Chrisye – Sabda Alam (1978)

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prambanan cópiaGamelan is traditional ensemble music of Java and Bali in Indonesia, made up predominantly of percussive instruments. The most common instruments are metallophones played by mallets as well as a set of hand played drums called kendhang which register the beat. It also includes xylophones, bamboo flutes, bowed instrument called rebab, and even female vocalists called sindhen.

The popularity of gamelan has declined since modern pop music, though gamelan is still commonly played in formal occasions and in many traditional ceremonies. For most Indonesians, gamelan is an integral part and a symbol of Indonesian culture.

Gamelan Ensemble

Gamelan Ensemble

They are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style. Certain styles may also be shared by nearby ensembles, leading to a regional style. The varieties are grouped geographically, with the principal division between the styles favored by the Balinese, Javanese, and Sundanese peoples.

Typically, players in the gamelan will be familiar with dance movespoetry, while dancers are able to play (along) in the ensemble. In wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music.

Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten, which is used in celebration of Mawlid an-Nabi (Muhammad‘s birthday), other pieces are also believed to possess magic powers, and can be used to ward off evil spirits!

Children's Gamelan Orchestra at Peliatan, Bali

Children’s Gamelan Orchestra at Peliatan, Bali

The gamelan has been appreciated by several western composers (Colin McPhee, Béla Bartók, Francis Poulenc, Olivier Messiaen, Pierre Boulez, Benjamin Britten, Steve Reich, Phillip Glass, György Ligeti and John Cage), most famously Claude Debussy who heard a Javanese gamelan in the premiere of Louis-Albert Bourgault-Ducoudray‘s Rapsodie Cambodgienne at the Paris Exposition World’s Fair of 1889.

The gamelan that Debussy heard in it was in the slendro scale and its equal-tempered whole tone scale appears in his music. A Javanese gamelan-like heterophonic texture is emulated on occasion, particularly in Pagodes, from Estampes (solo piano, 1903), in which the great gong‘s cyclic punctuation is symbolized by a prominent perfect fifth.

XIX Century Gamelan

XIX Century Gamelan

There is a famous Javanese saying that sums up Gamelan’s role importance in Indonesian habitual daily life: It is not official until the gong is hung’. (!)

Let’s go to our artist:

Chrismansyah Rahadi (16 September 1949 – 30 March 2007) was born in Jakarta, as the second of three brothers from Laurens Rahadi and Hana. He graduated from high school in 1967, and had the opportunity of studying Architectural Engineering in APP Trisakti, but he dropped out on its third year. Chrisye initiated his career in music by joining the Sabda Nada Band in 1968, the short-lived group morphed into Gipsy (later famous Guruh Gipsy) in 1969 along with some change of personnel.

70's

70’s

Gipsy became a well respected band from Jakarta and had the most luxurious equipment of the day. In 1971/1972 they flew to New York and played in the Ramayana Restaurant for about a year. Back to Indonesia, Chrisye managed to popularize the song Lilin-Lilin Kecil (Small Candles) winning the Youth Contest Prambors Songwriting Contest in 1977. His first albums Badai Pasti Berlalu and Sabda Alam managed to be very popular and successful in the domestic market.

This would only be the beginning of a highly consolidated career through the 80’s and 90’s, he’s merely one of the biggest record sellers from all-time in Indonesia!

Let’s go to our album:

In May 1978 Chrisye began work on his first (solo) album Sabda Alam (Nature’s Order), incorporating several songs by other artists and some written by himself, including the title song, which he recorded it after locking himself in the studio. The album, greatly influenced by Badai Pasti Berlalu (OST Lp) and drawing on the double tracking technique (the vocals are recorded twice to achieve fuller sound), was released in August that year. Heavily promoted in a campaign during which Chrisye was interviewed on the national television station TVRI and on radio.

Chrisye

Chrisye (RIP)

The album eventually sold more than 400,000 copies! (phew)

This renowned artist (still) remains unknown to most of the Western public, today we exclusively presents one of his greatest releases, full of melodic and harmonic beauty, Chrisye’s soulful interpretation are quite something. Supported by a sharp band with the always welcome participation of Yockie on keyboards, once more splitting the arrangements with Chrisye, the Lp got prog ballads, folk, disco, a fantastic version of Smaradhana (Guruh Gipsy’s song), female chorus, and one of the greatest Indonesian songs in my opinion, Anak Jalanan, this album are no joke!

