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Jacques Brel – Les Marquises (With Bonus Tracks)

https://i2.wp.com/www.egzakt.com/documents/image/coups-coeur/hd/brel-1.jpg

Jacques Brel – Les Marquises (With Bonus Tracks)
French | MP3 @320 kbps | Covers | Time: 48:19 | 91 MB
Remastered 2004 this edition includes 5 Bonus Tracks

In 1973, after he stopped his acting career, Jacques Brel decides to travel around the world. On his boat, the Askoy II, he sails the tropical seas. But he knows his fate his sealed … he has lung cancer.

In 1976, his doctors tell him that he cannot be cured. He then moved to the Marquesas where he writes the songs composing this album.

The album is released on November 17th of 1977. One million copies have been pre-ordered.

This testimonial album includes some of his best songs : Jaurès, an homage to the socialist politician murdered just before World War I; Knokke-Le Zoute Tango where he openly sings about sex and prostitution in Amsterdam – his descriptions of these women had never been that precise before; Les F… a song defending french speaking culture in Belgium and mocking Flemish speaking people (he is Flemish himself) on a slightly disco music which differentiates it from the other tracks of this album.

Five of the songs here are from the musical Vilebrequin : Voir un ami pleurer, Vieillir, Les remparts de Varsovie, Le bon dieu and Knokke-Le-Zoute Tango. These great songs alone make this album a must hear.

Voir un ami pleurer and Vieillir are very melancholic which makes sense considering Brel knew he was doomed when he wrote it. Les remparts de Varsovie is more upbeat and cheerful though quite masochist. It has to be said that Brel had never hidden the fact that he favoured male friendship over women’s!

The original album ended on Les Marquises, a hymn to his final home where Brel lived a simple and harmonious life awaiting his death.

He died on October 9th of 1978, having left the Marquesas two days before.

He has been buried in the Marquesas in the same cemetery as the French painter Paul Gauguin.

This 2004 remastered edition includes 5 bonus tracks of what might have been Brel’s new album had he lived a little longer…”

https://i0.wp.com/www.jacquesbrel.be/img/cd07.jpg

Si le rock est la musique qui exprime le mieux la révolte et la subversion, le rejet du conformisme, de l’hypocrisie et de la morale bourgeoise, alors Brel (avec Brassens) est notre plus grand chanteur de rock. N’en déplaise à Johnny Halliday – franchement vous imaginez Brel aller chanter pour Bernadette Chirac ?
Cet album est le chant du cygne de Brel. Peut-être son plus beau. La présence de chansons drôlatiques (le lion, Les remparts de Varsovie) n’empêche pas que la tonalité générale de l’album est sombre et hanté par la mort approchant (Vieillir, Jojo, les Marquises). Brel y règle une dernière fois ses comptes avec les Flamands au travers d’un pamphlet particulièrement acerbe et enlevé (ce qui lui vaudra un procès d’associations flamandes) sur une musique de Caetono Veloso. L’album s’ouvre sur Jaurès – une de ses chansons les plus engagées politiquement et socialement, qui est comme un testament et une supplique aux générations futures, se terminant par ses mots “demandez-vous belle jeunesse… pourquoi ont-ils tué Jaurès”. Question toujours brûlante d’actualité pour notre époque si va-t-en guerre et à la misère galopante…
Brel savait sa fin proche en raison du cancer des poumons qui le rongeait. Le disque a été enregistré dans un état d’urgence ; les séances avaient lieu très tôt le matin, car Brel n’était pas en état de chanter après une certaine heure. Pressé par le temps, François Rauber a écrit l’arrangement des Marquises en une nuit, et c’est un de ses plus beaux par sa force d’évocation, son caractère impressionniste et l’alliance parfaite aux mots de Brel. On pourrait mentionner également ‘La ville s’endormait”, chef d’oeuvre de poésie et de musique, avec son arrangement crépusculaire.
Tracklisting

1. Jaures
2. La ville s’endormait
3. Vieillir
4. Le bon dieu
5. Les F…
6. Orly
7. Les remparts de Varsovie
8. Voir un ami pleurer
9. Knoffe-le-zoute tango
10. Jojo
11. Le lion
12. Les marquises

Bonus tracks

13. Sans éxigences
14. Avec élégance
15. Mai 40
16. L’amour est mort
17. La cathédrale

Here be Brel

LINK

Enjoy !

