Linda Ronstadt – Hasten Down The Wind (1976)

FrontCover1Hasten Down the Wind is the Grammy Award-winning seventh studio album by singer/songwriter/producer Linda Ronstadt. Released in 1976, it became her third straight million-selling album. Ronstadt was the first female artist in history to accomplish this feat. The album earned her a Grammy Award for Best Female Pop Vocal Performance, Female in 1977, her second of 11 Grammys. It represented a slight departure from 1974’s Heart Like a Wheel and 1975’s Prisoner in Disguise in that she chose to showcase new songwriters over the traditional country rock sound she had been producing up to that point. A more serious and poignant album than its predecessors, it won critical acclaim.

Hasten Down the Wind is the Grammy Award-winning seventh studio album by singer/songwriter/producer Linda Ronstadt. Released in 1976, it became her third straight million-selling album. Ronstadt was the first female artist in history to accomplish this feat. The album earned her a Grammy Award for Best Female Pop Vocal Performance, Female in 1977, her second of 11 Grammys. It represented a slight departure from 1974’s Heart Like a Wheel and 1975’s Prisoner in Disguise in that she chose to showcase new songwriters over the traditional country rock sound she had been producing up to that point. A more serious and poignant album than its predecessors, it won critical acclaim.

The album showcased songs from artists such as Warren Zevon (“Hasten Down the Wind”) and Karla Bonoff (“Someone to Lay Down Beside Me”), both of whom would soon be making a name for themselves in the singer-songwriter world. The album included a cover of a cover: “The Tattler” by Washington Phillips, which Ry Cooder had re-arranged for his 1974 album Paradise and Lunch. A reworking of the late Patsy Cline’s classic “Crazy” was a Top 10 Country hit for Ronstadt in early 1977.

Her third album to go platinum, Hasten Down the Wind spent several weeks in the top three of the Billboard album charts. It was also the second of four number 1 Country albums for her. (by wikipedia)

This is Linda Ronstadt’s tenth album (including the three made with her first group, the Stone Poneys). While it is certainly not in a league with her masterpiece, Heart like a Wheel (and I’m beginning to believe its perfection occurs but once in an artist’s career), Hasten down the Wind is nonetheless representative of Ronstadt redivivus, of Ronstadt, the sensitive, introspective stirring we have admired all these years.

Aside from the inclusion of two innocuous songs — “Lo Siento Mi Vida” and Karla Bonoff’s “If He’s Ever Near” — the album’s problems are fairly well exemplified by the totally wrongheaded interpretation of the Warren Zevon-penned title song, which delineates the chilling tale of a lover’s indecisiveness. In the original version, stinging, venomous guitar lines plus ethereal guitar solos accentuated Zevon’s weary vocal. Here, strings and Andrew Gold’s impersonal piano accompaniment take the song all the way out of the danger zone, and Ronstadt’s carefully articulated, stodgy vocal belies her misunderstanding. When she is joined on the chorus by Don Henley (of the Eagles) the impact of the song’s touching and mystifying lyric is completely blunted by the beauty of the harmonizing.


The album’s only other major mistake is John and Johanna Hall’s “Give One Heart,” one of the worst songs — reggae or otherwise — I’ve heard. Orleans couldn’t salvage it, nor can Ronstadt. No amount of sweetening can rescue lyrics as inane as “That’s the paradox of I love you” or “If your baby loves you right/You can have skyrockets any old night.” A rock & roll bridge has been punched up, which only makes things worse by forcing a scream from Ronstadt as she tries to move up the scale. Worse still, one verse of an immaculately beautiful reggae song, “Rivers of Babylon,” is ruined by being used as a prelude to “Give One Heart.”

Otherwise the album is in good shape. And in a few instances it’s as good as anything Ronstadt has done.

I’ve always appreciated Ronstadt’s good-natured approach to her remakes of rock ‘n’ roll oldies. The version of “That’ll Be the Day” included here neither alters my feelings for nor threatens the Buddy Holly original. Her reading could be tougher, but the music behind it — particularly the solo sparring between guitarists Andrew Gold and Waddy Wachtel — has enough bite to overcome the vocal shortcomings.


