Name: John Carpenter - Halloween 1978 (main Theme) @RodrigoCantillano
Uploaded: 2024-10-15T08:17:00-05:00
Duration: 8 min 17 s
Description: John Carpenter - Halloween 1978 (main Theme)

John Carpenter - Halloween 1978 (main Theme)

Rodrigo Cantillano 2024-10-15 | John Carpenter - Halloween 1978 (main Theme)

PAUL McCARTNEY & WINGS - Live and Let Die (WINGS OVER AMERICA 1976)

Rodrigo Cantillano 2021-12-09 | Live in 1976 - Wings over America is a live album by the band Wings, released in December 1976. It was a triple live album of Paul McCartney and included a poster of the band (the cover was designed by Hipgnosis).
'Live and Let Die' was the theme song of the 1973 James Bond film of the same name, performed by Paul McCartney , his wife Linda McCartney amd WINGS, it reunited McCartney with former Beatles producer George Martin, who produced the song and arranged the orchestra. McCartney was contacted to write the song by the film's producers Harry Saltzman and Albert R. Broccoli before the screenplay was finished. Wings recorded "Live and Let Die" during the sessions for Red Rose Speedway in October 1972 at AIR Studios. It was also the first rock song to open a Bond film. Another version by B. J. Arnau also appears in the film.

Elton John (1974) - Bennie and the Jets (Live)

Rodrigo Cantillano 2021-11-27 | Bennie and the Jets - Elton John - Live in London 1974
December 24, 1974: Elton John played Hammersmith Odeon in London. A Christmas show from the Hammersmith Odeon was broadcast live on the Old Grey Whistle Test on BBC and also simulcast on radio.
Decidedly more pop than either of the aforementioned artists' rock, "Bennie and the Jets" is arranged around Elton John's percussive piano downbeats, syncopated with bass and drums on the chorus. On the verses and pre-chorus, the pianist approximates a honky tonk soul style reminiscent of Leon Russell's. John even offers a relatively rare solo, an inspired bit of ivory tickling. The only other instrumentation is acoustic guitar accents and some lighthearted synthesizer riffing -- novel and modern-sounding for the era -- during the vamp fade-out, while John sings the part in a falsetto.

AMY WINEHOUSE - Tears Dry On Their Own (Original version)

Rodrigo Cantillano 2021-08-16 | Tears Dry On Their Own Original Version by Amy Winehouse

PAUL McCARTNEY & WINGS - Bluebird (WINGS OVER AMERICA)

Rodrigo Cantillano 2021-07-07 | Wings over America is a triple live album by the British–American rock band Wings, released in December 1976. The album was recorded during the American leg of the band's 1975–76 Wings Over the World tour.

Peter Frampton - Lines On My Face (Live in Detroit)

Rodrigo Cantillano 2021-04-01 | It's no secret that one of the best Live-rock albums of all time was the double-LP "Frampton Comes Alive", which rocketed former Humble Pie guitarist Peter Frampton into the oftentimes harsh realm of superstar status. That was 1976. Twenty-four years later, Frampton came alive once again with a rousing 75-minute set recorded in Detroit on July, 1999.
Peter Frampton's "Live in Detroit (2000)" was filmed on 17 July 1999 at Pine Knob Amphitheatre in Detroit, Michigan, "Live In Detroit" captures a classic Peter Frampton performance that has become well established as a fan's favourite. The show features tracks from across Frampton's extensive and highly successful career.
The set combines retellings of the best tracks from Frampton Comes Alive with an impressive collection of later songs. There is the smooth groove of "Lines on My Face," counterbalanced with the power pop of "Show Me the Way" and "All I Wanna Be (Is by Your Side)."
Frampton is again backed by Bob Mayo on keyboards, Chad Cromwell on drums, and John Regan on bass guitar. This is a band filled with talent and maturity, performing with all the dynamics and emotion of a Dire Straits or Pink Floyd.

Sergio Meier - Sobre H.P. LOVECRAFT

Rodrigo Cantillano 2021-03-30 | In memoriam Sergio Meier (Quillota. 1965 - 2009). quien fue un escritor chileno de ciencia ficción y conferencista. En este video, Sergio Meier dictó una charla, acerca de H. P. Lovecraft y su literatura. La cual fue grabada en la "Sala el Farol" de la Universidad de Valparaíso, ciudad de Valparaíso en el año 2008, durante el marco de la 'Semana Fantástica' organizada por editoria Puerto de Escape.

Video grabado por Alejandro Torres.

AMERICA (1978) - Tin Man (Live)

Rodrigo Cantillano 2020-09-29 | TIN MAN LIVE in Central Park, New york

John Barry (1969) - Midnight Cowboy

Rodrigo Cantillano 2020-09-29 | John Barry Midnight Cowboy

ALESSANDRO ALESSANDRONI (1974) - Mitzi

Rodrigo Cantillano 2020-03-11 | Alessandro Alessandroni isn't a household name in popular or film music, but his contributions to the two fields have made his work among the most familiar of any musician to emerge since the 1950s. Born in Soriano nel Cimino, north of Rome, in 1925, Alessandroni never aspired to formal music training -- he was entirely self-taught, and started learning the guitar and the mandolin by listening to and watching the men who made music at the family's barber shop. He listened to classical music on his own and bought his first mandolin at age 13.
During the early '60s, Alessandroni crossed paths professionally with a slightly younger former boyhood friend, Ennio Morricone, who, after a few years as a musician working in jazz clubs, had begun to emerge in the field of movie music. Morricone had just scored his first Western and was working on another, and wanted to add some new sounds to his work. Alessandroni's guitar and his abilities as a whistler came to the fore on the resulting score for Guns Don't Argue, within the framework of a traditional Western ballad. But that success was merely a toe in the water in terms of their collaboration -- Morricone had another project in the pipeline, called A Fistful of Dollars (1964), a Western that was anything but traditional, and it was here that Alessandroni began collaborating with him in the making of some much more important music, and utilizing far more of his range as a guitarist as well.

