by Record Facts
Joy Fleming (born Erna Raad; 15 November 1944, Rockenhausen – 27 September 2017, Sinsheim), aka Erna Libenow, was a German singer best known for her performance in the Eurovision Song Contest in 1975.
In 1963, at the age of 19, she founded the Krautrock band Joy and The Hitkids, rechristened Joy Unlimited a few years later. The groups big break came with their appearance on the television show “Talentschuppen”. Nine years later, Joy would finally start off on her solo career, enjoying a successful debut single in Neckarbrücken-Blues / Mannemer Dreck, characterized by her unique three-octave voice.
1975 saw Fleming taking part in the Eurovision Song Contest (Grand Prix d’Eurovision de la chanson). Her song “Ein Lied kann eine Brücke sein”, wasn’t the typical music her fans had come to expect. No blues, no rock — it was only average German Schlager. Fleming’s fans didn’t vote for her, and the Schlager fans voted for other singers. Tellingly, the artist only made it to the 17th round.
In 1976 Fleming married Bernd Liebenow (who also became her manager), and moved to Sinsheim-Hilsbach. Although her subsequent records sold well, she was never able to reach the top of the charts.
In 1978 Fleming went on an international tour – including her performance at the Fiesta del Plata in Argentina, leading to concerts in China and the Soviet Union.
She founded both her own record company Rö-Mo Records, and a new group called United Wanderers in 1990. She would also go on to produce a German folk album in 1998, something she had always wanted to do.
Fleming has released numerous records and made frequent stage and television appearances over the years.
A1. Are You Ready For Love – 3:53
A2. Jamie – 3:20
A3. Alabama Stand By – 4:25
A4. Are You Lonesome Tonight – 2:53
A5. Oh Darling – 2:51
A6. Gallery – 2:31
B1. Have A Good Time – 3:30
B2. Here Comes The Sun – 3:37
B3. Wichita Lineman – 3:18
B4. Let It Burn – 3:09
B5. You’ve Got A Friend – 3:26
B6. Strike The Tent – 3:56
- Backing Vocals – Madeline Bell, Sue Clover, Sunny Leslie
- Bass – Lothar Meid
- Design – Hoffmann, Lipp, Fessel
- Drums – Martin Harrison
- Engineer – Mal Luker
- Guitar – Nick Woodland, Thomas Strasser
- Keyboards – Mike Thatcher
- Percussion – Charly Campbell
- Photography – Jochen Harder
- Producer – Peter Kirsten
- Saxophone, Flute – Ralf Nowy
- Tape Op – Uschi Kühn
- Trombone – Ralf Armbruster
- Trumpet – Victor Behrens
Label: Atlantic – ATL 50 251
Format: Vinyl, LP
Produced at Union Studios, Munich, January 7-18, 1976
A G.M.G. Recording
Genre: Funk / Soul, Pop
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From Sea to Shining Sea is a concept album and 26th album by country singer Johnny Cash, released on Columbia Records in 1968. Each track on the album was written by Cash; none of them were released as singles. The album was included on the Bear Family box set Come Along and Ride This Train.
“The Walls of a Prison” reuses the melody of “Streets of Laredo” from Cash’s 1966 album Sings the Ballads of the True West.
From Sea to Shining Sea is an ambitious but brief attempt to cross the United States in song. Out of all his concept albums, From Sea to Shining Sea relies more on sailing songs than cowboy songs; those tunes that don’t involve water are usually about mid-American events, whether its fairs, mines, prisons, or gas stations. Most of the songs rely on their themes, not lyrics or music, and they suffers accordingly: From Sea to Shining Sea is enjoyable as a campy snapshot of America, not as an album.
1968 was a turning point for Johnny Cash. His divorce from his first wife, Vivian, final, he was free to openly pursue his romance with his new love June Carter. Nevertheless, the demons that destroyed his first marriage – endless life on the road, addiction to amphetamines, and the darkness that lingered from his brother’s childhood death – remained. Completely distraught, he crawled into the labyrinth of Nickajack Cave near his home in Tennessee, fixin’ to die.
Thankfully, he had a spiritual awakening in that cave that gave him the will to live. Shortly thereafter, June and her mother locked John into his bedroom for over a month. He may have torn the wallpaper off the walls searching for drugs, but the cold turkey approach worked. Johnny was clean, he proposed to June in February, they married a couple of weeks later, and the future was looking up.
