Bryan Adams – Reckless (1984)

FrontCover1Reckless is the fourth studio album by Canadian singer-songwriter Bryan Adams. Released on 5 November 1984 through A&M Records, the album was co-produced by Adams and Bob Clearmountain, and it was arguably Adams’ most successful solo album. The album was a huge international hit, selling over 5 million units in the United States for a total of 12 million worldwide. It was the first Canadian album to sell more than a million units within Canada. The album reached number 1 on the Billboard 200 and reached high positions on album charts worldwide. (by wikipedia)

Bryan Adams capitalized on the momentum of Cuts Like a Knife with 1984’s Reckless, a virtually flawless collection of melodic hard rock which would dominate radio for years to come. “Run to You” was a brilliant lead-off single which remains one of Adams’ best songs ever, but its success still pales in comparison to follow-up smashes such as “Summer of ’69,” “It’s only Love,” (a duet with Tina Turner), and the ballad to end all ballads, “Heaven.”


Although some songs haven’t aged very well (especially the overtly cheesy “Kids Wanna Rock”), these weak links are easily eclipsed by further highlights such as the cool rock of “One Night Love Affair” and the irrepressible pop chorus of “Somebody.” Sales figures may point to 1991’s Waking Up the Neighbors as the peak of Bryan Adams career, but the songs from Reckless will most certainly prove to be his lasting legacy. (by Eduardo Rivadavia)

This album is a killer album … and “Summer Of ´69” was and is an anthem of a whole generation:

I got my first real six-string
Bought it at the five-and-dime
Played it ’til my fingers bled
Was the summer of sixty-nine

Me and some guys from school
Had a band and we tried real hard
Jimmy quit, Jody got married
I should’ve known we’d never get far

Oh, when I look back now
That summer seemed to last forever
And if I had the choice
Yeah, I’d always wanna be there
Those were the best days of my life

Ain’t no use in complainin’
When you’ve got a job to do
Spent my evenings down at the drive-in
And that’s when I met you, yeah

Standin’ on your mama’s porch
You told me that you’d wait forever
Oh, and when you held my hand
I knew that it was now or never
Those were the best days of my life

Oh, yeah
Back in the summer of sixty-nine, oh

Man, we were killin’ time, we were young and restless
We needed to unwind
I guess nothin’ can last forever, forever, no


And now the times are changin’
Look at everything that’s come and gone
Sometimes when I play that old six-string
I think about you, wonder what went wrong

Standin’ on your mama’s porch
You told me that it’d last forever
Oh, and when you held my hand
I knew that it was now or never
Those were the best days of my life

Oh, yeah
Back in the summer of sixty-nine, oh
It was the summer of sixty-nine, oh, yeah
Me and my baby in sixty-nine, oh
It was the summer, the summer, the summer of sixty-nine, yeah

Oh yeah …


Bryan Adams (vocals, guitar, piano, harmonica)
Keith Scott (guitar, background vocals)
Pat Steward (drums, background vocals)
Dave Taylor (bass)
Jim Vallance – percussion
Mickey Curry (drums)
Tommy Mandel (keyboards)
Jody Perpick – backing vocals, background sounds
Steve Smith (drums on 04.)
Tina Turner (vocals on 08.)


01. One Night Love Affair 4.32
02. She’s Only Happy When She’s Dancin’ 3.14
03. Run To You 3.54
04. Heaven 4.03
05. Somebody 4.44
06. Summer Of ’69 3.35
07. Kids Wanna Rock 2.36
08. It’s Only Love 3.15
09. Long Gone 3.57
10. Ain’t Gonna Cry 4.06

All songs written by Bryan Adams and Jim Vallance.



