Dominic Frontiere & His Orchestra – Pagan Festival: An Exotic Love Ritual For Orchestra (1959)

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folder cópiaTogether with Yma Sumac’s exquisite records, Russ Garcia’s Fantastica, and the unknown The Markko Pollo Adventures self titled album, our today entry comes with great passion, a personal favorite in the Exotica and Space Age Pop universe. You can check a dossier about the subject here, and with our last entries highlighted on top! We believe that the milestone works from Martin Denny and famous arranger Les Baxter are truly amazing, though due to the high commercial appeal and large number of releases, the musical developments became to dilute throughout the years, climaxing with the death of the genre in the mid-60’s.

Nevertheless, expect to encounter ‘Hypnotique’ and ‘The Passions’ here soon!

Let’s go to our artist:

Dominic Frontiere

Dominic Frontiere

Dominic Frontiere (17 June 1931, New Haven, Connecticut) grew up in a musical family, learning several instruments before adopting the accordion as his main focus. He proved a prodigy, and was travelling to New York for lessons with accordion virtuoso Joseph Biviano at 7 and performing solo at Carnegie Hall at the age of 12. From an early age, its interest in music went beyond just performing, though, and he studied classical music, arranging, and composition through high school and after!

He joined Horace Heidt’s big band in 1949, replacing accordion star Dick Contino  and becoming lead arranger as well. He left Heidt in 1952 and moved to Hollywood, where he studied with Mario Castelnuovo-Tedesco at UCLA and with violinist and studio conductor Felix SlatkinFrontiere was then, taken under the wing of Alfred Newman, music director at 20th Century-Fox studios, and his brother, famous film composer Lionel Newman, who soon had him working on a variety of scoring jobs.

Alfred Newman

Alfred Newman

Frontiere experimented several novelties from his studio work, one was an album for Columbia, Pagan Festival, that is now recalled fondly as one of the prime examples of true exotica. One suspects that he ran Yma Sumac’s albums for a few spins while conceiving on the pieces on this work, which feature titles as ‘Jaguar God’Venus Girl’, with subtitles recalling Mayan or Inca language, as Ixtab, and Tampu-Anca.

Dominic has concentrated on composing for films/television since the early 60’s. His scoring credits include such films as Hang ‘Em High, Incubus, Chisum, The Train Robbers, Brannigan and The Stunt Man. On television, he composed the theme for the aliens-are-among-us series, The Invaders, science fiction The Outer Limits, and also The Fugitive, The Flying Nun, BrandedMovin’ Onamongst many others.

1968 Film Poster

1968 OST

Along with Art Van Damme and Johnny Hamlin, he ranks among the leading (and only) jazz accordionists, with an active career until the 90’s. Recently many of its soundtracks were available in cd re-releases, where you can check it out here!

Let’s go to our album:

The liner notes on the back cover spoke of the music’s “interpretation of ancient Inca rituals, superstitions, and the romance and mysteries of their colorful civilization“, but the blending of musical styles was not limited to that of the ancient Latin American culture (if anyone knew what that would sound like!). Frontiere let his imagination run wild, and he brought in sounds from the South Pacific to Eastern Europe, e.g.

1963/64 OST

1963/64 OST

So, here a female choir wafted in and out along with string sections, brasses, and reeds, creating a patchwork quilt that somehow held together. Frontiere‘s music charmed like an entertaining Hollywood score for a movie set in some faraway place, it may not have been historically accurate, but it was a lot of fun to listen to, jouir!

The ‘IM’ highlights are: House of Dawn (Paccari-Tampu) and Venus Girl (IX-Koben).

Lastly, this is an exclusive release, เดินทางที่ดี!

Tracks Include:

A1 Festival

A2 House of Dawn (Paccari-Tampu)

A3 Temple of Suicide (Ixtab)

A4 Moon Goddess (Ixchel)

A5 Time of Sunshine (Yaxkin)

A6 Goddess of Love (X-Tabai)

B1 House of Pleasure (Tampu-Anca)

B2 The Harvest (Zax)

B3 Corn Festival (Zabacil Than)

B4 God of Seasons (Kukulkan)

B5 Jaguar God (Balam)

B6 Venus Girl (IX-Koben)

Credits

  • Artwork: Irene Trivas
  • Composed, Conductor: Dominic Frontiere

Columbia ‎– CL 1273

Beltrane Fire Festival

Beltrane Fire Festival

Šarlo Akrobata – Bistriji Ili Tuplji Čovek Biva Kad… (1981)

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Šarlo Akrobata (Charlot the Acrobat, a Serbo-Croatian version of Charlie Chaplin‘s name) were a seminal Yugoslav post-punk band from Belgrade. Short-lived but extremely influential, being one of the most important acts of the Yugoslav new wave movement (Novi Talas). The power-trio left an indelible mark on the entire music scene, playing skeletal, energetic ska-core with a post-punk sound reminding of Gang of Four, XTC, The Stranglers, Public Image Limited and Frank Zappa!

If you want to know a little more about the rock development in Serbia and former Yugoslavia, pay a visit on our last entries, Katarina II and Discipline Kičme.

Let’s go to our artist:

The origin of the new wave scene in Serbia can be found in Belgrade late-70’s bands Zvuk Ulice, Limunovo Drvo and Hipnotisano Pile. These three featured the future members of milestone groups Idoli, Šarlo Akrobata and Električni Orgazam.