Not surprisingly, his creative output stalled during this period. In most years, Cash released two albums and a handful of singles. After some experimentation in his early days with Columbia, by 1963 he had found a new sound appropriate to Columbia’s big studios, and he exercised his artistic freedom by exploring a wide range of historical and social issues previously untouched by country music. 1967, however, saw only the 27-minute duet album Carryin’ On With Johnny Cash & June Carter, and two forgettable singles (The Wind Changes and Rosanna’s Going Wild).
Sadly, 1968 may have been a good year for Cash personally, but it didn’t start well professionally. The 11-track Sea to Shining Sea, released in January 1968, but recorded in the middle of 1967’s Carryin’ On sessions, was Cash’s sole studio offering for the year, and it’s a disappointing one to say the least.
From start to finish, the album sounds tired and retreads subject matter we’ve heard before with less impressive results. The opening and closing narrative, From Sea to Shining Sea, finds Cash extolling the virtues of the 3000 miles of America’s coastlands, while an orchestra and choir plays America the Beautiful in the background. While that might set the stage for another travelogue album, akin to Ride This Train, it really goes nowhere.
Instead of documenting the vast geographies of America, he instead takes a quick tour around the deep South, all familiar territory for Cash’s fans. There are clashes between settlers and Indians on the Tennessee River (The Whirl and the Suck); hard labour in coal mines (Call Daddy from the Mines), cotton fields (The Frozen Four Hundred Pound…), and shrimp boats (Shrimpin’ Sailin’); failed prison escapes (The Walls of a Prison); dusty gas stations bypassed by the Interstate (Cisco Clifton’s Filling Station); and the ghostly memory of the Natives who claimed this land long ago (The Flint Arrowhead).
While it might sound exciting at first to hear that Cash wrote all of these songs himself, they are virtually all lesser versions of past successes. The Walls of a Prison can’t hold a candle to the aching agony of The Wall, and he reuses the melody to The Streets of Laredo for the third time (1963’s We Are the Shepherds, and 1965’s Streets of Laredo). Hard labour was depicted perfectly on 1963’s Blood Sweat & Tears, and the hardship of coal mining has never been given a more fitting tribute than in Dark as a Dungeon. Any number of Cash’s cotton songs – particularly 1958’s Pickin’ Time and 1962’s In Them Old Cottonfields Back Home – ring more authentic than the Frozen Four Hundred… And while the Flint Arrowhead continues Cash’s tradition of recognizing the role of Native Peoples in America’s history – “that I inherited this ground is denied by this stone I’ve found” – it lacks the complexity of Johnny Cash Sings The Ballads Of The American Indian: Bitter Tears.
Musically, the album feels tired, as well. The majority of the songs lack an original, memorable melody, save a chorus. The arrangements, while tasteful, now feel like Cash has gone into a rut. There are banjo-led interludes similar to past theme albums, a dobro song (Another Song to Sing), a barroom piano tune (Cisco Clifton), and a harmonica one as well (Shrimpin’).
That said, this album is not without its virtues. At times, the listener can hear a new sound emerging. Carl Perkin’s tasteful lead on Call Daddy hints at the laid-back, acoustic sound Cash would lean towards in the early 70s. You and Tennessee is a beautiful acoustic ballad, an evocative tribute to land and love:
“Beside the Cumberland River
Where the grass is soft and sweet
We ran across the fields of cedar
Hiding from the noisy streets
“And when the leaves fell from the cold
The stars were silver the moon was gold
I said it’s yours with love from me
I’m planting my roots in this ground.”
Likewise, Another Song to Sing, gives deeper insight into Johnny’s personality:
“Well there’s always one more canyon to explore
To touch the things left by those gone before
At the top of the tiniest hill I can feel like I’m a king
And there’s always another song to sing.”
Just as the band hints at a new 70s sound, so too does Johnny seem to be reaching for the more expansive lyrical style he would adopt in the new decade. These were the early days of his friendship with Kris Kristofferson, a janitor he met at Columbia’s Nashville facilities, whose storytelling approach would have a profound effect on Cash. That said, for every beautiful image, there’s another dipped in saccharine, particularly the heavy-handed tale of a sculptor dying as he finishes his last carving in The Masterpiece.