Ry Cooder’s “The Tattler” is one of the album’s two gems. Swirling electric piano figures and a barely audible mandolin establish an irresistibly exotic ambiance. Ronstadt’s interpretation is extraordinarily subtle, sly and witty. She sounds at peace with herself as she sings of foolish lovers who don’t take the time to discover love’s true meaning. She doesn’t battle the instruments; she doesn’t strain for high notes. She simply allows the beauty of this well-structured song to speak for itself.

Ultimately, there is the Ronstadt-Gold song, “Try Me Again.” As in “Love Has No Pride” and “Long Long Time,” something precious is at stake here. The song’s theme summons from Ronstadt myriad emotions; midway through the first verse, she is befuddled — not yet wanting to admit what is going on in her life:

Lately I ain’t been feelin’ right
And I don’t know the cure, no
Still I can’t keep from wonderin’
If I still figure in your life

Realization and abject resignation in the second verse turn into frustration by the third (“When you say you tried/And you know you lied/My hands are tied”), which elicits the final, desperate plea of the title.


Near the end of the song, Gold hammers out angry piano chords beneath Dan Dugmore’s sorrowful steel guitar lines, then comes back with a powerful guitar solo that is the instrumental topping for the quintessential Ronstadt performance.

Willie Nelson’s “Crazy,” an inspired choice, follows. After the tumult of “Try Me Again,” “Crazy” is rather a boozy coda; a “what the hell, you gotta give love a try” barroom ballad that is lighthearted and loose enough for Ronstadt to falter on the last line without destroying the mood.

This isn’t Heart like a Wheel. But it is, despite its flaws, a fine album that begs closer inspection than, I fear, many of us are willing to give to Linda Ronstadt’s art. Like the best moments of the preceding nine, though, the best moments of Hasten down the Wind will be with us a long, long time. (by David McGee, Rolling Stone, 1976)


Michael Botts (drums)
Dan Dugmore (guitar, steel-guitar)
Kenny Edwards (bass, mandolin, background vocals)
Andrew Gold (keyboards, clavinet, guitar, clavichord, background vocals)
Russ Kunkel (drums)
Linda Ronstadt (vocals)
Wendy Waldman (guitar, background vocals)
Peter Asher (guitar, percussion, background vocals)
David Campbell (viola)
Richard Feves (bass)
Don Henley (drums, vocals)
Dennis Karmazyn (cello)
Clarence McDonald (keyboards)
Paul Polivnick (viola)
Charles Veal (violin)
Ken Yerke (violin, viola)
vocals/background vocals:
Herb Pedersen – Bill Thedford – Ron Hickland – Gerry Garrett – Sherlie Matthews – Clydie King – Gerald Garrett – Jim Gilstrap – Pat Henderson – Ron Hicklin – Becky Louis – Karla Bonoff


01. Lose Again (Bonoff) 3.37
02. The Tattler (Cooder/Titelman/Phillips) 3:56
03. If He’s Ever Near (Bonoff) 3:15
04. That’ll Be The Day (Allison/Holly/Petty) 2:32
05. Lo Siento Mi Vida (I’m Sorry My Love) (L.Ronstadt/Edwards/G.Ronstadt) 3:54
06. Hasten Down The Wind (Zevon) 2:40
07. Rivers Of Babylon (Dowe/McNaughton) 0:52
08. Give One Heart /John Hall/Johanna Hall) 4:07
09. Try Me Again (L. Ronstadt/Gold) 3:59
10. Crazy (W.Nelson) 3:58
11. Down So Low (T.Nelson) 4:08
12. Someone To Lay Down Beside Me (Bonoff) 3.58




France Gall – Live (Au Theatre des Champs Elysées) (1978)

FrontCover1France Gall (born Isabelle Geneviève Marie Anne Gall on 9 October, 1947 in Paris, France – died 7 January 2018) was an influential singer who performed for many decades. She notably represented Luxembourg in the 1965 Eurovision Song Contest with “Poupée de Cire, Poupée de Son”; that winning song was just one of many that she performed which had been written by Serge Gainsbourg. Her career spanned roughly forty years, primarily in France, but she was best known over the world for the songs she that performed in the 60s, many of them a part of the ye-ye style. She sang in both French and English.