Električni Orgazam

Električni Orgazam

Guitarists Milan Mladenović and Dragomir Mihajlović performed hard rock for two years in Limunovo Drvo, before adopting the punk rock on the arrival of the bassist Dušan Kojić ‘Koja’ and drummer Ivan Vdović ‘VD’. After the departure of Mihajlović (who would play on Katarina II), they finally renamed to Šarlo Akrobata!

Over 1980-81, its first recordings were released on the compilation Paket Aranžman, today considered one of the most prominent Serbian/Yugoslav rock releases. After a second prize on Subotica Youth Fest and performance on Zagreb Bienalle, they recorded their only album, Bistriji Ili Tuplji Covek Biva Kad… (Brighter or Dumber a Man Gets When…) in April 1981, combining punkish energy with dissonant, avant-garde, and a daring approach both to the playingrecording and performance.

Milan, Koja & Ivan = Šarlo Akrobata

Milan, Koja & Ivan = Šarlo Akrobata

The band disbanded in the winter of 1981 after a tour in Poland; Milan Mladenovic started a successful and prolific group Ekatarina Velika, and Dusan Kojic formed the progressive punk act Discipline Kičme. The the alleged reason was different views on how to continue their musical expression; around 1982, the New Wave scene started to decline, as a large number of acts moved towards a more commercial sound.

During the 80’sĐorđe Balašević, for instance, dominated the mainstream pop scene, but various other rock genres also emerged, such as Jakarta, Oktobar 1864, Beograd, La Strada, Zana and Rambo Amadeus, starting to develop and gain mainstream popularity, not only in Yoguslavia, but all around Eastern Europe!

Pekinška Patkathe, the first Orthodox punk rock band, 1978!

Pekinška Patkathe, the first Orthodox punk rock band, 1978!

Let’s go to our album:

An unique punk record, full of furious guitar riffs, raw bass sound, and wild shouting! Lyrics are either nonsensical, randomly recited, either rebellious, a true example of a punk angst, either minimalistic representing an auditive graffiti painting. (!)

This is a record full of studio tricks that are deconstructing a classical approach to the songwriting, gradually (or abruptly) adding/subtracting instrumental layers in the songs, repeating simple one-two-three-four chorus ad nauseam, making at mantra at first, and then deconstructing it by simply adding polyrhythmical pattern on bass, while drums get heavily processed with an echo effect and other modulations.

1981

1981

Lastly, this record is a lot different from everything that we used to hear so far, avant punk are the perfect title to add to these crazy geniuses, forget about Ekatarina Velika (my personal favorite) and other Serbian entries, this is where it all began, observe closely and plunge forward into it, the one and only Šarlo Akrobata!

The ‘IM’ highlights are: Rano Izjutra and O, O, O

Trip Da!

Tracks Include:

A1 Šarlo Je Nežan

A2 Pazite Na Decu (I)

A3 Fenomen

A4 Sad Se Jasno Vidi

A5 Rano Izjutra

A6 Ljubavna Priča

A7 Samo Ponekad

B1 Čovek

B2 Bes

B3 O, O, O …

B4 Problem

B5 Ja Želim Jako

B6 Pazite Na Decu (II)

Credits

  • Bass, Vocals: Koja
  • Drums, Vocals: Ivan Vdović
  • Guitar, Vocals: Milan Mladenović
  • Design, Photography: Goran Vejvoda
  • Photography: Danko Đurić
  • Artwork (Design): Šarlo
  • Producer, Music, Arranged, Lyrics: Šarlo Akrobata
  • Producer: Toni Jurij, Mile Miletić
  • Producer, Recorded: Đorđe Petrović

Notes

Recorded in Studio 5, Beograd, April-May 1981.

  • Recorded: Studio V PGP RTB
  • Printed: GIP Beograd

Jugoton ‎– LSY 66145

Nikola Tesla and its Magnifying Transmitter

Nikola Tesla and its Magnifying Transmitter

Mustafa Özkent Ve Orkestrası – Gençlik Ile Elele (1973)

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capa cópiaHello people! Last Wednesday (08/10) a novelty happened and we would like to share with everyone, Gary Sullivan, our friend from Bodega Pop made ​​a radio-webcast program of 3 hours, highlighting the qualities of the Interstellar Medium, along with an extensive tracklist. We wanted to thank Gary and each one who participated and supported during the transmission, the link for you to hear the show is available here.

This was an important step to our history, we ALWAYS count on your opinion! And for those who haven’t yet been familiarized with the page or arrived just now, there’s the About to give you some directions, without further ado let’s get to our entry!

Let’s go to our music:

Ferdi Özbeğen Orkestrası, 60's

Ferdi Özbeğen Orkestrası, 60’s

The Turkish Rock movement is believed to have began in the late-50’s with the arrival of The Shadows and developed further during the next decade with the increasing popularity of Western music acts. With coming of The Beatles, small bands sprung up everywhere, this triggered the national newspaper Hΰrriyet to organize a national talent contest under the title Altin Mikrofon (golden mic).