The Masterpiece, however, points to what might be the most fascinating aspect to the album: a preoccupation with death. While Cash sets out to tell an inspiring, patriotic tale, all of the main characters on side one wind up dead! As Cash would attempt to end his life not long after recording this release, perhaps it’s himself he’s speaking of when the “bitter but broken” convict in Walls of a Prison embarks on a suicide mission to escape his 99-year sentence. Thankfully, Cash ultimately saw another way out.
With From Sea to Shining Sea we are shifting into what would become a common symptom of Cash’s output post-1966: a mixed bag. Cash fans will no doubt find elements, even whole songs, to appreciate on this release, but it lacks the spark that made so much of his output with Sun and his early days on Columbia so magical. This album isn’t bad, but there’s not much to pull me back for repeated listens.
A1. From Sea To Shining Sea – 1:35
A2. The Whirl And The Suck – 3:05
A3. Call Daddy From The Mine – 3:05
A4. The Frozen Four-Hundred-Pound Fair-To-Middlin’ Cotton Picker – 2:30
A5. The Walls Of A Prison – 4:09
A6. The Masterpiece – 2:45
B1. You And Tennessee – 3:07
B2. Another Song To Sing – 1:58
B3. The Flint Arrowhead – 2:55
B4. Cisco Clifton’s Fillin’ Station – 2:42
B5. Shrimpin’ Sailin’ – 3:03
B6. From Sea To Shining Sea (Finale) – 0:54
- Johnny Cash – Vocals, guitar
- Carl Perkins, Luther Perkins – Guitar
- Bob Johnson – Guitar/banjo/dobro
- Norman Blake – Dobro
- Marshall Grant – Bass
- W.S. Holland – Drums
- Charlie McCoy – Harmonica
- The Carter Family – Background vocals
- Produced by: Don Law
- Engineering: Charlie Bragg and Jerry Watson
- Cover photo: Bob Cato
Label: CBS – S 62972
Format: Vinyl, LP, Album
Genre: Folk, World, & Country
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C´era Una Volta Il West / Once Upon a Time in the West is a soundtrack composed by Ennio Morricone, from the 1968 western film of the same name directed by Sergio Leone, released in 1972. The film score sold about 10 million copies worldwide.
The soundtrack features leitmotifs that relate to each of the main characters of the movie (each with their own theme music), as well as to the spirit of the American West. The theme music for the Claudia Cardinale character has wordless vocals by Italian singer Edda Dell’Orso.
It was Leone’s desire to have the music available and played during filming. Leone had Morricone compose the score before shooting started and would play the music in the background for the actors on set.
Arguably a milestone for both director Sergio Leone and his musical cohort Ennio Morricone. After deconstructing the classic American western by way of The Good, the Bad & the Ugly and A Fistful of Dollars, Leone distilled his intentions with 1968’s Once Upon a Time in the West. For his part, Morricone framed Leone‘s meditative camerawork and mythic narrative with a mix of hauntingly spacious pieces and reconfigured snatches of old-timey tunes. Just within the stretch of the first four pieces here, Morricone evokes the endless expanse of the West with a Copland-esque aria (the main title theme), weaves some twisted grit into the showdown theme with loads of guitar fuzz (“As a Judgment”), ingeniously combines whistling and a clippity-clop rhythm for a respite piece (“Farewell to Cheyenne”), and conjures the surreal end of the cowboy mythos via a wonderfully disjointed serial-style number (“The Transgression”). And whether sounding upbeat or stark, Morricone informs it all with the dry and windswept vacancy of the West. Beautiful and stunning.
Throughout the course of this album’s 13 tracks, Morricone successfully captures the desolate expanse of the west, using a variety of different themes and variations. The album’s music is also made up of a vast assortment of instruments, ranging from jew’s harps, electric guitars, harmonicas, whistles, and beautiful female vocals.
The highlights, for me, on this album are the Copland-esque main theme (track one), as well as its several variations, such as the score’s finale. Tracks like ‘As a Judgment’ incorporate loads of fuzz-guitar for dramatic effect, while ‘A Farewell to Cheyenne’ includes whistling (as is common in almost all Morricone’s early Sergio Leone scores) and a clip-clop rhythm.