Alessandro has also composed film scores, including Any Gun Can Play (1967), Johnny Hamlet (1968), The Reward's Yours... The Man's Mine (1969), Lady Frankenstein (1971), The Devil's Nightmare (1971), The Mad Butcher (1971), Seven Hours of Violence (1973), Poker in Bed (1974), White Fang and the Hunter (1975), Blood and Bullets (1976), L'adolescente (1976), La professoressa di scienze naturali (1976), The Opening of Misty Beethoven (1976), Women's Camp 119 (1977), Killer Nun (1978), L'imbranato (1979), and Trinity Goes East (1998).

Ironically, Alessandroni could almost have been the Brian Wilson of Italy -- he certainly made use of some of the same sources of inspiration, including the Four Freshmen and the twangy guitar of Duane Eddy or Dick Dale, that had led Wilson and the Beach Boys to their brand of surf music, but simply utilized them in a different combination that seemed somehow uniquely suited to the Western. Alessandroni subsequently worked with Morricone on most of the latter's Western scores of the period, including the gorgeous theme for A Pistol for Ringo -- which was a dazzling showcase for Alessandroni as a guitarist and I Cantori Moderni, in a hauntingly lyrical mode, far from their usual rough vocal fills on the Sergio Leone Western scores. He was all over the main title theme for The Good, the Bad and the Ugly, and his guitar and vocal group were also featured prominently on Once Upon a Time in the West. He and Morricone also worked on such non-Leone Westerns as A Gun for Ringo -- which was a dazzling showcase for his guitar and I Cantori Moderni's singing in a much more lyrical mode, in place of their usual rough fills in the Leone movies -- The Big Gundown, Navajo Joe, and the non-Western Without Apparent Motive. By the end of the 1960s, as Hollywood began noting the success that Leone was achieving with his Italian-made horse operas, the production of Westerns began anew in earnest in the United States, and the brief given composers such as Dominic Frontiere and others on movies such as Hang 'Em High was to emulate Morricone, which was also meant to emulate Alessandroni.

60's & 70's Italian lounge and easy-listening at its best

HERB ALPERT (1979) - Rise

Rodrigo Cantillano 2020-01-11 | This song was written by Andy Armer and Randy "Badazz" Alpert. A song grew from the notion of Herb Alpert cutting his own disco record, but ended up being something more sultry and groundbreaking: the Number One instrumental smash “Rise”. This song (Rise) hit number six on the Billboard pop chart. The set opens with a small pomp and circumstance intro called "1980" that Alpert composed for the Olympics that year, assisted by the late Michel Colombier on keyboards. Alpert also composed the ballad-turned-Latin-dancefloor fire walker "Behind the Rain," (originally composed for Gato Barbieri's Caliente! album) that has its own appeal in the 21st century with chorus-like backing vocals. Other tracks include the Armer and Randy Alpert "Rotation." This cut, introduced by hand percussion, bells, and shakers is another soulful groover with a killer, soft-spoken keyboard line that's hypnotic lite funk. A looped synth line enters in place of a bassline. Handclaps, fingersnaps, and Alpert's distant trumpet play a melody not unlike the one on the "Lonely Bull." Effects, washes, reverb, and mild distortion create a futuristic backdrop to this otherwise beautifully melodic tune. Alpert plays in-the-pocket soul-drenched melody lines over the top and one of the first "chillout" tunes was born.
What it all adds up to is an extraordinary recording that stands the test of time as a bona fide classic of the late disco/pre hip-hop era. The pop charts would have none of it these days. But eating this up as folks did, pre-MTV, with simply the radio going nuts trying to introduce the next single from it, Alpert, his nephew, and Armer stumbled onto something that would reinvigorate Alpert's career as a recording artist and as a producer.

MARVIN GAYE (1973) - Lets Get It On

Rodrigo Cantillano 2019-12-02 | After brilliantly surveying the social, political, and spiritual landscape with What's Going On, Marvin Gaye turned to more intimate matters with Let's Get It On, a record unparalleled in its sheer sensuality and carnal energy. Always a sexually charged performer, Gaye's passions reach their boiling point on tracks like the magnificent title hit.
Its fluid grooves so perfectly designed for romance as to border on parody. With each performance laced with innuendo, each lyric a come-on, and each rhythm throbbing with lust, perhaps no other record has ever achieved the kind of sheer erotic force of Let's Get It On

MARVIN GAYE (1973) - You Sure Love to Ball

Rodrigo Cantillano 2019-11-24 | Song and hit single by soul musician Marvin Gaye, released in 1973, on Motown-subsidiary label Tamla Records. The song was the third and final single to be released from Gaye's acclaimed album, Let's Get It On.