Big thanks to mohet2003



We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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October 12, 2008 Posted by | Belgium, Jacques Brel, Music_Chanson, _MUSIC | 1 Comment

Scott Walker – Scott, Scott 2, Scott 3, Scott 4 (320)

https://i0.wp.com/www.filmbrain.com/photos/uncategorized/scott_walker.jpg

Scott Walker – the seminal ‘Scott’ series

Scott – 1967 – Philips Records
Scott 2 – 1968 – Philips Records
Scott 3 – 1969 – Philips Records
Scott 4 – 1969 – Philips Records

Mp3 / 320

This series of seminal albums by Scott Engel came as a shock at the time.

Imagine one of those retards from Boyzone creating a solo LP like Dylan’s “Desire” … and you’re in the ballpark!

These wonderful albums are a galaxy away from the Walker Brothers!

However, they never sold at the time and it wasn’t until much later that accumulated critical opinion put these great albums back on the map!

These albums a must have for true fans of music!

Truly wonderful!

https://i2.wp.com/www.smh.com.au/ffximage/2006/05/15/walker16506_narrowweb__300x486,0.jpg


Scott Walker shed the Walker Brothers’ mantle and began a solo career in a style clearly glimpsed in Images, the Walkers’ last album. To this he added risqué recordings of Jacques Brel songs, translated by Mort Shuman (who was also responsible for the hit musical Jacques Brel is Alive and Well and Living in Paris). The influence of Brel is important as regards Walker’s songwriting but should not be over-stated. His vocal style remained consistent throughout this period.

Walker’s own original songs of this period were clearly influenced by Brel as he explored European musical roots while expressing his own American experience. He was also reaching a new maturity as a recording artist.

In 1968 Walker threw himself into intense study of contemporary and classical music, which included a sojourn in Quarr Abbey, a monastery on the Isle of Wight, to study Gregorian chant. His own songs gradually course into Lieder and classical musical modes.

https://i0.wp.com/www.smh.com.au/ffximage/2008/01/01/Scott_080101120637322_wideweb__300x375.jpg

Scott Walker’s early solo career was successful in Britain; his first three albums, titled Scott (1967), Scott 2 (1968) and Scott 3 (1969) all sold in large numbers, Scott 2 topping the British charts. There were also early indications that this concentrated attention was not conducive to his emotional well being. He became reclusive and somewhat distanced from his audience. During this time, he combined his earlier teen appeal with a darker, more idiosyncratic approach hinted at in songs like Orpheus on the Images album. Walker drove a fine line between classic ballads, his own compositions and Brel covers, all delivered inimitably.

At the peak of his fame in 1969, he was given his own BBC TV series, Scott, featuring solo Walker performances of ballads, big band standards and introductions of his own and Brel compositions. Footage of the show is currently very rare as recordings were not archived. Walker’s fourth solo album was an LP of songs from the TV series entitled Scott: Scott Walker Sings Songs from his TV Series.

https://i1.wp.com/vslam.com/wp-content/uploads/2006/04/scott.jpg

Walker released his fifth solo LP, Scott 4, in 1969. This was his first to be made up entirely of self-penned material. The ‘standards’ and Brel were gone and the sound was pared down. The album failed to chart and was deleted soon after. It has been speculated that the decision to release the album under the name “Noel Scott Engel” rather than his stage name contributed to its chart failure.

In recent interviews, Walker has suggested that by his third solo LP, a self-indulgent complacency had crept into his choice of material. Starting with ‘Til The Band Comes In (1970), the early 70s saw Walker revert to cover versions of popular film tunes and a serious flirtation with the country and western scene. Walker regards these as his lost years as an artist, though others claim the albums of this time are underrated and in fact contain several near-definitive readings of classic songs. The Moviegoer (1972), Any Day Now (1973), Stretch (1973), and We Had It All (1974) feature no original material whatsoever.