Besides the highly successful “Poupée de Cire, Poupée de Son”, she also notably sung “Les Sucettes” and “Baby Pop”. In France, she was perhaps more known for the chanson songs she sang in the late-70s through the mid-80s, many of them written by her husband, Michel Berger, who died in 1992. In 1987, she had some additional international success with her Ella Fitzgerald tribute “Ella, elle l’a”. She still recorded music into the new millennium.

France Gall died on 7 january 2018 at age 70 in a hospital in Paris. (by

PosterGall was seduced by Michel Berger’s music when she heard his song “Attends-moi” (“Wait for Me”) one day in 1973. During a later radio broadcast, she asked him for his opinion on songs which her then producer wanted her to record. Although he was disconcerted by the quality of the songs, there would be no question of collaboration.

Only six months later, in 1974, after she sang vocals on the song “Mon fils rira du rock’n’roll” on Berger’s new album, Gall’s publisher asked him, at her behest, to write for her. Gall had already made her mind up that “It will be him and nobody else”. In 1974, “La Déclaration d’amour” was to be the first in a long line of hits which marked a turning point in Gall’s career. Meanwhile, the two artists, whose affinities became more than musical, married on 22 June 1976. Since their marriage, Gall has only sung songs written by Berger.[15] They remained married until his death in 1992.

And here´s a good live-Album from 1978 with songs from Michel Berger … a typical Seventies production a perfect shwo with very good musisians and …  … what a beautiful voice !

Gall died of an infection complicated from cancer at the American Hospital of Paris, in Neuilly-sur-Seine, on 7 January 2018 at the age of 70


Michel Berger & France Gall

Mary Lou Benoit (percussion)
France Gall (vocals)
Bonnie Johnson (drums)
Peggy Mitchell (bass)
Patti Quatro (guitar)
Colleen Stewart (piano)
Gail Thompson (saxophone)
Melissa Vardey (keyboards)
Background vocals:

Florence Bertoux – Lisa Deluxe – Stella Vander
Anne Etevenon – Béatrice Crenne – Marie-Rose Dumonteil – Sophie Cuvillier


01. Musique 4.55
02. Samba Mambo 3.24
03. Si Maman Si 3:05
04- Comment Lui Dire 3.20
05. Ce Soir Je Ne Dors Pas 3.02
06. La Déclaration 3.20
07. Ce Garçon Qui Danse 3.20
08. Je L’aimais 4.48
09. Chanson D’une Terrienne 6.20
10. Chanson Pour Consoler 2.20
11. La Chanson De Maggie 3.00
12. Ça Balance Pas Mal A Paris 2.30
13. Le Meilleur De Soi-même 3.55
14. Mais Aime-la 9.30
15. Présentation Des Musiciennes 5.40
16. Viens Je T’emmène 4.55
17. Quand On Est Enfant 1.47

All Songs written by MIchel Berger




France Gall (9 October 1947 – 7 January 2018)


Willie Nelson – Stardust (1978)

FrontCover1Stardust is the 23rd studio album by Willie Nelson that spans the genres of pop, jazz, and country music. Its ten songs consist entirely of pop standards that Nelson picked from among his favorites. Nelson asked Booker T. Jones, who was his neighbor in Malibu at the time, to arrange a version of “Moonlight in Vermont”. Impressed with Jones’s work, Nelson asked him to produce the entire album. Nelson’s decision to record such well-known tracks was controversial among Columbia executives because he had distinguished himself in the outlaw country genre. Recording of the album took only ten days.

Released in April, Stardust was met with high sales and near-universal positive reviews. It peaked at number one in Billboard’s Top Country Albums and number thirty in the Billboard 200. Meanwhile, it charted at number one in Canadian RPM’s Country Albums and number twenty-eight in RPM’s Top Albums. The singles “Blue Skies” and “All of Me” peaked respectively at numbers one and three in Billboard’s Hot Country Singles.