After brilliantly surveying the social, political, and spiritual landscape with What's Going On, Marvin Gaye turned to more intimate matters with Let's Get It On, a record unparalleled in its sheer sensuality and carnal energy. Always a sexually charged performer.
Marvin Gaye's passions reach their boiling point on tracks like the magnificent title hit (a number one smash) and "You Sure Love to Ball"; silky and shimmering, the music is seductive in the most literal sense, its fluid grooves so perfectly designed for romance as to border on parody. With each performance laced with innuendo, each lyric a come-on, and each rhythm throbbing with lust, perhaps no other record has ever achieved the kind of sheer erotic force of Let's Get It On, and it remains the blueprint for all of the slow jams to follow decades later -- much copied, but never imitated.

LALO SCHIFRIN (1973) - Enter The Dragon

Rodrigo Cantillano 2019-11-03 | OST music Lalo Schifrin online video cutter com

QUINCY JONES (1969)

Rodrigo Cantillano 2019-11-03 | The Lost Man 1969 Soundtrack Quincy Jones

RY COODER - Paris Texas

Rodrigo Cantillano 2019-11-03 | ...

STAN GETZ & CHET BAKER (1983) - Live in Stockholm

Rodrigo Cantillano 2019-11-03 | Stan Getz Chet Baker in Stockholm 1983

LEON RUSSELL - A Song for You

Rodrigo Cantillano 2019-06-30 | Leon Russell Sings “A Song for You”

DR JOHN - Such a Night ( Live 1976)

Rodrigo Cantillano 2019-06-30 | Dr John plays Such a Night on The Last Waltz with The Band

DAVID CROSBY & GRAHAM NASH - BBC Concert (1970)

Rodrigo Cantillano 2019-06-30 | Live in Concert at BBC. 1970 footage of the duo performing soon after the demise of the supergroup Crosby, Stills, Nash and Young. Featuring beautiful harmonies, they perform CSNY and solo songs such as Marrakesh Express and Guinnevere.

JONI MITCHELL - Coyote (Rehearsal, 1975)

Rodrigo Cantillano 2019-06-30 | Joni Mitchell with BOB DYLAN and ROGER McGUINN rehearsal & playing the Song "Coyote" in Gordon Lightfoot''s House. They spent the day and Night enjoying and playing Music & Poetry.

THE BAND & BOB DYLAN - Forever Young

Rodrigo Cantillano 2019-04-03 | THE BAND BOB DYLAN - Forever Young

THE ROLLING STONES (1976) - Fool To Cry

Rodrigo Cantillano 2019-02-14 | by English rock band The Rolling Stones from their 1976 album "Black and Blue". The song was written by Mick Jagger and Keith Richards. Mick Taylor had just left the band and the rest of the Stones were left without a lead guitarist. The recording of Black and Blue acted as a sort of audition for new guitarists, which led to session man Wayne Perkins playing guitar on this track.[citation needed] Jagger plays electric piano and Nicky Hopkins performs regular piano on the track, with Hopkins also playing the string synthesizer.
Released as the lead single of "Black and Blue" in 1976, "Fool to Cry" reached No. 6 on the UK Singles Chart

THE ROLLING STONES - Fool To Cry (Rehearsal, 1976)

Rodrigo Cantillano 2019-02-14 | The Rolling Stones recorded Black and Blue while auditioning Mick Taylor's replacement, so it's unfair to criticize it, really, for being longer on grooves and jams than songs, especially since that's what's good about it. Yes, the two songs that are undeniable highlights are "Memory Motel" and "Fool to Cry," the album's two ballads and, therefore, the two that had to be written and arranged, not knocked out in the studio; they're also the ones that don't quite make as much sense, though they still work in the context of the record.

CHRISTINA Y LOS SUBTERRANEOS (1992) - Mil Pedazos

Rodrigo Cantillano 2019-02-13 | Christina y Los Subterráneos fue una banda española de música pop, liderada por Christina Rosenvinge, que en realidad correspondía a su segundo proyecto musical. En esta banda Christina con otros músicos como Antonio Garcia de Diego, publicarían una serie de éxitos que conforman un álbum con bastante espíritu de Rockn'Roll y canciones pegajosas. Mil pedazos viene a ser un rock que cuenta una fabulosa introducción a piano y guitarra acústica, con un perfecto solo de guitarra y con Christina cantando y ambientando con una voz maravillosa.

DUNCAN DHU (Mikel Erentxun) - A un minuto de Ti (1992)

Rodrigo Cantillano 2019-02-13 | Duncan Dhu es un grupo musical español de rock originario de San Sebastián, Guipúzcoa, EUSKADI. Sus miembros originales fueron Mikel Erentxun, Diego Vasallo y Juan Ramón Viles. En 1992 sus miembros decidieron seguir caminos solitarios y Mikel Erentxun publica el exito "A un minuto de ti".

LA UNIÓN - Hombre Lobo en Paris (en Martes 13, CHILE - 1987)

Rodrigo Cantillano 2019-02-13 | El tema publicado en el año 1984 fue compuesto e interpretado por la banda LA UNIÓN. En este caso se trata de un registro tomado durante el año 1987, en el programa de Tv "MARTES 13". Conducido en esos años por el animador Cesar Antonio Santis y Raquel Argandoña, en CANAL 13, propiedad de la Corporación Universidad Católica de Chile Televisión.