And here´s the best live recording ever of “Summer Of ´69”
directed by Andrew Catlin:



Available again: After Tea – Rabbit – Geri Allen Trio – Procol Harum – The Strawbs – Amazing Blondel

By request:

After Tea – National Disaster (1968)

Rabbit – Broken Arrows (1973)

Geri Allen Trio – Twenty One (1994)

Procol Harum – Live At Stockholm (1971)

The Strawbs – In Concert At The Paris Theatre London (1971)

Amazing Blondel – Dancing Supertivoli (1972)


Let me know, if links are dead and I will make them available again …
Please write to:

Blackfoot – Strikes In Denver (1979)

FrontCover1.jpgThis is the story of one of the greatest southern-rock bands ever:

Blackfoot is an American Southern rock musical ensemble from Jacksonville, Florida organized during 1970. Though they are primarily a Southern rock band, they are also known as a hard rock act. The band’s classic lineup consisted of guitarist and vocalist Rickey Medlocke, guitarist Charlie Hargrett, bassist Greg T. Walker, and drummer Jakson Spires.

They’ve had a number of successful albums during the 1970s and early 1980s, including Strikes (1979), Tomcattin’ (1980) and Marauder (1981).

More informations: here

And this is Blackfoot live: recorded from a show at the Rainbow Music Hall in Denver (Source: FM Broadcast). Most songs are from the Strikes album, one of their best works.

And this is high energy southern rock … what a brilliant concert !

AlternateFrontCoverAlternate frontcover

Charlie Hargrett (guitar)
Rickey Medlocke (vocals, guitar)
Greg T. Walker (bass, background vocals)
Jakson Spires (drums, background vocals)


01. Intro 0.32
02. I Want To Talk To You (R.Medlocke) 5.25
03. Pay My Dues  () 3.11
04. I Got A Line On You (California) 5.29
05. Wishing Well (Rodgers/Kossoff/Yamauchi/Bundrike/Kirke) 4.06
06. Left Turn On A Red Light (R.Medlocke) 4.05
07.  Baby Blue ( R. Medlocke/Hargrett/Spires) 3.54
08. Road Fever (R.Medlocke) 4.06
09. Trouble In Mind (Johnson) 10.44
10. Train Train (S.Medlocke) 7.48
11. Highway Song (R.Medlocke/Spires) 9.28




Buffy Sainte-Marie – Fire & Fleet & Candlelight (1967)

OriginalFrontCover1Fire & Fleet & Candlelight is the fourth album by Cree singer and songwriter Buffy Sainte-Marie.

More than its predecessor Little Wheel Spin and Spin, it marked a significant departure from the simple folk songs of her first two albums. Following the same path that Joan Baez and Judy Collins were taking at the time, Sainte-Marie relies on the orchestration of Peter Schickele on “Summer Boy”, “The Carousel” and “Hey Little Bird”. In contrast, “The Circle Game” and “97 Men in This Town Would Give a Half a Grand in Silver Just to Follow Me Down” feature for the first time a full rock band consisting of Bruce Langhorne on electric guitar, Alexis Rogers on drums and Russ Savakus on bass. “Song to a Seagull”, the other Joni Mitchell song, is a much simpler voice-and-guitar rendition.

Her version of the traditional hymn “Lyke Wake Dirge” predates the version by Pentangle by over two years and the album’s title is taken from one of the lines in that song’s chorus. “T’Es Pas un Autre” is a French language reworking of her well-known composition “Until It’s Time for You to Go” that she originally recorded on her second album Many a Mile.


Fire & Fleet & Candlelight was ridiculously over-eclectic, so much so that it comes as a surprise when the 14 songs have finished to find that the total length of the album is a mere 37 minutes. That doesn’t mean there’s not some worthy material, but the arrangements and material are all over the place. Variety is a good thing, but only when the quality is extremely consistent, and this 1967 album is erratic. “The Seeds of Brotherhood” is so in line with the kind of utopian singalong common to the folk revival that it inadvertently sounds like a parody of itself. Yet songs with orchestral arrangement by Peter Schickele are entirely different, with “Summer Boy” and “The Carousel” going into the Baroque-folk that Judy Collins was mastering during the same era.


