Vincent Bell - Nikki (1970)

Meco - Pop Goes The Movies (1982)

Meco (real name Domenico Monardo, born 29 November 1939) is an American record producer and musician, as well as the name of a band or production team based around him. Meco is best known for his 1977 disco (Space Disco) version of the Star Wars theme from his album Star Wars and Other Galactic Funk; both the single and album were certified platinum in the U.S.

Albums Star Wars and Other Galactic Funk (1977)
Encounters Of Every Kind (1977)
Meco Plays The Wizard of Oz (1978)
Superman & Other Galactic Heroes (1978)
Moondancer (1979)
Meco Plays Music from The Empire Strikes Back (10" EP – 1980)
Christmas In The Stars: Star Wars Christmas Album (1980)
Music From Star Trek and Music From The Black Hole (1980)
Across The Galaxy (1980)
The American Werewolf In London (1981)
Pop Goes The Movies (1982)
Swingtime's Greatest Hits (1982)
Ewok Celebration (1983)
Hooked on Instrumentals (1985)
The Best of Meco (1997)
The Complete Star Wars Collection (2000)
Star Wars Party (2005) (This release is only sold on the Internet, a retail release with identical musical content was released as Music Inspired By Star Wars)

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Meco - Pop Goes The Movies (1982)

In brazilian tupiniquim

Em 1982, numa viagem que fiz a São Paulo, uma das maiores cidades da América Latina, uma tia me perguntou se eu queria algum presente. Isso foi durante uma visita ao Shopping Center Eldorado. Na época, não existiam os eletrônicos como o tablets, celulares e mp4 de atualmente. Comemorávamos a existência da fita k-7 com a qual podíamos copiar os LPs e ouví-los nos carros ou nos aparelhos 3x1, até porque o LP era caro. Aquela pergunta me soou como um grande presente, pois estava numa loja de discos.
Em 1982, havia uma tendência pós era-discotheque chamada de "non-stop music". Stars on 45 cantavam os Beatles e recheavam a programação das emissoras de TV. Maco Monardo era um nome até então desconhecido no Brasil, mas que virou hit com o lado 1 do LP MECO POP GOES THE MOVIES, 17 minutos de música instrumental com o melhor das trilhas sonoras do cinema como o tema de abertura de 20th Century Fox, "E o Vento Levou...", "Mash", "Love is a Many Splendored Thing" e tantas outras.
Uma orquestra popular distante do easy listening apresentando algo que virou febre numa época em que orquestras ainda eram executadas tanto nas rádios AM como FM. Música de primeira qualidade com uma orquestra não tão famosa, mas que tinha homônicos nos baixos como Al Hitchcock e Steve Spielberg.
Você se lembra ? Já ouviu ? Então ... calma ... EM BREVE !!!

In english by the Google Tradutor (hmpf !!!)

In 1982, a trip I made to St. Paul, one of the largest cities in Latin America, an aunt asked me if I wanted a gift. This was during a visit to the Eldorado Shopping Center. At the time, were not available as electronic tablets, mobile phones and mp4 now. Commemorated the existence of the tape k-7 with which we could copy the records and hear them in cars or appliances 3x1, because the LP was expensive. That question sounded like a great gift because it was a record store.
In 1982, there was a trend post-discotheque called "non-stop music. " Stars on 45 Beatles sang and filled the lineup of TV stations. Maco Monardo was a name hitherto unknown in Brazil, but which became a hit with the side of an LP MECO POP GOES THE MOVIES, 17 minutes of instrumental music with the best of movie soundtracks like the opening theme of 20th Century Fox, "Gone With the Wind ..."," Mash ","Love is a Many Splendored Thing "and many others.
An orchestra of easy listening popular away with something that turned foot at a time when orchestras were still performed in both FM and AM radio. First quality music with an orchestra not so famous but had the same name as the low Al Hitchcock and Steven Spielberg.
Do you remember? Have you heard? So ... quiet ... COMING SOON!

