I posted this one for the friends of Licorice Pizza last summer...but now it is out of print and we can offer this groove fest to the masses. Not my rip and thanks to the original uploader. I try to find out who was the original poster by checking the tags (there weren't any - but now there are. My pet peeve is tagged music.) and also on the Fuzzy Search, but it doesn't show up. Picked up back in 2005 I think. This one is similar to Instro Hipsters and Bun Hunga Combo.
A club compilation featuring classics both new and old that have filled the Blow Up Club Dancefloor over the years, from The Quik's 60s mod classic 'Bert's Apple Crumble' to the 90s spaceage beats of Soul Hooligan's 'Sweet Pea'.
"...Really, there's not a single duffer on here. Seeing The Kinks and The Spencer Davis Group on the track listing gives you an idea what you're in for - think Mary Quant clothes, Chelsea boots and Mini Coopers - but there are also names here that you'd never think of as cool, like Georgie Fame and Andy Williams, both of whom turn in shimmy-inducing corkers. Some of the songs are actually modern (Soul Hooligan and Karminsky Experience weren't even born in the Sixties) but fit in perfectly, while some tracks are so obscure (Mongo Santamaria? The Quik? Jacques Dutronc?) you'd have to be an A1 trainspotter to recognise them. But the that's the whole point of the thing..."SL
"London's famous Blow Up Club has been shaking dance floors on a weekly basis since the early 1990s. This collection gathers together some of its most popular favourites, a funky mix of Northern Soul, Latin jazz and 60s psychedelia. Wah-wah's, bongos and Hammond organs collide with tight basslines and bright brass, an unrelenting groove that will cause even the most cynical hips to shimmy. An assortment of never-forgotten classics--the Spencer Davis Group's "I'm A Man" (featuring a younger, funkier Steve Winwood on vocals), Andy Williams' version of "House Of Bamboo", the Coaster's "Love Potion No. 9"--mix with lesser known gems like the Quik's "Bert's Apple Crumble", the Incredible Bongo Band's "Bongolia" and James Clarke's "Blow Up A Go-Go"." Robert Burrow
The Cool Scene - Twelve New Ways To Fly Warner Brothers WB1328 Mono Vinyl 1959 Dues Blues - Trombones Inc. Have you ever wondered what in the world happened to the Beatniks? In this picture we have hard evidence that Beatniks were self extincted. They all died of smoke inhalation. Even the non - smoking beatniks (beatnik girl in upper left) succumbed to second hand smoke.
There is absolutely zero info available on this one. Looks like all we can go by is the write up on the back of the album. Appears to be a Various Artist rendering from the Warner Brothers stable of talent. Just a little offering of several genres here. Crime, Exotica, Jazz, Easy Vocal, Latin etc.
As the album states and I believe it true...Together, these twelve examples of only the coolest add up to some of the most refreshing, dynamic listening available. They're vital, swinging and rewarding.
What are you waiting for?
As was pointed out in the comments this rip is not STEREO. And it is not my rip. My turntable has been on the fritz for several weeks now and I have been posting some old classics from my archives. If your not satisfied with any of the rips here...please return them for a full refund. I will give you back exactly what you paid.
I did find a Stereo copy of this here @ 192kbps and the inner sleeves scanned for the "dedicated" WB collector with zero sense of humor. This rip is @ 320kbps in Mono.
Walter Wanderley - Organ-ized Philips Records PHS 600-233 Stereo Vinyl 1966
The most successful instrumentalist of the bossa nova movement, Wanderley had a huge Top 40 pop hit with "Summer Samba," from his Verve album, Rain Forest. Although he had hits in Brazil from the early 60s on, Wanderley (pronounced "Von-der-LAY") was at the tail end of the bossa nova wave for U.S. audiences. World Pacific and Capitol licensed his Brazilian recordings for U.S. release, but it wasn't until he moved to the U.S. and Creed Taylor signed him to Verve that he broke through to American listeners.
Taylor packaged "Summer Samba" as a single and it reached #26 in the Billboard pop charts in September 1966. Never one to miss a commercial opportunity, Taylor hustled Wanderley back into the studio and cranked out two albums--Batucada and A Certain Smile--in the space of a week. In all, Wanderley recorded six albums for Verve in under two years.
Wanderley switched labels with Taylor and recorded another two albums. Like Sergio Mendes, he eventually emigrated to San Francisco and adapted to the changing musical times, experimenting with fusion beginning in the early 1970s.
Ten years after his death from cancer, Wanderley was rediscovered by a new generation of lounge fans, and many of his recordings have since been reissued on CD. Although he could lay back and lounge with the best of them, his best work is more upbeat, infused with a distinctive staccato stuttering style of playing that gave bossa nova a second wind just as it was about to die of boredom in the mid-1960s. Source: Space Age Pop
Just so you don't get the idea we are getting away from Lounge, Space Age Pop and the stuff that Licorice Pizza was built on, have this nice organ fused Bossa selection from Mr. Wanderley.
Prepare yourself for something a bit different. 3 crates of 1980's vinyl have surfaced from hiding and there are some interesting posts coming here shortly.
