José José - Gavilan O Paloma
gavilan o paloma pablo abraira djrally73

2019 was a tragic year for melodic Spanish songs. Indeed, just twenty days apart, we lost Camilo Sesto (ubiquitous in the jukeboxes of the '70s and a key figure in the Iberian version of Jesus Christ Superstar) and the Mexican José José.
Defined 'El Príncipe de la Canción' par excellence, José José was for a long time the world's leading interpreter of ballads and boleros. Naturally, they were sentimental in nature, with that tragic/pathetic vein that all connoisseurs of the genre still attribute to him.
'Gavilán o Paloma,' a composition by the Spaniard Pérez-Botija, is one of his timeless hits. A film of the same name was even made around the song in 1985. The protagonist was none other than José José himself—already a victim of alcoholism and other health troubles that, at the dawn of the new millennium, would leave him voiceless.
In Spain, however, the version that all those over fifty know by heart is not José José's but Pablo Abraira's. The song is not as well-known here, except for an Italian version by Julio Iglesias titled 'Amico,' from the album 'Sono un pirata sono un signore.'
The song tells of how, at the end of a 'noche de copas,' the predatory male is fatally ensnared by a mysterious (and lonely) woman who has enchanted him with her gaze. The adventure is inevitable.
However, at the first contact with the seductress, the male senses something unusual. Something unexpected comes between him and the object of his desire.
The warmth of the encounter suddenly turns to ice.
"Upon looking closely at you, I felt betrayed. Your appearance had deceived me."
And the predatory male, convinced that he was the hawk and she the dove, realized that the roles had reversed.

Julio could never have sung such a text. The lyrics of 'Amico,' in fact, have nothing to do with the original: the birds, hawks, and doves are gone, leaving behind a very simplistic love triangle, a given passing, and a cuckolded friend to whom Julio (repentant) turns in the heartfelt refrain.

..."for what I've done to you, I feel like a rag..."

But for once, we can say, the Number One was not Julio.
 
Alberto Fortis - Bene, insomma
Ten times Alberto - how they come (7)
And Bonus...
 
@[IlConte]
@[imasoulman]
@[macmaranza]
@[kyra1]

Since you liked the original version posted by the Nobiluomo Reggiano, here's a little something for you... we've got Lennon, Eric Clapton, Keith Richards, and Mitch Mitchell... take a look...

John Lennon, Eric Clapton, Keith Richard and Mitch Mitchell - Yer Blues (Live)
 
Welcome back to the latest installment of the column:
The 10 ugliest and unbearable songs by Mr. Daniele from Naples, this time in no particular order. PART 10
Pino Daniele - Senza peccato
Unreleased track from the collection "Yes I Know My Way" from 1998, and it aims to be a remake of the wonderful song of the same name. It goes without saying that it's a load of absolute nonsense. Atrocious like few others..
@[dsalva] @[Farnaby]
 
little pretty thing
@[imasoulman]
@[Dislocation]
@[lector]
But this album is actually “written, played, and produced” in 1981?! Never heard of it but it's sensational!
 
Rush - Natural Science
1980 was the year when many bands released their last masterpieces (Yes with the sublime Drama, Genesis with the pop of Duke saved by the stunning title track...). The same goes for Rush, who, despite not falling into AOR, the Buggles-style wave, or hard and heavy, haven’t excited me too much since Signals (an album featuring the last gem, Subdivisions). Tracks like Afterimage, Mystic Rhythms, or The Analog Kid would have been perfect if they had come out of Permanent Waves or Moving Pictures.
 
Just a reminder when you go out...

Ingrandisci questa immagine

rebus backwards (phrase 7, 2, 10)
 
Be Free - ARGENT
How delicious are they? Coretti psych that could fit perfectly on the first Soft Machine album, and the Moog is exactly in between Canterbury and Brian Auger.
 
Holdsworth - Endomorph (Dedicated to My Parents)
How to overcome ethereal atmospheres and Sylvian's vocal style?! This piece is the example: sublime voice, total music that transforms into vision, thought, atmospheric event, and a unique guitarist.
(By the way, after years of listening I can say that I find Japan and Sylvian too wave/simple.)
 
