Recorded just before the band began cranking out their earliest hits on classic albums like Lovedrive and Animal Magnetism, Virgin Killer is the first of four studio releases that really defined the Scorpions and their urgent metallic sound that was to become highly influential…
Il est impossible d aborder les années 60 sans penser à SYLVIE VARTAN, une des trois principales stars féminines de la chanson des années « yéyé ». Ce premier coffret contient ses 5 premiers 30cm en Paper Sleeve - CD Vinyl Replica Deluxe (dont l'album américain), totalement conformes aux 30cm vinyles originaux, avec 57 titres bonus, la totalité du répertoire présenté ici représentant l'intégralité des titres studio parus entre 1961 et 1965, dont des raretés. 119 titres remastérisés en haute définition dans une merveilleuse présentation et avec un son exceptionnel.
Since no others leap to mind, I would have to say that Joao Bosco is the greatest civil engineer turned singer/songwriter in the history of Brazilian popular music. He graduated with his degree in 1972 but since then has been concentrating on becoming one of Brazil's most formidable songwriters. For most of his early career he supplied Elis Regina with some of her best material, indeed it could be said that each one made the other's career, but since her death, Bosco has stepped into the performance limelight with a great degree of authority and has been one of the more compelling figures in Brazilian music for the last 25 years.
Very nice early album from a bossa nova singer who still hasn't gotten her due! One of the best there was. Alaíde Costa is an important interpreter who had great success in the '60s. Her obstinate adherence to her delicate style, especially suited to the sensitive Brazilian genre modinha, made her be put aside by the cultural industry and she remained forgotten by the masses until her reappearance in Milton Nascimento's Clube da Esquina. She has been performing and recording erratically, but always with a high standard of quality in her dense interpretations. As a composer, she wrote music and lyrics for Afinal, and had partnerships with several important creators, such as Vinícius de Moraes and Geraldo Vandré.
This is a welcome re-release for Grappelli fans, featuring the violinist in top form with a European rhythm section playing a mixture of standards,lesser known tunes and originals. The session took place in 1969 whilst Grappelli was semi - resident at The Paris Hilton ( from 1967 - 1972 ). At that time he was employed to play in the restaurant for the benefit of the diners.
Derived from the "RCA Victor" period of the violinist, this collection dates from 1970 and presents the sympathetic quartet of Grappelli, made up of collaborators entirely dedicated to the art of the violinist. Marc Hammeler (piano) is inventive, Jack Sewing (double bass) has a warm sound, and Kenny Clarke, on drums, unveils a talent already known. He even joins a piano to accompany Grappelli on a very beautiful "Body and Soul".
…Marianne has spent her life researching this work. She displays that rare intelligence that allows all "misfortunes" to be converted to her benefit. There is a detachment that allows one to be intimately involved with, but not consumed by this type of work. This is her best work in quite some time. She deserves all the accolades that come her way as a serious singer who can pull off the piece. A wonderful disc from one whose live presence we must count as miraculous considering what she has lived through.
Nina is VERY eclectic. At all of the concerts that I have attended, she has sung punk, opera, rock 'n' roll, blues, krishna chants, big band, and other styles. If you enjoy music as music, no matter what the style, then this CD captures that character of Nina– minus the opera. The first version of this CD, the German, Freud Euch, has two opera-style songs on it that aren't on this CD. There are a couple of other songs on this CD and not on Freud Euch: "Born To Die In Berlin" and "Shiva." This CD also sounds more like how the music sounds in concert, having less overdubs and production tweaks than Freud Euch. It sounds like it was produced for the American audience to give them an idea of what to expect from a live performance by her.