The ‘IM’ highlights are: Cita Secinta and Anak Jalanan.

Vjaġġ Tajba!

Tracks Include:

A1 Juwita

A2 Sabda Alam

A3 Smaradhana

A4 Duka Sang Bahaduri

A5 Cita Secinta

B1 Kala Sang Surya Tenggelam

B2 Nada Asmara

B3 Citra Hitam

B4 Adakah

B5 Anak Jalanan

Credits

Yockie: Acoustic Piano, Keyboards

Chrisye: Bass, Guitar

Keenan: Drums, Percussion

Ronnie: Piano, String Melody, Synths

Nina, Ana, Ani: Backing Vocals

Arranged: Yockie and Chrisye

Musica / msc7060 (cassette)

Balinese Cuisine

Balinese Cuisine

ВИА Севиль (Via Sevil) – Севиль (Sevil) [1978]

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vagif, azizaIn terms of ethnicity, culture, music and religionAzerbaijan are much closer to Iran than Turkey, the country has the distinction of being the first Muslim-majority democratic and secular republic of the modern eraTheir music are based on folk traditions that reach back nearly a thousand years! We can list here e.g. the Mugham, Meykhana and Ashiq Art being one of the many musical traditions of Azerbaijan.

Mugham is usually a suite with poetry and instrumental interludes, it belongs to the modal system and may have derived from Persian tradition (Arabic Maqam). In contrast to the mugham traditions of Central Asian countries, Azeri mugham is more free-form and it is often compared to the improvised field of jazz. Its modes are associated not only with scales but with an orally transmitted collection of melodies and melodic fragments that performers use in the course of improvisation.

Nizami Ganjavi, 16th Century

Nizami Ganjavi, 16th Century

The dramatic unfolding in performance is associated with increasing intensity, rising pitches, in a form of poetic-musical communication amid performers/listeners.

In 2003, UNESCO recognized Mugham as a Masterpiece of Oral and Intangible Cultural Heritage of Humanity. Another curiosity is the presence of the Balaban (national wind instrument) included on the Voyager Golden Record, attached to the Voyager spacecraft as representing (assorted) world music.

Meykhana is a kind of traditional Azeri distinctive folk unaccompanied song, usually performed by several people improvising on a particular subject. Ashiq combines poetry, storytelling, dance and vocal and instrumental music into a traditional performance art that stands as a symbol of Azerbaijani culture. Based on a mystic troubadour or traveling bard who sings and plays the Saz, this tradition has its origins in the ancient Turkic peoples, surviving to the present day as an emblem of national identity and the guardian of Azerbaijani language, literature and music. (!)

Azeri Dance

Azeri Dance

Let’s go to our music:

Jazz is extremely popular in Azerbaijan. National Jazz School of Azerbaijan was established with the birth of State Jazz Orchestra in 1938 performing both classic jazz and improvisations on traditional Mugham music. The life of Jazz did not last long as in the 50’s Soviet authorities banned the its performance in the country as seditious western music, even music played on the saxophone was outlawed!

Therefore, a blend which came to be known as mugam jazz had originated in Baku.

In the late 60’s, the Azeri jazz music was boosted by such composers as Qara Qarayev and Rauf Hajiyev. It was the era of Rafiq Babayev’s jazz quartet, and later, that of Vagif Mustafazadeh, who pioneered the jazz-mugham variation.

Qara Qarayev

Qara Qarayev

Let’s go to our artist:

Vagif Mustafa-Zadeh (March 16, 1940 – December 17, 1979) is the founder of Azerbaijani jazz mugham movement that emerged in the late 60’s and 70’s in Baku.

Mustafazadeh was born in Old City, the historical core of the Baku, his name was chosen by the renowned poet Samed Vurgun, on the request of his mother, a piano teacher in local music school. The musical prohibitions during the 40’s and 50’s meant that the playing of jazz was banned in USSR countries, including Azerbaijan, since there was no opportunity to get jazz records from anywhere, he listened to jazz pieces, learning from movies, the BBC radio and sang the also banned Meykhana.