In the 60’s, the youth especially living in big cities were very receptive to new pop music coming from abroad but understandably they also were far from the social impact that this music brought, or we may say a middle-class minority who knew English were aware. Meanwhile, there was an unrest amongst young people which translated into a exciting political climate, not fed by rock music exclusively.

Arda Uskan, John & Yoko, Erkin Koray

Arda Uskan, John & Yoko, Erkin Koray

Of all the musical/cultural scenes that happened along the 60’s, psychedelia was the most effective one in Turkey; it started one year later than USA and Europe but lasted much longer, this music brought a new dimension to Turkish listeners, while the rest of the nation were happy with its oriental overtones, the Turkish music fans found that it was what they felt inside really! So psychedelia influence was at a much different scope than it had on other countries, by 1969 all codes on the birth of a big rock music scene was set and Turkish rock had five more years of prolific kingdom.

After 1975-76, the scene took its toll with changing political, musical and social climates and before 1979 came it was all over (!). The golden age of Anadolu Rock was marked by artists famous until today, such as Baris Manço, Cem Karaca, Edip Ackbyram, Ersen. Bands like Mogallar, 3 Hurel, Erkin Koray and Selda Bagcan.

Baris Manço's Cockade

Baris Manço’s Cockade

Let’s go to our artist:

Mustafa Özkent was a lesser-known but significant figure on the Ankara music scene until his music belatedly found a receptive audience in the West four decades after!

A talented guitarist who was known to modify the design of his instruments to create unusual tonal qualities, he earned a reputation as a gifted maverick and by the dawn of the 70’s was in demand as a session player, arranger, and producer, creating music that fused psychedelicpop and soul influences with jazz-like improvisations.

Mustafa Özkent

Mustafa Özkent

In 1972, he partnered with Evren Records, a Turkish label known for its audiophile recording techniques, Ozkent booked time at Istanbul’s finest recording facilities, and with a mighty team of musicians he began recording new material dominated by extended percussion jams, hard-grooving organ lines, and funky wah-wah guitars.

The resultant Lp, Genclikle Elele (Hand in Hand with Youth), sounded as if it were designed for hip-hop DJs in search of funky breaks even though it was cut years before the South Bronx scene began to flower! The British Finders Keepers label reissued its masterpiece in 2006, he remains active in Turkey, releasing Dijital Guitar in 2005!

Let’s go to our album:

Cem Karaca's Article

Cem Karaca’s Article

Mustafa went on to invent specially treated guitars with additional frets enabling him to replicate unique notes similar to a saz or lute allowing the musician to emulate the sound of Hendrix’s style wah-wah and fuzz while retaining the versatility of the traditional Eastern sensibilities which ran through many young Istanbul’s veins.

Unlike Zafer Dilek’s entry and its adapted Belly Dance, this time the Turkish folklore really receives a spicy electric treatment, the groove are so infectious that I really doubted it could have come from Turkey. I simply won’t say much about this masterpiece, an instrumental album like Gençlik Ile Elele is virtually unattainable!

The ‘IM’ highlights are: Dolana Dolana and Ayaş.

좋은 여행!

Tracks Include:

A1 Üsküdar’a Giderken

A2 Burçak Tarlaları

A3 Dolana Dolana

A4 Karadır Kara

A5 Emmioğlu

B1 Çarşamba

B2 Zeytinyağlı

B3 Silifke

B4 Lorke

B5 Ayaş

Credits

  • Arranged, Performed: Mustafa Özkent
  • Guitar: Cahit Oben, Mustafa Özkent
  • Organ (Hammond): Umit Aksu

All songs Traditional/Anonymous

  • Recorded at Grafson studios, Istanbul.
  • Originally released on LP in 1973Evren Plakları, TÜ 1003

Finders Keepers Records ‎– FKR010LP

Moğollar, Today

Moğollar, Today

Samira Tawfik (سميرة توفيق) – Ya Marhaban (196x)

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samira 3 cópiaWe had a small break in the pace of updates due to the elections held in October here in Brazil, therefore, it is likely that this month will be a bit slower than usual, but don’t worry, the average rate will be kept on our Facebook, as we’re trying to extend our sharing network in a more regular schedule, based on documentaries, live presentations and rare film clips. Join us, leave a word and be welcomed to the ‘IM’!

Let’s go to our artist:

In terms of popularity and international recognition, the popular singers from Egypt and Lebanon respectively, were those who had more success in spreading the arab culture worldwide since the mid-50s. On the Egyptian side, Umm Kulthum (greatest female Arabic singer in history!), Mohammed Abdel Wahab, Farid al-Atrash and Abdel Halim Hafez, are the four greatest icons from the twentieth century.

The Lebanese side got plenty of female stars like, Fairuz, Sabah, Majida El Roumi and lastly but nor least, Samīra Ġusṭīn Karīmūna. Here we got its third entry!

Samira Tawfik, 60's

Samira Tawfik, 60’s

The previous posts from her got its full biography, film clips and a little essay about Lebanon, amongst others details. Feel free to travel along these entries and enjoy!

Let’s go to our album:

A single from the (late?) 60’s with fine sound quality, in what might be the apex of Samira’s career, starring dozens of films, endless tours and multiples releases (Lp’s and singles) throughout the Arabic world. This fantastic single, one of my favorites from her, takes a plunge inside traditional folklore, a bit different from the 90’s last entry, here there’s no electric guitar or synths, but the usual arabic band style with female/male chorus, strings and tight percussion. Lastly, don’t forget to check its youtube channel full of various performances at different times in her lasting career!

