quarta-feira, 8 de dezembro de 2010

Richard Carpenter - Pianist, arranger, composer, conductor

 
  1. Prelude
  2. Yesterday Once More
  3. Medley: Sing / Goodbye To Love / Eve / Rainy Days And Mondays / Look To Your Dreams / Superstar / Someday
  4. I Need To Be In Love
  5. Sandy
  6. Time
  7. For All We Know
  8. One Love
  9. Bless The Beasts And Children
  10. Flat Baroque
  11. All Those Years Ago
  12. Top Of The World
  13. We've Only Just Begun
  14. Karen's Theme
Richard Carpenter


Richard Lynn Carpenter (New Haven, Connecticut, 15 de outubro de 1946) é um artista e pianista americano conhecido por ter feito parte da dupla Carpenters junto com sua irmã Karen Carpenter.

Richard Lynn Carpenter nasceu em 15 de outubro de 1946 em New Haven, Connecticut. Recebeu o mesmo nome do irmão mais novo de seu pai, Richard Lynn Carpenter. Coincidentemente, Richard e seu tio casaram-se com mulheres chamadas Mary.

Ele frequentemente tocava o piano enquanto sua irmã, Karen, jogava beisebol lá fora. Ele e Karen também gostavam de ouvir os discos infantis que seu pai lhe trouxe. Quando conheceu a música de Perry Como e Ella Fitzgerald, entre muitos outros, aos 12 anos, ele decidiu que queria estar na indústria da música.

A família Carpenter mudou-se de New Haven para Downey, Califórnia em junho de 1963. Eles queriam que Richard progredisse em sua carreira musical além de a família estar aborrecida com os invernos gelados da Nova Inglaterra. Àquela época, Richard estava com 16 anos e estudava música na California State University em Long Beach, lá encontrando Frank Pooler, maestro e compositor. Pooler escrever as letras para o clássico natalino "Merry Christmas Darling" em 1968. Ele também conheceu seu parceiro musical e amigo John Bettis, que coescreveu muitas canções com Richard.

Richard criou o Richard Carpenter Trio em 1965 com a irmã Karen e o amigo Wes Jacobs. Richard tocava piano; Karen, bateria e Wes tocava a tuba e o baixo. Em 1966 o Richard Carpenter Trio tocou "Iced Tea" and "The Girl from Ipanema" no Hollywood Bowl na Batalha das Bandas. Eles ganharam a competição e logo após gravaram três faixas nos estúdios da RCA: "Every Little Thing," "Strangers in the Night" e o original da banda, "Iced Tea". "Iced Tea" é a única gravação que foi oficialmente lançada para o público. Por volta de 1967, Richard e Karen juntaram-se a quatro outros estudantes de música da universidade para formar um sexteto, Spectrum, com: John Bettis, Richard Carpenter, Karen Carpenter, Leslie Johnston, Gary Sims e Danny Woodhams.

Embora o Spectrum tocasse com frequência em clubes noturnos da região de Los Angeles, eles tiveram uma recepção pouco calorosa, sua harmonias e a aversão ao rock'n'roll limitaram o potencial comercial do grupo. Mas ainda assim a experiência do Spectrum rendeu boas sementes para o futuro sucesso: Bettis tornou-se um letrista para as composições originais de Richard e todos os outros membros, com a exceção de Leslie Johnston viriam a ser membros dos Carpenters.

Richard e Karen finalmente assinaram com a A&M Records em 22 de abril de 1969. "Vamos ter esperança de que tenhamos alguns sucessos", disse Herb Alpert aos dois. De acordo com Richard, Herb Alpert deu-lhes carta branca nos estúdos de gravação e após Offering ter sido lançado e não conseguir boas vendagens, muitas pessoas lhe disseram para dispensar os Carpenters da gravadora, mas ele disse aos colegas que lhes daria mais uma chance.

Alpert sugeriu que os Carpenters gravassem uma canção de Burt Bacharach, chamada "(They Long to Be) Close to You." Embora Richard só tenha trabalhado nos arranjos após a insistência de Alpert, seus talentos foram evidenciados no produto final. Seus arranjos e talentos musicais, assim como os vocais de Karen, fizeram a música alcançar o topo das paradas da Billboard Top 100 e lá ficar por um mês. "(They Long to Be) Close to You" ganhou reconhecimento público da noite para o dia. De acordo com Richard, mesmo tendo a canção ganhado popularidade da noite para o dia, o mesmo não aconteceu para os Carpenters.

Certa noite, Richard estava em casa assistindo à televisão e viu um comercial para o Crocker National Bank. Reconheceu as vozes de Paul Williams e Roger Nichols, dois compositores da A&M. Era a canção "We've Only Just Begun". Richard confirmou o envolvimento deles e perguntou se havia uma versão completa da canção, o que foi confirmado por Williams. Richard conseguiu transformar um jingle de banco em um sucesso com disco de ouro certificado pela RIAA. Atingiu a segunda posição na Billboard Hot 100, e transformou-se numa canção comum em casamentos. A canção também lançou com sucesso as carreiras de Nichols e Williams com múltiplos sucessos, não somente dos Carpenters mas também de outros artistas.

Richard compôs muitos dos sucessos dos Carpenters, tais como:

    * "Goodbye to Love" (uma das primeiras baladas com solo de guitarra - 7ª posição -
       influenciou o desenvolvimento do estilo power ballad)
    * "Top of the World" (a única canção dos Carpenters no Top 10 - 1ª posição)
    * "Yesterday Once More" (2ª posição)
    * "Only Yesterday" (4ª posição)

Enquanto Karen sofria de anorexia nervosa, Richard sofria com a dependência de quaaludes, um tipo de sonífero. Foram-lhe prescritos pelo médico como forma de facilitar o sono, mas seu uso saiu de controle. Ele veio a procurar tratamento na clínica Menninger, em Topeka, Kansas em 1979 para um tratamento de oito semanas, o qual teve sucesso.

Três dias antes de seu trigésimo sétimo aniversário, a família Carpenter celebrou a inauguração da estrela dos Carpenters na Calçada da Fama em Hollywood. Ele disse em seu discurso que isso foi uma experiência ao mesmo tempo amarga e doce por causa da morte trágica de Karen, ainda que fosse capaz de celebrar a estrela.

Começou a gravar um álbum solo em 26 de junho de 1985 e terminou o álbum em 5 de julho de 1987[4] O álbum foi chamado "Time". Teve participações de Dusty Springfield e Dionne Warwick. Springfield cantou "Something in Your Eyes" e Warwick cantou "In Love Alone". Richard criou uma canção dedicada a Karen chamada "When Time Was All We Had".

Em 1984, Richard casou-se com Mary Rudolph (cujo irmão, Mark Rudolph, era o road manager dos Carpenters, assim como ouvinte que participa durante o pot-pourri de músicas antigas do álbum de 1973, Now & Then. Richard e Mary têm cinco filhos: Kristi Lynn, Traci Tatum, Mindi Karen, Colin Paul e Taylor Mary. Richard e os filhos às vezes se apresentam juntos em vários eventos relacionados aos Carpenters. A família hoje reside em Thousand Oaks, Califórnia.

Recentemente, Richard participou das produções dos documentários "Close to You: Remembering the Carpenters" (1997) e "Only Yesterday: The Carpenters Story" (2007). Ele lançou os DVDs "Gold: Greatest Hits (DVD)|Gold: Greatest Hits" e "Interpretations (Carpenters DVD)|Interpretations." Richard está preparando um novo disco natalino que será lançado em 2009.

Origem: Wikipédia, a enciclopédia livre.

domingo, 5 de dezembro de 2010

Billy Vaughn - Crepúsculo (Twilight Time)

 
  1. Sail Along Silv'ry Moon
  2. Sunrise Serenade
  3. Sweet Georgia Brown
  4. Sentimental Journey
  5. Until Tomorrow
  6. Jealous
  7. Raunchy
  8. Twilight Time
  9. Sleepy Time Gal
  10. I'm Getting Sentimental Over You
  11. Moon Over Miami
  12. Tumbling Tumbleweeds
Crepúsculo
 

É sempre uma notícia auspiciosa para os discófilos o aparecimento de um novo LP de Billy Vaughn e sua Orquestra. Efetivamente, Billy é um dos artistas mais populares do mundo, pois suas gravações figuram reiteradamente nas paradas de sucessos dos cinco continentes.

No Brasil, quer seja em LP, em compacto ou em 78 rotações, a presença de Billy Vaughn entre os mais vendidos, é constante.

Talvez o principal segredo do sucesso desta consagrada Orquestra resida no comedimento que norteia todo o trabalho de Billy Vaughn. Ele conseguiu criar um estilo de interpretação que agrada a gregos e troianos. Em outras palavras, seus discos são dançáveis e audíveis. Mesmo quando executa melodias de caráter mais moderno, Billy o faz de maneira a que os saudosistas e os tradicionalistas da música popular americana e internacional também possam ouvi-las com prazer.

Neste LP Billy rende tributo a uma coleção de êxitos de todos os tempos, salientando-se "Twilight Time" (que dá título ao álbum), "Sunrise Serenade" - que os velhos admiradores do cancioneiro popular ianque recordam através da gravação de Glenn Miller, "I'm Getting Sentimental Over You", imortalizada por Tommy Dorsey, "Sentimental Journey", "Sleepy Time Gal" e muitas outras. Todas elas interpretadas à maneira de Billy Vaughn, tão do agrado de nosso público.