A1. C’Era Una Volta Il West – 3:35
A2. Come Una Sentenza – 3:05
A3. Addio A Cheyenne – 1:15
A4. L’Attentato – 2:25
A5. La Posada N.1 – 1:32
A6. La Posada N.2 – 1:30
B1. L’Uomo Dell’Armonica – 3:25
B2. In Una Stanza Con Poca Luce – 5:04
B3. L’Orchestraccia – 2:20
B4. L’Uomo – 1:00
B5. L’America Di Jill – 2:45
B6. L’Ultimo Rantolo – 1:40
B7. Finale – 4:10
- Printed By – Arti Grafiche Arese
Label: RCA Original Cast – OLS 3
Format: Vinyl, LP, Album
Genre: Stage & Screen
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Nicolaas Olivier (Nico) Haak (Delft, 16 oktober 1939 – Baarn, 13 november 1990) was een Nederlands zanger die in de jaren zeventig zijn grootste successen vierde.
Het eerste televisieoptreden van Nico Haak en de Paniekzaaiers vond plaats in een show van Ted de Braak met het nummer Daar zie ik glazen staan. De feestmuziek bleek aan te slaan en uiteindelijk brak Haak in 1973 definitief door met het lied Joekelille. In 1974 werd het succes gecontinueerd met Honkie-Tonkie Pianissie en Sokkies Stoppen.
Nadat de samenwerking met Eduard was beëindigd, scoorde Haak in 1975 zijn grootste hit: Foxie Foxtrot. Met dat lied werd onder de titel Schmidtchen Schleicher ook de Duitse markt veroverd. Hij ontving op 24 maart 1977 een toonaangevende onderscheiding met de naam Goldene Labeltrofee voor de verkoop van meer dan 500.000 exemplaren in Duitsland.
Een doorbraak bij de oosterburen bleef verder uit omdat Haak als grapje in de billen kneep van de presentatrice van het keurige muziekprogramma. In 1978 werkte Haak weer samen met Eduard en scoorde hij zijn laatste grote hit: Is je moeder niet thuis.
Haak bleef gedurende de jaren tachtig een graag geziene gast in het schnabbelcircuit, maar wist zijn successen van de jaren zeventig niet meer te evenaren.
In 1990 overleed Haak aan een hartaanval. Hij werd begraven bij zijn zoon Eric in een familiegraf op begraafplaats Jaffa te Delft
“Quick Quick Haak” is een Elpee uit 1980. Hey album bevat 28 Nederlands Gezongen Evergreens.
A1 – Medley
Hoogtevrees (Baby Face) – 0:53
Sjaan, Wat Hebbie Nou Gedaan (Ma, He’s Making Eyes At Me) – 1:09
Voel Je Je Niet Happy (I Want To Be Happy) 0:53
O, Lieve Schat (Voor Jou Wil Ik Naar Honolulu Zwemmen) (Oh, Baby Mine I Get So Lonely
When I Dream About You) – 1:05
Wie Het Laatst Lacht (You Are My Sunshine) – 0:57
A2 – Medley
Hou Me Vast (Show Me The Way To Go Home) – 0:57
Hallo Monique (Makin’ Whoopee) – 1:02
Met Zingen (Shine On Harvest Moon) – 0:45
Wie Hebben We Daar Nou Weer (What Do You Want To Make Those Eyes At Me For) – 0:42
Mij Niet Gezien (Don’t Fence Me In) – 1:09
A3 – Medley
Beste Badman (Mr. Sandman) – 0:47
Wat ‘N Pech (Five Minutes More) – 0:44
Zeven Dagen Lang (Seven Lonely Days) – 0:51
Doris (Margie) – 1:30
B1 – Medley
Het Jeukt Zo (Chicago) – 1:05
Onze Straat (Heart Of My Heart) – 1:22
Pak ‘Em Beet (In The Mood) – 1:06
Blijf Maar Lachen (When You’re Smiling) – 1:00
B2 – Medley
Wat ‘N Lawaai (Jambalaya) – 1:03
In M’n Pyjama (Mañana) – 0:46
Rio Rio Rio Rio (Tschiou-Tschiou-Tschiou) – 1:19
Koken Dat Is Niks Voor Mij (London Is The Place For Me) – 1:01
Nol Is Dol Op Bananen (Yes, We Have No Bananas) – 1:18
B3 – Medley
Zeg Meiden (Dinah) – 0:46
Lange Gympie Wympie (Tie A Yellow Ribbon) – 0:55
Masseer M’n Rug ‘Ns Effe (Yes Sir, That’s My Baby) – 0:42
Nu Niet Meer (Ain’t She Sweet) – 0:47
Kom In De Tent (Alexander’s Ragtime Band) – -0:48
- Recorded At – Wisseloord Studios
Label: Philips – 6423 368
Format: Vinyl, LP, Album
Style: Dixieland, Ragtime, Swing, Big Band
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Herb Alpert (born March 31, 1935) is an American jazz musician most associated with the group variously known as Herb Alpert & the Tijuana Brass, Herb Alpert’s Tijuana Brass, or TJB. Alpert is also a recording industry executive, the “A” of A&M Records, a recording label he and business partner Jerry Moss founded and eventually sold to PolyGram. Alpert also has created abstract expressionist paintings and sculpture over two decades, which are publicly displayed on occasion. Alpert and his wife, Lani Hall, are substantial philanthropists through the operation of the Herb Alpert Foundation.
