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“French composer/conductor Paul Mauriat is a classically...

Thu, 02 May 2013 19:01:55 +0200

“French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit “Chariot.” In 1963, the song was given English lyrics, renamed “I Will Follow Him,” and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash “Love Is Blue.”
Mauriat’s ancestors were all classical musicians and he originally planned to follow in their footsteps, studying the music as a child and enrolling in the Conservatoire in Paris when he was ten years old. As a teenager, he became infatuated with jazz and popular music, which made him stray from his initial career path. At the age of 17, he formed an orchestra and began touring concert halls throughout Europe. These concerts earned him the attention of vocalist/songwriter Charles Aznavour, who hired Mauriat as an arranger and conductor. Through Aznavour, he began working with a variety of other French artists. For the remainder of the ’40s and the ’50s, he worked primarily as an arranger for other musicians.
Mauriat began a solo career in the early ’60s, recording a series of instrumental albums that were distinguished by their sweeping, melodic strings and gently insistent contemporary rhythms. Using the pseudonym Del Roma, he co-wrote “Chariot,” which became a hit for Petula Clark in 1962. The following year, the song was given a new, English lyric by Arthur Altman and Norman Gimbel and was recorded by Little Peggy March as “I Will Follow Him”; it became a number one hit in the U.S.
Throughout the ’60s, Mauriat continued to record his pop instrumental albums, which became more popular as the decade progressed. His popularity peaked in 1968, when his version of “L’Amour Est Bleu” (Love Is Blue), which was Luxembourg’s submission to the 1963 Eurovision Song contest, became an international hit, reaching number one on a number of charts, including America. The single was supported by Blooming Hits, an album that featured a selection of ’60s pop hits; the album was massively popular and it is estimated that it sold in excess of two million copies worldwide. Mauriat became an international recording star, touring North and Latin America, Europe, and Japan, and making television appearances in several countries.
Although Mauriat’s popularity dipped in the early ’70s — he only had two other U.S. hit singles, “Love in Every Room” and “Chitty Chitty Bang Bang,” which were both minor — he continued to sell respectably throughout the world, particularly in Europe. After the ’80s his recorded output slowed as his Western audience dwindled, but in the Far East he found a loyal following. Tours of Russia, China, and Japan would continue until 1998 when the conductor gave his last live performance in Osaka. A year later, former lead pianist Gilles Gambus would become conductor of the orchestra, and then in 2005 French horn player Jean-Jacques Justafre would be handed the baton. On November 3, 2006, Mauriat died in the southern French city of Perpignan. “

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“Ladies and gentlemen, you are floating in farce. And...

Fri, 01 Feb 2013 15:54:13 +0100

“Ladies and gentlemen, you are floating in farce. And Chris Morris wouldn’t have it any other way. But first, the back-story: After his vicious, satirical television shows The Day Today and Brass Eye were cancelled, BBC’s Radio 1 bought up his new series of dark, comedic ambient sketches entitled Blue Jam. This album collects the highlights. So to speak. From skits about evil four-year-olds, knob harmony, and a couple who is so apathetic that their only worry over their kidnapped son is whether or not to cancel the baby sitter — all wrapped in a fug of electronic accompaniment by the likes of Aphex Twin and Brian Eno — the jokes here are as black as soot. Think Steven Soderbergh’s Schizopolis or those censored skits from The Kids in the Hall. Abhorrent tragi-comedy that would leave absurdists green with envy. Especially with ironic pillow talk like “Push your balls up my nose.” Terrifying. Deeply hilarious. Like John Waters, you may often find Morris childish and repellant — but you’re glad he’s out there.”

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“His family was from Nice, on the coast of the...

Wed, 30 Jan 2013 17:36:42 +0100

“His family was from Nice, on the coast of the Mediterranean, where young Alain studied the piano. He abandoned the violin without remorse, and at the age of twenty had an influential encounter with pianist Jack Diéval, passing through Nice, who firmly advised him to give up everything for the piano. At the same time, Alain studied harmony with Julien Falk, and soon won second place in an amateur jazz competition.

