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ONCE UPON A TIME.....Last Tango In Paris

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  GATO BARBIERI  Last Tango In Paris  (UA,1973) - Soundtrack      So undtrack recordings are a problematic affair. Screen music, unless foregrounded in a bio-pic like Clint Eastwood’s Bird (1988) or in a nightclub sequence like Henry Mancini’s source music for TV’s Peter Gunn (1958), is generally intended to be “subliminal,” to be invisible like a film’s editing so as not to distract from the drama. As a result, most screen music, while designed to italicize the narrative, is also written (and mixed) to be unobtrusive. Still, many scores, including those reviewed below, have, at least for music fans, transcended their original uses to go on to stand-alone lives of their own.       Tenor saxophonist Gato Barbieri’s soundtrack for Bernardo Bertolucci’s controversial Last Tango in Paris (1972) still packs a wallop, sizzling in torrid counterpoint to the steamy on-screen Marlon Brando-Maria Schneider affair. At one extreme, Barbieri’s smoldering ...
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ONCE UPON A TIME.....Velvet Darkness

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  ALLAN HOLDSWORTH  Velvet Darkness  (CTI,1976) - Jazz fusion       Velvet Darkness  is a musical bastard. Holdsworth himself has disowned it as the illegitimate offspring of a recording session that was never paid for or approved. This has not stopped record labels from re-releasing it over the years or fans from praising it. Featuring a mix of fiery fusion instrumentals and acoustic guitar interludes,  Velvet Darkness  is occasionally breathtaking.  TRACKLIST : Good Clean Filth                        Floppy Hat                        Wish                        Kinder                        Velvet Darkness                        Karzie Key ...
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ONCE UPON A TIME.....Novella

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  RENAISSANCE  Novella  (Sire,1977) - Progressive rock       That the audience's tastes had changed didn't seem to matter much to Renaissance, who in 1977, undeterred by the musical revolution taking place, released their seventh studio album with an unchanged lineup, following a successful concert season that culminated with the release of the double  Live at Carnegie Hall .      Novella  is indeed another tale that seems to come from the past, almost a re-edition of their debut album,  five tracks opened by a very long suite (  Can You Hear Me?  ) with the piano always in the spotlight and refined arrangements to elevate  Haslam 's singing;  it's pure progressive, as the style of this band eludes by definition any genre label.      Midas Man  that opens the second side is certainly one of the best pieces of the record and of Renaissance's entire production, two intimate tracks for ...
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BORN IN THE 60's : Rascals / Young Rascals

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        The Young Rascals (the ‘young’ prefix was dropped when the band members left their teens) initially gained a following in New Jersey around 1965, particularly the Choo Choo Club in Garfield, where they made their debut in January of that year.        Ain’t Gonna Eat Out My Heart Anymore  was their first single, and their first American hit.        By mid-1965 they were supporting  The Beatles  at Shea Stadium. but it was  Good Lovin’  in 1966 which gave them their first Number 1 success.        Then in 1967, they recorded what was to be their major hit,  Groovin’,  which also marked a total change of style. It was a record that captured the mood of that spring. The disc signalled the summit of their career and, although they had another Stateside #1 the following year with  People Got To Be Free , they were on the downward path.       1971 brough...
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ONCE UPON A TIME.....Zaragon

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  JOHN MILES  Zaragon  (Decca,1978) - Rock       For Zaragon, the John Miles and Bob Marshall songwriting team wrote seven new songs. This included the eight minute epic Plain Jane, and the three part suite Nice Man Jack. These seven songs were recorded by John’s original band with Rupert Holmes again taking charge of production.       Music was changing, with punk, post punk and disco among the most popular musical genres So were people’s opinions on orchestral arrangements. Many critics and record industry insiders thought that albums with orchestral arrangements were yesterday’s sound. For John Miles, he was moving towards rock epics, like Overture, which lasted nine minutes. Keyboards and synths were to the fore, and replaced the lush, orchestral arrangements of previous albums.  TRACKLIST : Overture                         Borderline           ...
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ONCE UPON A TIME.....Night Flight

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  JUSTIN HAYWARD  Night Flight  (Decca,1980) - Rock       You could say that the album,'Night Flight' is more of a dance worthy love song dominated album. Unfortunately this album was not well received by the fans. Even though this album proved to be a dissatisfaction to the fans, it' still Justin Hayward. There's speculation that fans weren't overly thrilled about Jeff Wayne's Musical of "The War of the World's' ( Justin provided vocals to one of the songs ) so Justin had Wayne produce 'Night Flight', maybe not a good idea considering all the disappointment. TRACKLIST : Night Flight                        Maybe It's Just Love                        Crazy Lovers                        Penumbra Moon                        ...
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ONCE UPON A TIME.....Sweet Revenge

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  AMANDA LEAR  Sweet Revenge  (Ariola,1978) - Euro disco       Amanda sings and speaks with such great finesse; and despite her French  accent, her English diction is spot on. Her music and lyrics are pure  indulgence ― an absolutely intoxicating and mesmerising mix of extravagant  and luxurious aural treats.       With the synth sequencing; this album is rather technologically advanced for  its time (compared to most of the productions done during this period in the U.K., Europe, Scandinavia, and the U.S.)       The late 1970s production methods and techniques are quite lush as well. TRACKLIST : Follow Me                        Gold                        Mother, Look What They've Done To Me                        Run Baby Run ...
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