GABINETE CALIGARI (1984) - Cuatro Rosas

Rodrigo Cantillano 2019-02-13 | Canción del ábum "Que Dios reprta suerte" del año 1983, de la banda española Gabinete Caligari. Registro del programa de TV, La Bola de Cristal.

VIRUS - Sin Disfraz (en VIVO , Free Concert Chile - 1986)

Rodrigo Cantillano 2019-02-13 | La Banda VIRUS interoretando en vivo su canción "Sin Disfráz", en el FREE CONCERT de Chile, durante el año 1986.

MECANO (1987) - Cruz de Navajas

Rodrigo Cantillano 2019-02-12 | Canción del grupo de música pop Mecano. El cual fue el segundo 'Single' en servir de promoción radial al álbum "Entre el cielo y el suelo". La letra fue empezada por Joaquín Sabina y obsequiada a José María Cano quien finalizó la historia en 1986.
La Canción fue publicada y estrenada en la radio como sencillo el día, 28 de julio de 1986 en España, en otros países entre principios y a mediados de 1987.

SODA STEREO - Nada personal (Martes 13 en CHILE - 1986)

Rodrigo Cantillano 2019-02-12 | Soda Stereo actuando en vivo en Chile en el programa MARTES 13, conducido por el recordado César Antonio Santis. Registro grabado en el año 1986 en donde la banda conformada por Gustavo Cerati, Charly Alberti y Zeta Bosio se presentan por vez primera al público de Chile en el gran programa estelar de Canal 13: Martes 13.

Tags:
Nada Personal, Soda Stereo, Gustavo Cerati, Charly Alberti, Zeta Bosio, , César Antonio Santis, 1986, Martes 13, CHILE.

CHARLY GARCÍA (1985) - En VIVO en el Estadio Chile.

Rodrigo Cantillano 2019-02-12 | Actuación de CHARLY GARCÍA en el "ESTADIO CHILE" de Santiago, grabada el año 1985. Con una previa y breve Entrevista realizada por la conductora Andrea Tessa en el programa "MÁS MÚSICA" del Canal 13, propiedad de la Universidad Católica de Chile.

PHIL COLLINS (1985) - One More Night (Live)

Rodrigo Cantillano 2019-02-12 | The No Jacket Required World Tour was a concert tour by the English singer-songwriter Phil Collins, which occurred February–July 1985 in support of his 1985 album, No Jacket Required.

STEVIE RAY VAUGHAN (1989) - Riviera Paradise

Rodrigo Cantillano 2018-12-31 | Stevie Ray Vaughan had always been a phenomenal guitarist, but prior to In Step, his songwriting was hit or miss. Even when he wrote a classic modern blues song, it was firmly within the genre's conventions; only on Soul to Soul's exquisite soul-blues "Life Without You" did he attempt to stretch the boundaries of the form. As it turns out, that was the keynote for In Step, an album where Vaughan found his own songwriting voice, blending blues, soul, and rock in unique ways, and writing with startling emotional honesty. Yes, there are a few covers, all well chosen, but the heart of the album rests in the songs he co-wrote with Doyle Bramhall, the man who penned the Soul to Soul highlight "Change It." Bramhall proved to be an ideal collaborator for Vaughan; tunes like the terse "Tightrope" and the dense "Wall of Denial" feel so intensely personal, it's hard to believe that they weren't the product of just one man. Yet the lighter numbers -- the dynamite boogie "The House Is Rockin'" and the breakneck blues of "Scratch-n-Sniff" -- are just as effective as songs. Of course, he didn't need words to make effective music: "Travis Walk" is a blistering instrumental, complete with intricate fingerpicking reminiscent of the great country guitarist Merle Travis, while the shimmering "Riviera Paradise" is every bit as lyrical and lovely as his previous charmer, "Lenny." The magnificent thing about In Step is how it's fully realized, presenting every facet of Vaughan's musical personality, yet it still soars with a sense of discovery. It's a bittersweet triumph, given Vaughan's tragic death a little over a year after its release, yet it's a triumph all the same.

HERBIE HANCOCK (1975) - Man Child

Rodrigo Cantillano 2018-09-01 | Man-Child is arguably one of his most funk-influenced albums and it represents his further departure from the "spacey, higher atmosphere jazz," as he referred to it, of his earlier career. Hancock uses more funk based rhythms around the hi-hat, and snare drum.
Perhaps the funkiest album of Herbie Hancock's early- to mid-'70s jazz/funk/fusion era, Man-Child starts off with the unforgettable "Hang Up Your Hang Ups," and the beat just keeps coming until the album's end. "Sun Touch" and "Bubbles" are slower, but funky nonetheless. Hancock is the star on his arsenal of keyboards, but guitarist Wah Wah Watson's presence is what puts a new sheen on this recording, distinguishing it from its predecessors, Head Hunters and Thrust. Others among the all-star cast of soloists and accompanists include Wayne Shorter on soprano sax, Stevie Wonder on chromatic harmonica, and longtime Hancock cohort Bennie Maupin on an arsenal of woodwinds.