Tracks Include:

A Ya Marhaban

B Asmar Kahil Al Ain

Voix du Liban – Vlexa 33

Beirut's Neighborhood

Beirut’s Neighborhood

San Ul Lim (산울림) – Hourglass at Noon (한낮의 모래시계) [1979]

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capa cópiaSan Ul Lim aka Sanulrim, is a South Korean power trio combo, the name is the combination of words, San (, mountain) and Ullim (울림, echo). The band is considered one of the most influential figures in the Korean Rock scene, its musical experiments varied from songs for children to progressive and psychedelic rock.

They broke up after the death of the drummer, Kim Chang-ik (김창익), in 2008 (RIP). Upon its release in 1977, their first LP sold over a half-million copies and paved the way for many further volumes. The songs are full of fuzz guitar, tinny keyboards, unique timbres and simple production, reminding one of the American garage and pop-psychedelic groups from the 60’s, but with a very special Asian flavor. (!)

Let’s go to our artist:

The three members of San Ul Lim are brothers, they were Kim Chang-wan (김창완, 1954-), Kim Chang-hoon (김창훈, 1956-), and Kim Chang-ik (김창익, 1958-2008).

San Ul Lim, 70's

San Ul Lim, 70’s

The band, formed when the three were university students, was initially called Mui and was never meant to be professional. Kim Chang-hoon’s other college band, named Sand Pebbles, won the MBC College K-pop Festival with their song, What Shall I Do?; Mui was initially nominated to win with their song, Please Open the Door but wasn’t qualified because Chang-wan had already graduated from the university.

Gaining confidence, the band looked for a music agency, changing the name into San Ul Lim by their new manager’s demand. At first, they recorded a demo tape, the brothers had already over one hundred songs written before its debut, to then finally arrive at SRB label. Willing to sound like AC/DC heavy guitars, they’ve stumbled into insufficient technological know-how, thus, only depending on psychedelic ad lib or fuzz guitar, this ironically made their sound unique, founding a longlasting stamp!

Live

Live

Their first album entitled Vol.1 아니벌써 (What, Already?) came out in December 1977, the Lp largely impacted the Korean music scene, becoming both critically and commercially successful, revealing a new type of music which Koreans had never heard before, people were totally absorbed with the psychedelic/hard rock sound.

San Ul Lim’s stellar appearance was much significant because they vitalized the Korean popular music scene, that was currently devastated after several musicians were charged and arrested for marijuana possession. The dictatorial government of Park Chung-hee leaded mass boycotts on pop/rock music around 1975. (!)

During 1977-1984, they released more than 10 albums, ending in the middle of the disco boom (a bit late in South Korea) in 1984. With the K-pop retrospective revival during the 90’s, all of their Lp’s were reissued and a tribute album was released.

K-Rock Portrait

K-Rock Portrait

They performed in Seoul on July 5th, 2007 for their 30th anniversary and planned to release a vol. 14 album within the same year, unfortunately, on January 29, 2008, drummer Kim Chang-ik was killed in a work-related accident in Vancouver, Canada. Ever since, Kim Chang-wan announced the end of the band, though he recently reformed it and occasionally plays with another formation. He also has been actively performing as a musician, painter, actor, writer and broadcast celebrity!

Let’s go to our album:

Today we’ve got very special album, of an extremely important band! Still unknown to large Western audiences, (still expecting an official re-release of their albums), but thanks to the blogosphere work from Gold Korea Vinyl (for instance), the Vol. 1 and 2 can be easily heard on youtube, soundcloud, etc. Here, let’s go a little further.

Last Revival

Last Revival

Together with Vol. 3 this Vol. 5 are my favorite, even if the compositions seem a bit naive in terms of harmony and arrangements, this power trio REALLY understands about colors and effects, maximizing the (holy) punk aesthetic of less is more.

There’s a previously unseen disco offshoot here, San Ul Lim’s vision and concept of it are quite unique, embracing multiple passages and genres. Lastly, Arirang’s cool series of documentaries, are available with legends in english, scrutinizing every detail of the rock development in the country, with an exclusively chapter on the band, its history and idol status. Needless to say more, check it out and ການເດີນທາງທີ່ດີ!

The ‘IM’ highlights are: 무녀도 (No Women Island) and 백자 (White Porcelain).

Tracks Include:

A1 한낮의 모래시계 (An Hourglass in the Afternoon)

A2 오솔길 (A Trail)

A3 (The Spring)

A4 포도밭으로 가요 (Let’s Go to a Vineyard)

A5 무녀도 (No Women Island)

B1 이렇게 갑자기 (All of a Sudden)

B2 띄워라 (Fly a Kite)

B3 왜가 (Why, Leave)

B4 백자 (White Porcelain)

Credits

Chang Wan Kim (김창완): guitar, keyboards, vocals

Chang Hoon Kim (김창훈): bass

Chang Ik Kim (김창익): drums

Released on September 1979

SRB SR-0171

Bibimbap (Korean Cuisine)

Bibimbap (Korean Cuisine)

Léonie – Le Jardin Anglais / Mozart (1973)

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capa cópiaAnother brief entry, as we previously talked about Léonie and its (surprising) short career, based on 45 singles, started in the late-60’s amidst the french yé-yé scene. The dossier from this unknown singer can be checked in Hero Culte blog, don’t miss out the detective work from tinynoggin and other curiosities about French stars!