He soon went to Paris where he indulged his passion for jazz. At Saint-Germain-des-Prés, where he accompanied singer Simone Alma, he met Boris Vian. Together, they wrote Je Bois, La Java des bombes atomiques, Fais-moi mal Johnny et Ne vous mariez pas les filles. Alain then scored the music for the film J’irai cracher sur vos tombres (1959). He wrote the orchestration for young Serge Gainsbourg, indeed he arranged all of his albums up until Gainsbourg percussions (1964). With Gainsbourg, Goraguer scored more film music, such as that for L’Eau à la bouche (1960).

In the 1960s and 70’s, he did the orchestration for Poupée de cire, poupée de son, winning the grand prize for The Eurovision Song Contest in 1965. He wrote numerous arrangements for Jean Ferrat, France Gall, Juliette Gréco, Nana Mouskouri, Adamo and many others. Alain Goraguer then opened the door for a renewal in popularity of orchestral compositions. He also composed the title theme La Vache enragée (1965), sung by Brigitte Fontaine.

He also wrote a number of easy listening albums under the name Laura Fontaine.”

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“A ‘55 Chevy takes on a ‘70 GTO in a race...

Wed, 09 Jan 2013 00:30:21 +0100

“A ‘55 Chevy takes on a ‘70 GTO in a race across the Southwest in Monte Hellman’s cult favorite. The Driver (James Taylor) and the Mechanic (Dennis Wilson) phlegmatically slouch from race to race, pitting their gray Chevy against any and all gearheads in order to make money for gas and food. They and the tag-along Girl (Laurie Bird) meet their match in “Oh Maybelline” fan GTO (Warren Oates), and they all set off on a cross-country race to Washington D.C., with the winner getting the loser’s car. But it isn’t the end that really counts; it is the process of getting there, as the Girl’s fickleness forces the Driver to decide what matters more: endless races or her. Shot on location from a spare script by Rudolph Wurlitzer and Will Corry, Two-Lane Blacktop was trumpeted as the “film of the year” in Esquire magazine before its release. It bombed, and disputes over music rights kept it from home video until 1999, but repertory and TV screenings have gained it an avid following for its automotive detail, flashes of authentic idiosyncrasy, and artfully abstract examination of the urge to forge ahead, whether or not there is anywhere to go.”

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“Although they released only five EPs in their first ten...

Sat, 22 Dec 2012 00:36:04 +0100

“Although they released only five EPs in their first ten years recording together, controversial Detroit techno duo Drexciya became one of the most celebrated and influential names in American experimental techno. One of the few groups to use techno as a political tool in effecting criticism of racial inequity and inner-city recovery, Drexciya brought a wider social and aesthetic agenda to a style in which allegiance to the beat is typically the only prerequisite. Closely associated with the “Mad” Mike Banks label group Underground Resistance and operating in the classically covert tradition of “faceless” techno (the pair’s identities remain a mystery), the group’s reputation at the bleeding edge of Detroit-school experimentation is pretty much universal, with everyone from Jeff Mills to Mike Paradinas getting in namechecks. Despite their steadfastly underground attitude, Drex’s records have found release through such internationally renowned labels as Warp and Rephlex. Offering an often relentless fusion of early electro and techno with elements of acid and industrial music, Drexciya’s fast-beat backbone and tough-as-nails rhythmic bite are among the most austere and uncompromised in contemporary techno. Reportedly, the group record their material live, which gives much of their music (particularly their Shockwave and Underground Resistance releases) a vital, immediate feel. Much of their UR output was collected on 1997’s The Quest, and a full-length (Neptune’s Lair) followed on Tresor in 1999. Continuing with their underwater gimmick, the heavy-handed concept album Harnessed the Storm became the first in a series of “storm” records to come from the group. Releasing three more under different names (Transllusion’s Opening of the Cerebral Gate, Shifted Phases’ The Cosmic Memoirs of the Late Great Rupert J. Rosinthorpe, and the Other People Place’s Lifestyles of the Laptop Cafe), the group left a massive collection of music for their fans by the end of 2002.”

