1963-1964 [Box set] [Import]

1963-1964 [Box set] [Import]

Track Listings

1. With My Swag All on My Shoulder [Audition Tape]

2. Children Go Where I Send You [Audition Tape]

3. South Australia [Audition Tape]

4. Waltzing Matilda (Queensland Version) [Audition Tape]

5. Little Moses [Audition Tape]

6. Wild Rover [Audition Tape]

7. Dese Bones G'wine Rise Again [Audition Tape]

8. When the Stars Begin to Fall

9. This Train [Audition Tape]

10. All My Trials [Audition Tape]

11. Light From the Lighthouse [Audition Tape][Version]

12. Chilly Winds

13. Kumbaya

14. Run Come See

15. If I Had a Hammer

16. Katy Kline

17. Lonesome Traveller

18. Myra [W and G Version]

19. Wreck of the Old '97

20. Danny Boy

See all 26 tracks on this disc

1963-1964,The Seekers,EMI,Australia,Folk,Folk-Pop,Folk-Rock,Pop

The Best of the Tymes 1963-1964
Average customer rating:

Beautiful Vocal Harmony

Lots of forgettable tunes make this one a real disappointment

One historical problem

THE TYMES PLAY BEAUTIFUL MUSIC TOGETHER THIS ALBUM IS PART OF THE CAMEO-PARKWAY SERIES

The Best of the Tymes 1963-1964
The Tymes
Manufacturer: Abkco
ProductGroup: Music
Binding: Audio CD

General | R&B | Styles | Music
General | Soul | R&B | Styles | Music
General | Rock | Styles | Music
Pop Rock | Pop | Styles | Music
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The Best of Bobby Rydell: Cameo Parkway 1959-1964

The Best of Chubby Checker: Cameo Parkway 1959-1963

ASIN: B000B8I8Z0
Release Date: 2005-10-18

Tracks:

So Much in Love
Wonderful! Wonderful!
Come with Me to the Sea
Stranger in Paradise
Malibu
Words Written on Water
Anymore
Somewhere
Here She Comes
Hello Young Lovers
Way Beyond Today
One Little Kiss
Address Unknown
Wonderland of Love
To Each His Own
Chances Are
My Summer Love
Magic of Our Summer Love
Lamp Is Low
And That Reminds Me
View from My Window
Goodnight My Love

Customer Reviews:

Beautiful Vocal Harmony.......2006-10-08

I don't know what the first reviewer was listening to but he has No Idea of the feeling that lead vocalist George Williams was inducing on the listener . The Harmony is easy on the ear and Williams lead vocal is not intrusive but submissive . Almost conversive to the listener . The arrangements hint that this is a Cd for gentle Sunday drives up the coast or over a nice evening dinner .

Lots of forgettable tunes make this one a real disappointment.......2006-07-26

Based on what little I had heard of this Philadelphia based soul group I was really expecting great things from this 2005 ABKCO release "The Best of The Tymes". I assumed that a lot of hidden gems had been stashed away in the Cameo-Parkway vaults for all these years. After all, the Tymes had burst onto the scene in 1963 with the smash #1 tune "So Much In Love". They followed that one with a couple of other pretty impressive records namely "Wonderful, Wonderful" and 1964's "Somewhere". It looked for all the world that the Tymes would be a mainstay on the Billboard Hot 100 Singles chart for many years to come. But after sampling "The Best of the Tymes" it is quite apparent to me why The Tymes star faded so quickly in the mid-1960's. The material simply wasn't that good.
The simple fact of the matter is that there are an awful lot of very forgettable tunes on "The Best of The Tymes". It is certainly not a disc I would ever be inclined to play again from end to end. I want my money back! Other than the previously mentioned Top 20 hits there is precious little to recommend here. I did enjoy a tune called "Hello Young Lovers" and the groups take on the Four Aces hit "Stranger in Paradise" was OK. However, I thought the arrangements on familiar tunes like "To Each His Own", "And That Reminds Me" and "Goodnight My Love" were pretty weak. The Tymes were a very talented group that deserved better.
When Cameo-Parkway ceased operations along about 1966 The Tymes moved on to Columbia where they scored a minor hit with a cover of Barbra Streisand's "People". That was a terriifc record. In the mid 1970's the group re-emerged on RCA and scored with the #1 tune "You Little Trustmaker". I loved all the songs I had ever heard by The Tymes. And that is why I am so disappointed in "The Best of The Tymes". My advice to you would be to save your money. This is a disc that was certainly not worth the wait. Not recommended.