In 1979, Nelson won a Grammy Award for Best Male Country Vocal Performance for the song “Georgia on My Mind”. Stardust was on the Billboard’s Country Album charts for ten years—from its release until 1988. The album also reached number one in New WillieNelsonZealand and number five in Australia in 1980. In 2003, the album was ranked number 257 on Rolling Stone magazine’s list of the 500 greatest albums of all time. It was originally certified platinum by the Recording Industry Association of America in December 1978. In 1984, when it was certified triple platinum, Nelson was the highest-grossing concert act in the United States. In 2002, the album was certified quintuple platinum, and it was later inducted in the Grammy Hall of Fame class of 2015. (by wikipedia)

At the height of outlaw country, Willie Nelson pulled off perhaps the riskiest move of the entire bunch. He set aside originals, country, and folk and recorded Stardust, a collection of pop standards produced by Booker T. Jones. Well, it’s not entirely accurate to say that he put away country and folk, since these are highly idiosyncratic interpretations of “Georgia on My Mind,” “All of Me,” “Moonlight in Vermont,” and “Don’t Get Around Much Anymore,” blending pop, country, jazz, and folk in equal measures. It’s not that Willie makes these songs his own, it’s that he reimagines these songs in a way that nobody else could, and with his trusty touring band, he makes these versions indelible.


It may be strange to think that this album, containing no originals from one of America’s greatest songwriters, is what made him a star, and it continues to be one of his most beloved records, but it’s appropriate, actually. Stardust showcases Nelson’s skills as a musician and his entire aesthetic — where there is nothing separating classic American musical forms, it can all be played together — perhaps better than any other album, which is why it was a sensation upon its release and grows stronger with each passing year. (by Stephen Thomas Erlewine)


Paul English (drums)
Chris Ethridge (bass)
Booker T. Jones (keyboards)
Rex Ludwick (drums)
Bobbie Nelson (piano)
Willie Nelson (vocals, guitar)
Jody Payne (guitar)
Mickey Raphael (harmonica)
Bee Spears (bass)


01. “Stardust (Carmichael/Parish) 3.53
02. Georgia On My Mind (Carmichael/Gorrell) 4.20
03. Blue Skies (Berlin) 3.34
04. All Of Me (Simons/Marks) 3.54
05. Unchained Melody (North/Zaret) 3.50
06. September Song (Weill/Anderson) 4-35
07. On The Sunny Side Of The Street (McHugh/Fields) 2.36
08. Moonlight In Vermont (Suessdorf/Blackburn) 3.25
09. Don’t Get Around Much Anymore (Ellington/Russell) 2.33
10. Someone To Watch Over Me (G.Gershwin/I.Gershwin) 4.03
11. Scarlet Ribbons (Danzig/Segal) 4.30
12. I Can See Clearly Now (Nash)  4.18



Mišo Kovač – San Francisco + 3 (1967)

FrontCover1And here´s a very rare single from Yugoslavia from 1967 !

Mišo Kovač a.k.a. Mate Mišo Kovač (born 16 July 1941), is a Croatian singer of pop-folk and schlager music. He is the biggest selling artist from the former Yugoslavia, with well over 20 million records, cassettes and compact discs sold to date.


Mišo Kovač was born to Zrinka and Jakov Kovač on July 16, 1941, in Tribunj, a modern-day Croatian town near Šibenik, at a time when the region was under Italian occupation during World War II. He had a sister named Blanka and a brother named Ratko. His paternal family is of distant Sicilian origin.