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“The singular style of Matthew Herbert initially took...

Tue, 04 Dec 2012 18:42:00 +0100

“The singular style of Matthew Herbert initially took shape during the late ’90s, when he recorded under a variety of guises to much cult adoration, and before long became one of the most recognizable name-brand producers in the dance music field, well known for his ability to transform everyday sounds into quirky rhythmic material. His affiliation with music began at the young age of four, when he began learning the violin and piano. By age seven he was playing in orchestras, and at the age of 16 he began touring Europe with various orchestras. With his father being a sound engineer for the BBC, Herbert simultaneously became engaged with the relationship between electronics and music, furthered by a teacher he met at school, Pete Stollery, who moonlighted as an electro-acoustic composer in his free time. Later, as a drama student at Exeter University, Herbert became infatuated with performance and how it relates to music. Around this time, in January 1995, he first began sampling his immediate environment and using these sounds in his musical compositions, a tendency often associated with Aphex Twin-esque IDM producers. A year later, he saw three of his records get released: the first Wishmountain record, Radio, on Universal Language Productions; the first Doctor Rockit record, Ready to Rockit, on Clear; and the first Herbert record, Part 1, on Phono. He then released a long run of EPs along with several LPs: Parts 1, 2 & 3, 100 Lbs., and Around the House as Herbert, and The Music of Sound and Indoor Fireworks as Doctor Rockit. In addition to his sample-based house as Herbert, his updated electro as Doctor Rockit, and his experimental techno as Wishmountain, he also recorded as Radio Boy and runs the Life label. He later moved toward pop music, producing dance-pop albums for Dani Siciliano and Roisin Murphy.”

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Tue, 04 Dec 2012 18:34:41 +0100

“After an airplane is forced to crash-land in a remote...

Thu, 29 Nov 2012 22:22:00 +0100

“After an airplane is forced to crash-land in a remote area, its passengers find themselves face-to-face with an alien force that wants to possess them body and soul—and perhaps take over the entire human race. Filled with creatively repulsive effects—including a very invasive bloblike life-form—Hajime Sato’s Goke, Body Snatcher from Hell is a pulpy, apocalyptic gross-out.”

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“Vityk is a Ukrainian producer who makes raw deep house...

Thu, 22 Nov 2012 14:01:38 +0100

“Vityk is a Ukrainian producer who makes raw deep house with an experimental edge—as Jordan Rothlein once put it, most of his records are characterized by “a penchant for throwing a wrench in our definition of ‘dance floor appropriate.’”“

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“Italian native Nicholas Iammatteo, at his young age of...

Thu, 25 Oct 2012 13:30:39 +0200

“Italian native Nicholas Iammatteo, at his young age of 25, has an impressive and extensive sense for deeper dance music. What’s even more impressive is the consistency of his releases and his range. He has releases on many labels including Undertones, Kolour Limited, Ourvision, House is the Cure, Small World Disco Edits, Dikso, & Kojak. Has done remixes for Andy Ash and also Mario Basonov on the super fun label Needwant. His greater accomplishment, which has gained the respect of many enthusiasts, is his vinyl only label “No More Hits”. His emphasis is on content not technology.

Diva samples, commanding soul and warm inviting synthesizers breath heavily in his tracks. His work gives the basic tools he uses room to move and play. His track construction gives life to the forgotten energy that classic underground dance music utilized. Looking into Nicholas’ inspiration isn’t as easy as explaining the sequence of events of a producer or DJ who has been a pioneer to the core that is Chicago, Detroit, and N.Y. Underground sounds. The departure into music for Nicholas occurred at the Red Zone Club in Perugia, Italy. This is where Nicholas took his lessons. He credits that club as the catalyst for him becoming aware.

