DICK HYMAN & MARY MAYO - "Moon Gas"

 Original released on LP MGM E-4119

(US, 1963)

R. ANTHONY: "A Présent, Tu Peux T'en Aller"

Original released on LP Columbia (EMI) FPX 250

(FRANCE, 1964)

Now It's Time For A Summer Holiday

Original released on LP Columbia (EMI) 

33SX 1472 (mono) / SCX 3462 (stereo)

(UK, January 1963)

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STANLEY BLACK'S "FILM SPECTACULAR"

VIRGINIA LEE: HER "EARLY RECORDINGS"

Esta compilação (dos anos 1961, 1963 e 1964) reúne algumas das primeiras gravações de Virginia Lee, cantora sul-africana que começou a sua carreira como artista convidada em albuns de Archie Silansky ou Dan Hill. Como peculiaridade assinala-se a sua capacidade em cantar em diversos dialectos, muitas vezes sem sequer os conhecer. Nesta coletânea podemos ouvi-la cantar em 8 diversas línguas, mas ao longo dos anos chegou às dezasseis! Refira-se "A Noiva" e especialmente "Coimbra" (uma fantástica versão em ritmo de cha cha cha), nas quais canta em português (ou será "africanês"?).

The Freewheelin'

Original Released on LP Columbia 8786 (mono)

(US, 1963 May 27)

Not yet twenty-two at the time of this albums release, Dylan is growing at a swift, experience-hungry rate. In these performances, there is already a marked change from his first album ("Bob Dylan," Columbia CL 1779/CS 8579), and there will surely be many further dimensions of Dylan to come. What makes this collection particularly arresting that it consists in large part of Dylan's own compositions The resurgence of topical folk songs has become a pervasive part of the folk movement among city singers, but few of the young bards so far have demonstrated a knowledge of the difference between well-intentioned pamphleteering and the creation of a valid musical experience. Dylan has. As the highly critical editors of Little Sandy Review have noted, «...right now, he is certainly our finest contemporary folk song writer. Nobody else really even comes close.»

... The first of Dylan's songs in this set is "Blowin' in the Wind". In 1962, Dylan said of the song's background: «I still say that some of the biggest criminals are those that turn their heads away when they see wrong and they know it's wrong. I'm only 21 years old and I know that there's been too many wars...You people over 21 should know better.» All that he prefers to add by way of commentary now is: «The first way to answer these questions in the song is by asking them. But lots of people have to first find the wind.»

... This album, in sum, is the protean Bob Dylan as of the time of the recording. By the next recording, there will be more new songs and insights and experiences. Dylan can't stop searching and looking and reflecting upon what he sees and hears. «Anything I can sing,» he observes, «I call a song. Anything I can't sing, I call a poem. Anything I can't sing or anything that's too long to be a poem, I call a novel. But my novels don't have the usual story lines. They're about my feelings at a certain place at a certain time.»

... It is this continuing explosion of a total individual, a young man growing free rather than absurd, that makes Bob Dylan so powerful and so personal and so important a singer. As you can hear in these performances. (Nat Hentoff)

LONNIE MACK Debut Album

Original released on LP Fraternity F-1014

(US, 1963)

This is a stereo reissue of Lonnie Mack's first album (in mono) for Fraternity in 1963, the one thousands of guitarists cut their teeth on. Muddy Waters once sang, "The blues had a baby and they named the baby rock & roll." This is the album that proves it. Instrumental versions of R&B hits ("Memphis," "Susie Q," "The Bounce") rebound against heartfelt soul numbers ("Why?", "I'll Keep You Happy") right next to dazzling fretboard blues romps both slow and fast ("Wham!," "Down and Out"). Mack sings his rear end off, the band - with saxes and Hammond organ and pumping soul bass - is right in there and Mack's vibrato-drenched guitar stings, wounds, and amazes. It remains his defining moment. (Cub Koda in AllMusic)

Lonnie Mack is remembered as a crackerjack guitarist whose instrumental take on Chuck Berry's "Memphis" hit #4 in 1963. The follow-up, "Wham," reached #25 before Mack left the charts for good. That same year, his label, Fraternity, released an album on the man. And what an album it was! Not only was Mack a first-rate guitarist, his voice was as soulful and gospel-inflected as any you'd hear in a Black Southern church. At the hands of a lesser vocalist, the 4,5 minute closing track, "Why," would have made for a decent break-up ballad. But Mack's pained, nuanced performance makes the listener wonder if he is in the throes of a psychotic break. The album's other outstanding ballad is the gospel song, "Where There's a Will, There's a Way." Even the Righteous Brothers never managed blue-eyed soul as intense as these two numbers! Mack also delivers fast, note-laden instrumental covers of Dale Hawkins' "Suzie-Q" and the Olympics' "Bounce,". Unfortunately, Mack died on the same day as Prince (April 21, 2016), so his death received even less press coverage than it otherwise might have. However, the man's influence lives on in at least a thousand rock guitarists, including Keith Richards. (in RateYourMusic)

BERT KAEMPFERT: "Lights Out, Sweet Dreams"

Original released on LP Decca DL 4265

(US 1963, August 5) 

THE SEARCHERS: "Sugar & Spice" (in mono and stereo + bonus tracks)

Original released on LP PYE NPL 18089

(UK, November 1963)

RICHARD ANTHONY: EP "Donne-moi Ma Chance"

Original released on EP Columbia SLEM 2155

(PORTUGAL, 1963)

The Very Best Of THE BEATLES (1963-1964)