In 1963, he graduated from Baku State Musical School named after Asaf Zeynally and a year later accepted to Azerbaijan State Conservatoire. He first achieved fame at the music school, giving concerts there, later on performing at the parties and evenings held at the universities and clubs, while performing at the clubs, he mainly played classical jazz, as well as some blues and (even) pop-dance music!

A Young Maestro

A Young Maestro

From the 60’s, prohibitions put on jazz music were gradually lifted and thus the late 1960s and 70’s became a time when Baku was a real center of inspired jazz.

In 1965, he quit the conservatoire and went to Tbilisi to lead the Orero musical ensemble, later he created the Qafqaz jazz trio at Georgian State Philarmony.

In 1970 he formed the Leyli women’s quartet and followed the formula in 1971 with the (famous) Sevil vocal instrumental ensemble. The group was founded on the basis of the State TV & Radio of Azerbaijan SSR, with soloists U. Hajibeyov, Dilara Dzhangirova and Rena TalybovaUntil 1977 he guided tirelessly all of ‘em!

Sevil, 70's

Sevil, 70’s

For its composition Waiting for Aziza, Mustafazadeh won first prize at the 8th International Competition of Jazz Composers in Monaco, 1978. He was also elected as laureate at Donetsk All-Soviet Union Jazz Festival in 1977, and elected as the best pianist in Tbilisi-78. Vagif Mustafazadeh is assigned Honored Artist of Azerbaijan SSR and after his death Azerbaijani State Prize. Unfortunately he died of a heart-attack shortly after a concert in Tashkent, and before the birthdays of his wife and daughter. Mustafazadeh was married twice, from his first marriage he had Lala, a classical pianist. His second marriage gave him (famous) Aziza Mustafa Zadeh.

More than three decades since Mustafazade’s passing, a larger number of his recordings are more widely available than at any time during his lifetime. (RIP)

Vagif Mustafa Zadeh

Vagif Mustafa Zadeh (Art)

Let’s go to our album:

This is one of those rare moments when everything goes right! I’m totally rapt about the music of this incredible artist, composer, arranger and icon. Be blessed by the wonderful vocal harmonies, deep instrumental tracks, folk and even a bit of funk rock. Today we won’t talk much, the music speaks for itself, despite the quality of the rip, the overall is fantastic, a long lasting jazz album, appraise it and yaxşı səfər!

The ‘IM’ highlights are: Beauty Black Eyebrows and Mugam.

Tracks Include:

A1 Дороги (Roads) / (V. Mustafazade – F. Qoca)

A2 Золотое колечко (Golden Ring) / (T. Quliyev – R. Rza)

A3 Сурьма для черных бровей (Beauty Black Eyebrows) / (V. Mustafazade – Xalq)

A4 От судьбы не уйдешь (No Escaping Fate) / (V. Mustafazade)

B1 Во дворце ширваншахов (In the Palace of the Shirvan Shahs) / (V. Mustafazade)

B2 Любимая (Favorite) / (R. Haciyev – O. Olibeyli)

B3 Мугам (Mugam) / (R. Mirisli)

B4 Сегодняшний день (This Day) / (V. Mustafazade)

Мелодия ‎– С60 10157

Baku by Night

Baku by Night

Tafo Brothers – Plugged in Pakistani Pops (2009)

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foto cópia

The history of Pakistan film industry is interspersed with many vicissitudes. Starting almost from a scratch soon after the political division of the Sub-continent (1947), it gradually progressed to achieve self-reliance and prosperity, and a time came when it could proudly and successfully compete with quality films made across the border in India, matching them in (almost) all departments of cinematography.

The golden era of Pakistan cinema was the period between the 60’s and 70’s, although a number of good movies had already been produced in Lahore studios during the second half of the 50’s. A large number of dedicated movie-makers, who had made names during their stay in Mumbai, like producer-directors Nazir, Shaukat Hussain Rizvi and WZ Ahmad (their actress-wives Swaran Lata, Noor Jahan and Neena); directors Nazir Ajmeri, Luqman, S Fazli and Masud Parvez.

Noor Jahan

Noor Jahan

And lastly, play-actors of the calibre of Shah Nawaz, Shakir, Alauddin, Charlie, Ghauri, Himaliyawala, Sadiq Ali, Shameem, Najma and Ragni contributed to the evolution of Pakistan film industry during the formative years of the new state.