Joni Mitchell’s “The Circle Game” and “Song to a Seagull” both predate Mitchell’s release of her own versions, and “The Circle Game” sounds like Sainte-Marie’s shot at making it into a hit single, with more straightforward pop/rock production than anything else she cut at the time. “Song to a Seagull,” by contrast, is quite close in arrangement and vocal delivery to the treatment Mitchell gave it on her 1968 debut album. Her interpretation of the traditional “Lyke Wake Dirge” verges on the creepy; her cover of Bascom Lamar Lunsford’s “Doggett’s Gap” goes way back to her earliest folk roots, complete with mouth-bow; “97 Men in This Here Town Would Give a Half a Grand in Silver Just to Follow Me Down” is her fling at good-timey rock. There are yet more cuts that catch you off-guard, like the French-language pop reworking of her “Until It’s Time for You to Go”; “Reynardine — A Vampire Legend,” a traditional song with only vocals and mouth-bow; and “Hey, Little Bird,” whose upbeat symphonic pop vaguely foreshadows her songs for Sesame Street. Though not without its rewards, on the whole it’s an unnerving record. (by by Richie Unterberger)


Buffy Sainte-Marie
on “The Circle Game” and “97 Men in This Town Would Give a Half a Grand in Silver Just to Follow Me Down”:

Bruce Langhorne (guitar)
Alexis Rogers (drums)
Russ Savakus (bass)

01. The Seeds Of Brotherhood (Sainte-Marie) 1.28
02. Summer Boy (Sainte-Marie)  2.41
03. The Circle Game (Mitchell) 3.02
04. Lyke Wake Dirge (Britten/Traditional) 3.47
05. Song To A Seagull (Mitchell) 3.22
06. Doggett’s Gap (Lamar/Lunsford) 1.39
07. The Wedding Song (Sainte-Marie) 2.18
08. 97 Men in This Here Town Would Give a Half a Grand in Silver Just to Follow Me Down (Sainte-Marie) 3.07
09. Lord Randall (Traditional) 3.30
10. The Carousel (Sainte-Marie) 2.34
11. T’es Pas un Autre (Sainte-Marie) 2.56
12. Little Boy Dark Eyes (Sainte-Marie) 1.38
13. Reynardine (A Vampire Legend) (Traditional) 2.58
14. Hey Little Bird (Sainte-Marie) 2.13



VA – Muddy Waters – All-Star Tribute To A Legend (2011)

FrontCover1A number of Blues artists exerted a huge influence on the development of modern popular music, collectively characterizing the approach to amplified music in the late 1940s and early ’50s.

The single most influential one was undoubtedly Muddy Waters. From 1948 until 1955 he pioneered and guided the way, in style, substance and sound, eloquently defining the aggressive, swaggering, Delta-rooted sound with his declamatory vocals and piercing slide-guitar attack, releasing a great number of groundbreaking and timeless, classic records.

His inspired and fundamental music continues to reverberate as excitingly and forcefully through the music of today as it did 50 years ago. (by

And here´s a real great tribute album:

Recorded on October 11, 1997 at the John F. Kennedy Center for the Performing Arts, Washington D.C., an impressive All-Star cast of Blues musicians, including Muddy’s own son Bill Morganfield, turned out to pay homage to the Legendary Muddy Waters, the King of Blues. Features special guests, John Hiatt, Peter Wolf, Buddy Guy, Koko Taylor, Charlie Musslewhite, Robert Junior Lockwood, Big Bill Morganfield, Nick Gravenites, Mem Shannon and Phoebe Snow.

What a concert, what a line-up !


Barry Goldberg (keyboards)
Tom Cosgrove (guitar)
Steve Holley (drums)
Johnnie Johnson (piano)
Bob Margolin (guitar)
Charlie Musselwhite (harmonica, vocals on 04.)
Paul Ossola (bass)
G.E.Smith (guitar)
Robert Gravenites (vocals on 06.)
Buddy Guy (guitar, vocals on 03.)
John Hiatt (guitar, vocals on 08.)
Keb’ Mo’ (vocals, guitar on 09.)
Big Bill Morganfield (vocals, bass on 12.13.)
Robert Junior Lockwood (vocals on 11.)
Mem Shannon (guitar, vocals on 07.)
Phoebe Snow (vocals on 10.
Koko Taylor (vocals on 01. + 02.)
Peter Wolf (vocals on 05.)