Scott Walker’s early solo career was successful in Britain; his first three albums, titled Scott (1967), Scott 2 (1968) and Scott 3 (1969) all sold in large numbers, Scott 2 topping the British charts.

There were also early indications that this concentrated attention was not conducive to his emotional well being. He became reclusive and somewhat distanced from his audience. During this time, he combined his earlier teen appeal with a darker, more idiosyncratic approach.

Walker drove a fine line between classic ballads, his own compositions and Brel covers, all delivered inimitably.

http://www.ica.org.uk/thumbnail.php?max=408&id=1830

At the peak of his fame in 1969, he had his own British TV series, Scott, featuring solo Walker performances of ballads, big band standards and introductions of his own and Brel’s compositions. In recent interviews he admitted that a self-indulgent complacency crept into his choice of material and his reliance on slow tempos by his third album.

Walker released his fourth solo LP, Scott 4, his first made up entirely of his own material. The ballads and Brel were gone and the sound was pared down. The album failed to chart and was deleted soon after. It has been speculated that the decision to release the album as “Noel Scott Engel” rather than his stage name contributed to its chart failure.

https://i0.wp.com/nymag.com/arts/popmusic/shortlists/musicreview060501_560.jpg

Read all about the great man here: wikipedia/Scott_Engel

Scott Walker performing Mathilde

The Old Man’s Back Again: Scott Walker

from http://www.urbanhonking.com

Ain’t nothin’ like a bonafide legend to inflate a forgotten musician’s historical worth. It’s too often in these cases that it’s an artist’s story, and not their musical legacy, that compels their discography. and there’s hardly a stranger legend than that of Scott Walker.

After several years recording forgotten teen pop songs under his Christian name, Ohio-born Scotty Engel moved out to Hollywood where in 1964 he met aspiring singers John Maus and Gary Leeds. The threesome christened themselves the Walker Brothers for some reason or another, and made the somewhat unprecedented decision to move to the U.K. to try to hit it big. Within a year, they had a number one hit in the England, we’re nearly as big as the Beatles, and became, strangely enough, a part of the British Invasion. A sort of boy band in the traditional sense, the Walkers weren’t really a creative force–rarely playing on their own records, rarely writing their own songs–but with Scott’s comically crooned baritone, the group had half a dozen U.K. hits, though largely ignored in the U.S. They weren’t really much of a rock band, inspired more by passe American crooners than the reckless Brits, but somehow they managed a respectable cult through the mid-sixties.

In 1967, as the Walker Brothers’ stock began to wane, Scott released Scott, his first solo album, to wide critical acclaim and even greater record sales. Weird thing is, Scott is a super dark, morbid, bizarre pop record, filled with covers of his idol, Jaque Brel, like “My Death” and “Amsterdam,” not to mention its ridiculous arrangements, with obscenely over-dramatic strings, horns, and other orchestrations composed merely to support Scott’s deathly croon. Scott, though a little too much to get used all at once, revels itself to be the work of a true eccentricity: that somehow managed to hit #3 on the U.K. charts at the height of the psychedelic era.

For the next three years, Walker continued his solo streak with three more amazing records, Scott 2-4, each release affording him more control than the last. By the time he recorded Scott 4, his first album comprised entirely of originals, Walker had produced three top ten albums (with Scott 2 hitting number one), and gotten more and more obtuse with every release. Scott 4, though widely acknowledged as his greatest work, sold considerably less than his previous solo records. Still, Walker was popular enough for the BBC to give him a short-lived television show, and to remain a very public celebrity, in spite of most of his material reflecting morose subject matter like suicide, prostitution, and, um, Stalin.

Then came the ’70s….between 1970 and 1974, Walker recorded five unsuccessful (both musically and financially) records in a row, scared off by the misfortune of his own songwriting on 4, the records were largely covers, and without the adventuresome morose of his previous output.

in 1975, the Walker Brothers reunited to little fanfare, recording a six minute emo brood called “No Regrets”which, somehow, became yet another inexplicable hit for Walker. Three reunion records followed with little success, despite being celebrated by folks like Eno, Ferry, and Bowie (who famously covered “My Death” in a very Walker-like fashion).

and then Walker simply vanished.