Lollywood ranks among the top twenty film producing nations with an average of 60 full length feature films per year. Lollywood should take pride in achieving two distinct accolades. The first relates to Noor Jehan, also known as ‘Melody Queen’, she is the country’s most celebrated singer and actress, enjoying popularity in a career spanning about sixty years! Followed by actor Sultan Rahi was yet another phenomenon with a total number of 670 films, playing key roles in 525 films in a period of almost forty years between 1956 to 1995, averaging 16.75 films a year!

Nayyar Sultana

Nayyar Sultana (Malka-i- Jazbaat – Queen of Sentiments)

In spite of all, almost all Pakistani films cater to the local market and no serious effort has been made to broaden the audience base of its films or to enter these at international festivals. Very little, therefore, is known or heard about Lollywood outside the country, the indifference and timidity as evinced by this industry have a lot to do with the peculiar history of the (difficult) evolution of cinema in Pakistan.

The strategy of prolonged protectionism has failed to solve its mainly problems, along with the loss of East Pakistan territory, the inception of television, and the infiltration of non-artistic financiers, who had no or little background, either in the arts, or business. Consequently, senior film-makers, directors and composers went into voluntary exile and the industry was taken over by rich people who invested money for purposes other than artistic ends, much based only on profits.

These factors contributed to the ultimate decline of Pakistan film industry. (!)

Nimmi (Nawab Banoo)

Nimmi (Hindustani Vamp)

Let’s go to our artist:

As leading exponents of Lahore’s vibrant film industry the Brothers Tafo gave Lollywood its first rock group in the form of expanded Sextet commonly known as Tafo or Taffoo to Punjabi and Urdu listeners. Mostly instrumental in composition, the sibling writing team emerged in 1970 providing incidental music and sonic variations for Lollywood love storys, with equivalence to the works of RD Burman, Mr. M.Ashraf or Sohail Rana. They would enjoy over a decade of film scoring and musical experimentation at the hi tech EMI funded recording studios in Lahore.

Echo-plexes, primitive drum machines, analogue synths, fuzz pedals and such, provided many mundane film-scenes with playful/infectious freak-rock courtesy of these uber-legends who were the first Lollywood group to record their own LP!

Tafo Soundtrack

Tafo 70’s Soundtrack

Let’s go to our album:

The Tafo Brothers were let loose in the EMI studios in Lahore and were seemingly intent on playing every keyboard, stringed instrument and sound effect in the place. All tracks overflows with ideas, constantly shifting mood and sound as though played by these hyperactive geniuses. A delightful mix of Eastern grooves, vintage electronics, psych and pop combined with a half ton of charm and a dash of wit.

Once again, this entry must thank the work of Hindustani Vinyl and splendid releases from Finders Keepers, re-discovering Lollywood scene, with your spaced out and funky grooves. This amalgamation of sounds may be left over in Pakistan cinema nowadays, but we’ll be alert for more of these mighty artists, as Tafo Khan and Nusrat Fateh Ali Khan works, be in touch, and Maayo Nga Biyahe!

The ‘IM’ highlights are: Bijli Bhari Hai and Tere Siwa Dunya Men.

Tracks Include:

A1 Yeh Aaj Mujh Ko

A2 Tut Tooro Tooro Tara Tara

A3 Oh My Love

A4 Bura Honda Juwariyan Da

A5 Par Kahin Aankh Laraee

A6 Bijli Bhari Hai

B1 Dilon Man Laee

B2 To Shamae-Mohabbat

B3 Mera Mehboob Hai Tu

B4 Lakh Karo Inkar

B5 Tere Siwa Dunya Men

B6 Munda Shahr Lahore Da

Credits

Finders Keepers’ Disposable Music library imprint.

Disposable Music ‎– DiM001

Neelam Valley

Neelam Valley

Konstantin Orbelyan Orchestra – Государственный Эстрадный Оркестр Армении (Armenian State Estrada Orchestra) [1978]

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armenia, orchestraThe music of Armenia has its origins in the Armenian Highlands, where people traditionally sang popular folk songs, with a long musical tradition, that was primarily collected and developed by Komitas, a prominent priest and musicologist, in the late nineteenth and early twentieth centuries. Armenian music has been presented internationally by composers Aram Khachaturian, Arno Babadjanian, duduk player Djivan Gasparyan, composer Ara Gevorgyan, pop singer Sirusho, amid others.