When the music mogul Herb Alpert discovered that Sonny Bono had a Top Ten record as a solo artist with “Laugh At Me” in 1965 he must have said to himself: “Hell, even I can sing better than that guy.” Well, maybe a little. As leader of the Tijuana Brass Herb Alpert was already a highly successful instrumental artist with numerous hit singles and a number of highly successful LP’s.
As the story goes Alpert approached songwriter Burt Bacharach wondering if he had any old songs lying around that had never been recorded. One came to mind immediately and the rest is history. “This Guy’s In Love With You” would become a #1 hit single for Alpert in the summer of 1968. Go figure! I guess it never hurts to ask a question.
Alpert’s only No. 1 single during this period, and the first No. 1 hit for his A&M label, was a solo effort: “This Guy’s in Love with You” (written by Burt Bacharach and Hal David), featuring a rare vocal. Alpert sang it to his first wife in a 1968 CBS Television special titled Beat of the Brass.
A1. This Guy’s In Love WIth You
A3. Bittersweet Samba
A4. Miss Frenchy Brown
A5. Let It Be Me
B1. Without Her
B2. Casino Royale
B3. More And More Amor
B4. Wind Song (For Carlos)
B5. With A Little Help From My Friends
- Made By – MacNeill Press Ltd.
- Printed By – MacNeill Press Ltd.
- Published By – Blue Seas-Jac
- Published By – Rondor
- Published By – Pickwick
- Published By – Sunbury
- Published By – Screen Gems-Columbia Music
- Published By – Northern Songs
- Lacquer Cut At – Pye Studios
- Lacquer Cut By – T
Label: A&M Records – AMLB 1005
Format: Vinyl, LP, Compilation, Stereo
Genre: Latin Jazz
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Conny Stuart is een Haagse cabaretière en zangeres die in 1942 begint bij Wim Sonneveld. Ze deelt later het podium met onder meer Frans Halsema en Gerard Cox en speelt in verschillende musicals van Annie M.G. Schmidt. In 1988 zet de Gouden Harp-winnares een punt achter haar carrière.
Prokofjev schreef het stuk in opdracht van een jeugdtheater in Moskou. De muziek moest simpel en verstaanbaar zijn, en dus aantrekkelijk voor kinderen, maar ook voor communistische idealisten. Prokofjev, wonderkind en enfant terrible, heeft het stuk wellicht geschreven met een spottende ondertoon. Desalniettemin is het een groot succes geworden en heeft het inmiddels de status van klassieker voor jong en oud. Deze versie is verteld door Conny Stuart.
De compositie Het Carnaval der Dieren is in 1886 geschreven door de componist Saint-Saëns. De muziek is nog altijd heel populair om kinderen kennis te laten maken met klassieke muziek. Voor deze kleurrijke leporello zijn de allerleukste dieren van Fiep Westendorp van stal gehaald en trekken ze in een vrolijke optocht aan je voorbij. Marjet Huiberts liet zich inspireren door Het Carnaval der Dieren en schreef er gloednieuwe versjes bij. Deze versie is verteld door Luc Lutz.