01. Koko Taylor: I’m Ready 3.57
02. Koko Taylor: Long Distance Call 3.00
03. Buddy Guy: She’s 19 Years Old 7.49
04. Charlie Musslewhite: I Got A Rich Man’s Woman 4.47
05. Peter Wolf: Rollin’ & Tumblin’ 2.33
06. Robert Gravenites: Forty Days & Forty Nights 3.36
07. Mem Shannon: Gypsy Woman 3.15
08. John Hiatt: The Same Thing 4.44
09. Keb’ Mo‘: I Can’t Be Satisfied 3.44
10. Phoebe Snow: Just To Be With You 4.48
11. Robert Junior Lockwood: Mean Red Spider 4.13
12. Big Bill Morganfield: Hoochie Coochie Man 5.01
13. Big Bill Morganfield: Got My Mojo Working 2.51
14. Muddy Waters: Trouble No More 2.43
15.Hidden track (musicians talk about Muddy Waters)



Muddy Waters

McKinley Morganfield (April 4, 1913 – April 30, 1983)
better known as Muddy Waters

Paul Brett´s Sage – Jubilation Foundry (1971)

OriginalFrontCover1Paul Brett (born 20 June 1947, Fulham, London) is an English classic rock guitarist. He played lead guitar with Strawbs (though he was never actually a member), The Overlanders, The Crazy World of Arthur Brown, Elmer Gantry’s Velvet Opera, The Velvet Opera, Tintern Abbey, Fire, Roy Harper, Al Stewart, Lonnie Donegan, and switched to twelve-string guitar in the 1970s.

His first twelve-string guitar suite, Earth Birth, was released on his own label, Phoenix Future, and was produced by artist Ralph Steadman of Fear and Loathing fame. Critical acclaim led to Brett being signed on a four-album deal with RCA Records. His K-tel Romantic Guitar album went platinum in the UK, but Brett stopped recording soon afterwards. He started recording again in 2000, with long-time friend and fellow twelve-string guitarist, John Joyce.

Brett wrote for music magazines Melody Maker, Sound International and International Musician and continued working in the music industry in the later part of his career. He now writes a regular column for Acoustic, a magazine specializing in acoustic guitars. He is also the Associate Editor and Features Writer for Music Maker and Live in London magazines.

He has appeared on BBC Television’s Antiques Road Show and Flog It in the mid-2000s.


There are now a range of critically acclaimed acoustic guitars available that Paul Brett designed for Vintage in the UK that are distributed Worldwide. for information. They carry individual name such as The Viator 6 and 12 string travel guitars, The Gemini, alternative baritone and 6 strings, The Viaten , tenor guitar, paul Brett signature 6 and 12 string guitars and the most recent released in 2017 is the Statesboro’ 12 string which is a tribute to the blues legend Blind Willie McTell. (by wikipedia)

And here´s the second album by his frist own group called “Paul Brett´s Sage”:

PaulBrettsSageNicky Higginbottom departed Paul Brett’s Sage after the release of the band’s eponymous debut album, and with her went the haunting flute that gave much of the album such a rich, pastoral sound. But the band was already moving in a new direction, exploring rock’s roots and the genre’s many permutations. Jubilation Foundry welds Sage’s varied influences onto their sleeves, from “Cottage Made for Two,” an homage to the Everly Brothers, to the gospel fired “Help Me Jesus” and the Stax inspired “Hold My Hand Mother.” There are tributes to Southern blues and Southern rock, nods to singer/songwriters Cat Stevens and Harry Nilsson, and even a tip of the hat to the Beatles. With the group here sporting rich harmonies, the emphasis is on great songs in a variety of musical veins and moods, with singalong choruses, memorable melodies, and flashy musicianship evident throughout the album. (by Dave Thompson)

And yes, Paul Brett is one of the finest acoustic guiar players from UK and he´s criminally underrated !