One of the oldest types of Armenian music is the Armenian chantthe most common kind of religious music in Armenia, many of these chants are ancient in origin, extending to pre-Christian times, while others are relatively modern, including several composed by Saint Mesrop Mashtots, (simply) Armenian alphabet’s inventor.

Prokofiev, Shostakovich & Aaram Khachaturian

Prokofiev, Shostakovich & Aaram Khachaturian

Under Soviet domination, Armenian folk music was taught in state-sponsored conservatoires, instruments played include qamancha (similar to violin), kanun (dulcimer), dhol (hand drum), oud (lute), zurna, blul (ney), shvi and saz.

Other instruments are often used such as violin and clarinet, and the duduk is Armenia’s national instrument. Traditional Armenian folk music as Armenian church music is not based on the European tonal system but on a system of Tetrachords, the last note of one tetrachord also serves as the first note of the next, which makes Armenian folk music based on a theoretically endless scale. (!)

Traditional Ensemble

Traditional Ensemble

Let’s go to our artist:

Konstantin Aghaparoni Orbelyan (July 29, 1928 – April 24, 2014) an Armenian pianist, composer, head of the State Estrada Orchestra of Armenia. He was a People’s Artist of USSR (1979), Union of Soviet Composers Board member, Armenian Composer’s Union secretary since 1983, Vice-President of All-Soviet Musical Society of the USSR. Also the uncle of his namesake Constantine Orbelian, he has been acknowledged as a pianist and improviser since he was in his early teens.

At age fifteen, he was invited to perform with the Armenian State Pop Orchestra, formed in 1938 in Yerevan, and subsequently became its conductor. Under his able direction for thirty-six years, the Orchestra rose to become one of the most accomplished of its kind. As a result, it came to represent Soviet jazz over thirty countries in Eastern and Western Europe, Near EastAfrica, and Southeast Asia!

Konstantin Orbelyan

Konstantin Orbelyan

Graduating in composition and piano from Edward Mirzoyan’s class of composition at Yerevan’s Komitas Conservatory in 1963, Orbelian achieved early recognition for his String Quartet, winning first prize at the International Competition in Moscow, where the chairman of the Competition’s panel of judges was the composer Dmitri Shostakovich. Orbelian’s rising talent and success were noted with great appreciation by the doyen of Armenian music of the time: Aram Khachaturian.

Next followed the premiere of Orbelian’s first symphony in Moscow’s famous Tchaikovsky Hall by the USSR State Symphony Orchestra. For this symphony, Orbelian was awarded the title ‘Laureate of the All-Union Competition’. His ballet symphony Immortality was composed in 1975 and performed by the Yerevan Opera and Ballet Theater. This work, too, won first prize in an All-Union Competition devoted to music stage. One of the Orchestra’s highlights was its American tour (1975) which included twenty-five concerts in major cities from coast to coast. (!)

Live

Live

In the beginning of the 90’s after the collapse of the Soviet Union working with the orchestra and creating music became very difficult. In 1992 Konstantin Orbelian moved to San Francisco, spending his last moments in Los Angeles. Ever versatile in the scope of his repertoire, he has written musical scores for many films and stage musicals, music for theater, not to mention his extensive work in jazz/pop music.

Recently, more than 8 cd’s have been released with compositions for symphonic orchestra, as well as jazz and pop music, with an endless number of awards placing the maestro in one of the highest recognition spots throughout the globe.

Let’s go to our album:

Thanks to the fantastic work of our friends from Soviet Groove, we’ve been able to rediscover the pinnacle of Jazz, Pop and Soul from countries like Armenia, Estonia, Latvia, Georgia, Turkmenistan, Uzbekistan, Azerbaijan, etc. At a time when the Iron Curtain still ruled the old world order, to the surprise of all, great composers/musicians had an exact idea of ​​what the Western world consumed!