(Ricardo Macedo, das notas originais do LP)

quinta-feira, 2 de dezembro de 2010

Maestro Zezinho e Orquestra TVSom - Para Ouvir e Dançar


01. Pennsylvania
02. La Paloma
03. Pou Pourri - Bolero: Solamente una vez/Contigo en la distancia/Desesperadamente
04. Pou Pourri - Mambo: Mambo-Jambo/More-More Mambo
05. Nel blu dipinto di blu
06. Tô arretado
07. Pou Pourri - Italiano: Al di la/Dio come ti amo/Non pensare a me
08. Pou Pourri - Samba: Ainda ontem chorei de saudade/É o amor
09. Pou Pourri - Cha, cha, cha: Fio de cabelo/Meu primeiro amor
10. Mulher
11. Moliendo cafe
12. Pou Pourri - Maxixe: Gavião calçudo/Jura/Capim gordura
13. Exodus

Para Ouvir e Dançar

Quem não gostaria de ter a experiência de dançar "cheek-to-cheek" ao som das grandes orquestras? Parece até uma viagem no tempo, para décadas passadas. Mas para quem ainda não experimentou essa deliciosa sensação, esta gravação vai fazer notar que os antigos pés-de-valsa estão aí de novo, presentes nas festas e casas noturnas.

A Orquestra TVSom tem-se apresentado junto com o maestro Zezinho em muitas cidades do Brasil, num show musical feito para ver, ouvir e dançar. As músicas são acompanhadas por bailarinas e cantores que agradam não só os que sabem dançar mas também aqueles que gostam de apreciar a beleza especial das coreografias e interpretações.

Dançar junto em sincronia: está aí o grande prazer de mover os pés no balanço gostoso do maestro Zezinho e sua Orquestra, completos, diga-se de passagem. Isso fica demonstrado quando se percebe a qualidade do naipe de metais se destacando dos outros instrumentos. É a composição ideal. São os trompetes, trombones e saxofones que proporcionam brilho e animação aos arranjos, mantendo o estilo e a sofisticação das grandes orquestras.

Maestro Zezinho e televisão têm os nomes irremediavelmente ligados. Mas sua história começa mais longe, sempre ao lado de Silvio Santos, desde os tempos da extinta Rádio Nacional de São Paulo. Agora, nesse seu primeiro trabalho em estúdio, fica registrada a vocação do maestro e a Orquestra TVSom: fazer o público ouvir e deixar todo mundo com vontade de sair dançando pela sala, ao som dos grandes sucessos do mambo, samba, bolero, axé music, regae, salsa, forró, cha-cha-cha, fox e outros ritmos.

(Extraído das notas originais do álbum)

O pernambucano José Batista da Silva Jr, mais conhecido como Mestro Zezinho, tantas vezes chamado por Silvio Santos no Qual é a Música?, do SBT, começou desde cedo a trabalhar na vida noturna tocando em festas e boates:

“Nos anos 60, São Paulo tinha uma vida musical muito rica, com muito trabalho”, explica o maestro que, além de tocar piano, se arrisca no violão além de tocar trompete.

Exatamente em 1963, quando o então radialista Silvio Santos decidira iniciar sua carreira televisiva, maestro Zezinho estava lá:
“Ele começou comprando uma hora no domingo na extinta TV Paulista”, lembra Zezinho, que conheceu Silvio Santos na Rádio Nacional fazendo o Programa do Meio Dia, que era comandado pelo saudoso Manoel da Nóbrega:

“O programa era ao vivo e com auditório. Começamos na rua Sebastião Pereira, na Santa Cecília, e, depois, fomos para a Rua das Palmeiras”.

Na época, os cantores do rádio Hebe Camargo, Cauby Peixoto, Francisco Egídio, Roberto Luna, além dos humoristas Canarinho e Ronald Golias participavam do programa da rádio Nacional, que, na época, era uma das empresas das Organizações Victor Costa.

O programa de calouros Cuidado com a Buzina, que começou com apenas uma hora, ia ganhando espaço e passou para três horas meses depois:

“Com o sucesso do Silvio como apresentador, chegamos a ficar em duas emissoras. Aos sábados, fazíamos programa na TV Tupi, que, além de São Paulo, abrangia o Sul de Minas e aos domingos continuávamos na TV Paulista”, conta o maestro, que comandava uma orquestra de 14 músicos.

Zezinho passou por todos os programas musicais de Silvio: Cuidado com a Buzina, Domingo no Parque, Qual é a Música, Cidade contra Cidade, Show da Loteria, Os Galãs Cantam e Dançam, Viva o Samba, Silvio Santos Diferente, além do Show De Calouros, por mais de 20 anos.

Zezinho também trabalhou com outros apresentadores: Flávio Cavalcanti, Raul Gil e até Gugu Liberato trabalharam com o maestro, que liderou por muitos anos a Orquestra do SBT.

No auge dos 72 anos, e casado há mais de 40 com a D. Petronilha, Zezinho decidiu afastar-se um pouco de São Paulo e vive em uma chácara, na região metropolitana paulista, junto com o neto de 18 anos.

Na chácara, o maestro tem uma vida pacata, cria galinhas, gansos e cachorros. Não faz shows há um bom tempo, mas planeja voltar aos palcos brasileiros, através de espetáculos que deverão percorrer os grandes teatros brasileiros.

(From ofuxico.terra.com.br)

terça-feira, 30 de novembro de 2010

Orquestra Tupy - Maestro Bruno Rodrigues


01. The Licia
02. La Paloma
03. Evie
04. Temas de Filmes: Noviça Rebelde/Around The World In 80 Days
05. Harlem Nocturne
06. Maria Fumaça
07. Mulher
08. El Dia Que Me Quieras
09. In Persian Market
10. Fascinação
11. Energia
12. My Romance
13. Stars War Theme

Maestro Bruno Rodrigues

Big Band Tupy Orquestra e Coral

Criada em 1990 nas famosas "Domingueiras voadoras", série de bailes realizados na casa de shows "Circo Voador", no bairro da Lapa, centro do Rio de Janeiro, surgiu com o propósito de propagar a tradição das grandes orquestras conhecidas como "big bands" e que tiveram seu momento áureo nas décadas de 1940 e 1950. A banda é composta por 23 músicos e cantores com regência do maestro Bruno Rodrigues. Além do maestro, fazem parte da orquestra Antonieta Barreto Rodrigues, Alessandra Barreto Rodrigues, Simone do Nascimento Francisco, Sérgio Henrique Pereira Araújo e Alexandre Hudson da Costa, como vocalistas; Mauricio Borges Lameira, Reinaldo Xavier Seabra da Silva e Samuel Vieira, como trombonistas; Marco da Silva Filho, Alrimar Bento Donato, Alan Maciel Oscar e Ademir Gomes, como saxofonistas; Marivaldo Moraes, Edimar Alves Machado e Elizeu Mendonça como trompetistas; Marco Antonio Vieira, no baixo; Robson da Silva Borralho, como tecladista; André Luis Marins de Mattos como guitarrista; Paulo Rangel e Rogério Queiroz dos Santos como bateristas; e Bibiano de Assis Netto e Alexandre Pires como percussionistas.

Em pouco mais de quinze anos de atividades, ficou conhecida como a "mais premiada orquestra de shows e bailes da América Latina" tendo recebido mais de 140 premiações, além de dois discos de ouro pelos CDs "Orquestra Tupy" e "Ritmos latinos". A orquestra apresenta um repertório eclético com predomínio de músicas produzidas entre as décadas de 1960 e 2000, incluindo ritmos como samba, axé music, salsa, reggae, bolero, pagode, fox, country music, calypso, forró. Em suas apresentações são feitas releituras de clássicos da música popular contando com arranjos de 10 sopros, base completa com teclados, baixo, guitarra, bateria e percussão, além de um coro de cinco vozes. Em 1993, a orquestra lançou seu primeiro disco, o LP "Dança e romance", produzido e dirigido pelo maestro Bruno Rodrigues no qual foram interpretadas, entre outras, as músicas "Em algum lugar do passado", "Emoções", de Roberto e Erasmo Carlos, "Beguin the beguine", "I just called to say I love you", "New York, New York", "Insensatez", de Antônio Carlos Jobim e Nilton Mendonça, e "2001 - Assim falou Zaratrusta". Três anos depois, a orquestra lançou o segundo disco, e primeiro CD, que obteve grande aceitação de público chegando à marca de 102 mil cópias vendidas o que valeu à orquestra o primeiro disco de ouro. Estão presentes nesse disco obras como "La Paloma", "Evie", "El dia que me quieras", e "Fascinação", além de temas de cinema como "Noviça rebelde" e "A volta ao mundo em 80 dias". Em 1995, a orquestra participou juntamente com a Orquestra Filarmônica de Moscou e a Orquestra Sinfônica Brasileira dos festejos dos 90 anos da Avenida Rio Branco, centro do Rio de Janeiro. Em 1997, a orquestra obteve seu segundo disco de ouro pela vendagem do CD "Ritmos latinos", no qual foram interpretados clássicos da música latina como "Moliendo café", "Em algum lugar do passado", "Tequila", "Chuva", "Patricia", "Cachita", "Perfídia", "Guatanamera", "La Bamba", "El Manicero", e "Palo bonito". Em 2000, sairam pela Universal/Indie Records o CD e a fita de vídeo "Dança de salão", no qual a orquestra interpretou, entre outras, as músicas "Coisa de pele", "Canta Brasil", "Tu me acostumbrastes", "Chuvas de verão", "País tropical", "Na Glória", e "Brasileirinho". Em 2001, saiu pela Eldorado/Imagem Musisom o CD "Orquestra e coral Tupy ao vivo", com a interpretação de músicas como "I' ve got you under my skin", "Evidências", "Farol das estrelas", "Gostava tanto de você", "Sai da minha aba", e "Aquarela do Brasil". Dois anos depois, saiu o CD "In concert" reunindo gravações dos discos anteriores da orquestra como "Na Glória", "Chuvas de verão", "Coisa de pele", "Brasileirinho", e "Canta Brasil".