A famed recluse, Walker wasn’t seen in public for nearly twenty years. Releasing a single record in the 80s, 1984’s surprisingly modern Climate of Hunter (an exploration of ambient minimalism), Walker was absent for another 11 years with nary a public appearance.

then it got really weird. In 1995, Walker re-emerged at the age of 52 with a release on Drag City, of all places, called Tilt, which may very well be one of the most alienating pop records ever recorded. Gone is Walker’s rich, full baritone. Gone are the boisterous orchestrations. Gone is any sense of hope whatsoever. In there place are a strained, angry tenor, bloodcurdling sparsity, and the sound of a broken soul. The record, one of the late century’s greatest anomalies, is simply amazing, like a modern day Marble Index. four years later, he recorded the soundtrack to Pola X in much the same vein, and at the beginning of the century, persuaded by Walker-phile Jarvis Cocker to produce Pulp’s most recent record, We Love Life (whose single, “Bad Cover Version,” actually takes a jab at one of Walker’s early records).

The legend of Scott Walker is matched only by his amazingly polarizing discography, so impenetrable, so bizarre, and some how, however briefly, so commercially successful. Scott Walker’s transformation from teen idol to British pop star to bizarro-world Tom Jones to experimental pop senior is a little far fetched, even in the spectrum of the British 60s, but it’s all as true as his title. The Greatest Band of All Time.

Some great Scott pix from Chris Walter here: photofeatures.com/scottwalker

Photo of Scott Walker , reference; 1838a

Scott Walker – the seminal ‘Scott’ series

Scott – 1967 – Philips Records
Scott 2 – 1968 – Philips Records
Scott 3 – 1969 – Philips Records
Scott 4 – 1969 – Philips Records

Scott


1. “Mathilde” – 2:39
2. “Montague Terrace (in blue)” – 3:31
3. “Angelica” – 4:02
4. “The lady came from Baltimore” – 1:59
5. “When Joanna loved me” – 3:08
6. “My death” – 4:57
7. “The big hurt” – 2:26
8. “Such a small love” – 4:55
9. “You’re gonna hear from me” – 2:53
10. “Through a long and sleepless night” – 4:12
11. “Always coming back to you” – 2:41
12. “Amsterdam” – 3:04

Scott 2


1. “Jackie” – 3:23
2. “Best of Both Worlds” – 3:14
3. “Black Sheep Boy” – 2:39
4. “The Amorous Humphrey Plugg” – 4:31
5. “Next” – 2:50
6. “The Girls from the Streets” – 4:11
7. “Plastic Palace People” – 6:06
8. “Wait Until Dark” – 2:59
9. “The Girls and the Dogs” – 3:10
10. “Windows of the World” – 4:25
11. “The Bridge” – 2:50
12. “Come Next Spring” – 3:24

http://rapidshare.com/files/39343619/S2.zip

Scott 3

1. “It’s Raining Today” – 4:01
2. “Copenhagen” – 2:22
3. “Rosemary” – 3:22
4. “Big Louise” – 3:10
5. “We Came Through” – 1:58
6. “Butterfly” – 1:42
7. “Two Ragged Soldiers” – 3:06
8. “30 Century Man” – 1:29
9. “Winter Night” – 1:45
10. “Two Weeks Since You’ve Gone” – 2:48
11. “Sons Of” – 3:44
12. “Funeral Tango” – 2:55
13. “If You Go Away” – 4:56

Scott 4

1. “The Seventh Seal” – 4:57
2. “On Your Own Again” – 1:48
3. “The World’s Strongest Man” – 2:21
4. “Angels Of Ashes” – 4:21
5. “Boy Child” – 3:38
6. “Hero Of The War” – 2:28
7. “The Old Man’s Back Again (Dedicated To The Neo-Stalinist Regime)” – 3:43
8. “Duchess” – 2:50
9. “Get Behind Me” – 3:14
10. “Rhymes Of Goodbye” – 3:04