One historical problem.......2005-12-03

This is a wonderful collection; I have the original vinyl albums The Sound of the Wonderful Tymes, and Tymes Biggest Hits. My only problem is an historical one. It says, 1963-1964, and the booklet says the group was signed in 1963. I distinctly remembered that I'd bought this - my first album ever - in 1962. I went back to the original, and there is no date on the outside, but, clear as day, on the record label itself, it says, "1962 Cameo-Parkway Records Inc.".

THE TYMES PLAY BEAUTIFUL MUSIC TOGETHER THIS ALBUM IS PART OF THE CAMEO-PARKWAY SERIES.......2005-11-03

THIS A WONDERFUL ALBUM VERY GOOD SOUND.THE MUSIC WILL TAKE YOU BACK IN TIME.TO SEE THE TRACK SELECTION,AND LISTEN TO SOUND CLIPS,IF AVAILABLE,GO TO THE PRODUCT IMFORMATION PAGE. THANK YOU AND ENJOY,THE MUSIC..

Seven Steps: The Complete Columbia Recordings 1963-1964

Average customer rating:

Seven Steps: The search for the 2nd great quintet
The Story of the Birth of the Second Quintet
Labor pains have never been so pleasurable.
Some of Miles' Best Playing
Music in between eras.

Seven Steps: The Complete Columbia Recordings 1963-1964
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

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ASIN: B0002YCVSI
Release Date: 2004-09-28

Tracks:

Joshua
I Fall In Love Too Easily
Baby Won't You Please Come Home
So Near, So Far
Basin Street Blues
Seven Steps To Heaven (Take 3)
Seven Steps To Heaven (Take 5)
Summer Night

Tracks:

Seven Steps To Heaven (Rehearsal Take)
Seven Steps To Heaven
So Near, So Far
Joshua
Introduction By Andre Francis
Autumn Leaves
Milestones
I Thought About You

Tracks:

Joshua
All Of You
Walkin'
Bye Bye Blackbird
Bye Bye (Theme)

Tracks:

Introduction By Mort Fega
Autumn Leaves
So What
Stella By Starlight
Walkin'
All Of You
Go-Go (Theme And Announcement)

Tracks:

Introduction By Billy Taylor
All Blues
My Funny Valentine
Joshua
I Thought About You
Four
Seven Steps To Heaven
There Is No Greater Love
Go-Go (Theme And Re-Introduction)

Tracks:

Introduction By Teruo Isono
If I Were A Bell
My Funny Valentine
So What
Walkin'
All Of You
Go-Go (Theme)

Tracks:

Milestones
Autumn Leaves
So What
Stella By Starlight
Walkin'
Go-Go (Theme)

Amazon.com

The seven CDs of Seven Steps chronicle the formative period of Davis's "Second Great Quintet" from its first arrival, bassist Ron Carter in the spring of 1963, to its last, tenor saxophonist Wayne Shorter in the fall of 1964.

The set begins with the West Coast studio session for the Seven Steps to Heaven LP, with Miles, Carter, and tenor saxophonist George Coleman joined by L.A. musicians Victor Feldman (piano) and Frank Butler (drums). Then it's off to New York where Miles would cover the same material with Herbie Hancock in the piano chair and Tony Williams on drums. (The original LP selected tracks from each group, but all the tracks from both sessions are here, including unissued alternate takes.) The rest of the set features concert performances in which the band plays established Davis anthems along with a few choice standards. The leader is inspired throughout, lashing out with passion and urgency on trumpet that's clearly fuelled by the young and extraordinary rhythm section bubbling underneath him--Hancock shows an uncanny ability to shape a group's performance on a number of levels, balanced by the steady Carter and the incendiary Williams, whose drumming is both polyrhythmic and consistently, freely lyrical.