Em 2005, a banda lançou seu sexto CD "Perfil" que reuniu gravações já feitas anteriormente. Nesse ano, a banda destacou-se no carnaval carioca apresentando-se no baile popular da Cinelândia. Ainda no mesmo ano, apresentaram-se em espetáculo na quadra da Escola de samba Estação Primeira de Mangueira durante as comemorações pelos 75 anos de fundação da escola. Na ocasião, acompanharam o cantor Jamelão apresentando clássicos da música popular brasileira, com uma homenagem ao compositor Lupicínio Rodrigues e sambas enredos com os quais a Mangueira foi campeã. Além disso, a orquestra apresentou-se em diferentes cidades do Rio de Janeiro e de São Paulo como Duque de Caxias, Teresópolis, São Paulo capital e Santo André. Em 2006, a orquestra foi vencedora com nota máxima do quadro "Pistolão" do programa "Domingão do Faustão", apresentado por Fausto Silva na TV Globo. Ainda nesse ano, apresentou-se durante os quatro dias de carnaval no baile popular da Cinelândia, centro do Rio de Janeiro, evento do qual passou a fazer a abertura e o fechamento desde 1999.

(Extraído do Dicionario Cravo Albin da Música Popular Brasileira.)

domingo, 28 de novembro de 2010

Claudio Casanova and His Orchestra - Fly Me to the Moon - 16 Great Love Songs

  1. Time in a Bottle
  2. Still Crazy After
  3. Fly Me to the Moon
  4. Love is Stronger Far Than We
  5. Marjorie
  6. Fill Your Heart
  7. My Darling
  8. Once in Love with Amy
  9. Here Lies Love
  10. Dear Heart
  11. A Perfect Love
  12. Waking Up Alone
  13. Love in Ev'ry Room
  14. Young and Warm and Wonderful
  15. An Old-Fashioned Love Song
  16. Sweet Eloise
Fly Me to the Moon

quinta-feira, 25 de novembro de 2010

Yanni - Dare to Dream

  1. Once Upon a Time
  2. A Love for Life
  3. Nice to Meet You
  4. So Long My Friend
  5. You Only Live Once
  6. To the One Who Knows
  7. Face in the Photograph
  8. Felitsa
  9. Desire
  10. Aria
  11. A Night to Remember
  12. In the Mirror
Dare to Dream

Yanni, (nascido Yiannis Chrysomallis, Kalamata, Grécia, 14 de novembro de 1954) é um músico, tecladista e compositor.

Os pais de Yanni Chrysomallis eram artistas e fãs de música clássica. Filho de uma cantora e de um violonista, Yanni cresceu ouvindo Beethoven, Mozart, Chopin, Stravinsky e outros grandes nomes eruditos. Estas acabaram se tornando as maiores influências de sua carreira como tecladista e compositor de um estilo que ele prefere chamar de instrumental contemporânea.

Apesar de sempre ter sido um amante de música, Yanni passou a infância e adolescência dedicando-se à natação, e aos 14 anos já havia batido recordes na Grécia como nadador.

Aos 18 anos, mudou-se para os Estados Unidos, onde cursou psicologia na Universidade de Minnesota por três anos e meio. No entanto, ao terminar a faculdade, decidiu abandonar a carreira de psicólogo antes mesmo de iniciá-la, resolvendo dedicar-se apenas à música. Aos 21 anos, Yanni aprendeu a tocar teclado sozinho e passou a fazer parte de uma banda de rock local intitulada Chameleon.

Alguns anos depois, decidiu mudar-se para Los Angeles com o baterista Charlie Adams, que conhecera na época do Chameleon, e começou a gravar suas próprias composições pelo selo Private Music. Em 1986 lançou seu primeiro álbum, Keys To Imagination. O álbum trouxe a Yanni um impressionante séquito de fãs.

A partir daí, não demorou muito para o tecladista estabelecer-se como um conceituado músico de estúdio, compositor de jingles e produtor. Pouco tempo depois, Yanni tornou-se um dos artistas mais vendidos do selo Private Music.

Considerado um dos nomes de maior destaque no segmento instrumental, a fama de Yanni aumentou a partir de seu relacionamento com a atriz americana Linda Evans, no início da década de 1990. Por ser muito popular nos Estados Unidos na época, Evans foi a maior responsável pelo grande interesse da mídia pelo tecladista. Eles tiveram um relacionamento de amor que durou nove anos.

Por ser autodidata, Yanni não sabe ler ou escrever músicas do modo tradicional. Ao invés disso, inventou uma maneira própria de compor ainda na infância e continua criando suas músicas usando a mesma técnica até hoje, depois de quase vinte anos de carreira e mais de vinte e dois discos. Sua sonoridade é ao mesmo tempo acessível e elaborada, sempre unindo o pop e a música clássica. As composições de Yanni também ficaram famosas nos Estados Unidos após terem sido usadas em programas de televisão e na abertura dos Jogos Olímpicos. Yanni é adepto da Nova Era, ele e sua ex-esposa Linda Evans estavam envolvidos na meditação oriental.

Em 2003, Yanni lançou sua autobiografia com a co-autoria de David Resin. No livro o músico relata suas memórias, partindo da primeira infância na Grécia, o início do aprendizado de piano, o amor de seu pai, considerado por ele uma lição para toda vida. Avança para sua mudança para os Estados Unidos, seus estudos em Minnesota e seu relacionamento de anos com a atriz Linda Evans. Ao tratar do sucesso que sua música alcançou em todo o mundo, fala sobre os percalços que enfrentou, a depressão que ameçou-o por algumas vezes e de seu empenho para não rotular de new age a música que produz. O lançamento do livro coincidiu com o lançamento do seu 13o. álbum, o Ethnicity, e foi considerado um best seller pelo New York Times.

(Origem: Wikipedia, a enciclopédia livre.)

segunda-feira, 22 de novembro de 2010

Ray Conniff His Orchestra and Chorus - Say It with Music (A Touch of Latin)

  1. Besame Mucho
  2. Stranger In Paradise
  3. Summertime
  4. I've Got You Under My Skin
  5. Too Young
  6. Softly, As In A Morning Sunrise
  7. Just One Of Those Things
  8. Deep Purple
  9. Brazil
  10. Night And Day
  11. Temptation
  12. Say It With Music
"Say it with a beautiful song", sing Irving Berlin's charming lyrics for the title tune of Ray conniff's latest, and that is precisely what America's Number One dance arranger does. Moreover, he does it with a Latin beat, just a hint of the intriguing rhythms from the tropics. The brilliant Conniff way with a tune is too famous to need further mention, but the saucy extras he has added to this new program add up to entertainment that is brighter than ever.

Ray Conniff's novel methods of blending voices and orchestra have brought dancers hurrying back to the floor and caused even casual listeners to sit up and take notice. Female voices are doubled with trumpets, high saxophones or clarinets, while the male voices are paired with trombones, trumpets or saxes in the lower registers. This subtle coloring intensifies the soft tones and at the same time mellows the harsher ones. And it produces the glossiest dance music anyone could desire.

Ray began his recording career as an arranger (for Johnny Mathis, "It's Not For Me To Say"; for Guy Mitchell, "Singing The Blues"; for Johnnie Ray, "Walkin' My Baby Back Home", among others) but so vivid were his talents that he was soon signed as an artist himself. During the brief period that Ray has been arranging and conducting his dance albums, more than a million Conniff records have been sold, with demand growing every day.

In this collection, Ray plays a dozen favorite songs, touching them lightly with a Latin inflection. Four are by cole Porter, others by George Gershwin, Sigmund Romberg, Peter de Rose and, of course, the Irving Berlin title tune. Each of them is, to quote Mr. Berlin again, "a melody mellow", and each of them is another Conniff delight.

(From the original liner notes)

sexta-feira, 19 de novembro de 2010

Bobby Crush - Plays Melodies from the Movies

  1. Theme from "Schindler's List"
  2. A Whole New World (From "Aladdin")
  3. I Only Have Eyes for You (From "Miami Rhapsody")
  4. I've Never Been to Me (From "The Adventures of Priscilla, Queen of the Desert")
  5. Can You Feel the Love Tonight? (From "The Lion King")
  6. Shakin' the Blues Away (From "That's Entertainment III")
  7. Can You Read My Mind? (Love Theme from "Superman")
  8. Main Theme from "Forest Gump" (Feather Theme)
  9. Love Is All Around (From "Four Weddings and A Funeral")
  10. Two For the Road (From "Two For the Road")
  11. Let Me Be Your Wings (From "Thumbelina")
  12. Endless Love (From "Endless Love")
  13. When I Fall in Love (From "Sleepless in Seattle")
  14. As Time Goes By (From "Casablanca")
Melodies from the Movies

A musical tribute to the movies featuring Bobby Crush's scintillating keyboard work together with Gordon Lorenz's immaculate production.

Here's themes from movies such as "Forrest Gump", "The Lion King", "Superman" and "Four Weddings and A Funeral", plus oldies from "Casablanca" and "Sleepless in Seattle".

Bobby's terrific piano artistry makes this a highly-listenable and evocative album, breathing fresh life into a bunch of much-loved tunes.

(From the original liner notes)

terça-feira, 16 de novembro de 2010

Dario Lopes - Grandes Compositores - A música de Noel Rosa

  1. Com que Roupa
  2. Último Desejo
  3. Palpite Infeliz
  4. Feitiço da Vila
  5. Fita Amarela
  6. Feitio de Oração
  7. As Pastorinhas
  8. Conversa de Botequim
  9. Pierrot Apaixonado
  10. O Orvalho vem Caindo
  11. Não tem Tradução
  12. Quando o Samba Acabou
Noel Rosa

Noel Rosa was a well-known and celebrated composer while alive, but is more and more popular as time passes. When active, popular music in Brazil was mainly "country" music, sertaneja music. But he felt free to offer his true-spirited samba in a new way, his way: sophisticated melodies conjugated with unusual lyrics, ranging from amorous metaphysics through a vivid picture of social life and relations in a poetic Rio of the '30s.

