This song is simply unreal. It starts out in a kind of 4/4 samba groove with a highly prominent cuica and a funky strummed acoustic guitar chord progression before the super-catchy pizzicato-violins riff comes in, and Abilio's mellow voice singing the melody. It's sunshiney and catchy, with a bit of a haunting aftertaste, very Brazilian. I can never hear this song enough times!! Abilio Manoel is a Sao Paulo-based singer-songwriter from the late-60s-70s (still active) who wrote a few moderate hits without attaining even a Marcos Valle level of popularity. Good for Marcos, since Abilio's work would have caused me a few sleepless nights if I were him. And both on the same label, too! Abilio's stuff is hard to find, but very worth the effort.....I've already given Dusty Groove the heads-up about the CD....

I heard it for the first time in mid 60's.
For me, it sounds like a rock and roll performed by
a great orchestra, with a very beautiful melody.
The violins carry the main theme, backed with exciting drums who gives the "rockanrollesque" sound.
I think this version is much better than the original, performed by his author the french singer Christophe.
In the instrumental pop style I prefer Mauriat, Pourcel or Lefevre's orchestras than Caravelli's, but this version is excellent and I can't find it mistakes.

Bid band with violins, wind instruments (? i mean saxofons or trumpets), Curtis on guitar and everything with good arrangements.

I just try NOT to spoil this one of a kind artist with my bad english. Songs in this album pour essence from racial discrimination, political and drug problems. I think this was one of those songs that made black men to organize and to gain self-respect to reclaim their human rights.

I like the thing that you really can feel that Curtis has something on his mind, something important to tell about, not just telling how to make love and have good time. This places this song above others.

People are fucked and politicians say: "don't worry" - and still there is hope. Let's hope so.

The perfect slice of disco...everything is right, the wild bassline, pounding beat, streaking violins and the re-requisit amount of donna 'ahh's' and 'ohhs'....what more can you ask you!

From the Italian western of the same name. I haven't seen the film, but it seems to be a comedy starring Thomas Milian and in the mode of the popular Trinity films. This track is kind of a light-hearted square dance with typically brilliant instrumenation by Morricone -- bells, banjo, organ, chorus, acoustic guitar, drums and violins. This makes a nice companion to the "Wanted Dead Or Alive" track I recommended earlier. Lots of fun.

Symphonic metal. The violins in the background are just great, and the lyrics is (if it can be) even better that the voice of the lead singer.

The consistent high quality of the ever expanding oeuvre of Fay Lovsky doesn't make it easy to pick one song to examplify her work, so I'll just go by the moment and will choose my present favorite Sequoia, a humorous ode to a wooden californian characterised by a laid back bluesy pizzicato groove and tremelo glissandi especially towards the end, where they tickle the tree to a dramatic finale. All instruments on this track are acoustic (drums, bass, guitar, violins) and the sound is warm and direct as usual.

A very lengthy, dark instrumental by the undisputed gods of post-rock.
It's extremely moody, building up slowly as with their other work, into a wall of distorted guitars and violins.
You'd need a fairly long attention span to fully appreciate it though.

From the 1968 film of Romeo and Juliet. One of the most beautiful movie themes I've ever heard.

It's all there. The composition, the sweeping orchestra, the violins. Everything. So wonderful.

I have this on the original CD (or at least a CD-R of it) and a French remix 12, which has 3 good mixes including a fantastic one by Manta 1000. Both are very good. The song itself is a mix of the traditional and the modern (with Production by aging Gong-ster Steve Hillage), Arabic and Indian. Violins, Bollywood style singing from Amar blending with Khaleds' gruffer style - all with an irrisistable rhythm underpinning it. Another one chock full of great hooks, where I can't understand a word, perhaps I should take up the study of languages.

Very different sounding song for me. It sounds like a mix of late 60ies pop with arabic/turkish influences. A bit sad sounding, but still there is hope :)
I love it cause its got great harmonies, and a mix of guitars, violins, and spanish guitars.

A rather warm and funky take on the Morricone classic, with harp, violins, trumpets and very cool percussive elements.

distinctive vocals. soothing voice. great chrous with a good message. a definite recommendation.

Guitar, piano, violins, drums, backing chorus and Ornella Vanoni singing in this gorgeous San Remo hit from 1968. This is one of the type of 'slow burn' italian 60's pop hits that I can't get enough of, sort of mid-tempo with a rich detailed backing arrangement and vocals with a certain weight but which by the end will soar.

Melody Nelson is probably one of the best serge gainsbourg albums.
he mumbles and sings about the fictional character Melody Nelson, a young red haired teenager.
the opening track 'Melody' would've almost been enough to fill an entire album with: it's full of bass, violins and soft drums but it never comes across as being over the top.
and that's what this album is: perfectly produced, orchestrated and beautiful...
beautiful, yet quietly disturbing.
"melody nelson" is a defining french album.

well, that's what i think anyway : )

What a beautiful song from one of the most influential duos of the 1960's. Paul Simon has written some of the best songs of this past century and this is among his finest. The moving orchestration featuring piano, violins, and the booming kettle drums convey the emotions of this song in a way that transcends time. It is still as moving as it was 32 years ago at the time it was released!

"The Gentle Waves" was the guised solo project of Belle & Sebastian's Isobel Campbell, before she eventually recorded under her own name after leaving the group. This is pure etheral, introverted, delicate indie pop with a strong late 60s feel to it. The track starts with toned down drums, bass and acoustic guitar to complement Isobel Campbells's airy vocals. Later a wonderful harpsicord joins in, together with some violins and cello giving it a flowing, autumnal feel.

Everyone is mixing breakbeats with bossa nova and lounge these days, but rarely as good as Zuco 103 on their album 'Outro Lado'. Probably because other bands don't have a singer as sensuous as Lilian Vieira. Surpisingly my favourite track of this record is the one without beats: it could be discribed as 'bass 'n' violins'. If you like Bebel Gilberto, listen to this song.