

FrontCover1Teegarden & Van Winkle were an American musical duo, composed of Skip Knape (electric organ, organ pedal bass, vocals), and David Teegarden (drums, vocals). Formed in Tulsa, they took their folksy rock to Detroit.

Their single “God, Love and Rock & Roll”, which borrowed heavily from “Amen”, peaked at #22 on the Billboard Hot 100 in 1970. At times they worked with Bob Seger, appearing live at gigs and even producing an album together with Seger and guitarist Michael Bruce (Smokin’ O.P.’s, 1972). Smokin’ O.P.’s was re-released in 2005.

Teegarden later appeared as the drummer in Bob Seger’s Silver Bullet Band, recording four further albums with Seger.
ConcertPosterIn 1972-3, while David toured with Bob Seger, Skip put his own full band together consisting of horns & female vocals. Skip continued to kick bass pedals with his new larger band. Sheila Chambers a/k/a Shea Chambers, Shaun Murphy a/k/a Stoney Reese were vocalists singing together and separately, in Skip’s band, as well as a pre-RCA Victor recording artist Dan Schafer on guitar and vocals with Jim Langois on drums, Dave Heater on sax & Jack Muncie on trumpet.

In the early 90s, former Doors guitarist Robbie Krieger formed a trio called the ‘Robby Krieger Organization’ featuring Skip on electric organ,organ pedal bass and Dale Alexander on drums & backing vocals.

The Teegarden & Van Winkle duo reunited for another album, Radioactive, in 1997.

2012 Skip is currently working and recording with the “Stronghold Rockin Blues Quest” in Southern California. He can be seen in the “Big Girl by Stronghold” video featuring Chuck Strong on drums and vocals. (by wikipedia)
Drummer David Teegarden and organist Skip “VanWinkle” Knape brought a little Tulsa soul-jazz to the rock world in the late 1960s and early ’70s, but unfortunately, save for the 1970 hit “God, Love and Rock & Roll,” they didn’t generate a whole lot of commercial success. Part of the problem was the world then just didn’t know quite what to make of a rock act that didn’t feature flashy electric guitar, which is a shame, because these guys worked from an interesting template. But, Anyhow,, the duo’s second album, originally issued on LP in 1970, is probably their best, and at its finest moments it mixes rootsy rock with a soul-jazz center and the result is pretty intriguing. The real gem here is the opening track, “Annie Had a Baby,” which sounds nothing so much as a long lost track by the Band, and it is Americana in the best sense. Nothing else rises quite that high, although the duo’s deliberately slow, bluesy take on Jimmy Reed’s “Bright Lights, Big City” comes close, and their take on Donovan’s somewhat dated “Season of the Witch” has a refreshing and jazzy lounge feel to it that surprises maybe more than it actually works. Still, this is a consistently pleasant album, and Teegarden & VanWinkle’s vocal work is often wonderfully perfect for their unique instrumental style. For anyone curious about this somewhat unusual duo, this album is probably the place to start.( by Steve Leggett)

Another great organ/drums duo like Hardin & York and Lee Michaels !

TeegardenVanWinklePersonnel:
Skip “V.W.” Knapé (keyboards, vocals)
David “Tee” Teegarden (drums, percussion, vocals)

BackCoverTracklist:
01. Annie Had A Baby (Glover/Mann) 4.01
02. Season Of The Witch (Leitch() 3.56
03. Cloud Castle Gate (Teegarden/Knapé) 5.10
04. Red Haired Woman (Teegarden/Knapé) 3.14
05. Autumn Flowers (Teegarden/Knapé) 2.10
06. Short One (Teegarden/Knapé) 2.02
07. She Caught The Katie And Left Me A Mule To Ride (Mahal) 3.47
08. Run Woman Run (Teegarden/Knapé) 2.32
09. Bright Lights Big City (Reed) 7.33
10. All About My Ole Bitch – Rendered From All About My Girl (McGriff) 5.49

LabelB1*
**

Nova Schola Gregoriana – Musica Gregoriana (1994)

FrontCover1The Nova Schola Gregoriana is a group that has devoted itself to the study of Gregorian chant during the course of the last forty(?) years, basing its work on the research of scholars such as Dom Eugene Cardine, Dom Jean Claires, Luigi Agustoni and Alberto Turco. The Schola has won international critical acclaim for its performances, with participation in the festivals of Paris, Avignon, Avila, Cuenca, Como, Pomposa and Arona among others, with concerts throughout Italy, France, Switzerland and Greece, and tours in Japan and the United States of America. The ensemble performed at the first centenary of the Congresso Gregoriano at Arezzo and International Congresses of Gregorian chant at Cremona and Verona, in additional to its part in the celebration of the sixth centenary of the Basilica of San Petronio in Bologna. In 1987 the Schola was awarded the Golden Orpheus of the Paris Academie Nationale du Disque Lyrique, Fundacion J. Canteloube. (by naxos.com)

Booklet01AHere we can hear very special edition: It was released on Arcade Records; originally this recordings were released as “AdorateDeum” (1993)  and “In Passione Et Morte Domini” (1994). This edition was released to support Medecins sans Frontieres.

And this is the story on Medecins sans Frontieres:

Booklet03ABooklet03BWe should listen to these beautfiful voices and we should thought to all the victims of war !

Booklet02APersonnel:
Alberto Turco, Alessandro Boris Amisich, Alessio Randon, Domizio Berra, Enrico Speroni, Franco Guglielmi, Giacomo Carniti, Gianlorenzo Maccalli, Giorgio Mazzucato, Giovanni Maria Rossi, Giulio Urbani, Giuseppe Fusari, Mariano Zarpellon, Nicola Bellinazzo, Olivo Damini, Renato Magoga

NovaScholaGregorianaTracklist:

CD 1:
01. Anon: Introitus – Adorate Deum 4.05
02. Introitus – Da Pacem 4.37
03. Introitus – Dominus Illuminatio Mea 5.48
04. Introitus – Laetetur Cor 4.08
05. Gradualia – Dirigatur 3.13
06. Gradualia – Domine, Dominus Noster 3.25
07. Gradualia – Lacta Cogitatum Tuum 3.57
08. Gradualia – Laetatus Sum 3.18
09. Versus Alleluiatici – Adorabo 2.21
10. Versus Alleluiatici – De Profundis 3.20
11. Versus Alleluiatici – Deus, Iudex Iustus 2.53
12. Versus Alleluiatici – Laudate Deum 1.53
13. Offertoria – De Profundis 3.31
14. Offertoria – Domine, Convertere 2.22
15. Offertoria – Lubilate Deo Universa Terra 7.50
16. Offertoria – Lustitiae Domini 4.18
17. Communiones – Circuibo 2.09
18. Communiones – Dicit Dominus: Implete Hydrias 3.55
19. Communiones – Dominus Firmamentum Meum 2.28
20. Communiones – Qui Manducat 2.10
21. Communiones – Gustate Et Videte (Psalmus 33) 3.29

OriginalFrontCoversThe original frontcovers

CD 2:
01. Tractus: Domine, Audivi 7.59
02. Responsorium-Graduale: Christus Factus Est 4.08
03. Evangelium Passionis Et Mortis Domini: Passio Domini 34.22
04. Adoratio Sanctae Crucis: Ecce Lignum Crucis 2.55
05. Improperia: Popule Meus 5.04
06. Hymnus: Crux Fidelis 4.25

CD2A*
**

BookletBackCover1