Although his carnival marches knew instant national-wide success year by year, his elaborate songs only began to receive popular acclamation within ten years after his death. Maybe this gradual conquer over accepted standards can explain why he is so present these days.

His birth from a difficult delivery marked his whole life: as mother and child were endangered, the obstetrician decided to use the forceps. It caused a fracture and deepening of his jawbone. Through all his adolescence it would make him marked by cruel nickname "Queixinho" (Little Chin), and the difficulty eating would make him prefer soft foods such as soups and eggs, consumed out of sight of strangers. Eating less than his needs, together with his bohemian habits, may have had a decisive impact on contracting tuberculosis, which ended up killing him at the young age of 26 years. But his problems were always balanced with a feeling of self-humor, as attested by the several charges he made to himself, portraying sardonically his uncomfortable looks.

At 13, he started to play mandolin by ear. Listening to his father and friends playing the acoustic guitar (violão), he soon mastered this instrument enough to go through highly appreciated serenades.

Being native of the carioca neighborhood Vila Isabel, his childhood and adolescence were somewhat protected, although not rich. Contact with the malandros and sambistas of the hills only took place at the end of the '20s. Then he knew, among others, Canuto, who would be his partner in some compositions, interpreter in others; and Antenor Gargalhada, president of the Escola de Samba Azul e Branco, from the Salgueiro hill.

Finishing his high-school studies, the year of 1929 marked his preparations for medical school, an old dream of his mother's. At the same time, he was absorbed into an existing amateur musical group, the Bando de Tangarás, which also included João de Barro, Almirante, Alvinho, and Henrique Brito. They recorded in May of that same year the samba "Mulher Exigente," the embolada "Galo Garnizé," and the cateretê "Anedotas," all by Almirante. A few months later, on July 27, he presented his first composition, the embolada "Minha Viola," at the Tijuca Tenis Clube.

Being a group composed by middle-class amateur musicians, in a time when music was heavily connoted with marginality, the Bando dos Tangarás always insisted on not receiving any money for their performances, not even for expenses such as transportation. As they enjoyed increasing success, playing in cinemas, radios, and theaters, important artists joined the group, such as Luperce Miranda. Noel Rosa only became a professional the next year, with "Com que Roupa?"

In 1930, he recorded his second composition, the toada "Festa No Céu?" on the two sides of a Parlophone record. It has to be noted that he was still heavily influenced by these "country" styles, mainly northeastern Brazilian. Until 1931, he would compose two other sertaneja songs, "Mardade de Cabocla" and "Sinhá Ritinha" (written with Moacir Ferreira). From then on, he would stick to samba. In the year of 1931, he finally entered medical school (after a failed attempt the year before) and began to make success in music. It was not difficult to foresee which one of the two would soon be dumped, in 1932. Of his mediocre medical studies, one song was left, an anatomical samba named "Coração" ("Heart"). Although displaying singular ignorance of physiology for a med student (or a refined sense of auto-irony), "Coração" inaugurates his humorous style and a rare gift for avoiding corny lyrics while writing sensitive poetry: "Heart, big propulsive organ, transformer of venous blood into arterial/passion produces pain in the cranium but doesn't attack the heart."

In this same year, he recorded more than 20 songs, all of them carrying the mark of his genius. His unusual approach always produced fresh, surprising lyrics: "Cordiais Saudações" brings all the lyrics built in the form of a letter; "Mulata Fuzarqueira" has a meta-linguistic quality, making fun of the written word in uneducated form while affirming the sincerity behind it; "Que Horas São?" is solely about highly elaborated puns, one of his trademarks; "Gago Apaixonado" ("Stuttering Lover") simulates a passionate declaration of a stuttering lover, and was presented at the Grêmio Esportivo on June 11. This was after a "secret" introduction to the audience by the famous composer Lamartine Babo, of a "stammering guy who is a good composer," asking the audience to have pity and not to laugh at the poor boy; with their compassionate compliance being a hard trial, as everybody wanted to burst into laughing all the time while Rosa was singing.

Already worried by his frequent nocturnal escapades that only ended in bright daylight, his losing weight, his heavy drinking, and smoking habits, his mother decided to exert stricter vigilance upon him, and began to hide his clothes to impede him from going out. In one of these occasions, a bunch of friends came to pick him up to a samba gathering, but he couldn't join the party without clothes. That was the pretext of a new jewel: "Com que Roupa?" ("With What Clothes?"). That was the way Rosa composed, speaking of his own life and experiences.

With the advent of the radio in Brazil, in September 1923, the new medium galvanized the attention of the masses and captured the interest of the artists. Rosa was no exception, and soon in 1932 he was hired by Ademar Casé's show as assistant. Crowded in a small room, four or five musicians, a piano, the speaker, the director, the sound engineer, and Noel Rosa endured broadcasting from 11 a.m. to 12 p.m. every Tuesday, Thursday, and Sunday. Rosa was very popular, inventing improvised verses to his songs and to sponsors' jingles in the middle of improvised musical challenges directed to Almirante, Patrício Teixeira, Marília Batista, and João de Barro.

With Lamartine Babo and Mário Reis, Rosa formed the group Ases do Samba, which enjoyed a huge success in São Paulo, SP, impelling them to a season in the South, once more heavily successful.

Returning back to Rio, Rosa was invited by Francisco Alves, the most popular singer at the time, to begin a new trio with Ismael Silva. "Para Me Livrar Do Mal," "Adeus," "Assim, Sim," and "Gosto Mas...Não Muito" were the first compositions of the new association.

In March 1934, Rosa joined the group Gente do Morro, in which were Benedito Lacerda, Russo do Pandeiro, Canhoto, and other famous and talented instrumentalists. The tour to upstate Rio and Espírito Santo turned into a failure, though.

His partnerships, following the trajectory of his amiable, warm character, were varied and numerous. Some of his partners had only one opportunity to have an association with him, but these turned into masterpieces: Heitor dos Prazeres ("Pierrô Apaixonado"), Orestes Barbosa ("Positivismo"), and André Filho ("Filosofia").

Frequent partners were Hervê Cordovil, Lamartine Babo, and João de Barro ("Pastorinhas"). With these, Rosa wrote mostly Carnival marchinhas which were invariably great hits, year after year. But the most important partner of Rosa's was Vadico (Osvaldo Gogliano), since they met in 1932 at Odeon's Studio. In their first encounter, they created the immortal "Feitio de Oração." Their second song was another pearl, "Feitiço da Vila." They composed another eight of the best sambas of Rosa's career: "Mais um Samba Popular," "Pra que Mentir," "Conversa de Botequim," "Só Pode Ser Você," "Tarzan, o Filho do Alfaiate," "Cem Mil Réis," "Provei," and "Quantos Beijos."

Rosa had many lovers but was married only once, on December 1, 1934, to Lindaura Pereira da Mota. A docile, peaceful girl, Lindaura endured the hardships of a marriage to a husband who never had any idea of what is a marriage. The only change in Rosa's life after the union was a double bed which his mother brought to his room where he lived at her house, as he never remembered to take any measures regarding his alteration of status. In 1934, his health deteriorated to the extent he was obliged to leave Rio toward Minas Gerais, a place with a strong rural tradition and plenty of healthy food, milk, cheeses, and wonderful sweets. But, unfortunately for him, Minas also had radio stations, bars, beautiful girls, and fans who wanted to listen to him. Even then, he was able to improve his health a little: he left Rio in the beginning of 1935 weighing 99 pounds, returned in September at 125. The American producer W. Downey made two Brazilian musical movies in the year of 1936: Alô, Alô Brasil and Alô, Alô, Carnaval. There were two of Rosa's songs in the latter: "Não Resta a Menor Dúvida" (with Hervê Cordovil) and "Pierrô Apaixonado" (with Heitor dos Prazeres). "Palpite Infeliz" was originally included, but an unusual exigency by Rosa prevented it from appearing: while the tropical style with plenty of pineapples, bananas, and palm trees were at full steam as a fake representation of Brazil, Rosa insisted that singer Aracy de Almeida acted as a washerwoman. Aracy, even being a close friend, declined the opportunity. Rosa still wrote six songs for the movie Cidade Mulher, by Humberto Mauro. His health was in rapid decline, though. In January 1937, had to again leave Rio to rest. On May 1st, he felt terrible cold shivers and had to go back to Rio. On May 4th, surrounded by his wife, his mother, and his brother, the guitar player and doctor Hélio Rosa, Noel Rosa died, one of the true giants of the Brazilian popular music. His talent for creating unusual melodies was only matched by his acute lyricism, always showing through his original and humorous way of seeing life, as displayed in the several declarations or interviews such as this one for the O Cruzeiro magazine, in 1932: "What relation do you think exists between love and music?" "Romeo and Juliet died ignoring it. I think, tough, that the relation is the same that exists between the banana skin and the slipping." ~ Alvaro Neder, Rovi

quarta-feira, 10 de novembro de 2010

Mantovani - Today

  1. Midnight Cowboy
  2. Up, Up, And Away
  3. I'll Never Fall In Love Again
  4. Blowin' In The Wind
  5. Deserted Shore
  6. Without Love (There Is Nothing)
  7. Everybody's Talkin'
  8. Lemon Tree
  9. Good Morning Starshine
  10. Leaving On A Jet Plane
  11. Wand'ring Star
  12. Love Is All
Today

quinta-feira, 4 de novembro de 2010

The Strings of Paris - Romantic Sax Melodies - Conducted by Jean Paul de La Tour

 
  1. Polka Dots And Moonbeams
  2. Tea For Two
  3. A Fine Romance
  4. I Can't Believe That I'm In Love With You
  5. Don't Blame Me
  6. September In The Rain
  7. All The Way
  8. Call Me Irresponsible
  9. Darn That Dream
  10. Skylark
  11. Exactly Like You
  12. How Deep Is The Ocean
  13. The Nearness Of You
  14. Imagination
  15. The Continental
  16. Girl From Ipanema
Romantic Sax Melodies

domingo, 24 de outubro de 2010

Vic Damone - Feelings - Golden Legends Series

  1. Feelings
  2. Lazy Afternoon
  3. If
  4. People
  5. Softly
  6. Windmills of Your Mind
  7. Ghost Riders in the Sky
  8. Top of the World
  9. Farewell to Paradise
  10. Over the Rainbow
Damone was born Vito Farinola on June 12, 1928 in Brooklyn, New York. At age 17 he tried out for Arthur Godfrey on the "Talent Scouts" program and won first prize. He soon became a popular recording star and was a regular on TV variety shows. His talent really developed as he began to work the major clubs. His talent matured by the turn of the decade, and he had learned how to be a major crowd pleaser. He made his first movie in 1951, "Rich, Young and Pretty", and other hit movies included "Kismet", "Meet Me in Las Vegas", "Hit the Deck", and "Hell to Eternity".