Man-Child features less improvisation from the whole band and more concentrated grooves with brief solos from the horns and Hancock himself on synthesizer and Fender Rhodes piano on top of the repeated riffs. This album features the addition of electric guitar to his new sound, which he started only five years prior to this album with Fat Albert Rotunda. The guitarists featured on this album were Melvin "Wah-Wah Watson" Ragin, DeWayne "Blackbyrd" McKnight and David T. Walker. Their extensive use of wah-wah pedal and accenting chords on the up-beat rather than the down-beat is what helps to give the album a distinct and funkier rhythm that is broken up by brief periods of stop-time where only the sustained chords are heard from the electric guitar with an open wah pedal. The riffs are fast-paced and energetic with repeating patterns that combine with multiple voices (i.e. horns, piano, bass, synthesizer, guitar and drums and percussion). The horn section in "Hang Up Your Hang-Ups" plays repeated riffs in unison that alternatate with and are answered by electric piano, synthesizer, and electric guitar in brief periods of call and response.

Herbie Hancock – piano, keyboards
Bud Brisbois – trumpet
Jay DaVersa – trumpet
Garnett Brown – trombone
Dick Hyde – trombone, tuba
Wayne Shorter – alto and soprano saxophones
Bennie Maupin – soprano and tenor saxophones, bass clarinet, alto and bass flutes, saxello, percussion
Jim Horn – flute, saxophone
Ernie Watts – flute, saxophone
Dewayne McKnight, David T. Walker – guitar
Wah Wah Watson – synthesizer, voice bag, guitar
Henry E. Davis – bass guitar
Paul Jackson – bass guitar
Louis Johnson – bass guitar
Mike Clark – drums
James Gadson – drums
Harvey Mason – drums
Stevie Wonder – harmonica
Bill Summers – percussion

PRINCE (1977) - My Love Is Forever (DEMO)

Rodrigo Cantillano 2018-08-10 | This was recorderd Before Prince became the international music icon Recorded (in period from 1 October 1977 to 22 December 1977). To help gain some exposure, Prince's managers hired Robert Whitman to photograph Prince.“When I first met Prince, he was in a recording studio,” Whitman said. “He was playing every instrument. This kid was 17-18 years old. It was amazing!”

This early version was recorded at Moon Sound in Minneapolis, Minnesota.

Prince took full credit for My Love Is Forever. A struggling musician trying to make a name for himself in his hometown of Minneapolis, Minnesota.

The tape of this recording session have some of the other tracks (Just As Long As We're Together and the Jelly Jam portion as first at fifth track with Baby, Soft And Wet, My Love Is Forever and We'll Make It Through The Storm).

BEE GEES (1977) - More Than Woman

Rodrigo Cantillano 2018-08-10 | Saturday Night Fever: The Original Movie Sound Track is the soundtrack album from the 1977 film Saturday Night Fever starring John Travolta. It remains the best selling soundtrack of all time with over 45 million units sold. The album epitomized the disco phenomenon on both sides of the Atlantic and was an international sensation.

Every so often, a piece of music comes along that defines a moment in popular culture history: Johann Strauss' operetta Die Fledermaus did this in Vienna in the 1870s; Jerome Kern's Show Boat did it for Broadway musicals of the 1920s, and the Beatles' Sgt. Pepper's Lonely Hearts Club Band album served this purpose for the era of psychedelic music in the 1960s. Saturday Night Fever, although hardly as prodigious an artistic achievement as those precursors, was precisely that kind of musical phenomenon for the second half of the '70s. Ironically, before its release, the disco boom had seemingly run its course, primarily in Europe, and was confined mostly to black culture and the gay underground in America. Saturday Night Fever, as a movie and an album, plus a brace of hit singles off of it, suddenly made disco explode into mainstream, working- and middle-class America with a new immediacy and urgency, increasing its audience ten-fold overnight. The Bee Gees had written "Stayin' Alive" (then called "Saturday Night"), "Night Fever," "How Deep Is Your Love," "If I Can't Have You," and "More Than a Woman" for what would have been the follow-up album to Children of the World, and they might well have enjoyed platinum-record status with that proposed album. Instead, Robert Stigwood asked them in early 1977 to contribute songs to the soundtrack of a movie that he was financing, a low-budget picture called Tribal Rites on a Saturday Night.
More out of loyalty to him than any belief in the viability of the film, they obliged. The group's involvement even survived the decision by the original director, John Avildsen, that he didn't want their music in the film. Instead, Stigwood fired him and brought in the very talented but much more agreeable John Badham, the movie's title was changed to Saturday Night Fever, the Bee Gees' music stayed, and the result was the biggest-selling soundtrack album in history, a 25-million copy monster whose sales, even as a more expensive double-LP, dwarfed the multi-million units sold of Children of the World and Main Course. Strangely enough, for all of the fixation of the movie and its audience on dancing, the Bee Gees' new songs were weighted equally toward ethereal ballads, which may be one reason for the soundtrack album's appeal -- it delivers what its audience expects, plus a "bonus" in the form of the soaring, lyrical romantic numbers that were, as with most ventures by the Gibb Brothers in this area, virtually irresistible. Despite the presence of other artists, Saturday Night Fever is virtually indispensable as a Bee Gees album, not just for the presence of an array of songs that were hits in their own right -- and which became the de facto soundtrack to a half-decade of pop culture history -- but because it offered the Gibb Brothers as composers as well as artists, with their work recorded by Yvonne Elliman ("If I Can't Have You"), and Tavares ("More Than a Woman"), and it placed their music alongside the work of Kool & the Gang and MFSB. In essence, the layout of the soundtrack was the culmination of everything they'd been moving toward since the Mr. Natural album. Even the presence of David Shire's "Night on Disco Mountain" and "Salsation," and Walter Murphy's "A Fifth of Beethoven," don't hurt, because these set a mood and a surrounding ambience for the Bee Gees' material that makes it work even better.