In some ways, the set is a search for the right tenor saxophonist, but all are contenders. The polished Coleman constructs solos with remarkable tension curves. Sam Rivers is a startling presence, pressing the envelope with pin-wheeling runs and an assortment of accelerated bleats that highlight the rhythm section's avant-garde sympathies. However, the arrival of Shorter is unquestionably the highpoint, as the group dialogue developed by Davis and the rhythm section finally meets its perfect complement in Shorter's complex, multi-dimensional playing. As with Columbia's previous Davis sets, Seven Steps is another triumph of design, sound, and documentation. --Stuart Broomer

Customer Reviews:

Seven Steps: The search for the 2nd great quintet.......2007-05-29

Although I already owned much of the material presented on this sprawling 7 CD box set, I bought it for completist reasons like most of the folks who love Miles. It is a musical document of Davis in transition. Coltrane had split from Davis in 1960, and other crucial personnel (Kelly, Chambers) were soon to depart as well. By 1963, Davis was ready to hit the road again. This box set chronicles the story of his search and formation of what was to become the 2nd great Miles Davis quintet. This group was poised to take jazz music to the next level.

As a whole, the music on this box set is excellent. Although the box set is a bit pricey, we are treated to previously unissued studio tracks as well as "complete" concert performances (including the proper sequence of the 64 Lincoln Center concert). I also need to mention that the sound quality (with the exception of the mono "In Europe" '63 Antibes show) on these tracks is exceptional, as the music is sonically superior, given the 24 bit digital remastering treatment.

From this writer's perspective, the heart of this box set is arguably the February 1964 Lincoln Center concert. The band was "on" this night and the listener gets treated to definitive performances of just about every song. Although saxophonist George Coleman was considered too conservative (he was later to be replaced by Wayne Shorter, considered by his bandmates to be the perfect fit for their evolving musical exploration and ideas), he was on fire at this concert. The overall playing and ability of all five members as represented here at Lincoln Center equals nothing short of musical perfection. In particular, discs 4 & 5 showcases the extraordinary talents of five individuals who appear to be able to lock in and communicate telepathically with one another. In particular, the musical interaction of the rhythm section (Hancock, Carter and Williams) at this venue is simply outstanding.

There is much more that I could add about the music contained in this box set. As stated previously, this is a document of a transitional period in the life of Miles Davis. However, it is certainly not insignificant or "throw away" music. Yes, there are a few "standard" selections from the Miles Davis songbook that are repeated on several of the live concerts presented here, however, the band takes risks and pushes the musical envelope- stretching the boundaries on this material, thus creating exciting and rewarding music for the listener. From this writer's perspective, the music on this box set is exceptional (and still holds up by today's standards), and is another must have for the serious Miles Davis collector.

The Story of the Birth of the Second Quintet.......2007-02-02

After Miles' first great quintet had disbanded, he was at a point of transition. Though he soldiered on for a couple of years with Hank Mobley, Wynton Kelly, Paul Chambers and Jimmy Cobb, a group that produced some amazing music (Someday My Prince Will Come, Friday and Saturday Nights At The Blackhawk), he wasn't breaking any new ground artistically. And though that period of his career rates as a favorite with many a Miles fan, Miles himself was not exceedingly happy with the group (Mobley in particular), feeling that he was in an artistic "rut" of sorts. It was around this time that Kelly, Chambers and Cobb left the group to pursue their own interests, effectively leaving Miles without a group, and thus beginning a transition that would culminate with his soon-to-be legendary second quintet.

The story begins in 1963, with Miles putting together a new group and laying down tracks for his next record, Seven Steps To Heaven. The new group began with tenor saxophonist George Coleman and bassist Ron Carter. Drummer Frank Butler was enlisted, though Miles really wanted 17-year-old prodigy Tony Williams, who had commitments at the time with Jackie McLean. Pianist Victor Feldman rounded out the group, and brought along some fresh and lyrical new material ("Joshua" and "Seven Steps To Heaven"). Feldman declined Davis' offer to join the band, so Davis went back to New York and finished the record with Herbie Hancock on piano and Tony Williams on drums, who was now free from his commitment with McLean. It was evident from the first session that the group was going to be special; it was Williams' amazing ability and propulsive force that drove the group and forced everyone else to play beyond their abilities. Miles knew that Williams (and his feel for the "new thing") was needed to guide him towards developing a new sound, so he relied heavily upon his direction and advice during the formation of this group. Disc one (and half of disc two) contains the entire album Seven Steps To Heaven, along with previously unreleased rehearsal and alternate takes.