His top influence of all time is the Chicago label that Chez and Trent released scores of records on, Prescription, parent label to many influential labels and distributed by the power house Cajual. More influences in the house vein include Romanthony, Moodymann (listen to Nicholas’ “Many Shade of the Blues” released on Undertones and see for yourself), Pal Joey & Kerri Chandler. Soul/funk/disco influences include the likes of Patrick Adams and Leroy Burgess, along with influences from the sounds of Motown Records.”

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“Producers/remixers James Ford and James Shaw formed...

Sun, 21 Oct 2012 23:26:45 +0200

“Producers/remixers James Ford and James Shaw formed Simian Mobile Disco in 2005, following their departure from the experimental electronic rock band Simian. The two had originally formed Simian with singer Simon Lord and Alex MacNaughton in the late ’90s. Not content with their roles in the band and wishing to indulge their longtime interest in electronic dance music, the two latched onto DJ gigs while touring with the band. Eventually, the duo split from Simian and dubbed themselves Simian Mobile Disco. Looking to prevent their own electronic dance tracks from sounding too polished and programmed, SMD exclusively used analog equipment. The result was Attack Decay Sustain Release, which appeared in June 2007 through the Wichita label. Meanwhile, Ford also devoted some time to several production gigs, which saw him helming music for the likes of Mystery Jets, Klaxons, and the Arctic Monkeys. Simian Mobile Disco toured sporadically throughout 2007 and began working on a new album the following year. A remix album, Sample and Hold, was released in 2008 to placate their audience. The proper sophomore album, Temporary Pleasure, appeared in 2009, featuring vocal collaborations from the likes of Super Furry Animals’ Gruff Rhys, the Gossip’s Beth Ditto, and Jamie Lidell. The following year, SMD put together the first volume in a series of mix albums for the New York club night Fixed, and at the end of the year, issued a very club-centric studio album, Delicacies. Their third studio album, Unpatterns, followed in early 2012.”

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“Cyril Etienne des Rosaies has been a part of the Parisian...

Sun, 21 Oct 2012 20:32:00 +0200

“Cyril Etienne des Rosaies has been a part of the Parisian house and techno scene for almost two decades. He got his initial break in the first half of the ’90s playing for Laurent Garnier at his Oz, Zoo and Wake Up parties, while schooling himself in the art of Detroit techno and NYC and Chicago house in local record stores. His first efforts in music production hit shelves in 1997 (as The Deep alongside Julien Jabre), and although the name DJ Deep has since been more readily associated with the excellent City to City mix CDs, Etienne des Rosaies has proffered a stream of music through labels like BBE, Distance and his own Deeply Rooted House. With regards to the latter, DRH was set up in 2004 alongside the now defunct House Music Records reissue label. Artists like Kerri Chandler, Franck Roger and Manoo formed the backbone of those early days; more recently it’s been techno talent like Ben Klock, Mike Dehnert and Marcelus drawing a crowd.”

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“Victor Simonelli is New York house royalty. Born and...

Sun, 21 Oct 2012 20:27:00 +0200

“Victor Simonelli is New York house royalty. Born and musically-schooled in Brooklyn, Simonelli grew up in an era where disco was giving way to the new sound of house, and that dramatic intersection is where his heart and many of his great productions lie. A New York radio fanatic from an early age, he discovered dance music via his boombox dial before ever setting foot in a club. He became an intern at Arthur Baker’s Shakedown Studios, and first made his name as a producer in the dying days of Nu Groove with Groove Committee’s I Want You To Know in 1991. But it was the release of Feel So Right by Solution, an international smash, that guaranteed an excess of airmiles DJing in Japan, Europe and beyond. Although it was as a house producer that Simonelli forged a reputation, his influences came more from the New Jersey sound detonated by Tony Humphries at Zanzibar whose bullets were supplied by Blaze, Smack and Paul Simpson. Victor was intimately involved in the formation of Northcott’s Sub-Urban Records, for whom he recorded countless classics (usually in collaboration with Tommy Musto) before starting his own stable of imprints, including Bassline and Big Big Trax. More recently, he started his Stellar and West Side labels, mixing his own productions with work by other producers.”