A. Peter En De Wolf (voorgedragen door Conny Stuart)
B. Het Carnaval Der Dieren (voorgedragen door Luc Lutz)
- Composed By – C. Saint-Saëns (tracks: B), S. Prokofjew (tracks: A)
- Conductor – Skitch Henderson
- Illustration, Cover – Eelco
- Narrator – Connie Stuart (tracks: A)
- Orchestra – The London Symphony Orchestra
- Piano – Gary Graffman (tracks: B), Julius Katchen (tracks: B)
- Voice Actor – Luc Lutz (tracks: B)
Label: Decca – LZT 1001
Format: Vinyl, LP, Album, Split
Released: Jul 1961
Genre: Children’s Story
Vinyl: Lichte Gebruikerssporen
Cover: Veel Gebruikerssporen
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Jasperina (Pien) de Jong werd geboren op 7 januari 1938 in Amsterdam en woonde in haar jeugd op het Javaplein. Na haar middelbareschooltijd werkte ze afwisselend als tandartsassistente en typiste. Haar zangstem was inmiddels in de huiselijke kring en op school al ontdekt. Vanaf haar vijftiende volgde ze balletlessen. In 1959 deed ze auditie bij het ABC-cabaret van Wim Kan, maar die wees haar af wegens gebrek aan talent; Kan zou dit later betreuren.
De Jong ontwikkelde haar talent verder op een cabaretcursus bij Cor Lemaire en later bij Bob Bouber. Bij Bouber hoorde ze in 1960 over Eric Herfst en zijn cabaretgroep Lurelei. Bij Lurelei was de leading lady Adèle Bloemendaal net vertrokken. De Jong deed auditie bij Herfst en de andere oprichter Ben Rowold. Herfst en Rowold waren niet echt enthousiast, maar namen haar wel aan. De Jong debuteerde in het programma Niet Sexpres uit 1960 en kreeg direct enthousiaste kritieken.
Aanvankelijk werkte ze overdag nog bij de klantenservice van de Bijenkorf, omdat Lurelei in het begin niet veel kaartjes verkocht. Het klikte inmiddels ook tussen haar en Herfst, op wie ze al tijdens de auditie verliefd was geworden. Met wie het ook klikte was met Guus Vleugel. Tekstdichter Vleugel hoorde meteen mogelijkheden voor zijn teksten bij De Jongs interpretaties: haar stem en intonatie bleken wonderwel te passen bij de vileine teksten van Vleugel. Het nummer ‘Call girl’ werd de hit van de show Hotel de Botel uit 1961.
Nog in hetzelfde jaar trouwden Herfst en De Jong. In 1963 kregen De Jong en Herfst zoon Pelle Herfst, die lichtontwerper werd voor theaters, die op zijn beurt trouwde met Sophie Lambo (directrice van het Internationaal danstheater). Hun dochter Julia Herfst is musicalzangeres, onder andere in de niet succesvolle musical SKY van Marco Borsato.
In april 1962 won De Jong met Call girl de eerste prijs in het ICC-concours voor beginnend cabarettalent. In de jury zat onder anderen ook Wim Sonneveld, bij wie ze in het door hem geschreven Katootje de toverheks speelde. De Jong keek erg op naar deze cabaretgigant en was dan ook zeer vereerd toen ze in hetzelfde jaar als Eliza Dolittle naast Sonneveld mocht staan in de musical My Fair Lady. Ze speelde de rol afwisselend met Margriet de Groot en Dorien Mijksenaar. Na My Fair Lady trad De Jong weer op met Lurelei.
Inmiddels was de groep het amateurstadium ontgroeid en trad met succes op voor volle zalen. Lurelei bracht waar het kon controversieel cabaret, schopte graag tegen heilige huisjes en raakte geregeld in conflict met de autoriteiten. Zo werden Guus Vleugel en Gerard Cox gearresteerd om het nummer Arme ouwe op verdenking van majesteitsschennis van koningin Juliana, er liepen regelmatig mensen weg uit de zaal en er kwamen boze brieven wegens het door Gerard Cox gezongen nummer “God is niet dood”. De Jong was inmiddels de vedette van Lurelei en dé vertolkster van de scherpe, satirische Guus Vleugelteksten.
Eind jaren ’60 bleek Jasperina de Jong het kleine podium van Lurelei te zijn ontgroeid. Guus Vleugel raakte steeds meer “uitgeschreven” voor cabaret. Na de voorstelling Oud zeer (waarin een herhaling van eerdere succesnummers gebracht werd en waaraan Jasperina de Jong al niet meer meewerkte) viel in 1968 definitief het doek voor de cabaretgroep.