George Shearing, ‘Lullaby of Birdland’ Jazz Virtuoso, Dies at 91

George Shearing, the British piano virtuoso who overcame blindness to become a worldwide jazz star, and whose composition “Lullaby of Birdland” became an enduring jazz standard, died on Monday in Manhattan. He was 91.
The cause was congestive heart failure, said his manager, Dale Sheets. Mr. Shearing had homes in Manhattan and Lee, Mass.
In 1949, just two years after Mr. Shearing immigrated to the United States, his recording of “September in the Rain” became an international hit. Its success established him as a hot property on the jazz nightclub and concert circuit. It established something else as well: the signature sound of the George Shearing Quintet, which was not quite like anything listeners had heard before — or have heard since.
“When the quintet came out on 1949, it was a very placid and peaceful sound, coming on the end of a very frantic and frenetic era known as bebop,” Mr. Shearing said in a 1995 interview on the Web site newyorkcritic.org. What he was aiming for, he said, was “a full block sound, which, if it was scored for saxophones, would sound like the Glenn Miller sound. And coming at the end of the frenetic bebop era, the timing seemed to be right.”
The Shearing sound — which had the harmonic complexity of bebop but eschewed bebop’s ferocious energy — was built on the unusual instrumentation of vibraphone, guitar, piano, bass and drums. To get the “full block sound” he wanted, he had the vibraphone double what his right hand played and the guitar double the left. That sound came to represent the essence of sophisticated hip for countless listeners worldwide who preferred their jazz on the gentle side.
The personnel of the Shearing quintet changed many times over the years, but except for the addition of a percussionist in 1953 — the band continued to be called a quintet even after it became a sextet — the instrumentation and the sound remained the same for almost three decades.
When Mr. Shearing disbanded the group in 1978, it was less because listeners had grown tired of that instrumentation and sound (although the group’s popularity, like that of mainstream jazz in general, had declined considerably) than because Mr. Shearing himself had.
“I had an identity. I held on to it for 29 years. Eventually I held on like grim death,” he told John S. Wilson of The New York Times in 1986. “The last five years I played on automatic pilot. I could do the whole show in my sleep.”
Shortly after breaking up the group, Mr. Shearing said, “There won’t be another quintet unless Standard Oil or Frank Sinatra want it.” Standard Oil never asked, but in 1981 Mr. Shearing reassembled the quintet for a Boston engagement and a series of Carnegie Hall concerts as Mr. Sinatra’s opening act. He returned to the quintet format on occasion after that, but it was never again his primary focus.
His preferred format became the piano-bass duo, originally with Brian Torff and later with Don Thompson and Neil Swainson. He also performed with bass and drums and, on occasion, unaccompanied. In the 1980s and ’90s he had great success in concert and on record with the singer Mel Tormé.
By his own estimate Mr. Shearing wrote about 300 tunes, of which he liked to joke that roughly 295 were completely unknown.
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Dan Elliot

Zounds! What Sounds! is an album by Dean Elliott, released as an LP in 1962. The album was credited on the front cover to "Dean Elliott and His Swinging Big, Big Band" and on the LP label to "Dean Elliott and His Orchestra".[1] The album was made with the assistance of Phil Kaye, a sound effects virtuoso who worked with Elliott on the Tom and Jerry cartoons.
The subtitle that appeared on the front cover of the LP (which also featured three young women striking arguably sultry poses with saxophones and congas atop a cement truck) captured the basic goals, sound, and feel of the album quite well:
A Sonic Spectacular Presenting MUSIC! MUSIC! MUSIC! With these special Percussion Effects! Cement Mixer, Air Compressor, Punching Bag, Hand Saw, Thunderstorm, Raindrops, Celery Stalks (the crunchiest), 1001 Clocks, Bowling Pins and Many Many More!! Hear here

The LP is now firmly ensconced in the pantheon of "space age pop" or lounge classics, having been cited in RE/Search #14: Incredibly Strange Music (1993) which played a large part in the lounge revival of the 1990s. A track from the album ("Will You Still Be Mine") was later anthologized on one of Rhino Records' influential Cocktail Mix CDs. As the space age pop/lounge revival grew in popularity, two more tracks from the album ("You're the Top" and "The Lonesome Road") were anthologized on one of the many volumes of Capitol Records' Ultra-Lounge series.

The album was out of print for many years and was not available on CD until recently. A bootleg version is available as a single disc that combines Zounds! What Sounds! with Jack Fascinato's Music From A Surplus Store, an orchestra cum sound effects album of similar vintage and flavor.

Eclectic Dutch label Basta Music, known for their reissues of Raymond Scott material, have recently released what they describe as an official, legitimate CD release of Zounds! transferred directly from the Capitol master tapes.

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Otto Cesana history

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