Starting midway through disc two, this set chronicles Miles' new group as they experiment with the tenor chair, beginning with their appearance at the Antibes Festival in France (released in 1964 as Miles Davis In Europe). Though the set still consists of the same mixture of Miles' "hits" from the Coltrane era and standards (along with the new Feldman tunes), the band managed to stretch and mold the material into an entirely new form, almost unrecognizable from previous arrangements. Williams drives the group, often at breakneck tempos, controlling the tempo with his frenetic ride cymbal work, pushing and pulling the meter and pulling out all the polyrhythmic stops. His mastery of the drums is flat out amazing and unprecedented (and still unmatched), regardless of age. His arrival on the scene totally changed the way jazz drummers would play from that point on, and many an experienced veteran was sent back to the woodshed after hearing him for the first time.

The real highlight of this set is discs four and five, which consist of the entire performance at the Philharmonic Hall in New York on Feb. 12, 1964, which had been released in 1965 and 1966 as My Funny Valentine and Four & More, respectively. The entire concert is presented for the first time in its entirety, and includes a previously unreleased version of "Autumn Leaves." This recording represents this incarnation of the group at its absolute finest, as the play with a passion and intensity that results in an invigorating and uplifting experience. The band's intensity may have been borne of the fact that Miles had just informed them before going onstage that their usual earnings were being donated to charity that evening, which enraged the group to the point of exchanging words with the leader. Miles himself suggests in his autobiography that their anger was responsible for their frenetic performance; he also says that Coleman played that night better than he's ever heard him play.

It was Coleman, however, that was the one piece of the puzzle that still was not quite the right fit. He plays throughout this set with a brilliantly melodic ease, with clean and lyrical lines firmly entrenched in the bebop tradition. Williams was dissatisfied with Coleman's playing, however, which he thought was too traditional for his tastes. Likewise, the group was a bit too adventurous for Coleman's tastes, so he left and was replaced at Williams' urging by Sam Rivers. The sixth disc of this set features Rivers on the album Miles In Tokyo, which had been released in 1969 as and was previously available only in Japan. Rivers is an intriguing option, sort of the anti-Coleman, if you will, with his angular and often guttural sound that skirted the boundaries of tradition and form and eschewed traditional bebop clichés. Regardless of who is manning the tenor chair, the group remains cohesive and inspired, and often explosive.

Ultimately, Rivers proved to be a bit too far out for what Miles was looking for, which was exploratory, yet still respective of the boundaries of time, melody and structure. Upon returning from Tokyo, Miles received word that Wayne Shorter was now free from his commitment with Art Blakey, so he immediately offered him the job. Shorter proved to be just what Miles was looking for, the perfect compromise between Coleman's melodic traditionalism and Rivers' exploratory modernism. In addition to being a fine soloist, Shorter was a great writer, whose compositions brought to the quintet the infusion of new material it had so sorely needed. The final disc consists of a recording of the band's appearance in Berlin, which was released in 1969 as Miles In Berlin, and was previously only available in Germany. This disc captures Shorter still settling in a bit, though it is immediately evident that his distinct voice is a perfect fit for the group, thus concluding an 18-month audition for a saxophonist.

Labor pains have never been so pleasurable........2006-05-16

This box set begins with a false start (a session in LA with a pick-up group), but then bursts into flower as Miles acquires a rhythm section of mere kids; those kids, Herbie Hancock, Ron Carter and particluarly seventeen year-old tinderbox Tony Williams, light such a blaze that they will propel the leader from the massive re-working of his live-set documented here (the continuous sets played without breaks between songs, breakneck tempos, or else abrupt shifts in tempo, a return to modal playing not heard from Miles since Kind of Blue), to the edge of Free Jazz (documented in the Plugged Nickel box), to a whole new songbook of originals that sound shockingly Ornette Coleman-ish (the ESP box set) and finally into r&b grooves and electricity. All in just four years. No artist in jazz ever mutated so quickly, and as Miles says of this group, "It wasn't all me, it was them too."