Side A 01 - Samba De Verao (Summer Samba 02 - Baucada Surgiu (Chant Of The Batoque) 03 - Vivo Sonhando (I Live Dreaming) 04 - Mar, Amar (Sea...To Love) 05 - Voce (You)
Side B 06 - Reza (Prayer) 07 - Garota Moderna (Modern Miss) 08 - Menina Flor (Beauteous Lass) 09 - Opiniao (Opinion) 10 - Deus Brasileiro (God Of Brazil)
Almeida was a pioneer in bossa nova, introducing the Brazilian sound to the US long before its great success in the early 1960s. Stan Kenton heard him playing in a Rio De Janeiro nightclub and invited Almeida to come to the U.S. in 1947. He played with Kenton's band during the height of its success in the late 1940s, then settled in Los Angeles, working both as a studio musician and an active member of the jazz scene. In 1953, Almeida recorded two LPs with Bud Shank, on alto sax, that anticipated the sound of bossa nova, a blend of Brazilian guitar and American jazz, nearly a decade ahead of its time.
. He recorded with Stan Getz, Herbie Mann, and others, and enjoyed some success when bossa nova was at its peak with his own album, "Viva Bossa Nova". Almeida also wrote occasionally for films, scoring Maracaibo and Cry Tough. With Shank, Shelley Manne, and Ray Brown, he formed the L.A. Four, a chamber jazz group that enjoyed steady success from the late 1960s into the early 1980s. He also performed classical music, winning Grammys for the albums ``Spanish Guitars of Laurindo Almeida'' and ``Conversations with the Guitar'' in 1961, for ``Reverie for Spanish Guitars'' and ``Discantus'' in 1962, and for ``Guitar from Ipanema,'' in 1965. (SourceSpace Age Pop) and (Viva Bossa Nova courtesy of Mexicovers)
Side A
01 Recado Bossa Nova
02 I left My Heart In San Francisco
03 O Barquinho
04 What Kind Of Fool Am I?
05 Acapulco 1922
06 Heartaches
Side B
07 Fley To The Moon (In Other Words)
08 Satin Doll
09 The Alley Cat Song
10 Meditation
11 Walk Right In
12 Days Of Wine And Roses
Laurindo Almeida - Guitar
Howard Roberts - Guitar
Don Fagrerquist - Trumpet
Bob Cooper - Tenor
Justin Gordon - Flute
Jimmie Rowles - Organ
Max Bennet - Bass
Shelly Manne, Chico Guerrero and Milt Holland - Percussion
The music derives from samba but is more complex harmonically and less percussive. The influence on bossa nova of North American jazz styles such as cool jazz is often debated by historians and fans, but a similar "cool sensibility" is apparent.
The initial releases by Gilberto and the 1959 film Black Orpheus brought huge popularity in Brazil and elsewhere in Latin America, and this spread to North America by way of visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented its popularity there, and led to world-wide boom with 1963's Getz/Gilberto, numerous recordings by famous jazz performers such as Ella Fitzgerald (Ella Abraça Jobim) and Frank Sinatra (Francis Albert Sinatra & Antonio Carlos Jobim), and the entrenchment of the bossa-nova style as a lasting influence in world music for several decades and to date.
While the popularity of bossa nova waned by the late 1960s, it exerted a great influence on subsequent Brazilian popular music styles such as tropicália and MPB. (Source: Wikipedia)
Track List
01 - The Girl From Ipanema - Joao & Astrud Gilberto / Stan Getz 02 - Chega De Saudade - Antonio Carlos Jobim 03 - Meditação - Al Hirt 04 - Lamento - Nelson Riddle 05 - Serenidade - Dave Pike 06 - Quiet Nites, Quiet Stars - Guitars Unlimited 07 - Manhã de carnaval - Hiroshi Matsumoto 08 - The Look of Love - Billy May 09 - So Nice - Wanda De Sah / Sergio Mendes 10 - O barquinho - Mickey Baker 11 - Mima - Lalo Schrifrin 12 - Bamba Samba - Charley Bird / Woody Herman 13 - Summer Samba - Walter Wanderly 14 - Berimbau- O Cincos Pados 15 - Little Bird, Little Boat - Bill Perkins 16 - Triste - Howard Roberts 17 - Samba De Orfeu - Ray Anthony 18 - Wave - Antonio Carlos Jobim 19 - Tide - Antonio Carlos Jobim 20 - Sono - Dave Pike 21 - Samba de uma nota só - Lalo Schifrin 22 - A Ciascuna Il Suo - Luis Bacalon 23 - The Boy From Ipanema - Peggy Lee
This album has been reposted. My apologies to the 142 previous downloaders as this album was not up to the Licorice Pizza standards. The stylus weight was insufficient to overcome some surface flaws on the record and caused skipping. The entire album has been re ripped and a new link included below.
Cugat probably had more to do with the infusion of Latin music into the popular American scene than any other musician--Desi Arnaz and Perez Prado definitely followed in Cugat's footsteps.(Source:Space Age Pop)