OLIVIA NEWTON JOHN (1978) - A Little More Love

Rodrigo Cantillano 2018-08-09 | Totally Hot is one of the most fun albums from Olivia Newton John. Total abandon is its trademark, the atmosphere lightened up a bit, and from top to bottom it is one of her most satisfying projects. "Please Don't Keep Me Waiting" is a girl group all grown up. Is it Newton-John's voice or Michael Botticker's synthesizer at the end of the first track? A little jarring for her country audience, but she takes care of them on "Dancin' 'Round and 'Round," a wonderful country-pop tune and quick about face. As with the Let Me Be There release, her name is prominently splashed on the cover and the tan background suits her well, with the mysterious look with the kerchief on the inside cover as playful as the music. David Foster, Steve Lukather, and Tom Snow add their talents to the project, but it is Newton-John, with the guidance of John Farrar, who really shines here. Her own "Talk to Me" is bouncy adult contemporary, but it is the two hit singles which, naturally, stand out. Tom Snow's "Deeper Than the Night" was a nice musical departure for the singer, with its strong piano reflecting the melody. Along with the John Farrar smash "A Little More Love," those involved showed that Olivia Newton-John could move beyond the three huge hits from the film Grease which saturated the airwaves in 1978. "A Little More Love" went Top Three in December of 1978, with "Deeper Than the Night" hovering around the Top Ten in May of 1979. The album contains a nice balance, something missing from 1985's Soul Kiss. "Borrowed Time" is more country-pop and is one of the more serious tracks on the album. The cover of Spencer Davis Group's "Gimme Some Lovin'," on the other hand, is as close to a drunken party as one will get on a Newton-John album. Jimmy Miller, producer of the original 1967 hit, would probably approve of the spirit -- it is definitely more fun than the Blues Brothers' version which charted three years after this. John Farrar actually pens three songs in a row on Totally Hot, including the title track, and with Newton-John's two contributions, the songstress and her producer compose half of this album. That the prolific John Farrar didn't contribute more to these albums shows how careful they were about material, but "Never Enough" is stunning, and maybe Newton-John will take on the Marvin, Welch, & Farrar songbook sometime in the future. The precision on the verse and chorus make for a beautiful album track, lyrics that flow perfectly on the singer's voice. The title track is funky and the big mistake on this disc is that Dr. John isn't performing a duet with Newton-John on this New Orleans adventure. The cover of Eric Carmen's "Boats Against the Current" is a nice feather in his cap. It's a dramatic reading that shows the other side of this recording. The Olivia Newton-John catalog runs deep, and Totally Hot is one of the more consistently entertaining albums in the collection.

Dr HOOK (1979) - Sexy Eyes

Rodrigo Cantillano 2018-08-09 | ...

KISS (1980) - Shandi

Rodrigo Cantillano 2018-08-09 | "Shandi" is a hit single by American hard rock band Kiss. Released on their 1980 album, Unmasked, the song was popular in Australia, where it reached number five on the Australian charts.
"Shandi" is a hit single by American hard rock band Kiss. Released on their 1980 album, Unmasked, the song was popular in Australia, where it reached number five on the Australian charts.

ANDY GIBB (1977) - Love is Thicker Than Water

Rodrigo Cantillano 2018-08-08 | a song performed by Andy Gibb, released in 1977, it was his second single that topped the US Billboard Hot 100. It was mainly written by Barry Gibb, with help from Andy Gibb.
As evidence of the Gibb brothers' U.S. chart domination in 1978, atop the 4 March 1978 Hot 100 the Bee Gees' "Stayin' Alive" was displaced by this song,which in turn was displaced two weeks later by the Bee Gees' "Night Fever", which in turn was displaced eight weeks later by Yvonne Elliman's "If I Can't Have You". Since Barry Gibb had a hand in writing all four of these songs, he became the only person in history to write four consecutive US number-one singles, a feat unmatched to this day. The song was released in February 1978 in Netherlands.

AMBROSIA (1980) - Biggest part of me

Rodrigo Cantillano 2018-08-08 | Ambrosia is an American rock band formed in southern California in 1970. Los Angeles quartet Ambrosia, whose founding members included guitarist/vocalist David Pack, bassist/vocalist Joe Puerta, keyboardist Christopher North, and drummer Burleigh Drummond, fused symphonic art rock with a slickly produced pop sound. The group was discovered in 1971 by Los Angeles Philharmonic conductor Zubin Mehta, who featured Ambrosia as part of a so-called All-American Dream Concert. However, it took them four more years to get a record contract; Ambrosia was released in 1975 and spawned the chart singles "Holdin' on to Yesterday" and "Nice, Nice, Very Nice." (The latter was based on Kurt Vonnegut's Cat's Cradle.) Ambrosia scored another hit in 1977 with a cover of the Beatles' "Magical Mystery Tour" from the film All This and World War II, which they also appeared in.
North left the group just before their biggest pop breakthrough in 1978 with the number three hit "How Much I Feel." Ambrosia followed this success in 1980 with another number three hit, "Biggest Part of Me," and the number 13 follow-up "You're the Only Woman." Their next album failed, ending their run of chart success, and the group broke up; individual members are still active as session musicians and vocalists, as well as producers.