This box covers the first stage of that extraordinary journey. It could well be dubbed the search for the saxophonist, as the band picks up then discards hard-boppish George Coleman, avant gardist Sam Rivers, and finally splits the difference stylistically by settling on Wayne Shorter. Aside from two perfunctory studio dates on the first disc, we then get four concerts from 1963-64(Antibes and the famous CORE concert with Coleman, a Tokyo date with Rivers, and a Berlin date with Shorter); much of the repertory is the same from show to show, but I feel that actually increases rather than diminishes the interest of this box; for in the great jazz tradition, Heraclitus-like,these improvisors never approach the material the same way twice. These recordings are transitional, a warm-up for the material on the ESP and Plugged Nickel box sets; But Miles Davis' transitional periods would be considered masterpieces for most other artists. Plus, none of these concerts have ever been released complete and un-edited before, the CORE concert (originally split artificially into ballads and fast numbers) has been restored to its proper order, and the sound is spectacular. Finally, note-for-note, this might be the most technically perfect trumpet playing of Miles' career. His high-notes, virgin territory for him, are hair-raising, and he would never play at such untrammelled length again. This alone makes this set mandatory.

Some of Miles' Best Playing.......2006-02-28

Yes, this set gets a little repetitive. But I like it because 1) the studio sessions are gorgeous, a continuation of the ideas laid down on "Kind of Blue", 2) it actually is interesting to compare Coleman and Rivers and Shorter, and 3) this is some of Mile's best playing, studio or live. He is inspired by the new band, and he is on FIRE.

Music in between eras........2005-11-04

Some music invariably slips through the cracks, particularly when a musician has as enormous a catalog as Miles Davis. Certainly, "Seven Steps: The Complete Columbia Miles Davis 1963-1964" covers one such period. Admittedly, it's an easy period to overlook-- after the triumphs of John Coltrane's tenure with the band and the brilliant collaborations with Gil Evans, Davis was tapped out. Coltrane left the band in 1960, his replacement Hank Mobley never seemed to work out, and the rhythm section left en masse.

So Davis began gathering a new band, starting with tenor saxophonist George Coleman and bassist Ron Carter. Coleman, unrecognized, was a sax player who could match Davis both in energy and lyricism, while Carter was one of those rare virtuosos of the bass who could make just about everyone stop in their tracks. Davis briefly worked with pianist Victor Feldman and drummer Frank Butler in the studio in 1963 before completing his first small-band studio record in two years with pianist Herbie Hancock and drummer Tony Williams. In Hancock and Williams, he had musicians who could play straight, but who were also interested in the burgeoning avant-garde movement, and who would eventually help push Davis to the free jazz line.

"Seven Steps to Heaven" proved to be the only studio session Davis would do until 1965-- the album itself is a bit fractured with the different rhythm sections, but it plays nicely, with Davis framed by Feldman or Hancock and playing lyrically throughout. Coleman, for his part, seems remarkably out of place (when he's present, Davis works as a quartet on the ballads), but most noticable is the presence of Williams on the cuts from the last session-- his explosiveness coaxes dynamic performances out of Davis.

Coleman stayed wiht the band until the spring of 1964-- three shows, one from Antibes in 1963 (released as "Miles in Europe") and two sets from New York City in 1964 (split up as "My Funny Valentine" and "Four and MOre") document his time with Davis. The quintet performs excitedly, with the rhythm section encouraging Davis and Coleman, the latter challenging the leader to better performances, but it seems quite honestly that everyone seems to run out of steam now and again on these sessions, particularly the '63 show. Nonetheless, there's many just superb performances throughout the sets, in particular from 1964.

But in the spring Coleman left and Davis needed a replacement for a summer tour of Japan in 1964, picking up Sam Rivers for what would be recorded as "Miles in Tokyo". Rivers was a square peg in a round hole with the Davis band-- his playing is agressive and powerful, but eschews conventional rhythm and sound and sometimes even looses the rhythm section. As exciting as the performance is to hear because of its historical oddity, it just doesn't work.

The final disc in the set finds Davis with the band that would be integral to the next several years of his career-- tenor saxophonist Wayne Shorter finally filled the reed seat in his band for a European fall tour. The resulting show (released separtely as "Miles in Berlin") finds Davis and company feeling each other out-- the performances are quite good but stuck pretty close to the mainstream.