Paul Brett (guitar, piano, vocals)
Stuart Cowell (guitar, vocals, piano)
Dick Dufall (bass, vocals)
Bob Voice (drums, percussion)
Paul King (harmonica on 06.)


01. Cottage Made For Two (Dufall) 2.26
02. Hold My Hand Mother (Hutcheson) 2.48
03. Pasadena Days (Voice) 2.59
04. Keeper Of My Heart (Myers/Brett) 3.32
05. Goodbye Forever (Hutcheson) 2.53
06. Good Old-Fashioned Funky Kind Of Music (Hutcheson) 4.09
07. Bits (1) (Brett/Cowell) 0.27
08. I Fell So Far (Dufall) 2.57
09. Written In Winter (Brett) 2.44
10. Tuesday Evening (Brett) 2.15
11. Help Me Jesus (Hutcheson) 4.02
12. Jubilation Foundry (Brett) 4.35
13. Bits (2) (Brett/Cowell) 0.46


Caffeine – Same (1994)

FrontCover1Caffeine is the eponymous debut album by the free improvisation trio consisting of Jim Baker on piano, Steve Hunt on percussion and Ken Vandermark on reeds. It was recorded in 1993 and released on Okka Disk. By the time of recording, Vandermark and Hunt were members of the NRG Ensemble.[1]Caffeine is the eponymous debut album by the free improvisation trio consisting of Jim Baker on piano, Steve Hunt on percussion and Ken Vandermark on reeds. It was recorded in 1993 and released on Okka Disk. By the time of recording, Vandermark and Hunt were members of the NRG Ensemble.

The Penguin Guide to Jazz notes that “‘with Baker and Hunt, Vandermark is slightly too exposed.”
The Chicago Tribune review by Howard Reich says “Baker’s restless pianism, Vandermark’s penetrating reed work and Hunt’s meticulous percussion perpetually react to one another in unexpected, novel ways.”
The Down Beat review by Bill Shoemaker states “Caffeine provides high-energy blow-outs followed by explorations of space and color. Baker’s first recorded outing is appetite-whetting, as he skillfully skirts Taylor’s long shadow.”


Ironically, Caffeine is the longest-lived project by reedist Ken Vandermark, and the least documented. It is an uncompromising trio rounded out by two of the most underrated Chicago musicians. Drummer Steve Hunt is mostly known for his work with the NRG Ensemble, and pianist Jim Baker has long been a mainstay of the Chicago scene. Baker produces rather linear lines with an uninterrupted flow of notes, and Hunt often uses percussive devices on his drum kit, creating a bustle. The two seem to have a privileged rapport, and Baker’s braininess acts as a foil for Hunt’s intuitiveness. Vandermark, still a little green, occasionally seems a little foreign to what they both cook, his playing being juxtaposed to theirs. The reed player gets credit, however, for his quite different approaches on each of the three instruments on this set of improvised music: clarinet, bass clarinet, and tenor sax.


It is on bass clarinet that he manages to best blend with his cohorts — maintaining an energetic flow without sounding forceful. On tenor, Vandermark is at his fiercest and most ferocious. The second part of “Landscape on the Events Horizon,” a clarinet feature, provides a rare occasion to hear him in contemplative mode. Overall, the music is extremely dense, despite the fact that the session only involves a trio and the musicians avidly seek to fill all the spaces. Despite its shortcomings, Caffeine manages to sustain the listener’s interest due to, in particular, Hunt’s and Baker’s attention to details. (by Alain Drouot)

Attention please: This is free jazz and when I write fee jazz I mean free jazz !