During his youth Mišo Kovač lived in the same street in Šibenik as Vice Vukov (b. August 3, 1936 in Šibenik; d. September 24, 2008 in Zagreb) and Arsen Dedić (b. July 28, 1938 in Šibenik; d. August 17, 2015 in Zagreb). Mišo made the HNK Šibenik (Founded in 1921, they were in the Yugoslav Second Division at the time) junior team as a goal-keeper and also barracked for HNK Hajduk Split (Established in 1911, they were in the Yugoslav First Division at the time), often travelling by boat from Šibenik to Split on game day to see HNK Hajduk Split play. His earliest goals in life were to eventually represent HNK Hajduk Miso02Split, but that changed at age 16 when he heard Ljube Lučev sing and then devoted himself entirely to music. His early musical influences were Italian artists Luciana Tajolija, Tony Dellaga and Adriano Celentano, as well as American singers, Johnnie Ray, Elvis Presley, and later Willie Nelson. In 1961 he shared equal first place with Mirko Vukšić, future guitarist with Croatian group Mi [We], in a talent contest called “Prvi glas Šibenika” (First voice of Šibenik), where he covered an Elvis Presley hit.


He then served in the Yugoslav Army, being stationed at Belgrade, where he sang every Saturday night to his fellow conscripts and friends. After military service he went to live in Zagreb, hoping to develop his career. His first big break came in 1964 at a talent contest in Karlovac, where he was noticed by leading music producers after singing “Ne mogu prestat da te volim” (his rendition of I can’t stop loving you by Ray Charles), which also became his first recording soon after.

In very short time four of his singles/EP’s were certified Silver (with sales of over 50,000) – they included: “Ja odlazim” (I’m Leavin’) (1966 EP), “Vrijeme plakanja” (Crying time) (1967 EP), San Francisko (San Francisco (Be Sure To Wear Flowers In Your Hair)) (1968 EP) and “Da je duži moj dan” (If I only had time) (1968).

His first huge hit came in 1969 with the song, “Više se nećeš vratiti” (You won’t be coming back), written by Đorđe Novković and selling well over 400,000 copies (later re-recorded in 1985), as well as a Gold disc award for “Čemu da živim” (What should I live for), and in 1970 he earned another Silver disc award with “Serenada” (Seranade).


In 1971, he won his first prestigious Split Festival with the song, “Proplakat će zora” (Dawn will cry), which went on to sell well over half a million copies and could be the best selling single ever in the former Yugoslavia (but very difficult to prove since the war). Mišo donated all his earnings from the song to building a new highway from Zagreb to Split. He also gained two other Silver disc awards in 1971 with the hits, “Mornaru za sretan put” (Sailor have a safe trip) and “Za mene sreće nema” (There is no luck for me). He also released his first album in 1971, self-titled, and it eventually earned him a Platinum award for sales of well over 200,000 copies.

He nearly died in a car accident near Zadar in 1971 when his car was completely destroyed and as a result he had a scar above his upper lip. During his recovery Mišo decided to let his moustache grow to hide his scar, and the moustache later became his trademark.

In 1972, Mišo went to see one of his idols, Elvis Presley, perform live at New York’s Madison Square Garden, and the King’s rendition of Frank Sinatra hit, “My Way” left a lasting impression on him. In the same year back at home he was awarded another Gold disc award with, “Zalij to cvijeće suzama sreće” (Pour this flower with tears of happiness).


Another Gold Disc award came in 1974 with the hit, “Drugi joj raspliće kosu a ja je volim” (Somebody else untangles her hair but I love her) (with sales of well over 100,000). The following year he recorded “Ostala si uvjek ista” (You remained always the same), which Mišo later claimed was his personal best recording of his career. That song was re-issued ten years later on an album with the same title which sold well over 400,000 copies (certified Diamond award and his best selling album ever).

Further gold discs followed, with “Noćas ćemo zemlji k’o materi reći” (Tonight our homeland will be spoken of like our mothers) in 1977, “Dobra ti večer, mati moja” (Good evening, to my mother) in 1980, “Dalmacija u mom oku” (Dalmatia in my eyes) in 1982 [which is still seen as a semi-official anthem of Dalmatia, although it didn’t even make the national charts when first released but a live version hit #2 in 1988], and “Šibenske kale” (Streets of Šibenik) in 1982. Then, between 1985-88 he issued some of his biggest hits and well known songs like, “Ako me ostaviš” (If you leave me), “Jedan dan života” (One day of life), Sutra mi sude (Tomorrow they will judge me), “Odavno više ne plačem zbog tebe” (I stopped crying long ago about you), “Ja nemam više razloga da živim” (I don’t have any reason to live), “Ti si pjesma moje duše” (Seven Spanish Angels, title translates as “You’re the song of my soul’), “Svi pjevaju, ja ne čujem” (Everybody’s singing, but I can’t hear) and many others.