Armenian (Bagratid Dynasty) Costume

Armenian (Bagratid Dynasty) Costume

I would go even further, groups like Gunesh, Firyuza, Yalla, Qaya, Sevil, among others, conceived one of the finest meetings between Jazz and Folk music. Our today album are just a first step of a fascinating and little-known aspect of these faraway cultures, mostly supported by legendary Melodiya (Μелодия) label, soon we’ll have an entry solely to this. By now, remain with a great Western-like big-band and վայելել!

The ‘IM’ highlights are: Ты Моя Песня (A5) and Вокализ (B4).

Tracks Include:

A1 Сто Часов Счастья (One Hundred Hours of Happiness)

A2 Твои Следы (Your Footprints)

A3 Назан Яр (Nazan Yar) w/ Larisa Dolina

A4 Восход Солнца (Sunrise)

A5 Ты Моя Песня (You’re my Song) w/ Datevik Hovanesian

B1 Силуэт (Silhouette)

B2 Шум Берез (Noise Birches)

B3 Весенний Экспромт (Spring Impromptu)

B4 Вокализ (Vocalise) w/ Datevik Hovanesian

B5 Спасибо, Жизнь (Thanks for Life)

Мелодия ‎– С60–09733–34

Cafesjian Museum (breathtaking) Vista

Cafesjian Museum (breathtaking) Vista

Kim Jung Mi (김정미) – 이건 너무 하잖아요 (It’s Too Much Unfair) [1974]

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capa cópiaThe music of South Korea has evolved over the decades since the end of the fourth Korean War (1953), and has its roots in the music of the Korean people, who have inhabited the Korean peninsula for over a millennium. Contemporary South Korean music can be divided into three different main categories: Traditional Korean folk music, popular music, or K-pop, and Western-influenced non-popular music.

The first evidence of Korean music is old, and it has been well documented by surviving written materials from the 15th century and was brought to heights of excellence during the Yi Kings of the Joseon Dynasty. Imperial Japan’s annexation of Korea (sic) eliminated Korean music from 1905 to 1945. (!)

Traditional Music Ensemble

Traditional Music Ensemble

A brief post-war period reawakened folk and patriotic music, by 1951, Korea was split into the Democratic People’s Republic of Korea (North) and the Republic of Korea (South), from which emerged two completely different approaches to music.

Korean traditional music includes kinds of both folk and classical, including genres like sanjo, pansori and nongak. The three types of Korean court music are: Aak (oldest), Dang-ak (less known) and Hyang-ak (extant form). Today, the Korean Wave, or hallyu (한류), is the word used to discuss the influence of contemporary Korean popular culture on the rest of Asia, and also the rest of the world!

Traditional Dance

Traditional Dance

Let’s go to our artist:

T’onga guitar (tong guitar) is a form of Korean folk and folk rock music developed in the early 60’s/70’s. It was heavily influenced by American folk music, artists in the genre were then, considered Korean versions of American folk singers, such as Joan Baez or Bob Dylan. Notable early Korean folk musicians include the american- educated Han Dae-soo and Kim Min-ki. Hahn and Kim recorded socially and politically conscious songs, and both had their work censored/banned by the (aforementioned) autocratic Park Chung-hee 1970s dictatorial government (sic).

Han Dae-soo

Han Dae-soo

Despite the government’s efforts to censor political music, popular folk songs increasingly came to be used as rallying cries for social change within Korea, leading to the term norae undong (노래운동), or literally, song movement, being coined to describe songs targeted at social change. In the midst of this turmoil our today artist flourished thanks to the (irreplaceable) presence of Shin Joong Hyun.

At the dawn of the 70’s, South Korea’s rock music scene was at its zenith, much of the reason for this was the god-like musical touch of guitar wizard, songwriter, producer and arranger Shin Joong Hyun. In 1971, he took a girl named 김정미 or simply Kim Jung Mi, and transformed her from a wallflower student into a (famous) folk-psych chanteuse in record time, like a Korean Francoise Hardy.

Kim Jung Mi, 1972

Kim Jung Mi, 1972

Born in April 23, 1953, they worked together intensively in six albums until the fateful year of 1975 where the Korean rock was shut down! Only to reinvent itself with the entry of San Ul Lim in 1977. Kim Jung Mi came back that same year with a different sound style and a last effort in 1978, to finally retire from music business.