A1. Intro – 0:45
A2. Vivat Vivaldi – 3:00
A3. Zondagmiddag In De Stad – 4:15
A4. Zij Liep Onschuldig In De Val – 4:31
A5. Voor De Revolutie – 4:01
A6. De Dood Van Mijn Schat – 3:00
B1. Juffrouw Millie Van De Retirade – 3:54
B2. Een Vreemd Geluid – 3:50
B3. De Oudjes – 3:46
B4. De Rosse Buurt – 5:24
B5. Slottune – 0:48
- Conductor – Dolf v.d. Linden
- Lyrics By – G. Vleugel
- Music By – J. Stokkermans
- Orchestra – Metropole Orkest
Recorded live june 23rd, 1969 at “de Doelen’, Rotterdam.
Label: Philips – 6440 078
Format: Vinyl, LP, Reissue
Released: Re-release Jul 1972
Vinyl: Lichte Gebruikerssporen
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Eyes of a Woman is the second English-language solo album by Swedish singer and former ABBA member Agnetha Fältskog, and her eighth album overall. It was released in March 1985 and was produced by Eric Stewart (of 10cc fame).
The album was recorded in the Polar Music Studios in Stockholm. Sessions began in early October 1984 and lasted until the end of November. Two of the songs recorded, “Turn the World Around” and “You’re There”, were not included on the initial album, but were released as B-sides. “You’re There” and “I Won’t Let You Go” were composed by Faltskog herself with lyrics by Eric Stewart.
Lushly produced by 10cc‘s Eric Stewart, with all the lavish attention to detail that one would expect, Agnetha Faltskog‘s second English-language solo album is a lean and occasionally brooding hybrid of overstated ’80s adult rock and boisterous Euro-pop, a blend that is epitomized by the opening cut, Jeff Lynne‘s “One Way Love,” and never goes away thereafter. It makes for discomforting listening.
Her final recordings with ABBA, after all, placed Faltskog in a fascinating position, a dark, doomed chanteuse capable of wringing crippling emotion from the most innocuous lyric. Only occasionally, however, does Eyes of a Woman even glance back in that direction (most notably on the title track), with Faltskog preferring elsewhere to disguise even the most distinctive elements of her voice beneath the overwhelming power balladry that was so characteristic of the age.
Producer Stewart‘s own “I Won’t Be Leaving You” emerges a lovely, sad song, comparable to any of the ballads he contributed to latter-day 10cc albums, while “I Won’t Let You Go” (a Stewart/Faltskog collaboration) and Justin Hayward‘s “The Angels Cry” are both powerful enough to break through the album’s overall sheen. Unfortunately, they are the exceptions. Elsewhere, Faltskog seems content simply to voice the words laid before her, an apparent disinterest that was broadcast even further first by her refusal to promote the album, then by her almost total disappearance from the public gaze. The eyes of this woman had obviously seen too much.
The tracks “One Way Love” and “I Won’t Let You Go” were released as singles throughout Europe. Agnetha also performed “One Way Love” at the Montreux Music Festival in 1985. Eyes of a Woman became Fältskog’s second album to reach the UK Top 40, reaching No.38. In Sweden, the album peaked at No. 2. It also reached the Top 20 in Norway, the Netherlands and Belgium, and the Top 30 in west Germany.
Long time ABBA fan Elvis Costello submitted a track “Shatterproof” for inclusion on the album, however Fältskog decided against recording it. Other notable songwriters who contributed to the album included Jeff Lynne, Justin Hayward as well as Eric Stewart himself.