Four of his albums released in the 1980s earned Platinum awards with sales of over 200,000, with “Dalmacija u mom oku” (Dalmatia in my eyes) in 1982, “Zajedno smo” (We are together) in 1984, “Mali mi je jedan život” (One life is too short) in 1987 and “Mišo! Koncert” (Mišo! Concert, recorded live) in 1988.

In the next two decades, Mišo Kovač won many prestigious festival awards, topped music charts (albeit not so much the national Yugoslavian charts) and sold well over 20 million records during his long and successful career (making him the biggest ever selling artist in the former Yugoslavia).

Mišo Kovač divorced his first wife Ljubica Komadina after four years of marriage, and in 1973 he married former Miss Teen Yugoslavia of 1970, Anita Baturina (b. June 1, 1953 in Split), they had two children, son Eduard ‘Edi’ Kovač (b. June 3, 1975 in Split; d. April 9, 1992 in Zagreb) and daughter Ivana Kovač (b. September 1, 1977 in Zagreb, she’s also a renowned singer in her own right).

His life and career turned sour with the outbreak of war in Croatia and his first appearance on Croatian television after the collapse of Yugoslavia occurred in 1991 during Croatian War of Independence when Mišo Kovač showed his reluctant patriotism with a song inspired by attacks from the Krajina Serbs and JNA on his native Šibenik, “Grobovi im nikad oprostiti neće” (The graves will never forgive them).

At the same time Mišo Kovač’s son, ‘Edi’, joined the special unit of Croatian Army called Škorpioni [the Scorpions] and in 1992 he was fatally shot in Zagreb in controversial circumstances, with his death being officially declared as an accident. Mišo Kovač was deeply affected by the tragedy and refused to believe the official reason for his sons death. He claimed that his son was murdered and his quest to find his son’s killers got him involved with the far right Croatian Party of Rights. He began to support the party and appear at their rallies, dressing in the black uniform of the Croatian Defence Forces (HOS), the party’s militia. He also changed his first name from Mišo to Mate.

The death of his son had a devastating effect on his personal life and marriage, and in 1996 he divorced Anita Baturina, followed by years of alcohol abuse and severe depression caused him to try and commit suicide by shooting himself in the chest in 1999. After fully recovering and returning to the music scene, he married Lydia Pintarić. Kovač often spoke about his loyalty and gratitude to Lydia and the importance of their relationship and marriage she had towards his recovery.


He’s also been quoted saying that he still only needs “a carton of tobacco, 5 coffees, half a pizza and one coca cola drink to survive each day”, which he made when the media in Croatia issued reports that all the money he earned during his fame has been spent on the many women he loved in his life and that he was penniless.

In 2012, Institut hrvatske glazbe [Institute of Croatian Music] presented Mišo Kovač with the Porin za životno djelo [Porin award for life achievement], and he still enjoys the reputation and fame of a musical legend and has many loyal fans all over the former Yugoslavia.

In 2016, he released a new single, “Takav Sam Rođen”.

Also in 2016, his 1987 hit “Poljubi zemlju” was played on the Mars rover Opportunity, the first ever pop song from Croatia (and probably any Eastern European country for that matter) to be played on an alien planet. (by wikipedia)

You´ll hear the Yugoslavian version of the monster hit “San Francisco” (you know … Scott McKenzie) and three more songs … pretty good pop songs …


Mišo Kovač (vocals)
Orchestra under the direction of Stjepan Mihaljinec


01. San Francisco (Phillips/Krajac) 2.47
02. Ne zuguj, Ljubavi (Mihaljinec/Britvic) 2.36
03. Daj da odem (Release Me) (Miller/Yount/Williams/Krajac) 3.03
04. Htjela to ti ili ne (Dann/Selebaj) 2.25



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

Roger Saunders – The Roger Saunders Rush Album (1972)

FrontCover1Solo album of the British guitarist, member of the group “Freedom” and other bands. In the framework of these projects, Roger performed heavy electric guitar music, but he recorded a solo record in soft pop-rock tunes……..