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“One of the most popular Chicago house producers during...

Sun, 21 Oct 2012 20:22:31 +0200

“One of the most popular Chicago house producers during the late ’80s thanks to his massive club hit “French Kiss,” Lil’ Louis was also the only Chicago producer to successfully deal with the major labels; he released two albums for Epic, and only left the label at his own instigation. Born in Chicago, Louis was the son of guitarist Bobby Sims, who recorded for Chess and appeared with the psychedelic-soul unit Rotary Connection. He grew up with nine siblings and played both drums and bass as a child, then began DJing in the mid-’70s (he earned his nickname after appearances at the club River’s Edge while still in middle school). By the end of the decade he had his own club, the Future, where he began working on his editing techniques, thanks to a cassette deck and later a reel-to-reel recorder.

By the ’80s, Lil’ Louis was hosting the biggest house parties in Chicago, and he began recording his productions around that time as well. His first single, “How I Feel,” appeared on his own label, and he began collaborating with Marshall Jefferson on several tracks — “Seven Ways to Jack” by Hercules, Byron Stingily’s “I Can’t Stay Awake.” In 1987, his new single “French Kiss” became a local hit, then a platinum-selling international classic after being licensed to CBS and ffrr. The success triggered a major-label contract through Epic, and the release of his debut album, From the Mind of Lil’ Louis, in 1989. Charting a course across jazz-fusion and R&B as well as house, the LP was one of the best produced by any of the Chicago figures, and included session contributions from Larry Heard, Die Warzau, and his own father on drums. From the album, the moody single “I Called U” became another club hit. His follow-up LP, the more stylistically unified Journey with the Lonely, didn’t fare as well and Lil’ Louis retired from recording for over four years, preferring instead to set up his own studio in New York and work on production with Babyface and Me’Shell NdegeOcello. He returned by collaborating with “Little” Louie Vega of Masters at Work and also worked on production for Black Magic.”

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“A New York DJ vet with an endless list of credentials,...

Sun, 21 Oct 2012 20:20:50 +0200

“A New York DJ vet with an endless list of credentials, Danny Krivit has been involved in his city’s dance/club scene since childhood, and has had a profound impact upon it. Only Frankie Knuckles and François Kevorkian have been inside the dance community as long as he has. In addition to all but defining the term “veteran DJ,” Krivit has amassed an endless succession of re-edits that have extended the lives of many songs on dance floors.

Krivit has been surrounded by music since birth. In his youth, he worked at his father’s laid-back Greenwich Village hideout, where Charles Mingus, John Lennon, and Jimi Hendrix were some of the big figures who stopped by. Krivit’s father was a heavy hitter in the music industry. He managed Chet Baker for a period, and introduced his son to several heroes, including James Brown. Krivit’s short time spent learning the guitar — spurred by his friend, Nile Rodgers — proved unfruitful, but he eventually realized by the time he hit his teenage years that he preferred music that provoked dancing. So he decided to take up DJ’ing.

His first gigs were at a disco called the Ninth Circle. Though a shoddy set-up at the venue hamstrung him into mixing with two cassette decks, his performances went over well. His Dad opened a second place, Ones, and enlisted the services of his son as the resident jock. This upped the DJ’s profile even more and led to an extended stint at Trude Heller’s during the latter third of the ’70s. Other residencies and appearances at places like the Roxy, Laces, the Ice Palace, the Paradise Garage, Traxx and Danceteria followed. Krivit was a close friend of the Paradise Garage’s Larry Levan; they were so tight that Levan once worked the sound for him at an anniversary party for the incredibly influential club.