Jim Baker (piano)
Steve Hunt (drums, percussio
Ken Vandermark (reeds)


01. Two Car Garage 16.14

Landscape On The Events Horizon (46.58)
02. Landscape On The Events Horizon (Part 1) 10.11
03. Landscape On The Events Horizon (Part 2) 14.54
04. Landscape On The Events Horizon (Part 3) 8.55
05. Landscape On The Events Horizon (Part 4) 7.34
06. Landscape On The Events Horizon (Part 5) 5.20

07. Beyond The Gum Wrapper  9.45

All compositions by Baker/Hunt/Vandermark



Guitar World – Holiday 2015 Edition

FrontCoverGuitar World is a monthly music magazine devoted to guitarists, published since July 1980. It contains original interviews, album and gear reviews, and guitar and bass tablature of approximately five songs each month.

The magazine is published 13 times per year (12 monthly issues and a holiday issue).

Formerly owned by Harris Publications, Future US bought the magazine in 2003. In 2012, NewBay Media bought the Music division of Future US.

The latter company also published a spin-off title, Guitar Legends, each issue of which typically combined past articles from Guitar World under a specific theme.

And here´s the holiday editon from 2015 with articles about

  • Keith Richards
  • The Beatles (and their “love affair” with the Ephophone Casino guitar
  • Richie Kotzen
  • Deafheaven
  • Iron Maiden

plus many columns and tablatures “Here Comes The Sun” for example.

More Guitar World issues will come …
















Kermit Ruffins – The Big Butter & Egg Man (1994)

FrontCover1With his outgoing personality, New Orleans-style trumpet playing, and likable singing style, Kermit Ruffins has the potential to develop into a new Louis Prima. This CD from Justice hints at his potential, but it is quite erratic. Some of the songs (particularly those featuring the tenor of Roderick Paulin) are too modern; Ruffins’s solos are streaky, and the varied material does not all succeed. Best are such good-time numbers as “I’ll Drink Ta Dat,” “The Undertaker Man” and “Li’l Liza Jane,” although one wishes that this rendition of “Struttin’ with Some Barbecue” were a lot stronger. (by Scott Yanow)

New Orleans of the ’90s has two young trumpeters in their 20s, Kermit Ruffins and Nicholas Payton, who resemble the greatest New Orleans trumpeter of them all, Louis Armstrong. Payton, who bears the closest physical resemblance, does the best job of echoing Satchmo’s piercing, adventurous jazz solos. Ruffins, whose physical resemblance is less exact, is the heir of Armstrong as pop entertainer–the warm singer, the charming joker, and the tuneful trumpeter. Six of the 10 tracks on Ruffins’s second solo album, The Big Butter & Egg Man, are vocal numbers, and it’s on those that he bridges the gap between New Orleans jazz of the ’20s and New Orleans R&B of the ’50s. This is most obvious on “Li’l Liza Jane,” an old Dixieland standard which was later recorded by Fats Domino and the Neville Brothers.

Kermit Ruffins2

Ruffins and his two former bandmates in the ReBirth Brass Band–saxophonist Roderick Paulin and tubaist Philip Frazier–get a Dixieland horn arrangement swinging, but the gospel-ish vocals and syncopated dance beat come straight out of R&B. The same approach of sophisticated harmonies, infectious rhythms, and exuberant humor is applied to the old Tin Pan Alley title tune, to Stuff Smith’s 1930s marijuana song “If You’re a Viper,” and to Ruffins’s guided tour of his hometown, “I’ll Drink Ta Dat.” The four instrumentals, featuring music by Armstrong, Ellington, and Ruffins, are perfectly respectable, but it’s Ruffins’s vocal showcases which separate him from the pack. (Geoffrey Himes)

Kermit Ruffins

Jerry Anderson (drums)
Dwight Fitch (piano)
Philip Fraizer (tuba)
Corey Henry (trombone)
Roderick Paulin (saxophone)
Kermit Ruffins (trumpet, vocals)


01. I’ll Drink Ta Dat (Ruffins) 3.55
02. The Big Butter And Egg Man (Clare/Friend) 4.07
03. Besame Mucho (Skylar/Velázquez) 4-08
04. Out Of Left Field (Ruffins) 4.46
05. The Undertaker Man (Ruffins) 4.00
06. Leshianne (Ruffins) 3.09
07. Struttin’ With Some Barbecue (Hardin/Raye) 4.17
08. If You’re A Viper (Smith) 3.11
09. Li’l Liza Jane (Traditional) 3.53
10. West Indies Jazz Dance (Ellington) 3.58