Let’s go to our album:

This time, she is backed up with the mighty arrangements/compositions by the number one french maestro Jean Claude Vannier. Léonie’s peculiar sensual voice stands out on its 5th release, she knows how to be pop and cult simultaneously.

A side has a characteristic (slower) charleston piano/xylophone pace, played by Vannier, along with strings and wizardry guitars in a vintage delicate atmosphere.

B side are my favorite, this fuzzy psych ballad has a magic cadency that sticks to the head, an example of how you can be pop without neglecting good aesthetic choices!

Léonie (Martine Collet)

Léonie (Martine Collet)

I really would like to count on better quality rips, but the fact is none of her singles were duly re-released on CD, this and other entries are a good invitation to meet the B-side on what is called Pop Jerk, somewhat ahead from the naive (early) works of France Gall, Sylvie Vartan, CélineFrançoise HardySéverine, and many others.

We’ll leave for an upcoming entry, more details about the yé-yé scene and its powerful independent girls, for now, keep it up with this lovely obscure pearl.

Haerenga Pai!

Tracks Include:

A Le Jardin Anglais (J.C. Vannier, Roda Gil)

B Mozart (J.C. Vannier)

Credits

  • Orchestra: Orchestre J.C. Vannier
  • Photography: Thierry Vincent
  • Producer: Thierry Vincent
  • Published: Editions Suzelle (A)
  • Published: Editions Labrador (B)
  • Distributed: Discodis
  • Printed: Dillard et Cie. Imp. Paris

Les Disques Motors ‎– MT 4030

Sylvie Vartan & Françoise Hardy

Sylvie Vartan & Françoise Hardy

Daniela Casa – Societa’ Malata (1975)

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capa cópiaLibrary music, also known as production or stock music, was originally recorded as fodder for media projects that needed readymade soundtrack cues. The tracks were usually brief instrumentals, typically no more than a minute or two in length, and often adopted whatever sounds were popular at the time. As a result, they serve as wonderful snapshots of the various musical eras in which they were laid down, from breezy easy listening and mellow mood to lethal funk jams and Moog noodlings.

These releases were not available to the general public and were chiefly distributed within media production circles. Free of the commercial pressure to produce hits, it was not uncommon for artists to abandon conventional song structures and immerse themselves into it. Even though it was supposed to be background music, a lot of this stuff is quite musically imaginative and makes for enjoyable listening on its own!

Let’s go to our music:

Alessandro Alessandroni

Alessandro Alessandroni (Braen)

Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, production music libraries own all copyrights of their music, thus, it can be licensed freely without the composer’s permission.

Library music composers and session performers typically work anonymously and have rarely become known outside their professional circle. In recent years some veteran composer, performers and arrangers such as Alan Hawkshaw, John Cameron and Keith Mansfield have achieved cult status as a result of a new interest in library music of the 60’s and 70’s, notably the beat/electronica cues recorded for KPM british label.

Suzanne Ciani

Suzanne Ciani

The Italian library scene from the 70’s are certainly the most popular and extensive of the ‘genre’, recently praised by worldwide labels, Dj’s and the blogosphere.

Soundtrack composers and arrangers such as Alessandro Alessandroni, Piero Umiliani, Bruno Nicolai, Suzanne Ciani, are just some of the greats from the period!

Let’s go to our artist:

Daniela Casa (February 6, 1944 – 28 July 1986), was the daughter of a builder of boats, that graduated from Art Schoolduring this time Daniela studied chant and guitar with Maestro Claudio de Angelis. She was discovered in 1963 and put under contract by Fonit label, participating in the same year at the Grand Prix (RAI TV show), in which she presents his own version of Senza Fine, the famous song by Gino Paoli.

Daniela Casa, 1964

Daniela Casa, 1964

The following year Daniela released her second 45 single, also by Fonit.

In 1965, at the Piper Club in Rome, she forms the duo Dany & Gepy with Giampiero Scalamogna, specializing in the revival of covers of soul and r&b. Along the 70’s she devoted herself to composition, writing the famous hits Regolarmente, engraved by Mina, and Dimmi Cosa Aspetti Ancora, perfomed by Dominga. Then, Uomo became the theme song of the television program Storie di Donneat the same time she married the musician Remigio Ducros and in 1972, Valentina Ducros was born.

Thenceforth, she develops several instrumental/library albums whose recording career lasted from 1963 through to her untimely death from cancer in 1988. (RIP)

Let’s go to our album:

1971

A genuine pioneer of experimental pop music, electronics, Giallo jazz and even heavy drone rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia Alessandroni, Doris Norton and Suzanne Ciani, retaining one of the most diverse composing styles of an advanced mechanical musician. Originally designed for use in Italian thrillers, nature documentaries, educational projects and commercial installations.

I’m not an ardent fan of Library music, but this wonder recently re-released on vinyl has really poked me from the very first second. Daniela’s aural reflection of the wickedness of humanity and decay of our world, delivers a multi-layered musical landscape that remain as vibrant and authentic today as they did 35 years ago!