Krivit is still going strong after thirty years. He teamed up with François Kevorkian and Joe Claussell to start Body & SOUL, a regular Sunday night event that became an extremely beloved, diverse, and low-key phenomenon for New York City clubbers. And in 2001, the Strut label issued Grass Roots, an excellent two-disc mix from Krivit that paid respect to the DJ’s funky disco leanings.”

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“One of the most gifted and focused production teams in...

Sun, 21 Oct 2012 20:16:05 +0200

“One of the most gifted and focused production teams in the New York house underground, John “Roc” Mateo and Eddie “E-Z” Matos were both educated in the warm vibe of disco first-hand by listening to classic DJs on New York radio during the late ’70s. Mateo & Matos have proven time and again they’ve got musical spirits like few others in the house scene. In the summer of ‘85 (believe it or not) John Mateo was spinning whole sets over the airwaves of his CB radio. It was through this self-produced show that Eddie Matos first made contact with John Mateo. They became friends quickly and partners soon after.

Eddie Matos grew up in the lower east side of Manhattan. He is of Puerto Rican descent. His interests in music and deejaying came in the late 70’s and early 80’s. His deejaying influences were Jonathan Fearing, Ted Currier, Shep Pettibone, Tee Scott and Tony Humphries. He was exposed to these DJ’s by listening to New York radio stations such as Disco 92, WKTU, WBLS and KISS FM. In 1985 he met John Mateo who had similar music interests. They teamed up and later would be known as Mateo & Matos. That same year he also met “Little” Louie Vega who played at a club called Heartthrob, formerly the Funhouse (N.Y.C.).

Louie Vega was a big inspiration, he would invite Eddie Matos to studio and editing sessions where he learned about recording, producing and engineering. In 1986 he ventured to David Mancuso’s spot, The Loft. In that same year he also was lucky enough to meet the legendary Larry Levan. Listening to these two icons introduced him to the Garage and Loft sounds. From 1986 through 1989, he was heavily into deejaying, from playing in street summer jams to indoor winter jams. Late in 1989 he got into producing and has been producing ever since.

They have been inspired by listening to Tony Humphries, Shep Pettibone, Jonathan Fearing From ‘86 through ‘89, Mateo & Matos performed at a staggering number of club festivals and old school block parties in the tri-state area of New York. In late 89 they started producing and have released numerous E.P.s and singles from then until now on many record labels throughout the world. They’ve since torn up dance floors spinning in over thirty countries. You can find their unique New York soulful sound in dozens of original productions and remixes on record labels such as Henry Street, NiteGrooves, King Street, Defected, Nervous, Large, Manuscript records Ukraine and Glasgow Underground. If spirituality and soul in house music is what you seek, Mateo & Matos provide it. They’re one of club-land’s most enduring and well-known house DJ and production partnerships.

They’ve since brought their work to deejay appearances in over 30 countries and dozens of original productions and remixes on record labels such as King Street Records, Defected Records, and Large Records

Mateo & Matos Frankie Knuckles quoted as “a brilliant collection of insatiable grooves”.”

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“Although best known for his mid-’80s instrumental...

Sat, 20 Oct 2012 15:57:27 +0200

“Although best known for his mid-’80s instrumental smash “Axel F.,” Harold Faltermeyer was also a notable producer and session player. His career began with work as an arranger on Giorgio Moroder’s soundtrack to the 1978 film Midnight Express, the first in a long series of film-related projects; from there, Faltermeyer moved on to play synthesizer on Donna Summer’s 1979 classic Bad Girls before reuniting with Moroder to co-produce Sparks’ Terminal Jive. His breakthrough came in 1984 when he worked on the smash feature comedy Beverly Hills Cop; Faltermeyer’s instrumental theme “Axel F.” became an unexpected pop hit, and he was soon contracted to work on movies including the 1986 blockbusters Top Gun and The Running Man. In 1990, he also co-produced the Pet Shop Boys’ Behavior album, but as the decade progressed — and his signature synth pop sound fell out of commercial favor — Faltermeyer’s profile began to diminish. He then primarily involved himself in composing German film scores and in other productions from his studio in Munich, until deciding to return to Hollywood film scoring near the end of the 2000s. Faltermeyer reappeared on the Hollywood scene when chosen by director Kevin Smith to compose the soundtrack to the Bruce Willis action comedy Cop Out, released in February 2010.”