Damone had been successful guesting on many TV shows, and in 1956 he was given the first of his regular shows, "The Vic Damone Show". He remained through the late 1960's with a regular show during much of that time, including summer replacement for Dean Martin at the end of the 1960's.

Known for his astonishingly youthful appearance, Vic is a better performer than ever. This mix of contemporary and classic love songs shows his talent in rare form. From "Over the Rainbow" to "Windmills of Your Mind", no one can sing a love song the way Vic Damone can.

(from the original liner notes)

quarta-feira, 20 de outubro de 2010

Louis Armstrong & Earl Grant - Série Dois Astros

  1. (At) the End (of A Rainbow) - Earl Grant
  2. What A Wonderful World - Louis Armstrong
  3. Ebb Tide - Earl Grant
  4. Hello Dolly - Louis Armstrong
  5. People - Earl Grant
  6. Georgia on My Mind - Louis Armstrong
  7. Volare (Nel Blu Dipinto Di Blu) - Earl Grant
  8. Down by the River Side - Louis Armstrong
  9. More - Earl Grant
  10. Blueberry Hill - Louis Armstrong
  11. Stand by Me - Earl Grant
  12. When the Saints Go Marchin' in - Louis Armstrong
  13. Goin' out of My Head - Earl Grant
  14. Cabaret - Louis Armstrong
Dois Astros

sexta-feira, 15 de outubro de 2010

Classic Dream Orchestra - Greatest Hits Go Classic - Simon & Garfunkel

  1. Night Flight
  2. Bridge over Troubled Water
  3. El Condor Pasa
  4. The Sound of Silence
  5. Bright Eyes
  6. Mrs. Robinson
  7. 50 Ways to Leave Your Lover
  8. Cecilia
  9. The Boxer
  10. Scarborough Fair / Canticle
  11. The 59th Street Bridge Song (Feelin' Grovy)
  12. Homeward Bound
  13. Bye, Bye, Love
  14. Night Flight (The Return)
Simon & Garfunkel

quarta-feira, 13 de outubro de 2010

Tony Bennett - 16 Most Requested Songs

  1. Because of You
  2. Stranger in Paradise
  3. Rags to Riches
  4. Boulevard of Broken Dreams
  5. Cold, Cold Heart
  6. Just in Time
  7. I Left My Heart in San Francisco
  8. I Wanna Be Around
  9. Who Can I Turn to (When Nobody Needs Me)
  10. For Once in My Life
  11. This Is All I Ask
  12. Smile
  13. Tender Is the Night
  14. The Shadow of Your Smile
  15. (Where Do I Begin) Love Story
  16. The Good Life
He has the face you'd want on your neighborhod bar owner - seamed, rumpled and infinitely kind. A face you could tell your troubles to and get a sympathetic ear in return; a face you could rely on if any trouble started. It's the face of a man who has seen life and triumphed, and who proclaims his joy of living through one of the best sets of pipes in the business.

Tony Bennett (born Anthony Dominick Benedetto in Corona, New York) was the second son of poor Italian Immigrants. When he was nine his father died, and the already impoverished family was thrown to the bottom of the heap in Depression-ridden America. The boy literally fought for any odd jobs that were available, acquiring a sense of survival and compassion for the underdog that have never left him.

By the time he reached his teens he was singing in local bars (under the name Joe Bari) for drinks, tips and experience. The audiences were mainly tough, working class Italians, and he had to contend with the drinking, eating, loud conversations and fights that were part of the scene. If they liked you, they could be the most generous people in the world. If they didn't, then you'd better learn to run fast. Tony made sure they liked him, and by the early 1940s he had gravitated to better-class establishments, averaging $15 a week salary.

Still the underprivileged street kid, he was drafted in 1944 and sent to a U.S. Infantry unit in Europe - just in time for the Battle of the Bulge, fighting all the way until the armistice was signed in May 1945. He was then transferred to the Special Services Unit where he sang for the troops.

After discharge he got a GI grant to study theater in New York, hustling for singing jobs after classes. Vic Damone's manager got him a gig at the Greenwich Village Inn where he was heard by Pearl Bailey, who advised the owner to extend his engagement. Bob Hope also dropped by and took him on tour with him.

Mitch Miller at Columbia Records heard about the kid with the footballer's shoulders and golden voice and asked him to cut a demo. The result was a contract, and in April 1950 he made his first four sides - including a remake of the demo, "Boulevard of Broken Dreams". It became his first hit. He dropped the Bari, and the red Columbia label now had a new name in its catalogue: Tony Bennett.

The fifties were a wonderful time for Tony. His records were selling in the hundreds of thousands, he was in tremendous demand for personal appearances, TV and club dates, and he could finally reward his mother for all the faith and encouragement she had given him. Rock 'n' roll caused his career to sag in the early 1960s, but he came back with a smash in 1962 with "I Left My Heart in San Francisco", which has become the unofficial anthem of that city. The record sold 3,000,000 on its initial release and won Grammys for best record of the year and best male performance.

In his 23 years with Columbia Records Tony Bennett cut 89 albums. Then, during the next decade he only made two LPs; yet, in a business where you're only as good as your last record, Tony's popularity remains undiminished. He still plays to sell-out audiences, still works with such energy and enthusiasm that at the end of a set his tuxedo is frequently off, collar opened and face wet with perspiration - and the audience loves him. And although he constantly updates his material, they still clamor for the old favorites, knowing that he will make them sound as fresh and new as the day they first heard them - like they sound on this collection.

(Howard Garwood, from the original liner notes)

Tony Bennett's career has enjoyed three distinct phases, each of them very successful. In the early '50s, he scored a series of major hits that made him one of the most popular recording artists of the time. In the early '60s, he mounted a comeback as more of an adult-album seller. And from the mid-'80s on, he achieved renewed popularity with generations of listeners who hadn't been born when he first appeared. This, however, defines Bennett more in terms of marketing than music. He himself probably would say that, in each phase of his career, he has remained largely constant to his goals of singing the best available songs the best way he knows how. Popular taste may have caused his level of recognition to increase or decrease, but he continued to sing popular standards in a warm, husky tenor, varying his timing and phrasing with a jazz fan's sense of spontaneity to bring out the melodies and lyrics of the songs effectively. By the start of the 21st century, Bennett seemed like the last of a breed, but he remained as popular as ever. Bennett grew up in the Astoria section of the borough of Queens in New York City under the name Anthony Dominick Benedetto. His father, a grocer, died when he was about ten after a lingering illness that had forced his mother to become a seamstress to support the family of five. By then, he was already starting to attract notice as a singer, performing beside Mayor Fiorello La Guardia at the opening of the Triborough Bridge in 1936. By his teens, Bennett had set his sights on becoming a professional singer. After briefly attending the High School of Industrial Arts (now known as the High School of Art and Design), where he gained training as a painter, he dropped out of school at 16 to earn money to help support his family, meanwhile also performing at amateur shows. Upon his 18th birthday in 1944, he was drafted into the Army, and he saw combat in Europe during World War II. Mustered out in 1946, he went back to trying to make it in music, and he attended the American Theater Wing on the GI Bill. By the end of the 1940s, he had acquired a manager and was working regularly around New York. He got a break when Bob Hope saw him performing with Pearl Bailey in Greenwich Village and put him into his stage show, also suggesting a name change to Tony Bennett. In 1950, Columbia Records A&R director Mitch Miller heard his demonstration recording of "The Boulevard of Broken Dreams" and signed him to the label. Bennett's first hit, "Because of You," topped the charts in September 1951, succeeded at number one by his cover of Hank Williams' "Cold, Cold Heart." Following another five chart entries over the next two years, he returned to number one in November 1953 with "Rags to Riches." Its follow-up, "Stranger in Paradise" from the Broadway musical Kismet, was another chart-topper, and in 1954 Bennett also reached the Top Ten with Williams' "There'll Be No Teardrops Tonight" and "Cinnamon Sinner." The rise of rock & roll in the mid-'50s made it more difficult for Bennett to score big hits, but he continued to place singles in the charts regularly through 1960, and even returned to the Top Ten with "In the Middle of an Island" in 1957. Meanwhile, he was developing a nightclub act that leaned more heavily on standards and was exploring album projects that allowed him to indulge his interest in jazz -- notably 1957's The Beat of My Heart, on which he was accompanied mainly by jazz percussionists, and 1959's In Person! With Count Basie and His Orchestra. By the early '60s, although he had faded as a singles artist, he had built a successful career making personal appearances and recording albums of well-known songs in the manner of Frank Sinatra. In 1962, Bennett introduced "I Left My Heart in San Francisco," a ballad written by two unknown songwriters, George Cory and Douglass Cross, who had pitched it to his pianist, Ralph Sharon. Released as a single, the song took time to catch on, and although it peaked only in the Top 20, it remained on one or the other of the national charts for almost nine months. It became Bennett's signature song and pushed his career to a higher level. The I Left My Heart in San Francisco album reached the Top Five and went gold, and the single won Bennett Grammy Awards for Record of the Year and Best Solo Vocal Performance, Male. Bennett's next studio album, 1963's I Wanna Be Around..., also made the Top Five, and its title track was another Top 20 hit, as was his next single, "The Good Life," also featured on the album. For the next three years, his albums consistently placed in the Top 100, along with a series of charting singles that included the Top 40 hits "Who Can I Turn To (When Nobody Needs Me)" (from the Broadway musical The Roar of the Greasepaint, the Smell of the Crowd) and "If I Ruled the World" (from the Broadway musical Pickwick). By the late '60s, Bennett's record sales had cooled off as the major record labels turned their attention to the lucrative rock market. Just as Mitch Miller had encouraged Bennett to record novelty songs over his objections in the 1950s, Clive Davis, head of Columbia parent CBS Records, encouraged him to record contemporary pop/rock material. He acquiesced on albums such as Tony Sings the Great Hits of Today!, but his sales did not improve. In 1972, he left Columbia for the Verve division of MGM Records, but by the mid-'70s he was without a label affiliation, and he decided to found his own record company, Improv, to record the way he wanted to. He made several albums for Improv, including one with jazz pianist Bill Evans (following a disc they made for Fantasy Records), but the label eventually foundered. (Concord Records  released the box set The Complete Improv Recordings in 2004.) By the late '70s, however, Bennett did not need hit records to sustain his career, and he worked regularly in concert halls around the world. By the mid-'80s, there was a growing appreciation of traditional pop music, as performers such as Linda Ronstadt recorded albums of standards. In 1986, Bennett re-signed to Columbia and released The Art of Excellence, his first album to reach the pop charts in 14 years. Now managed by his son Danny, Bennett shrewdly found ways to attract the attention of the MTV  generation without changing his basic style of singing songs from the Great American Songbook while wearing a tuxedo. By the early '90s, he was as popular as he had ever been. The albums Perfectly Frank (1992, a tribute to Frank Sinatra) and Steppin' Out (1993, a tribute to Fred Astaire) went gold and won Bennett back-to-back Grammys for Best Traditional Pop Vocal Performance. But his comeback was sealed by 1994's MTV Unplugged, featuring guest stars Elvis Costello and k.d. lang, which went platinum and won the Grammy for Album of the Year as well as another award for Best Traditional Pop Vocal Performance.