Good morning
and welcome to
#radiocapish

For today’s listening, we offer you the third studio album of a sadly little-known Italian singer-songwriter: Flavio Giurato. "Marco Polo" (1984), released by CGD, is a sort of "Bildungroman" in miniature of the great Venetian merchant. It had such little success upon its release (you’ll understand why when you listen to it) that it ultimately led to the Roman singer-songwriter stepping back from the scene for more than two decades.

Enjoy the listening.

Flavio Giurato - MARCO POLO (CD version) Full Album (CGD, 1984)
 
Here we are at last. Ladies and gentlemen, welcome to the final part of EDOARDO SMERDATO, that is, those 12 songs evvia evvia. Today more than ever, there’s no time to waste; we are about to see the worst of the worst, the tip of the iceberg of this infernal cycle, the lowest point of all. The absolute winner is... Edoardo Bennato - La Fantastica Storia from that great album called La fantastica storia del pifferaio magico. Yes, it’s so original to create a concept about the pifferaio magico, so original that Bennato had already done it with that E' arrivato un bastimento that left everyone a bit perplexed (to me, it’s one step away from a #masterpiece). Hearing it sung so trivially just makes one think... "And then, there was once
a city that became ugly,
it became wicked more and more every day..." THE LEVEL IS THAT OF A CHILD WHO STILL HAS TO FINISH ELEMENTARY SCHOOL! And the arrangement certainly doesn't improve things, with a chilling start and Latin accents that could freeze the blood in your veins (quote). We've hit rock bottom and we'll never be able to rise again.

Tag for the last time the poor tortured @[fabriziozizzi] @[Ditta] (who continues his torture with our Pinuccio from Naples) and @[Farnaby].
 
Thunderstruck
A proper alarm clock is extremely important, it's well known...
 
Sunny Murray ‎- Sunny Murray (1966) FULL ALBUM

Sunny Murray - from "Sunny Murray"
1966 (ESP)

#jazzlegends
 
Rainbirds 'Sea Of Time' 1989
the whole album deserves a listen. Be careful
 
Le Cercle rouge - Trailer

Jean-Pierre Melville (4 of 4)
"I senza nome" - 1970

#35mm
 
#darkpearls
#forgetaboutgodandmen
J im Sullivan - UFO
Jim Sullivan 'U.F.O.', ''U.F.O.'' [1969]

Jim Sullivan, the rocker who was abducted by aliens.
On March 4, 1975, Jim said goodbye to his wife Barbara and his son Chris and set off from L.A. to Nashville.
His career wasn’t taking off; he had some contacts in Nashville, hoping to work as a session musician. Yet, his gigs at the Raft club always drew the right crowd: the beautiful types from new Hollywood, musicians, gorgeous girls, artists...
He had become friends with Harry Dean Stanton, scored a small role in "Easy Rider," and got into Phil Spector's circle, who offered him his legendary Wrecking Crew to record his first LP.
And damn, it turned out to be a masterpiece!
No, I’m not exaggerating: a masterpiece: Gene Clark meets Tony Joe White, Tim Hardin with acid guitar riffs, strings and baroque arrangements that seem to be the work of David Axelrod. And songwriting blessed by inspiration. Songs that talk about desert, solitude, and journeys.
And that title: "UFO," which would take on a more absurd than sinister tone considering what would happen.
Because the record goes unnoticed and ends up in the heap of "forgotten masterpieces." Jim tries again with a second album under his name, produced by Hugh Hefner (yes, the one from "Playboy")—a record just as beautiful according to @[imasoulman] (and me), and you can trust Ima!—but it doesn't work.
So we arrive at that March 4, 1975, when Jim, loaded up the Beetle with his things (guitar, a few clothes, a box of records, and little else), sets off for Nashville. That evening a police patrol stops him near New Mexico, finds him clean on alcohol and drug tests, but orders him to find a room to sleep and rest. Jim takes a room in a dump of a motel, the "La Mesa," down in Santa Rosa, but before going to sleep, decides to go look for some vodka.
He will never return to the motel. On March 6, his car is found 26 km away, in the middle of nowhere. Inside, Jim’s belongings: the guitar, records, wallet, a notebook with his lyrics, his clothes...
No trace of Jim.
His body will never be found.
Where is Jim? Did he get lost, drunk, in the desert? Was he in the wrong place at the wrong time (there was a ranch of a certain Gennetti family in the area, with mafia ties, and misfortune, as we know, never goes on vacation)?
Or were the aliens eager to meet up-close that guy who sang so well about them?