Various Artists – San Remo Festival ’69 (1969)

FrontCover1The Festival della canzone italiana di Sanremo (in English: Italian song festival of Sanremo) is the most popular Italian song contest and awards, held annually in the town of Sanremo, in Italy, and consisting of a competition amongst previously unreleased songs. Usually referred to as Festival di Sanremo, or outside Italy as Sanremo Music Festival or Sanremo Music Festival Award, it was the inspiration for the Eurovision Song Contest.

It is the music equivalent to the Premio Regia Televisiva for television, the Premio Ubu for stage performances, and the Premio David di Donatello for motion pictures, but with a longer history and contest associated with.

The first edition of the Sanremo Music Festival, held between 29 and 31 January 1951, was broadcast by RAI’s radio station Rete Rossa and its only three participants were Nilla Pizzi, Achille Togliani and Duo Fasano.[3] Starting from 1955 all the editions of the Festival have been broadcast live by the Italian TV station Rai 1.

From 1951 to 1976, the Festival took place in the Sanremo Casino, but starting from 1977, all the following editions were held in the Teatro Ariston, except 1990’s one, held at the Nuovo Mercato dei Fiori.

Between 1953 and 1971, except in 1956, each song was sung twice by two different artists, each one using an individual orchestral arrangement, to illustrate the meaning of the festival as a composers’ competition, not a singers’ competition. During this era of the festival, it was custom that one version of the song was performed by a native Italian artist while the other version was performed by an international guest artist.[8]

ConcertPosterThe festival is used as the way of choosing the Italian entry to the Eurovision Song Contest and it has launched the careers of some of Italy’s most successful singers, including Andrea Bocelli, Paola e Chiara, Giorgia, Laura Pausini, Eros Ramazzotti, and Gigliola Cinquetti.

The Sanremo Music Festival 1969 was the 19th annual Sanremo Music Festival, held at the Sanremo Casino in Sanremo, province of Imperia between 30 January and 1 February 1969.

The show was presented by Nuccio Costa and Gabriella Farinon.

According to the rules of this edition every song was performed in a double performance by a couple of singers or groups. The winners of the Festival were Bobby Solo and Iva Zanicchi with the song “Zingara”. (by wikipedia)

And here are some ofthesongs from the 69 festival … a real nice sentimental journey with songs full of illusions and dreams … a beautiful album with “kitsch” music from this decade.

Close your eyes and drift away ….


01. Gigliola Cinquetti: La Pioggia (Conti/Pace, Argenio/Panzeri) 3.01
02. Massimo Ranieri: Quando L’Amore Diventa Poesia (Mogol/Soffici) 2.59
03. I Camaleonti: Se Tu Ragazza Mia (G.Ferri/Pintucci/V.Verri) 3.47
04. Mario Tessuto: Un Sorriso (Mariano/Backy) 3.14
05. Giuliana Valci: Lontano Dagli Occhi (Bardotti/Endrigo) 3.47
06. I Profeti: Zucchero (Ascri/Mogol/Guscelli/Soffici) 2.51
07. Caterina Caselli: Il Gioco Dell’Amore (Migliacci/Callegari) 3.20
08. Riccardo del Turco: Cosa Hai Messo Nel Caffè? (Bigazzi(del Turco) 3.46
09. Betty Curtis: Meglio Una Sera Piangere Da Sola (Salerno/F.Reitano/M.Reitano/Nisa) 3.07
10. Massimo Ranieri: Zingara (Riccardi/Albertelli) 2.34
11. Sergio Leonardi: Bada Bambina (Zambrini/Migliacci/Meccia) 2.33
12. I Roll’s 33: Ma Che Freddo Fa (Mattone/Migliacci) 3.02



Original front+back cover from Italy