Bennett became a Grammy perennial, also taking home Best Traditional Pop Vocal Performance awards for Here's to the Ladies (1995) and On Holiday: A Tribute to Billie Holiday (1997). Bennett Sings Ellington: Hot & Cool (1999) was another Grammy winner in the retitled Best Traditional Pop Album category, as was Playin' with My Friends: Bennett Sings the Blues, an album of duets released in 2001. One year later, Bennett paired off with a single duet partner, recording A Wonderful World with k.d. lang. The Art of Romance followed in 2004. Both albums won the Best Traditional Pop Album Grammy for their respective years. In August 2006, Bennett reached his 80th birthday, and his record label marked the occasion with a series of reissues and compilations. The next month brought Duets: An American Classic, another collection of pairings with other singers on re-recordings of some of Bennett's best-known songs that reached number three in the Billboard chart, the highest placing for an album in Bennett's career. It also won him another Grammy for Best Traditional Pop Album. ~ William Ruhlmann, Rovi

domingo, 10 de outubro de 2010

Dick Farney - 20 Preferidas

  1. Copacabana
  2. Nick Bar
  3. Aeromoça
  4. Tereza da Praia (Participação vocal de Antonio Pinheiro Filho)
  5. Uma Loira
  6. A Saudade Mata a Gente
  7. Esse Seu Olhar
  8. Alguém Como tu
  9. Marina
  10. Ponto Final
  11. Solidão
  12. Somos Dois
  13. Ser ou Não Ser
  14. Perdido de Amor
  15. A Fonte e o Teu Nome
  16. Barqueiro de São Francisco
  17. Meditação
  18. Ninguém na Rua
  19. Sem Esse Céu
  20. Velhos Tempos
20 Preferidas


Dick Farney, nome artístico de Farnésio Dutra e Silva (14 de novembro de 1921 — 4 de agosto de 1987) foi um cantor, pianista e compositor brasileiro.

Começou a tocar piano ainda na infância, quando aprendia música erudita com o pai enquanto a mãe lhe ensinava canto.

Em 1937 estreou como cantor no programa Hora juvenil na rádio Cruzeiro do Sul do Rio de Janeiro, quando interpretou a canção Deep Purple composta por David Rose, foi levado por César Ladeira para a rádio Mayrink Veiga, passando a apresentar o programa Dick Farney, a voz e o piano. Era dono de um charme, voz, elegância e bom gosto. O conjunto Os swing maníacos formado por Dick, tinha ao lado o irmão Cyll Farney, na bateria, acompanhou Edu da Gaita na gravação da música Canção da Índia, do compositor russo Nikolay Rimsky-Korsakov (1844-1908). De 1941 a 1944, era crooner da orquestra de Carlos Machado, no Cassino da Urca, no tempo em que o jogo era permitido no Brasil. Em 1946 foi convidado para ir para os Estados Unidos, depois do encontro com o arranjador Bill Hitchcock e o pianista Eddie Duchin, no Hotel Copacabana Palace. Fez apresentações na rádio NBC, durante dois meses. Em 1948 apresentou-se com sucesso na boate carioca Vogue. No ano de 1959 era exibido o programa de TV - Dick Farney Show, na TV Record - Canal 7 de São Paulo. 1960 formou a Dick Farney e sua orquestra que animou muitos bailes. 1965 na récem-inaugurada TV Globo - Canal 4, Rio de Janeiro, apresentados por Betty Faria e Dick Farney, o programa de TV Dick e Betty. Gogô foi seu pianista acompanhador de 1977 a 1987. Foi proprietário das boates Farney´s e Farney´s Inn, ambas em São Paulo. Em 1971 formou um trio com Sabá. De 1973 a 1978 tocava piano e cantava na boate Chez Régine no Rio.

(from Wikipedia)

quinta-feira, 7 de outubro de 2010

Perry Como - The Love Collection

  1. The Best of Times
  2. Days of Wine and Roses
  3. What's New?
  4. Something
  5. For All We Know
  6. The Very Thought of You
  7. (I Left My Heart) in San Francisco
  8. It's Impossible
  9. Where Do I Begin
  10. What Kind of Fool Am I?
  11. Without A Song
  12. Quiet Nights of Quiet Stars
  13. (They Long to Be) Close to You
  14. You Are the Sunshine of My Life
  15. I Think of You
  16. When I Need You
  17. If
  18. For the Good Times
  19. The Most Beautiful Girl
  20. The Wind Beneath My Wings
The Love Collection

Easy listening is back in fashion. To most serious collectors of music it was never out of fashion. The word easy and Perry Como are synonymous. He makes the art of singing effortless. To sing well, training, strength and control are needed. The less obvious qualities are those of magic and spirit. The combination of Como's charm and talent make the art of singing appear effortless.

On this collection of love songs Perry brings his special charisma to the more recent classics of the popular song. This set does not concern itself with just Perry's hits, although the million sellers "It's Impossible" and "I Think of You" are included. Here is Perry at his best, singing songs of love and romance for lovers young and old.

In his present day concert tours Perry always includes the latest classic "The Wind Beneath My Wings". This song could have been written especially for Mr. C. as this year he celebrates his 60th wedding anniversary with his wife Roselle.

What makes Perry so special as a singer? Mel Torme is quoted as saying, "Perry is technically one of the most immaculate singers in our business". When Perry sings a song you know that he has studied the lyric and understood the exact mood the writer wished to convey - whether the mood be joy, as in Jerry Herman's "The Best of Times", or pathos as in the Newley - Bricusse classic "What Kind of Fool Am I?". One of Perry's own favourite recordings is also included here, George Harrison's "Something".

If you are a Perry Como fan you will delight in this collection because some of his finest recordings are featured. If you are new to the Como experience then be prepared to have your appetite whetted and like Oliver cry out for more!

(Michael Dunnington, from the original liner notes)


One of the most popular vocalists between the end of World War II and the rise of rock & roll in the mid-'50s, Perry Como perfected the post-big-band approach to pop music by lending his own irresistible, laid-back singing -- influenced by Bing Crosby and Russ Columbo  -- to the popular hits of the day on radio, TV, and LP. Both his early traditional crooning style plus his later relaxed manner and focus on novelty material were heavily indebted to Bing Crosby, though Como's appeal during the early '50s was virtually unrivaled. Born in 1912 in Canonsburg, PA, Como was working as a singing barber in his hometown when he began touring with local bandleader Freddie Carlone at the age of 21. By the mid-'30s, he got his big break with Ted Weems & His Orchestra, who headed a popular radio show named Beat the Band. After the orchestra broke up in 1942, Como hosted a regional CBS radio show later called Supper Club. The show's success gained him a contract with RCA Victor Records by 1943, and he also began working in Hollywood with Something for the Boys.

Perry Como's real big break came with the 1945 film A Song to Remember. His rendition of "Till the End of Time" spent ten weeks at the top of the charts and became the biggest hit of the year. Como's dreamy baritone worked especially well on ballads, such as the additional 1945-1947 number one hits "Prisoner of Love," "Surrender," and "Chi-Baba, Chi-Baba (My Bambino Go to Sleep)." Hired by NBC for another radio show in 1948, Como crossed over to the emerging medium of television that same year with the Chesterfield Supper Club. The show quickly took off, and eventually earned him four Emmy Awards. In the mid-'50s, Como began to indulge in light novelty fare, the titles often comprising nonsense words -- "Bibbidi-Bobbidi-Doo," "Hoop-Dee-Doo," "Pa-Paya Mama," and "Hot Diggity (Dog Ziggity Boom)." Though he often disliked the songs, they frequently became huge of the road pop.

