domingo, 30 de abril de 2017

Les Premières Vraies Vacances de FG

Original released on LP Philips B77.805 L
(FRANCE, August 1964)

"Mes Premières Vraies Vacances" (ce titre est celui de la première chanson, donné par usage à l'album) est le premier album 30 cm - sur vinyle - de France Gall, sorti en pleine période yéyé en août 1964. Il reprend les chansons parues sur ses trois premiers EP, c'est-à-dire toutes celles déjà regroupées sur l'album 25 cm (sorti en mars de la même année !) qui avait rencontré un large succès, et le troisième EP, «La cloche». La réalisation de cet album s'est faite avec Alain Goraguer et son orchestre.

sábado, 29 de abril de 2017

MOBY GRAPE Debut Album

Original released on LP Columbia
CL 2698 (mono) / SFS 01805 (stereo)
(US 1967, May 29)

Moby Grape's career was a long, sad series of minor disasters, in which nearly anything that could have gone wrong did (poor handling by their record company, a variety of legal problems, a truly regrettable deal with their manager, creative and personal differences among the bandmembers, and the tragic breakdown of guitarist and songwriter Skip Spence), but their self-titled debut album was their one moment of unqualified triumph. "Moby Grape" is one of the finest (perhaps the finest) album to come out of the San Francisco psychedelic scene, brimming with great songs and fresh ideas while blessedly avoiding the pitfalls that pockmarked the work of their contemporaries - no long, unfocused jams, no self-indulgent philosophy, and no attempts to sonically re-create the sound of an acid trip. Instead, Moby Grape built their sound around the brilliantly interwoven guitar work of Jerry Miller, Peter Lewis, and Skip Spence, and the clear, bright harmonies of all five members (drummer Don Stevenson and bassist Bob Mosely sang just as well as they held down the backbeat).

As songwriters, Moby Grape blended straight-ahead rock & roll, smart pop, blues, country, and folk accents into a flavorful brew that was all their own, with a clever melodic sense that reflected the lysergic energy surrounding them without drowning in it. And producer David Rubinson got it all on tape in a manner that captured the band's infectious energy and soaring melodies with uncluttered clarity, while subtly exploring the possibilities of the stereo mixing process. "Omaha," "Fall on You," "Hey Grandma," and "8:05" sound like obvious hits (and might have been if Columbia hadn't released them as singles all at once), but the truth is there isn't a dud track to be found here, and time has been extremely kind to this record. Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America's great bands. While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good. (Mark Deming in AllMusic)

The Magic Music Of Bert Kaempfert

Original released on LP Decca DL 74616
(US 1965, April 19)

quarta-feira, 26 de abril de 2017

La Maison de Françoise

 Original released on LP Vogue CLD 702 30
(FRANCE, October 1966)

Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45. In them, we see the maturing of one of the decade’s most singular talents–a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Hardy’s fifth album was a collection of English-language recordings. For her next, released in October 1966, the focus was back on her home market in France, where things were changing quickly. Writing much of her own material was no longer a novelty–her future partner, Jacques Dutronc, was doing the same, and artists like Antoine were following Dylan’s lead. 1966 was the year Hardy met Dylan, who demanded an audience with her at his Paris gig and later performed for her at a party. «It was only later that it occurred to me that he was singing ‘I Want You’ because he actually wanted me,» she says. Françoise said Dylan was not part of her world. As "La Maison Où J’ai Grandi" proved, Hardy’s world was perfect and fleshed out and set–five albums in, she had a sound, mood, and feel all her own.

Recorded in London, the hit "La Maison Où J’ai Grandi" solidified what Hardy did best: marrying French chanson songs to epic production influenced by Phil Spector, Dusty Springfield, and George Martin; the toweringly powerful "Je Changerais d’Avis," which opens the LP, is a prime example. Though Hardy had formed a strong working relationship with producer Chris Blackwell, nine of the twelve tracks were arranged by Johnny Harris, known for his work with Petula Clark and Tom Jones. Although the artist and language were French, the album drew from an internationalist, polyglot world–six tracks were penned by Hardy, the remainder cherry-picked from French, British, and Italian songwriters. And despite its varied sources, the album was a cogent artistic statement. Françoise had returned to acoustic sounds like with her earliest songs, accompanying herself on a Spanish guitar, and was reasserting her own vision of her music. These were yearning songs delivered with an intimate authority, at odds with the perception of Hardy in Britain and beyond, where she was seen as an ultra-fashionable, ultra-hip Parisian sophisticate, but totally in line with everything she’d ever striven for musically." (in Boomkat)


terça-feira, 25 de abril de 2017


Ce coffret comprend 4 CD et 90 titres issus de la filmographie impressionnante de Michel Legrand. Sans être exhaustif (mais peut-on l'être), il apporte une approche assez complète de la musique de Legrand, entre jazz et classique. De «L'Amérique Insolite» (1959) à «La Bicyclette bleue » (2000) en passant par les musiques de film oscarisées, Jacques Demy et des réussites moins connues, cette fabuleuse compilation permet de découvrir l'univers cinématographique du génial Michel Legrand. Cette sélection d'une vie largement consacrée au 7ème art a été réalisée par Stéphane Lerouge, un jeune musicologue qui dirige la collection «Ecoutez le cinéma». On imagine immédiatement les deux principales difficultés de ce travail colossal: d'abord le choix des films, Michel Legrand ayant beaucoup travaillé et ensuite le choix des titres, car une partition de cinéma ne se limite généralement pas à une seule composition. Agrémenté de quelques bonus (notamment des musiques refusées par certains réalisateurs), d'une longue interview du compositeur et des témoignages d'Agnès Varda, Jean-Paul Rappeneau, Norman Jewison, Sydney Pollack, Alan et Marilyn Bergman, ce coffret comprenant de nombreux inédits en CD enchantera les fans et interpellera, espérons-le, ceux qui pensent que la musique de film est un art mineur... Le respect s'impose donc pour celui qui sonorise depuis plus de 50 ans les longs métrages des plus grands réalisateurs de la planète. (in Amazon)




Original released on LP Columbia (EMI) CFPX 1343
(FRANCE, 1968)

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