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“Philippe Zdar and Etienne De Crecy are the names behind...

Tue, 16 Oct 2012 14:00:00 +0200

“Philippe Zdar and Etienne De Crecy are the names behind Parisian disco house duo Motorbass, whose romping ’70s updates released on the Cassius and Source labels have been instrumental in reviving the Parisian underground dance music scene and bringing to it international attention. Although, like similar hype targets Daft Punk, Motorbass have scarcely more than a few singles and an album to their name, their mature, confident fusion of hip-hop and funk with the party vibe of disco and the driving soul of house has made their name almost synonymous with innovative club music. Formed by Zdar and Crecy in 1994, the group’s first releases, “Motorbass” and “Transfunk,” followed their work behind the boards on noted French artist MC Solaar’s first two albums. Zdar grew up in the south of France (his primary musical focus growing up was as the drummer in a speed metal band), and moved to Paris after discovering jazz in his late teens. Immersing himself in music production, Zdar met Crecy early on and the pair’s gradual exposure to Paris’ acid-house underground added Chicago and New York influences such as Marshall Jefferson and Giorgio Moroder to the mix. Pansoul, the group’s 1996 debut, was praised upon its release as an almost instant classic, and played a catalytic role in bringing attention to the Paris underground in 1996 — attention which has since brought groups such as Dimitri, Daft Punk, and Air (whose self-titled EP on Source was reissued by trip-hop stronghold Mo’Wax that same year) to wider recognition. In addition to Motorbass, Philippe Zdar is also the main force behind Mo’Wax dance-funk group La Funk Mob, who’ve released a pair of singles and a mini-album through the label.”

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“When Luis Enrique Bacalov received an Academy Award for...

Mon, 15 Oct 2012 14:22:02 +0200

“When Luis Enrique Bacalov received an Academy Award for his musical score for the film The Postman in 1995, it marked one of the few times that he’s been recognized in the United States. In Europe, however, Bacalov has long been known as a leading film composer, having written and arranged many scores for Italian films. Bacalov’s career has been going strong since moving to Rome in the late ’50s. During his first year in the city, he played piano for a film score composed by Chico Marselli. The song, “La Ragazza con la Viglia,” became a pop hit in Italy and RCA hired him to arrange pop tunes. Bacalov subsequently composed and arranged material for such Italian pop singers as Gianni Morandi, Sergio Endrigo, and Rita Pavone. Bacalov became more involved with film scoring in 1958 when he worked as an assistant to film composer Ennio Morricone. Although he composed scores for dramatic films Il Vangelo Secondo Matteo, La Noia, and Extraconiugale in 1964, Bacalov made his greatest mark with his scores for spaghetti westerns, including Sugar Colt in 1966 and Lo Chiamvano Mezzogiorno in 1972. Bacalov first attracted international acclaim for his scoring of the Fellini film La Citta Della Donne in 1967.”

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“Thomas Melchior & Baby Ford: the duo founded this...

Sat, 13 Oct 2012 13:18:15 +0200

“Thomas Melchior & Baby Ford: the duo founded this project back in 1999. The results were released through Trelik and Aspect Music. Besides that, you’ll find remixes for Music for Freaks, Ricardo Villalobos, Swag, Sven Väth, and Pantytec. The first appearance on Perlon was the contribution of the song ‘International Party People’ for the label’s 4th part of the Superlongevity compilation in 2006.”

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