Como's breezy songs had worked well at the beginning of the decade, but his appeal began to wane towards the end of the '50s, with the emergence of rock & roll and the wave of teen idols. His last number one hit, "Catch a Falling Star," came in 1958. Como was much less visible during the '60s, but returned in 1970 with his first live show in over two decades, and a world tour followed; a single ("It's Impossible") even made the Top Ten in late 1970. Como continued to record LPs and occasional television specials while making scattered appearances during the '70s and '80s. On May 12, 2001, Perry Como died in his sleep at his home in Florida. ~ John Bush, Rovi

terça-feira, 5 de outubro de 2010

Tom Jones - The Best of the Best

  1. Spanish Harlem
  2. Spanish Eyes
  3. Delilah
  4. Don't Cry for Me Argentina
  5. My Way
  6. Fever
  7. Lady Madonna
  8. She's A Lady
  9. Memphis
  10. Proud Mary
  11. Bridge over Troubled Water
  12. Yesterday
  13. Green Green Grass of Home
  14. Georgia on My Mind
  15. What's New Pussycat
  16. You Are the Sunshine of My Life
  17. On Broadway
  18. Sexy Eyes
  19. Oh, Pretty Woman
Tom Jones became one of the most popular vocalists to emerge from the British Invasion. Since the mid-'60s, Jones has sung nearly every form of popular music -- pop, rock, show tunes, country, dance, and techno, he's sung it all. His actual style -- a full-throated, robust baritone that had little regard for nuance and subtlety -- never changed, he just sang over different backing tracks. On-stage, Jones played up his sexual appeal; it didn't matter whether he was in an unbuttoned shirt or a tuxedo, he always radiated a raw sexuality which earned him a large following of devoted female fans who frequently threw underwear on-stage. Jones' following never diminished over the decades; he was able to exploit trends, earning new fans while retaining his core following.

Born Thomas John Woodward, Jones began singing professionally in 1963, performing as Tommy Scott with the Senators, a Welsh beat group. In 1964, he recorded a handful of solo tracks with record producer Joe Meek and shopped them to various record companies to little success. Later in the year, Decca producer Peter Sullivan discovered Tommy Scott performing in a club and directed him to manager Phil Solomon. It was a short-lived partnership and the singer soon moved back to Wales, where he continued to sing in local clubs. At one of the shows, he gained the attention of former Viscounts singer Gordon Mills, who had become an artist manager. Mills signed Scott, renamed him Tom Jones, and helped him record his first single for Decca, "Chills and Fever," which was released in late 1964. "Chills and Fever" didn't chart but "It's Not Unusual," released in early 1965, became a number one hit in the U.K. and a Top Ten hit in the U.S. The heavily orchestrated, over-the-top pop arrangements perfectly meshed with Jones' swinging, sexy image, guaranteeing him press coverage, which translated into a series of hits, including "Once Upon a Time," "Little Lonely One," and "With These Hands." During 1965, Mills also secured a number of film themes for Jones to record, including the Top Ten hit "What's New Pussycat?" (June 1965) and "Thunderball" (December 1965).

Jones' popularity began to slip somewhat by the middle of 1966, causing Mills to redesign the singer's image into a more respectable, mature, tuxedoed crooner. Jones also began to sing material that appealed to a broad audience, like the country songs "Green, Green Grass of Home" and "Detroit City." The strategy worked, as he returned to the top of the charts in the U.K. and began hitting the Top 40 again in the U.S. For the remainder of the '60s, he scored a consistent string of hits in both Britain and America. At the end of the decade, Jones relocated to America, where he hosted the television variety program This Is Tom Jones. Running between 1969 and 1971, the show was a success and laid the groundwork for the singer's move to Las Vegas in the early '70s. Once he moved to Vegas, Jones began recording less, choosing to concentrate on his lucrative club performances. After Gordon Mills died in the late '70s, Jones' son, Mark Woodward, became the singer's manager. The change in management prompted Jones to begin recording again. This time, he concentrated on the country market, releasing a series of slick Nashville-styled country-pop albums in the early '80s that earned him a handful of hits.

Jones' next image makeover came in 1988, when he sang Prince's "Kiss" with the electronic dance outfit the Art of Noise. The single became a Top Ten hit in the U.K. and reached the American Top 40, which led to a successful concert tour and a part in a recording of Dylan Thomas' voice play, Under Milk Wood. The singer then returned to the club circuit, where he stayed for several years. In 1993, Jones performed at the Glastonbury Festival in England, where he won an enthusiastic response from the young crowd. Soon, he was on the comeback trail again, releasing the alternative dance-pop album The Lead and How to Swing It in the fall of 1994; the record was a moderate hit, gaining some play in dance clubs. Jones enjoyed an even bigger hit with 1999's Reload, which featured duets with an array of contemporaries and those he influenced. Three years later, he worked with Wyclef Jean to produce Mr. Jones, and 2004 brought another collaboration, Tom Jones and Jools Holland. In 2008, he released another commercial and critical success, 24 Hours, which featured Jones' classic sound backed by contemporary productions from Future Cut, Nellee Hooper, and Betty Wright. His 2010 release, Praise & Blame, went in a completely different direction, filled with American Songbook material from the likes of Bob Dylan, John Lee Hooker, and Billy Joe Shaver. ~ Stephen Thomas Erlewine, Rovi

segunda-feira, 27 de setembro de 2010

Vic Damone - 16 Most Requested Songs

  1. On the Street Where You Live
  2. War and Peace
  3. Almost Like Being in Love
  4. Smoke Gets in Your Eyes (When Your Heart's on Fire)
  5. Do I Love You Because You're Beautiful
  6. An Affair to Remember
  7. You're Breaking My Heart
  8. Angela Mia (My Angel)
  9. Maria
  10. Gigi
  11. Separate Tables
  12. But Beautiful
  13. My Romance
  14. The Pleasure of Her Company
  15. Serenade in Blue
  16. In the Blue of Evening
16 Most Requested Songs

16 Most Requested Songs is a midline-priced collection that spotlights many of Vic Damone's best-known and most popular performances for Columbia Records, including "On the Street Where You Live," "War and Peace," "Smoke Gets in Your Eyes," "An Affair to Remember," "You're Breaking My Heart," "Gigi," "Separate Tables" and "In the Blue of the Evening." Although it's far from a perfect retrospective of his career, it's still a nice sampler of familiar items, and it may satisfy the needs of some casual fans who only want the hits. ~ Stephen Thomas Erlewine, All Music Guide 

Vic Damone became in 1950s one of the most successful post-war ballad singers - a performer with consummate artistry, endowed with a voice that was both unusually powerful and naturalistic. Frank Sinatra said of him that he had "the best pipes in the business".

Yet, if he scored high grades among his peers, the public's perception of him was, and to some extente may still be, that of a singer who could be dismissed as a lightweight, a reputable performer with neither the raw personality of a Sinatra or the solid attraction of a Tony Bennett. His enduring career, however, porves them wrong.

He was born Vito Farinola, in Brooklyn, on June 12, 1928, and early on began to display an uncanny talent for singing. His mother, Mamie (whose maiden name he later adopted as his stage monicker), encouraged him and even gave him informal lessons at home. His father, an electrician, hoped his son would follow in his footsteps, and young Vito attended the Alexander Hamilton Vocational High School.

Not surprisingly, his first idol was Sinatra, already a star, who performed before adoring bobby-soxers at the Paramount Theatre in New York, where Vito, then a 17-year-old, was making some pocket money as an usher.

At his mother's urging, he entered Arthur Godfrey's Talent Scouts program, an amateur talent contest, and won first prize. Milton Berle, who was attending the show, arranged for him to appear at La Martinique, in Manhattan, a venue for many young hopefuls, and Vic became a fixture there for an unprecedented 11 weeks. As a result, he was offered other night-club engagements, his own radio show, "Saturday Night Serenade", which ran on CBS for two years, and a contract with Mercury for which he released his first recording in 1947, "I Have But One Heart (O Marinariello)", a Top 10 hit.

In short order, he recorded several songs, many of them rooted in his Italian tradition, including "Again", "Longing for You", and particularly "You're Breaking My Heart", based on the art song "Mattinata", which hit number one in 1949.

The romantic type par excellence, it was only a matter of time before Hollywood manifested interest in the young man. Surprisingly, Damone never really hit big in the movies, even though he had starring roles in several lavish screen musicals, including "Rich, Young and Pretty" (1951), opposite Jane Powell, "Athena" (1954), with Debbie Reynolds; "Hit the Deck" (1955), in which his co-stars included Tony Martin and Russ Tamblyn; and finally "Kismet" (1955), in which he played the Grand Vizir to Ann Blyth's Marsina. As Roy Hemming and David Hadju remark in their book, "Discovering Great Singers of Classic Pop" (Newmarket Press, 1991), "The camera didn't love him; in fact, it didn't even seem to know him. Damone was simply not gifted with a screen presence to match the power of his singing voice."

When Mitch Miller, who had signed him to Mercury, became head of A&R at Columbia Records, he brought Damone along. Thus started a second phase in the singer's career, marked by a greater diversity in the material he recorded for his new label, and by songs with which he has since been closely identified.