Like all the Columbia boxed sets, this one comes with rather extensive liner notes and superb sound, it's really a nice package (and looks great next to the rest of the series). Davis' career would have higher points, but there's enough interesting material in here to make this worth having.

Average customer rating:

Anthologie Vol 3 (1963/1964)

Manufacturer: Msi Music
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music
ASIN: B0002DR0LW
Release Date: 2004-01-01

Product Description

French only collection of Petula's Vogue recordings. Focusing on her output between 1963 & 1964, this collection feature 29 tracks including five bonus cuts. Includes the original sleeve, full colour booklet and is digitally remastered. Standard jewel case housed in a slipcase.

Average customer rating:

I am sure is Really Good

Seven Steps: The Complete Columbia Recordings 1963-1964
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music
ASIN: B0002TB7QK
Release Date: 2004-10-11

Tracks:

Joshua (A)
I Fall In Love Too Easily (A)
Baby Won't You Please Come Home (A)
So Near, So Far (A)
Basin Street Blues (A)
Seven Steps To Heaven ( Take 3) (A)
Seven Steps To Heaven ( Take 5) (A)
Summer Night (A)
Seven Steps To Heaven ( Rehearsal Take ) (B)
Seven Steps To Heaven (B)
So Near, So Far (B)
Joshua (B)
Introduction By Andre Francis (C)
Autumn Leaves (C)
Milestones (C)
I Thought About You (C)
Joshua (C)
All Of You (C)
Walkin' (C)
Bye Bye Blackbird (C)
Bye Bye (C)
Introduction By Mort Fega (D)
Autumn Leaves (D)
So What (D)
Stella By Starlight (D)
Walkin' (D)
All Of You (D)
Go-Go ( Theme And Announcement) (D)
Introduction By Teruo Isono (E)
If I Were A Bell (E)
My Funny Valentine (E)
So What (E)
Walkin' (E)
All Of You (E)
Go-Go ( Theme )(E)
Milestones (F)
Autumn Leaves (F)
So What (F)
Stella By Starlight (F)
Walkin' (F)
Go-Go ( Theme ) (A)

Album Details

Limited Seven CD Box Set of Live and Studio Recordings Between 1963 and 1964. Includes Many Unreleased Tracks.

Customer Reviews:

I am sure is Really Good.......2004-11-24

but $us 250 to Towers $us 109 is a BIG Chunk . Where Did U guy's come with this Price ? ... Not Reasonable ...

Average customer rating:

Brilliant selection of Petula's French music

Anthologie, Vol. 3: 1963-1964
Petula Clark
Manufacturer: Import [Generic]
ProductGroup: Music
Binding: Audio CD

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Anthologie, Vol. 7: 1968-1970

ASIN: B0000259H0
Release Date: 1999-10-12

Tracks:

Je Me Sens Bien (Auprde Toi) (Dance On)
Elle Est Finie (La Bella Histoire)
Que Ton Cur Me Soit Fid (Second Fiddle Girl)
Tu Perds Ton Temps (Please Please Me)
Plaza de Toros (The Lonely Bull)
J'Ai Tout Oubli
Il y a Tellement de Filles
Mon Bonheur Danse (Foot Tapper)
Entre Nous il Est Fou (She's a Fool)
Est-Ce l'Amour Qui Veut (Never Will I/Tell Me That It's Love)
Train des Neiges
Nuit N'En Finit Plus (Needles and Pins)
Ceux Qui Ont un Coeur (Anyone Who Had a Heart)
Walter
Prends Garde Toi
Il N'A Chantu'un Soir
Hello, Dolly!
Pourquoi Papa?
Viola Temps des Vacances (It's Party Time)
Toi, Tu Joues L'Amour (I'm Looking at the World Through Tear Drops)
O O Sheriff
J'Ai Pas le Temps (No Go Showboat)
James Dean
Toi Qui M'As Fait Pleurer (He Was a Friend of Mine)
J'Ai Tout Oubli
Maintenant Tu Veux Partir (Mi Vuoi Lasciare)
Fronti (Frontiera)
Oublie, Oublie Tout (Judy, Judy, Judy)
Doigt de Champagne (Can't Get Over (The Bossa Nova))

Album Description

The hit British pop vocalist's best French recordings in 1963-64, all digitally remastered. Includes 'Hello! Dolly', 'Les James Dean', 'Ceus Qui On Un Coeur' ('Anyone Who Had A Heart') and 'O o Sheriff' (written by Serge Gainsbourg), plus five bonus tracks, 'J'Ai Tout Oublie', 'Maintenant Tu Veux Partir', 'La Frontiere', 'Oublie, Oublie Tout' and 'Un Doigt De Champagne'. 29 tracks in all. Comes packaged in a standard jewel case within a full color slipcase cover. 1999 release.

