Newsgroup: it.arti.musica.rock
Titolo: nuovi arrivi vinilici

Sinatra & Company (A.C.Jobim, Don Costa, Eumir Deodato) [1971]
Maria Elena (Los indios di Mayas) [1973]
Django & Bonnie
Santo & Johnny (disco d'oro)
Bacharach (portrait in music vol.III e In concert)
Deodato (vari)
martin venator
http://digilander.iol.it/martvenator/
http://mysite.ciaoweb.it/humptydumpty
http://mysite.ciaoweb.it/flohgisto
["Hey there, don't declare optimist it's clear you resist"]

 Maria Elena (Los indios di Mayas) [1973]
Sarebbe interessante anche quella de "Los indios Tabajaras" dei sixties.
Ciao a tutti
Al-Farid

 Deodato (vari)
quali?


Mike Deodato Jr. ? L'ex-disegnatore degli Avengers? ^_________^
Sayonara !!
--
Gabriele Orlando ---> 
p...@libero.it
<<Io adooooro i super alcoolici, sono il sale della vita>>
  [Black a cena da Afra]

quali?
martin venator
http://digilander.iol.it/martvenator/
http://mysite.ciaoweb.it/humptydumpty
http://digilander.iol.it/flohgisto/
 


quali?
Caravan
Daybreak
very together
martin venator
http://digilander.iol.it/martvenator/
http://mysite.ciaoweb.it/humptydumpty
http://digilander.iol.it/flohgisto/
 


>Deodato (vari)
No quello che dico io ha un'espressione molto più alcoolica nelle foto
di copertina.
martin venator
http://digilander.iol.it/martvenator/
http://mysite.ciaoweb.it/humptydumpty
http://digilander.iol.it/flohgisto/
 


 last". Come sono?
Il live dei Bee Gees non lo conosco: anno?
Lista dei pezzi? prima o dopo John Travolta?
Quanto a "Maria Elena", caspita, è stata un mito dei lentacci di una volta,
con quel non so che di esotismo e quella chitarra solista più morbida, anche
se più popolare, di quella di L. Marvin degli Shadows.
Ciao
Al-Farid

 prima o dopo John Travolta?
stesso anno. 
Giudizio di AMG (quattro stellette):
At the time of its release, no one knew quite what to make of this
double live LP — the price was equivalent to a single platter, and the
song line-up was alluring enough, but the Bee Gees weren't the kind of
act that seemed compelling in concert. Not that they didn't sell huge
numbers of tickets, but it wasn't as though hundreds of bootleggers
were sneaking tape recorders into their shows, or that Alan Kendall
was going to cause Dickie Betts any sleepless nights with his slide or
lead playing. Still, in the absence of a new studio LP for the spring
of 1977, this live recording seemed like a good idea — recorded at the
Los Angeles Forum on Dec. 20, 1976, after the group had made its
successful transformation into a white soul and disco act with Main
Course and Children of the World, Here at Last captured the group at
what any reasonable observer would have thought an obvious peak.
Little did anyone realize that, even as the tapes from the show were
being mixed in early 1977, the group was beginning work on an album
that would dwarf everything they'd done up to that point, the Saturday
Night Fever soundtrack — as a result of which, Here at Last, which
should have been the capstone to their comeback as a soul and disco
act, became a footnote. Contained in its 84 minutes, however, were the
best songs from the early phase of their soul/disco period, including
"Nights on Broadway," "Love So Right," "You Should Be Dancin'," and
"Jive Talkin'," all extended and enhanced, but also, from their
1967-73 period, the hits "New York Mining Disaster 1941," "I've Gotta
Get a Message to You," "How Can You Mend a Broken Heart," "To Love
Somebody," "Lonely Days," "Run to Me," "World," and a medley that
contained "Massachusetts," "I Started a Joke," and "Holiday." There
was a bracing immediacy to their singing, Barry Gibb, Robin Gibb, and
Maurice Gibb delivering performances here that were every bit as good
as those on the studio originals, spiced with fresh variations in
tempo and emphasis — in that regard, the versions of "Holiday" and "To
Love Somebody," the latter offering a more soulful sound than the
original single and a full horn accompaniment, might be the most
beguiling performance of their entire career. Ironically, keyboard
player Blue Weaver, who does such a good job here of matching the
rhythms and the orchestrations on their early records, was also
responsible for some of the more ambitious flourishes on Saturday
Night Fever, which would swamp this record and the era it represented.
As of mid-2001, the CD version of this release is out of print, but it
is worth tracking down as a fine concert survey of some of the Bee
Gees' best work up through 1976. 
 Bruce Eder 


 very together
??? azzo! mai sentiti nessuno dei tre...
prepąrati...

 Giudizio di AMG (quattro stellette):
Suppongo sia un bel disco, ma con il grandissimo successo di "Saturday night
fever" i BeeGees -secondo me- portarono a definitivo compimento il processo
di banalizzazione e commercializzazione della loro musica, che forse è
sempre stato un po' latente in loro, senza però impedirgli,in precedenza, di
fare cose
decisamente migliori.
Ciao
Al-Farid