Piero Umiliani Experiements

Piero Umiliani Experiements

Lastly, this is another exclusive release, godere di questa meraviglia, sì?!

The ‘IM’ highlights are: Strade Vuote and Occultismo.

Bon Vwayaj!

Tracks Include:

A1 Ignoto

A2 Strade Vuote

A3 Pericolo

A4 Angoscia

A5 Fabbrica

A6 Oppressione

B1 Esoda

B2 Vizio

B3 Occultismo

B4 Noia

B5 Dittatura

Deneb ‎– DNB 0116

Suspiria's Japanese Poster

Suspiria’s Japanese Poster

Pavlos Sidiropoulos (Παύλος Σιδηρόπουλος) & Σπυριδούλα (Spyridoula) – Φλου (Flou) [1979]

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capa cópiaComposer, lyricist/singer Pavlos Sidiropoulos (July 27, 1948 – December 6, 1990), only lived until the age of 42, though he left behind a remarkable musical legacy and influence amongst young artists. He was the great grandson of Zorba, nephew of the poet Elli Alexiou and since his early age showed a musical aptitude. A truly legend, despite the few musical releases in life, the today’s entry is simply considered as the most important rock album of all time in Greece! Fortunately, there’s plenty of information (in greek) available about Pavlos, your site/tribute, deserves a lookout!

Over time other albums will come and we’ll try to bring more details about the life of this fabulous artist, we count on to help from our Greek friends, rest in peace Pavlos.

Let’s go to our artist:

Mural

Mural

Sidiropoulos began his career in 1970 in Thessaloniki, where he was studying maths in Aristotle University. Together with Pantelis Delleyannidis they set up the folk-duo Damon and Phintias; though does not graduating he returns to Athens, disappointed with the revolutionary youth, there he worked to his father’s factory. He soon met, at Kittaro’sDionysis Savvopoulos and his group Bourboulia, he joined the band and released the 45 release Damis The Tough (Ντάμης ο σκληρός) in 1972. There, he stayed until 1974, and therefore first experimented with combining folklore and rock.

Afterward Sidiropoulos collaborated with the Greek composer Yannis Markopoulos, singing his compositions with lyrics by the poet Dimitris Varos. In 1976, together with Spiropoulos brothers, he founded the music group Spiridoula. It took three years for their first release, the cornerstone album Flou, with the homonymous theme song that inspired many musicians, opening a completely different path to Greek audience!

Pavlos Sidiropoulos & Spyridoula

Pavlos Sidiropoulos & Spyridoula

At 1975, he made its two film appearances. He had the leading role in the film (and OST) O Asymvivastos, directed by Andreas Thomopoulos, at the same time, he starred with Dimitris Poulikakos another movie by ThomopoulosAldevaran.

Sidiropoulos joined the band Οι Απροσάρμοστοι (The Misfits), in 1980 where he remained until his death. They released 3 studio albums and numerous live performances. En Lef̱kó̱ was published in 82′, and many of the songs were censored!

Παύλος Σιδηρόπουλος

Παύλος Σιδηρόπουλος

In 1985, Zorba the Freak came out and in 1989 they released (their lastly) Without Make-up, which was recorded live at Metro club in Athens. In the summer of 1990 and after his mother’s death, his left hand started getting paralyzed, as a result of his long term drug use that he was trying to overcome for many years. He continued his live performances but the deterioration of his health had serious implications. On December 6, 1990 he died from heart attack, caused by heroin overdose. (RIP)

Let’s go to our album:

Considered by many the most important album in Greek rock music, i was completely surprised first time i heard him a and it touched me really deep!

Live

Live

Pavlos are simply the best, always with a tight band, he delivers nice guitars, horns, elements from progpsychedelic and jazz, folk and (beautiful) classic rock, wow!

The ‘IM’ Highlights are: Oi Sovaroi Klooun (Serious Clown) and I Ora Tou Stuff (The Time of Stuff)Safar Wanaagsan!

Tracks Include (polytonic, romanized and translated):

A1 Ο Μπάμπης Ο “Φλου” – O Babis O Flou (The Father Flou)

A2 Μου ‘πες Θα Φύγω – Mou Pes Tha Fygo (You Told Me I Will Go)

A3 Που Να Γυρίζεις – Pou Na Gyrizeis (Where To Turn?)

A4 Ξέσπασμα – Xespasma (Outbreak)

A5 Οι Σοβαροί Κλόουν – Oi Sovaroi Klooun (Serious Clown)

B1 Το ’69 Με Κάποιο Φίλο – To ’69 Me Kapoio Filo (The ’69 With a Friend)

B2 Στην Κ. – Stin K. (In K.)