David Pack's 1985 solo album Anywhere You Go actually featured both Puerta and Drummond (alongside Kerry Livgren, Michael McDonald, Stanley Clarke, and Toto's Michael Porcaro), and the band reunited several years later. Several tours followed during the '90s, along with new recordings featured on the band's 1997 Anthology release. Pack left after 2001 for additional solo projects, and the band released the concert album Live a year later without him.

STARBUCK (1976) - Moonlight Feels Right

Rodrigo Cantillano 2018-08-07 | Starbuck was a rock band formed in Atlanta, Georgia in 1974 by keyboardist/vocalist Bruce Blackman, a marimba player Bo Wagner and guitarist Johnny Walker.
Best remembered for the Radio classic "Moonlight Feels Right," Starbuck formed in Atlanta in 1974 -- singer/keyboardist Bruce Blackman and percussionist Bo Wagner previously served in the sunshine pop outfit Eternity's Children, enjoying fleeting success with the minor chart hit "Mrs. Bluebird." After collaborating on a never-released LP under the moniker Mississippi, the duo again parted ways, with Blackman focusing on his composing career and Wagner hitting the road as Liberace's musical director. When Wagner returned to Atlanta, he formed Extravaganza with vocalist Elgin Wells, keyboardist Sloan Hayes, bassist Jimmy Cobb, and drummer David Snavely; within weeks Wells left the group, opening the door for Blackman to sign on -- vocalist Ron Norris and guitarist Tommy Strain soon joined as well, prompting a name change to Starbuck.

In mid-1975 the group signed to the Private Stock label, issuing its debut single, "Moonlight Feels Right," a few months later -- a quintessential slice of '70s soft pop, the record flopped upon its initial release, but was resurrected in the spring of 1976 by Birmingham, AL, DJ Mike St. John of WERC. As its grassroots popularity snowballed, "Moonlight Feels Right" eventually reached the number two spot on the Billboard pop chart -- around this time Strain, Norris, and Snavely all left Starbuck, and were replaced by keyboardist David Shaver, drummer Ken Crysler, and guitarist Johnny Walker, the latter another Eternity's Children alum. The band's sophomore effort, Rock 'n' Roll Rocket, followed in 1977, generating a second Top 40 hit with its lead track, "Everybody Be Dancin'" -- however, 1978's Searching for a Thrill failed to chart, and Starbuck dissolved in 1980.

NICOLETTE LARSON (1978) - Lotta Love

Rodrigo Cantillano 2018-08-05 | After working as a backup vocalist for several country-rock acts and serving as a member of Commander Cody's Lost Planet Airmen for several years during the mid-'70s, vocalist Nicolette Larson launched a solo career in the late '70s. Initially, Larson followed the sound of laid-back Californian country-rock, which resulted in a Top Ten pop hit in 1979 with "Lotta Love." In the years following the success of "Lotta Love," Larson continued to mine the soft rock California sound, eventually leaving it behind for country music in the mid-'80s. During the course of the '80s, she racked up a number of country hits before moving into semi-retirement.
Nicolette Larson first came to public attention when she backed up Neil Young on his American Stars 'n Bars disc. She went on to duet with him on his much anticipated Comes a Time album, which was the genesis for Nicolette. Using an even wider-ranging style than friends Linda Ronstadt or Emmylou Harris, Larson hit it big right out of the starting gate with Young's "Lotta Love," a super Top Ten smash. From there, she broadens her approach to include a soulful "You Send Me," the Louvin Bros' "Angels Rejoiced," Motown's "Baby, Don't Do It," and a hard-rockin' "Can't Get Away From You." No matter which genre she aspired to, she seemed to have the chops to do a fine job. Nicolette was a surprise for many when it first came out and is still a pleasure to listen to today. After this, her first effort, the sky was the limit for Larson.

PLAYER (1980) - Baby... Come Back

Rodrigo Cantillano 2018-08-05 | Best remembered for the late-'70s chart-topper "Baby Come Back," Player were formed in Los Angeles in 1977 by singer/guitarist Peter Beckett (formerly of the U.K. group Skyband), bassist Ronn Moss, and guitarist/keyboardist J.C. Crowley. After adding drummer John Friesen, Player signed to impresario Robert Stigwood's RSO label and issued "Baby Come Back," which sat atop the Billboard Hot 100 for three weeks in early 1978. Their self-titled debut LP appeared that same year, as did the follow-up, Danger Zone. Crowley exited Player soon after and enjoyed a solo career as a country artist; the remaining trio issued Room with a View in 1980 before Moss and Friesen both departed as well. Beckett, the lone remaining founding member, continued the group for one final LP, 1982's Spies of Life, before retiring the Player name to mount a career as a songwriter and solo performer. Moss, meanwhile, joined the cast of the daytime soap opera The Bold and the Beautiful in 1987. He and Beckett re-formed Player in 1995, and soon thereafter issued the LPs Electric Shadows (1995) and Lost in Reality (1997). Player toured sporadically during the remainder of the decade and the 2000s. In 2013, Beckett, Moss, and company released Too Many Reasons, the band's seventh studio album.