Customer Reviews:

Brilliant selection of Petula's French music.......2002-10-09

This collection of songs recorded in 1963 and 1964 is typical in many ways of most of Petula's French music of the sixties, containing a mix of translated British and American songs with songs written in French, including some Petula co-wrote.

Having established herself initially as a rock'n'roll singer, Petula was already moving away from that, something that would be even more evident on her Hello Paris double album (the subject of a separate CD in this series). On this set, there is a great mix of the rocking and the romantic.

There are four extremely famous songs here - Please please me, Needles and pins, Anyone who had a heart and Hello Dolly - all sung superbly in French by Petula. Less well known translated songs are Second fiddle girl (Barbara Lynn), She's a fool (Lesley Gore), No go showboat (Beach boys), He was a friend of mine (Bobby Bare), Can't get over the bossa nova (Steve Lawrence and Eydie Gorme), Judy Judy Judy (Johnny Tillotson), It's party time, The lonely bull and I'm looking at the world through teardrops.

British fans will recognise two Shadows instrumentals (Dance on and Foot tapper) with French words added. Kathy Kirby did an English vocal version of Dance on, but I don't ever remember hearing Foot tapper with English lyrics - perhaps it never had any, as it was written by two of the Shadows.

Of the French songs, Petula co-wrote nine of them, demonstrating the she could write as well as sing. Yet, for me, the outstanding French song (written by Serge Gainsbourg) is O O Sheriff, a very saucy song about a sheriff learning how to love. Even if (like me) you don't know any French, you get a clear idea from the tone of the song. An English translation of this and other songs can be found on Petula's official website.

Tracks:

Seven Steps To Heaven
I Fall In Love Too Easily
Autumn Leaves
Stella By Starlight
All Blues
If I Were A Bell
Walkin'

Average customer rating:

The Judy Garland Show 1963/1964
Judy Garland
Manufacturer: New Sound
ProductGroup: Music
Binding: Audio CD
ASIN: B000NSMO62

Product Description

25 Tracks recorded for the Judy Garland Show! 1. Get Happy 2. Come Rain Come Shine 3. Chicago 4. Moon River 5. I've Got My Love To Keep Me Warm 6. Liza 7. Be A Clown 8. Smile 9. When You're Smiling 10. Last Night When We Were Young 11. Rock-A-Bye Your Baby With A Dixie Melody 12. Alexander's Ragtime Band 13. Zing! Went The Strings Of My Heart 14. San Francisco 15. That's Entertainment 16. Puttin' On The Ritz 17. You Go To My Head 18. Ol' Man River 19. The Man That Got Away 20. Alone Together 21. Hey Look Me Over 22. Fly Me to The Moon 23. That's All 24. Medley: You Made Me Love You/For Me And My Girl/The Trolley Song 25. Over The Rainbow

Olympia, 1963 - The Champs Élysées, 1964

Average customer rating:

Olympia, 1963 - The Champs Élysées, 1964
Oscar Peterson
Manufacturer: Musicrama/Koch
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Swing General | Swing Jazz | Jazz | Styles | Music
ASIN: B0000DEO1R
Release Date: 2001-05-01

Tracks:

Six and Four
But Not for Me
Main Stem
I've Got a Crush on You/Little Girl Blue
Bonzo Blues
Reunion Blues
Wheatland
Nightingale
Hymn to Freedom
Yours Is My Heart Alone/Blues for Big Scottia

Country USA 1950, 1951, 1952, 1953, 1954, 1957, 1958, 1959, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1972

Average customer rating:

Country USA 1950, 1951, 1952, 1953, 1954, 1957, 1958, 1959, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1972
Time Life
ProductGroup: Music
Binding: Audio CD

General | Country | Styles | Music
ASIN: B000PV37ZO