From 1972, out of the UK, comes Roger Saunders with his album The Roger Saunders Rush Album, also known as Thanks on Warner Bros BS2601 DJ white label promo. Scarce eleven track album by Roger Saunders, who is also known as the primary force behind the hard rock group Freedom. They were formed from Procol Harum members just after the hit A Whiter Shade Of Pale. This record is unusual as it shows a picture of some film canisters on the front cover, while on the rear cover is a promotional insert under the shrink giving the title of the album as Thanks with a picture of Roger Saunders on the front cover! Maybe WB was in a hurry to release this to DJs and gave them a different album cover…………. (by johnkatsmc5.blogspot)

Attention: This album has nothing to do with the powerlful rock of “Freedom” … this is more a singer/songwriter album with lot´s of strings ! A real strange musical development….


Promotion info

“I did this album called “Roger Saunders’ Rush Album”,” he said. “That was quite an ironic title, since it took such a long time to make and there was a hell of a lot of work done on the production and arrangements.”

A consequence of this was, the Freedom’s management now demanded more focus on Saunders, who was given long solo spots during the band’s gigs, playing piano and singing on his own. “They had this vision of me being a new Elton John or something. I’d rather have been James Taylor if I’d had the choice!” More changes occurred when the management demanded the bass player be sacked and replaced by Pete Dennis. Some time after, an extra guitarist, Steve Jolly, joined in order to make more space for Saunders’ keyboard playing. Around this time, the style of the band seemed to become increasingly “progressive”, with a hint of country-rock thrown in for good measure.

After Freedom disbanded in late 1972, Roger Saunders turned to working as a session guitarist. When I talked to him, he could no longer remember all the numerous sessions he had participated in; he’d be often called in and presented with the job on the spot with no time for rehearsal. Nevertheless, he found pleasure in this kind of work which at least provided him with a steady salary, unlike the many years of touring with rock groups. “For the first time in my career as a musician I didn’t get any hopes crushed and didn’t have to starve!”

During this time, Saunders kept his creative juices flowing by striking up a partnership with Scott English, the famous songwriter. Via this collaboration, Saunders was invited to work with people who were all-time heroes of his, such as The Crusaders, The Three Degrees and The Drifters. Following that, he joined Medicine Head. Throughout most of the eighties, Roger Saunders was to be seen as a member of Gary Glitter’s band. (by

Roger Saunders

Roger Saunders (vocals, piano, guitar)
a bunch of unknown studio musicians


01. Gentian Violet (Saunders/Frost) 3.29
02. Hard To Love (Saunders/Frost) 4.07
03. Darkness (Saunders/Frost) 3.23
04. Where Are You Loving For (Saunders) 3.29
05. Little Old Lady (Saunders/Frost) 2.33
06. Who Knows (Saunders) 1.55
07. No Better Place (Saunders/Pajunen) 4.18
08. Direction (Saunders) 5.12
09. Unanswered Question (Saunders) 3.11
10. Loving You (Saunders) 4.18
11. Thanks (Saunders/Harrison) 4.27



The Inlets

The inlets

Petula Clark – Down Town (1965)

LPFrontCover1Born November 15, with “a voice as sweet as chapel bells,” Petula Clark first broke into the limelight during World War II when as a child she entertained the troops, both on radio and in concert. She is said to have performed in over 200 shows for the forces all over England before the age of nine and by war’s end, Petula Clark–the British “Shirley Temple” who had come to represent childhood itself–was so popular in England she was asked to sing at a national victory celebration at Trafalgar Square. In 1944, Petula made her first movie and has since appeared in over 30 British and American films. Born November 15, with “a voice as sweet as chapel bells,” Petula Clark first broke into the limelight during World War II when as a child she entertained the troops, both on radio and in concert. She is said to have performed in over 200 shows for the forces all over England before the age of nine and by war’s end, Petula Clark–the British “Shirley Temple” who had come to represent childhood itself–was so popular in England she was asked to sing at a national victory celebration at Trafalgar Square. In 1944, Petula made her first movie and has since appeared in over 30 British and American films.