LITTLE RIVER BAND (1979) - Reminiscing

Rodrigo Cantillano 2018-08-04 | Little River Band (LRB) are a rock band originally formed in Melbourne, Australia, in March 1975. The band achieved commercial success in both Australia and the United States.
Little River Band have undergone numerous personnel changes, with over 30 members since their formation. None of the musicians now performing as Little River Band are original members, nor did they contribute to the success the band had in the 1970s.

The Midnight Special More (1979) - Little River Band Reminiscing

HALL & OATES (1976) - Shes Gone

Rodrigo Cantillano 2018-08-04 | This elegant blue-eyed soul classic is fondly remembered as one of Hall & Oates’ best songs but it took a while for this song’s excellence to be recognized. The duo penned this ballad for Abandoned Luncheonette while commiserating over their personal heartbreaks - Hall had broken up with a girlfriend and Oates was stood up by his New Year’s Eve date. Together, they crafted a love lament that expressed cynicism and heartache via some stunning imagery: “Think I'll spend eternity in the city/let the carbon and monoxide choke my thoughts away/and pretty bodies help dissolve the memories/but they can never be what she was to me/She’s gone.” The personalized touch of this narrative inspired Hall & Oates to create an elegant yet heart-tugging melody that built from mellow, gently grooving verses into a heartfelt chorus that combines meteoric high notes with doo-wop frills. Hall & Oates made “She’s Gone” the centerpiece of their Abandoned Luncheonette album, wrapping in an arrangement that represented a state-of-the-art soul sound circa 1973: it starts with a gentle electric piano pulse underscored with wah-wah guitar shadings and synth drones, gradually adding jazzy horns and lush strings to create a gorgeous widescreen soundscape. Hall & Oates lived up to the grandeur of this sound with a vocal performance that cuts right to the listener’s heart: Oates takes the baritone part and Hall takes the tenor, blending their voices to create a seamless performance that affects a soulful croon on the verses but builds into scorching passion on the chorus. The end result was a stunner and the undisputed highlight of Abandoned Luncheonette but it took a while for the song to earn its rightful success. The single passed with little notice in 1974 and Hall & Oates had to settle for success through Tavares, who topped the r&b charts with their cover of the song. It was revived by Atlantic in 1976 - a few years after Hall & Oates had moved to RCA - to capitalize on the success they had enjoyed with “Rich Girl.” The gambit worked and the song earned its long-overdue hit status by sailing into the top ten. “She’s Gone” remains a favorite amongst fans of blue-eyed soul and remains a staple on oldies stations today.

STYX (1979) - Babe

Rodrigo Cantillano 2018-08-04 | "Babe" is a song by the American rock band Styx. It was the lead single from the band's 1979 triple-platinum album Cornerstone.
Presenting radio with one of the best rock ballads ever, Cornerstone gave Chicago's Styx their big break with the number one single "Babe," which held that spot for two weeks in October of 1979. "Babe" is a smooth, keyboard-pampered love song that finally credited Dennis De Young's textured vocals. While this single helped the album climb all the way to the number two spot on the charts, the rest of the tracks from Cornerstone weren't nearly half as strong. "Why Me" made it to number 26, and both "Lights" and "Boat on the River" implement silky harmonies and welcoming choruses, yet failed to get off the ground. De Young's keyboards are effective without overly dominating the music, and the band's gritty rock & roll acerbity has been slightly sanded down to compliment the commercial market. The songs aren't as tight or assertive as their last few albums, but Shaw's presence can be felt strongly on most of the tracks, especially where the writing is concerned. Outside of "Babe," Cornerstone tends to sound a tad weaker than one would expect.

CLIMAX BLUES BAND (1980) - I Love You

Rodrigo Cantillano 2018-08-04 | A veteran outfit as the '80s dawned, this British quartet can't seem to decide what to play: blues, soul, or pop. "I Love You," written by bassist Derek Holt, is an AM-ready charmer in the manner of Badfinger or Paul McCartney that points toward pop. But, by abandoning their blues roots, they sound like just another average white band.
The Climax Blues Band (originally known as The Climax Chicago Blues Band) is a top charting British blues rock band. The band was formed in Stafford, England, in 1967

RUPERT HOLMES (1980) - Him

Rodrigo Cantillano 2018-08-03 | song written and recorded by American singer and songwriter Rupert Holmes. It was released in January 1980 as the second single from the album, "Partners in Crime".
The song is sung from the point of view of a man who suspects that his wife or girlfriend is cheating on him when he discovers a pack of cigarettes that do not belong to him. Although he knows that she will tell him that the unknown other man is "just a friend," nor has he ever seen the alleged other man, the narrator doesn't believe her expected alibi and plans to tell her bluntly, "It's me or it's him."

APRHRODITES CHILD (1972) - Break

Rodrigo Cantillano 2018-08-03 | 666 (The Apocalypse of John) is a double album by psychedelic/progressive rock group Aphrodite's Child, released in 1972.
An amazingly bombastic concept album about the Apocalypse of St. John seen as a rock spectacle. Demis Roussos wails the lyrics in a frantically operatic falsetto, while the band pound fiercely through Vangelis' furiously complex music. It certainly has its moments, but the entire set eventually becomes too overwhelming to sit through.
Ostensibly an adaptation of Biblical passages from the Book of Revelation, the album is the most critically acclaimed Aphrodite's Child album. It was also the group's last album, due to internal tensions during the recording process and a conflict with the record company. By the time it was released, the band had already disbanded and its members begun working on solo projects.