Big thanks to cosmos65 and spacedsaviour.blogspot.com



We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

October 12, 2008 Posted by | Jacques Brel, Music_Alternative, Scott Walker, _MUSIC | 1 Comment

David Bowie: Sorrow / Amsterdam – 7" Single (1973)

David Bowie: Sorrow /Amsterdam – 7″ single
Mp3 @ @224
Released October 1973
A-side: “Sorrow” (Bob Feldman, Jerry Goldstein, Richard Gottehrer)
B-side: “Amsterdam” (Brel, Shuman)

Genre: Rock / Length 2:53 / Label RCA
Producer: Ken Scott, David Bowie
With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow
This was a 7″ Bowie single from 1973 and has kindly been ripped from vinyl @224 by sunbathinglizard.

Pin Ups cover
“Sorrow” comes from Bowie’s Pin-Ups LP, his album of cover versions from 1973.

The song “Sorrow” was written by Bob Feldman, Jerry Goldstein, and Richard Gottehrer.

It was first recorded by The McCoys and became a big hit in the United Kingdom in a version by The Merseys in 1966.

The song contains the lyric “with your long blonde hair and your eyes of blue”, which is also referenced in the The Beatles‘ track “It’s All Too Much” from Yellow Submarine.

With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow
Sorrow
You acted funny trying to spend my money
You’re out there playing your high class games of sorrow
Sorrow

You never do what you know you oughta
Something tells me you’re a Devil’s daughter
Sorrow, sorrow
Ahhhh, ah, ahhhh

I tried to find her
‘Cause I can’t resist her (I tried to find her)
I never knew just how much I missed her
Sorrow
Sorrow

With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow
Sorrow
Oh-oh-oh-oh

With your long blonde hair
I couldn’t sleep last night
With your long blonde hair

Bowie’s remake of “Sorrow” was the only single released in the UK from the Pin Ups covers project, reaching UK #3 and staying in the charts for 15 weeks.

“Sorrow” and “Amsterdam”were recorded at Château d’Hérouville, Pontoise, France in July 1973.

https://i2.wp.com/upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Jacquesbrel.jpg/150px-Jacquesbrel.jpgThe B-side, “Amsterdam”, was a cover of the wonderful Belgian songwriter Jacques Brel’s song, originally called “Port of Amsterdam”, which had been performed live by Bowie since 1969.

Bowie actually first recorded “Amsterdam” in 1971 for the Ziggy Stardust album but the track was dropped from the final release. It was included here as it was considered to fit well with “Sorrow”.

Actually, in France, “Amsterdam” was billed as the A-side of the single!

Another geography based curiosity regarding this single was the fact that the Spanish release had “Lady Grinning Soul” as the B-side! Guess they don’t like Belgians in Spanishland!

https://i2.wp.com/upload.wikimedia.org/wikipedia/en/3/3b/Bowie_Sorrow.jpg

“Sorrow” wold also later appear on the following compilations:

* Chameleon (Australia/New Zealand 1979)
* Best of Bowie (1980)
* Sound and Vision box set (1989)
* The Singles Collection (1993)
* The Best of 1969/1974 (1997)
* Best of Bowie (2002)

Tracklisting

1. “Sorrow” (Bob Feldman, Jerry Goldstein, Richard Gottehrer) – 2:53
2. “Amsterdam” (Jacques Brel, Mort Shuman) – 2:39

Credits

* Producer: David Bowie

* Musicians:

David Bowie: Vocals, Guitar
Mick Ronson: Guitar on “Sorrow”
Trevor Bolder: Bass on “Sorrow”
Mike Garson: Piano on “Sorrow”
Aynsley Dunbar: Drums on “Sorrow”

Here be sorrow

NEW LINK 18 AUGUST 2008
David_Bowie_-_Sorrow__single_.rar

Big thanks to sunbathinglizard

Mail us: stupidand@gmail.com

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August 8, 2008 Posted by | David Bowie, Jacques Brel, Music_ClassicRock, _MUSIC, _POETRY | 3 Comments