PetulaClark1Throughout the forties and fifties Petula was a regular guest on a vast number of radio shows and became something of a television “pioneer” in England, first appearing on experimental TV in the forties and later as host of several of her own television series during the very early years of British programming, with Pet’s Parlour being her longest running and most popular. Although she sang regularly in concert, on radio and TV all through the forties, it wasn’t until 1949 that she recorded her first song Music, Music, Music and that pretty much sums up her very prolific recording career.
She has never stopped recording — 50 plus years and over a 1,000 songs and still counting!  Her first hits were children’s songs like Where Did My Snowman Go (1952) and The Little Shoemaker (1954). To date, she has sold well in excess of 68 million records.
In answer to the rock-and-roll craze of the late fifties, Petula recorded Sailor, Romeo and My Friend The Sea and was back on the charts again. In 1957, she was invited to sing at the famed Olympia theatre in France. After one song the French crowd went wild, and an entirely new career was launched.


Asked to record in French, Petula declined at first but was quickly persuaded to do so by Frenchman Claude Wolff with whom she fell madly in love – they were married in June 1961. (They have three children, daughters Barbara and Catherine and son Patrick and a granddaughter and grandson.) By the early sixties, Petula found herself reinvented as a French chanteuse, even rivaling the legendary Piaf–during Piaf’s own lifetime. (She is still classified as a “French” singer


on the shelves in French and French-Canadian record stores.) In addition to her newfound French pop star status, Petula also began to enjoy success with the songs that she had begun to record in German and Italian. By the mid-sixties she’d established herself as superstar throughout Europe with Number One tunes sung in different languages in different countries all across the Continent. (Interesting to note, each of her early European hits were with entirely different songs–a feat not duplicated by any other singer since!)

pictured at the Ideal Home Exhibition 1965.
Urged by her friends in Britain to record something in English, Petula allowed Tony Hatch to visit her in Paris where he presented his new song, Downtown. Petula recorded it and the rest is music history. Downtown skyrocketed to number 1 in the USA, launching Petula’s American career and earning her a Grammy in 1964. She quickly followed with I Know A Place which went to number 3 and earned Petula her second Grammy in 1965. Numerous top 40 hits followed. All told, Pet has had 15 top 40 hits in the USA (two #1 hits). Internationally, Petula Clark has charted in the top 40 somewhere, sometime, with 159 recordings! (in her own words)

And here´s this album with this sensational chart sucess all over the world: Downtown! And this song is of course a milestone in the history of British pop …

I add thsi song in the Frechn, German and Italian version … just for fun.


Petula Cark (vocals)
unknown studio orchestra

01. True Love Never Runs Smooth (Bacharach/David) 2.13
02. Baby It’s Me (Anthony) 2.21
03. Now That You’re Gone (Ballay/Newell/Clark) 2.56
04. Tell Me (That It’s Love) (Clark/Bernet/Hatch) 2.33
05. Crying Through A Sleepless Night (Anthony) 2.26
06. In Love (Freed/Lester/Fuqua) 2.34
07. Music (Hatch) 3.10
08. Be Good To Me (Anthony/Clark) 2.04
09. This Is Goodbye (Aber/Anthony/Clark) 2.23
10. Let Me Tell You (Anthony) 2.15
11. You Belong To Me (Price/King/Stewart) 2.41
12. Downtown (Hatch) 3.07
13. Downtown (German version) 3.05
14. Downtown (French version) 3.14
15. Downtown (Italian version) 3.00