B3 Η Ώρα Του Stuff – I Ora Tou Stuff (The Time of Stuff)

B4 Τω Αγνώστω Θεώ – To Agnosto Theo (Tm Unknown God)

B5 Εν Κατακλείδι – En Katakleidi (In Conclusion)

Credits

  • Alto Saxophone, Clarinet: Γιάννης Φαναριώτης (John Fanariotis)
  • Bass: Τόλης Μαστρόκαλος (Tolis Mastrokalos)
  • Bass, Guitar (Slide): Νίκος Πολίτης (Nikos Politis)
  • Drums: Ανδρέας Μουζακίτης (Andreas Mouzakitis), Τάσος Φωτοδήμος (Tassos Fotodimos)
  • Electric Guitar, Acoustic Guitar: Βασίλης Σπυρόπουλος (Vassilis Spyropoulos)
  • Electric Guitar, Acoustic Guitar, Piano, Synthesizer, Flute: Νίκος Σπυρόπουλος (Nikos Spyropoulos)
  • Music, Lyrics: Παύλος Σιδηρόπουλος (Pavlos Sidiropoulos)
  • Piano: Δημήτρης Πολύτιμος (Dimitris Valuable)
  • Tenor Saxophone: Μάκης Παπαθεοδώρου (Makis Papatheodorou)
  • Trombone: Ανδρέας Γκαβογιάννης (Andreas Gkavogiannis)
  • Trumpet: Δημήτρης Λεονταρίδης (Dimitris Leontaridis)
  • Violin: Γιώργος Μαγκλάρας (Yorgos Maglaras)
  • Vocals, Percussion: Παύλος Σιδηρόπουλος (Pavlos Sidiropoulos)
  • Female Vocals: Dimitra Galani 

Recorded: Γιώργος Κωνσταντόπουλος (George Konstantopoulos)

Engineer (Assistant): Γιώργος Τζάννες (George Tzanes), Εμμανουήλ Ψαρράς (Manolis Psaras)

Cover, Design, Photography: Γιώργος Μανιάτης (George Maniatis), Δημήτρης Αρβανίτης (Dimitris Arvanitis)

Producer: Θόδωρος Σαραντής (Theo Sarantis)

Coordinator: Μάνος Ξυδούς (Manos Xydous)

  • Made, Printed: EMI Greece S.A.
  • Pressed: Columbia, Athens – 7608

Harvest ‎– 14C 062-70913

1984 (Rock On!)

1984 (Rock On!)

Osamu Kitajima (喜多嶋修) – Benzaiten (1974)

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capa cópiaThe music of Japan includes a wide array of performers in distinct styles both traditional and modern. The word for music in Japanese is 音楽 (ongaku), combining the kanji  ‘on’ (sound) with the kanji  ‘gaku’ (enjoy). Many instruments, as the koto, were introduced in the 9th and 10th centuries, the accompanied recitative of the Noh drama dates from the 14th century and the popular folk music, with the guitar-like shamisen, from the 16th century. Western classical music, introduced in late 19th century, now forms an integral part of Japanese culture. The imperial court ensemble Gagaku has influenced the work of many modern Western composers.

Notable classical composers from Japan include Toru Takemitsu and Rentarō Taki.

Biwa & Koto by Utagawa Kunisada, 1848

Biwa & Koto by Utagawa Kunisada, 1848

Popular music in post-war Japan has been heavily influenced by American and European trends, which has led to the evolution of J-pop (popular music). Japan is the second largest music market in the world, with a total retail value of over 3 million dollars in 2013, dominated by Japanese artists. Karaoke is also the most widely practiced cultural activity, ahead of flower arranging (ikebana) or tea ceremonies. Traditional Japanese music is quite different from Western music as it’s based on the intervals of human breathing rather than mathematical timing. (!)

Toru Takemitsu

Toru Takemitsu

Let’s go to our artist:

Osamu Kitajima (February 3, 1949) was born and raised in the beach town of Chigasaki (Kanagawa Prefecture), as a young man he studied classical guitar and piano; his first band the Launchers, was led by pop idol and actor Yuzo Kayama, the group disbanded in the late 60’s, after Kitajima began to work on his own.

After graduating from Keio University, and already a successful composer of TV and advertising jingles, he moved for one year to the UK in 1971, which brought him in to contact with British folk and psychedelia. Inspired by The Beatles, T. Rex and Syd Barrett, he dubbed himself Justin Heathcliff and issued a lone eponymous album.

Dr. Osamu Kitajima, 1972

Dr. Osamu Kitajima, 1972

His first solo album in 1974, Benzaiten, was a mix of modern pop and traditional Japanese music, and was well received in Japan and later released abroad (Antilles label in U.S.) where it received some underground radio airplay and sold moderately. Also in 1974 Kitajima relocated to the Los Angeles area and later opened East Quest Studios; the late 70’s and 80’s saw the establishment of its career, with more than a dozen Lp’s, he has become one of Japan’s biggest selling artist internationally!

During the decades, Osamu Kitajima expanded his work to include commercial and soundtrack work, he provided part of the music to the blockbuster mini-series Shogun and contributed to the soundtrack of Sharkey’s Machine. He also arranged the scores for PBS documentaries on Japan, Chinese/Japanese film Mandala and produced a number of artists. Nowadays, inside East Quest Records, he continues to release his own albums (new and re-issues), as well as works by countless artists.

Osamu's Portrait

Osamu’s Portrait

Let’s go to our album:

This is truly a melting pot of Western rock and Japanese traditional music, very few have pulled it off so well as Kitajima does here. Either they usually fall prey to new age sappiness, or move towards amateurish exploitation, fortunately it does not happen here, a real serious work, the type of rock influenced world music that still hasn’t been much explored at all. The album also featured Haruomi Hosono and it utilized various electronics: synthesizerrhythm machine, and electronic drums.

