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
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