Damone's tenure at Columbia officially began on December 6, 1955, with a session that yielded four songs recorded in Hollywood with Paul Weston and his orchestra. The following February, he was back in the studio, this time in New York, to do a couple of tunes which included a new song, "On the Street Where You Live", from an up-and-coming Broadway show by Alan Jay Lerner and Frederick Loewe, "My Fair Lady". The show, a musical adaptation of George Bernard Shaw's familiar comedy, "Pygmalion", marked the only time a recording label played patron of the arts and financed a Broadway musical; Columbia obtained the rights to the original cast album, which later on extended to other recordings of the score, including revivals of the show and the film soundtrack.

As was often the case at the time, the label also sought to further exploit its investment by having popular artists under contract record selections from the score, a move that was guaranteed to give the songs and the show itself greater exposure. Damone's rendition of "On the Street Where You Live", with Percy Faith and his orchestra, hit #4 on the charts, where it lodged for six months. It is still remembered today as one of the classic songs of the 1950s.

In July of 1956, Damone returned to the studio, and with David Terry providing the lush background, recorded the theme song from the epic saga, "War and Peace", based on Tolstoy's novel, with Audrey Hepburn and Mel Ferrer as the passionate lovers in Napoleonic Russia.

Up until then, all the songs he had recorded for the label were meant to be released as singles or in four-song EPs. A few days after the "War and Peace" session, he was back in the studio, with producer George Avakian at the helm, and an orchestra under the direction of Camarata, for what would be his first album for the label, "That Towering Feeling", recorded over three days in July, and released on August 13. From these sessions, we selected two songs, "Almost Like Being in Love", which didn't make the album but was eventually released in an album titled, "The Best of Vic Damone", and "Smoke Gets in Your Eyes".

Damone returned to the famed Columbia 30th Street Studios in February 1957 to do another single, with Mitch Miller as producer, and Mary Manning conducting the orchestra. Of the four songs recorded at the time, "Do I Love You Because You're Beautiful", again charted and became very closely idenfied with him. Once again it was written for a musical, "Cinderella", presented on the CBS Television Network on March 31st of that year, with Julie Andrews in the title role singing the songs of Richard Rodgers and Oscar Hammerstein II.

1957 also proved a good year for Damone: on May 20, with Percy Faith and his orchestra, he recorded "An Affair to Remember", the title tune from the film starring Debora Kerr and Cary Grant, which turned into another solid hit for him. In October, with Glenn Osser and his orchestra, he went back to the studio to prepare his next album, "Angela Mia", released on January 13, 1958, and from which we have excerpted the title tune and "You're Breaking My Heart". And in November, again with Percy Faith, he recorded four more sides, including a cover version of "Maria", from "West Side Story", another Broadway show in which Columbia had made a substantial artistic and monetary investment.

By then, Damone's career was in high gear, and 1958 found him very active, both as a nightclub entertainer and as a recording artist. Songs representative of this period and heard in this compilation include "Gigi", the title track from the MGM film musical starring Leslie Caron, recorded as a single on January 28; and "Separate Tables", which was written for a film with a stellar cast headlined by Rita Hayworth, Deborah Kerr, Burt Lancaster and David Niven.

As the decade stretched to a close, however, Damone began to experience personal difficulties. A self-confessed "lousy money manager", he suddenly found himself at odds with some creditors and the IRS, a dual conflict that had  profound repercussions on his performing career. As a result, his output in 1959 and 1960 was limited to some singles that went nowhere on the charts, and a couple of albums, "This Game of Love", (reorded on April, 1959 and released the following October, and "On the Swinging Side of the Street", recorded in July, 1960 and released on December 19. His problems notwithstanding, both albums demonstrated that he remained a superb song stylist and balladeer, something that can be heard again here in the two tracks that were selected from the former album, "But Beautiful" and "My Romance".

He scored again in 1961, with what many consider one of the finest albums, "Young and Lively", the product of two sessions with John Williams and his orchestra that were held in July and September of that year. Earlier, in April, they had already joined forces to cut six songs, including "The Pleasure of Her Company", which was composed for a film starring Fred Astaire and Debbie Reynolds.

"Young and Lively" yielted many lovely selections, but none seemed to epitomize Damone's uncanny way with a song more so than the wistful "Serenade in Blue" and "In the Blue of Evening" found here.

The album also signalled the end of his tenure with Columbia. In the years since, despite the onslaught of rock 'n' roll on pop music, and the eventual demise of pop radio, a musical format that had helped make his success, Vic Damone has succeeded in maintaining a high degree of visibility, appearing in lounges and clubs where his brand of singing, smooth and easy, keeps his audiences rapt.

Today, Vic Damone's set of pipes still rank among the best in the business, but with a new-found depth that makes him one of the finest vocalists around.

(Didier C. Deutsch, from the original liner notes)
One of the prototypical Italian-American crooners, Vic Damone parlayed a smooth, mellow baritone into big-time pop stardom during the '40s and '50s. Early in his career, his inflection and phrasing were clearly indebted to Frank Sinatra, who once famously called him "the best set of pipes in the business." Overall, though, Damone's style was softer than Sinatra's and owed less to the elasticity of jazz, especially since he was a solo performer who never served an apprenticeship with a swing orchestra. Very much the heartthrob in his heyday, his repertoire relied heavily on romantic ballads, though he did sprinkle in the occasional pop novelty or Italian folk song. He managed a parallel career as a film actor and, later, a TV variety host, and remained an active nightclub performer for decades after he disappeared from the charts.

Damone was born Vito Rocca Farinola in Brooklyn, NY, on June 12, 1928. His mother was a piano teacher and his father an electrician who also sang and played guitar, but it was Sinatra who provided his first musical awakening, and inspired him to start voice lessons. His first performances came in a youth choir and at school events. When his father was seriously injured in a work accident, young Vic was forced to drop out of school to help support the family, and got a job at the Paramount Theater in Manhattan as an usher and elevator operator. One night, while taking Perry Como up to his dressing room, Vic gave an impromptu performance and asked the singer if he had any talent; Como encouraged him, referred him to a local bandleader, and became something of a mentor to him.

Adopting his mother's maiden name, Damone won first place on the Arthur Godfrey's Talent Scouts show in 1947, which led to regular professional gigs on local radio. While on the set of the show, he also met Milton Berle, who helped him get gigs at the prominent nightclubs La Martinique and the Aquarium. All the attention landed the 19-year-old Damone a record deal with Mercury in fairly short order. His debut single, "I Have But One Heart," sold well, and the follow-ups, "You Do" and the Patti Page duet "Say Something Sweet to Your Sweetheart," were also successful. He began hosting his own radio show, Saturday Night Serenade, and played big New York venues like the Copa and the Paramount (where he'd once worked).

Damone scored his first runaway smash in 1949 with "Again," and followed it with the similarly successful "You're Breaking My Heart"; both singles sold over a million copies. A steady stream of new releases followed through 1950, with the biggest including "Vagabond Shoes," the Top Ten "Tzena, Tzena, Tzena" (a cover of the Weavers' adaptation of an Israeli folk song), "Cincinnati Dancing Pig," and the Top Five "My Heart Cries for You." The following year, he signed a film contract with MGM and appeared in two movies, The Strip and the musical Rich, Young and Pretty. He also returned to the Top Five with a version of Guy Mitchell's "My Truly, Truly Fair." However, he was drafted into the military late that year, and served through 1953. Mercury continued to issue previously recorded material during Damone's tour of duty, and in that time, he hit the Top Ten with "Here in My Heart" (a cover of Al Martino's debut smash), Les Baxter's "April in Portugal," and "Ebb Tide"; he also found some success with the Charlie Chaplin-penned "Eternally."

When Damone returned from the military, he resumed his film career and married actress Pier Angeli; over the next two years, he appeared in the likes of Athena, Deep in My Heart, Kismet, and Hit the Deck, as well as guesting on Berle's TV show. However, his run of hit singles was coasting to a stop, and when Mercury dropped him, he followed his former A&R man Mitch Miller to Columbia. In 1956, Damone overcame the advent of rock & roll to score a number four pop hit with the My Fair Lady tune "On the Street Where You Live." That year, he also issued his first proper 12" LP, That Towering Feeling!, which reached the Top 20 (all his previous LPs had been 10"s or movie soundtracks). Outside of the musical arena, Damone appeared in another film, Meet Me in Las Vegas, and landed the first of what would prove to be several variety-show hosting gigs; this initial TV series, The Vic Damone Show, lasted from 1956-1957. Unfortunately, his marriage to Angeli broke up in 1958.

Damone was initially able to dodge the rock & roll bullet, but his career momentum soon ground to a near-halt. He had only one more Top 20 single, 1957's "An Affair to Remember (Our Love Affair)," and he was slowly forced to try reinventing himself as an album artist and an interpretive singer for adult audiences. The consistency of his albums did improve, with the most notable result being 1961's On the Swingin' Side, but Columbia let Damone move over to Capitol afterward. Hoping that Damone could ease some of the sting of losing Sinatra, Capitol coaxed some of the singer's strongest LPs out of him, including 1962's romantic Linger Awhile With Vic Damone and The Lively Ones. Both charted in the Top 100, but failed to win the audience of, for example, latter-day Sinatra. Damone moved on to Warner Brothers for a one-off album, You Were Only Fooling, in 1965; its title cut gave Damone a last hurrah on the singles charts.

Damone next moved on to RCA and made a few recordings in the late '60s, but by this time he was primarily a TV personality and frequent variety-show guest. He staged a major concert in Las Vegas in 1971, where he became a regular on the casino circuit; this helped him iron out some financial problems that resulted in a brief period of bankruptcy in the early '70s. Damone subsequently enjoyed a steady career touring nightclubs and casinos around the country, and experienced something of a renaissance in the U.K. during the early '80s. He capitalized with extensive touring there, and also cut a few new albums for RCA during the first half of the decade. In 1987, he married actress Diahann Carroll (his fourth wife), which lasted until 1996. In addition to his live performances, he continued to record occasionally as well. ~ Steve Huey, Rovi

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