A bit different from our previous entry Buddha Meet Rock, this is a more elaborate record, with brilliant musicians and cinematic feelings, being a cornerstone of japanese folklore, be enlightened by Kitajima’s masterful work and Bono Trinus!

Benzaiten Goddess

Benzaiten Goddess

The ‘IM’ highlights are: Taiyo (The Sun) and Benzaiten (Reprise).

Tracks Include:

A1 Benzaiten (The God of Music and Water)

A2 Taiyo (The Sun)

A3 Tengu (A Long Nosed Goblin)

B1 Benzaiten (Reprise)

B2 Whoma (Immortality)

Credits

  • Acoustic Guitar, Synthesizer, Percussion, Electric Guitar, Koto, Biwa, Drums (African, Mexican), Electronic Drums (Rhythm Machine): Osamu Kitajima
  • Bass: Dennis Belfield, John Harris
  • Biwa: Masako Hirayama
  • Drums (African): Kinji Yoshino
  • Drums (Tsuzumi), Percussion (Narimono): Kisaku Katada
  • Electric Bass: Haruomi Hosono
  • Electric Guitar: George Marinelli
  • Flute (Hayashi-bue): Haruyoshi Hosei
  • Keyboards: Brian Whitcomb
  • Shakuhachi: Tatsuya Sano
  • Sho: Yosei Sato
  • Engineer: Kinji Yoshino
  • Engineer (Assistant): Yutaka Matsumoto
  • Producer: Kinji Yoshino, Osamu Kitajima
  • Distributed and Manufactured: Island Records Inc.
  • Antilles U.S. release of album first released by Island Records (Japan) in 1974.

Recorded through Jan/Aug 1974 at Hit Studio of Jean Jean Theater, Tokyo

Whoma recorded live at Nikkei Hall.

Antilles ‎– AN 7016

Cherry Blossom Festival

Cherry Blossom Festival

The Corporation – The Corporation (1969)

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folderToday we’ll have a short entry, The Corporation might not have done the expected success at its time, but they’re not complete strangers when it comes to psychedelic culture, rediscovered and praised by the bloggers network since the mid-2000s. Therefore, this could be called a B side from a major label (Capitol), with paramount importance if we look at what was being produced back then; bands like The Power of Zeus, Autosalvage, Fifty Foot Hose, Kalacakra, amongst others, somehow failed to achieve national recognition, however, after more than 40 years since their respective releases we can see how ahead of time they were, let’s stick with them!?

Let’s go to our artist:

Formed in Milwaukee in 1968 at Cudahy’s Galaxy Club, where the Kondos brothers joined up with members of an outfit called Eastern Mean Time. Some months later they were heard by Capitol reps at another club The Bastille, which the band had bought into. With a contract for an album the band journeyed to Detroit to record at Tera Shirma studios with producer John Rhys. Even though the record ended up not being a huge commercial success, the band continued to write with hopes of a follow up record on Capitol, this material was eventually spread across two LPs released by Age of Aquarius label, subsequently Get on Our Swing and Hassles in My Mind.

1969 Promo

1969 Promo

Perhaps more extensive touring might have propelled their first album to greater heights, but except for Chicago and St Paul, the band remained local. There were no television appearances, and nothing else to build a greater audience; a European tour was in the plans, but it fell apart along with disagreements with Capitol Records.

Nick Kondos recalls about it: ‘They treat you like kings, they even set you up with the hottest girls, we went to a jam featuring Jimi Hendrix, and then they get the drugs out. But we found out that the album was selling and we didn’t get a penny. We had an argument with Capitol and that’s how the contract ended. Maybe we were a little impatient. You give it everything you’ve got and, if you want to be a star, you have to let them use and abuse you for a while, and THEN worry about the money.’ (!)

Let’s go to our album:

Released in February 1969, with some serious writing on side one by the Kondos brothers, the Lp is notable for the side-long psych rework of John Coltrane’s India, along with heavy fuzzflutes, harmonica, and vigorous vocals in a trippy overall!

John Coltrane, a Navy Reserve

John Coltrane, U.S. Navy Reserve

Straight and simple, the ‘IM’ highlights are: Smile and India (fantastic).

კარგი მოგზაურობა!

Tracks Include:

A1 I Want To Get Out of My Grave (John A. Kondos, Nicholas A. Kondos)

A2 RIng That Bell (John A. Kondos, Nicholas A. Kondos)

A3 Smile (John A. Kondos, Patrick D. McCarthy)

A4 Highway (Gerard J. Smith, John A. Kondos)

A5 Drifting (John A. Kondos)

B1 India (John Coltrane)

Credits

  • Bass, Backing Vocals: Kenneth Bernard Berdoll
  • Drums, Backing Vocals: Nicholas Alexander Kondos
  • Guitar, Flute, Harp, Piano, Backing Vocals: John Alexander Kondos
  • Lead Guitar, Backing Vocals: Gerard Jon Smith
  • Lead Vocals: Daniel Vincent Pell
  • Organ, Trombone: Patrick Daneil McCarthy

Recorded: Tera Shirma Studios, Detroit

Engineers: Milan Bogden and Les Chasey

Produced: John Rhys

Capitol Records ‎– ST 175

Summer of Love, 1967

Summer of Love, 1967

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