A1. One Way Love – 3:36
A2. Eyes Of A Woman – 3:54
A3. Just One Heart – 3:42
A4. I Won’t Let You Go – 3:39
A5. The Angels Cry – 4:22
A6. Click Track – 2:51
B1. We Should Be Together – 3:59
B2. I Won’t Be Leaving You – 5:24
B3. Save Me (Why Don’t Ya) – 4:37
B4. I Keep Turning Off Lights – 3:37
B5. We Move As One – 4:04
- Artwork [Stylist] – Lolo Murray
- Backing Vocals [Back Up Vocals] – Agnetha Fältskog, Anders Glenmark, Eric Stewart, Karin Glenmark, Marianne Flynner
- Bass – Rutger Gunnarsson
- Cover [Concept] – Eric Stewart
- Design – Icon, Richard Evans
- Drums – Jamie Lane
- Engineer – Paris Edvinson
- Guitar – Rick Fenn
- Keyboards, Synthesizer – Vic Emerson
- Leader [Album Co-ordinators] – Stig Anderson, Thomas Johansson
- Leader [Studio Co-ordinators] – David Edwards
- Mastered By – Goran Stelin
- Mixed By – Paris Edvinson (tracks: A1, A2, A3, A4, A6, B1, B2, B3, B4, B5)
- Percussion, Keyboards [Fender Rhodes] – Eric Stewart
- Photography By – Tony McGee
- Photography By [Assisted By] – Christoffer Edgwick, Tusse Nilsson
- Producer – Eric Stewart
- Recorded By [Tape Operator] – Gundars Rullis
Label: Polydor – 825 600-1
Format: Vinyl, LP, Album
Genre: Pop, Synth-pop
posted by vinyl facts
Charles Aznavour (; born Shahnour Vaghinag Aznavourian, Armenian; 22 May 1924 – 1 October 2018) was a French-Armenian singer, lyricist, and diplomat. Aznavour was known for his distinctive tenor voice: clear and ringing in its upper reaches, with gravelly and profound low notes. In a composer/singer/songwriter career spanning over 70 years, he recorded more than 1,200 songs interpreted in nine languages. He wrote or co-wrote more than 1,000 songs for himself and others.
Aznavour was one of France’s most popular and enduring singers. He sold 180 million records during his lifetime and was dubbed France’s Frank Sinatra, while music critic Stephen Holden described Aznavour as a “French pop deity”. He was also arguably the most famous Armenian of his time. In 1998, Aznavour was named Entertainer of the Century by CNN and users of Time Online from around the globe. He was recognized as the century’s outstanding performer, with nearly 18% of the total vote, edging out Elvis Presley and Bob Dylan. Jean Cocteau said: “Before Aznavour, despair was unpopular”.
Aznavour sang for presidents, popes and royalty, as well as at humanitarian events. In response to the 1988 Armenian earthquake, he founded the charitable organization Aznavour for Armenia along with his long-time friend impresario Levon Sayan. In 2009, he was appointed ambassador of Armenia to Switzerland, as well as Armenia’s permanent delegate to the United Nations at Geneva. He started his most recent tour in 2014.
On 24 August 2017, Aznavour was awarded the 2,618th star on the Hollywood Walk of Fame. Later that year he and his sister were awarded the Raoul Wallenberg Award for sheltering Jews during World War II. His last concert took place in NHK Hall in Osaka on 19 September 2018.
A1. The Old Fashioned Way – 4:04
A2. Formidable – 2:18
A3. No, I Could Never Forget – 6:27
A4. I Have Lived – 2:32
A5. The Happy Days – 4:40
A6. To Die Of Love – 3:57
A7. The Wine Of Youth – 3:25
B1. Qui – 3:38
B2. Tu Te Laisses Aller – 3:38
B3. La Mamma – 3:43
B4. Et Pourtant – 2:47
B5. La Bohème – 4:03
B6. Que C’est Triste Venise – 2:36
Label: Barclay – 40894
Format: Vinyl, LP, Compilation
posted by vinyl facts
Real Name: Maria de Fátima Gomes Nogueira
Profile: Born on January 27, 1957 in Rio de Janeiro, Joanna is a Brazilian singer and composer.
After her debut in a TV Tupi show, she was invited to sing in nightclubs in Rio. Her first LP, Nascente, was recorded in 1979.
Since then, she has recorded almost one album each year. “Nos Bailes da Vida” (Milton Nascimento/Fernando Brant), included in Chama (1981), was written especially for her. Her composition “Decisão” was the theme of the soap opera Brilhante and “Momentos” was that of Coração Alado. Other hits were “Recado (Meu Namorado)” (Renato Teixeira), “Quarto de Hotel,” and “Uma Canção de Amor” (Gonzaguinha).
Also very popular in Argentina and Portugal, she recorded more commercial songs in romantic genres like “Amanhã Talvez” and “Amor Bandido” (both by Sullivan/Massadas), dedicating an entire album to bolero in 1998 (Intimidad).
A3. Quarto De Hotel
A5. Coração Cadeado
B2. Pecado Venial
B6. Amor Crioulo
- Manufactured By – RCA Eletrônica Ltda.