I really would like more information about her, like interviews and curiosities, about its life, or even recent news, but so far i (still) haven’t had much success reading and translating in Hangul, could our Korean friends give us any help?!

Let’s go to our album:

The rockier side of her, again thanks to Shin Yung-Hyun’s participation along with the Yupjuns, this certainly defined the Korean psych-rock sound; plus the addition of horns, organ, and even a string section. Still owing a decent reissue, unlike the recent hyped Now (1973), pressed by Lion Productions, and distributed by Light In The Attic, this groovy folk funk are possibly her best work! With a famous cover from Janis’s Move Over (!), this one sprinkled pepper along her folk, trot work!

Korean Gipsy

Korean Gipsy

Lastly, this rip comes from the Korean cd re-release, but believe me, the sound is identical to the few versions we have available in Soulseek, etc, terrible!!

But in any matter this will disparage the appreciation of a beautiful B side from South Korea, let us enjoy another great artist and Udhëtimi i Mirë!

The ‘IM’ highlights are: 너와 나 (You & Me) and 너를 갖고파 (I Want You).

Tracks Include:

1 이건 너무 하잖아요 (This Does So)

2 생각해 (Think)

3 난 정말 몰라요 (I Do Not Know Really) – Move Over

4 담배꽁초 (Cigarette Butt)

5 너와 나 (You & Me)

6 갈대 (Reed)

7 당신이 (You)

8 나는 바보인가 봐 (I’m Like a Fool)

9 너를 갖고파 (I Want You)

10 셋방살이 (Living in a Rented Room)

11 너를 보내고 (Send You)

Credits

Performer: Kim Jung Mi

Performed, Composed: Shin Joon Hyun & The Yupjuns

Jigu / JLS 120920

World Psychedelia / WPC6-8499

Psych Foxy

Foxy

El Alamo – Malos Pensamientos (1971)

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el alamo cópiaThe music of Peru is an amalgamation of sounds and styles drawing on Peru‘s Andean, Spanish, and African roots. Andean influences can be best heard in wind instruments and the shape of the melodies, while the African side can be noticed in the rhythm and percussion instruments, and European tinges are watched in the harmonies and stringed instruments. Pre-Columbian Andean music was played on drums and wind instruments, not unlike the European pipe and tabor tradition.

Andean tritonic and pentatonic scales were elaborated during the colonial period into hexatonic, and in some cases, diatonic scales. (!)

Folklore

Folklore

Let’s go to our artist:

The group was formed in Magdalena, rehearsing all along the year of 1970. Consisted of Luis Iturry on vocals and rhythm guitar, Tino Pow Sang solo guitar, Ricardo Allison on drums and Arturo Montenegro on bass, their first tests were conducted at Luis Iturri’s family home in Magdalena. In the beginning they did progressive rock, expanding through psychedelic rock, hippie latin style such as Jefferson Airplane and Santana. In April 1971, officially calling El Alamo they played with PAX and other bands in different parts of Lince, Magdalena, Pueblo Libre and Jesús Maria.

Album Photos

Album Photos

In December 1971 they recorded their debut LP entitled Malos Pensamientos, the whole recording took it place in just one day! That very day also had the support of Peruvian musician Aníbal López in congas and timbales. The art photo on the cover was made by Estanislao Ruiz, director of the legendary Rock magazine. Many of their songs had a lot of publicity in radios like Radio Miraflores, though the military dictatorship used to ban summarily (sic) all rock groups from that era. (!)

Thus, the band had to present yourself only in small venues such as El Embassy or La Fontana; right after a solo 45 RPM the band broke up in 1972, with all its members except for ‘El Chino’ Pow Sang, retired from music, leaving a harmoniously latin psychedelic print, being one of the many forgotten gems of Inca Rock scene.

Santana, Live At Woodstock, 1969

Santana, Live At Woodstock, 1969

Let’s go to our album:

Peru’s rock scene are really surprising, owing nothing to their close brothers such as Brazil, Argentina and Chile, acts such as Traffic Sound, Laghonia, Gerardo Manuel, Black Sugar, Pax, El Polen, We All Together, amongst (many) others grew domestic success in the 70’s and are continually being rediscovered in this century by Western audiences. With a sweet latin rhythm, lots of fuzz and a melodic feeling, there’s a resemblance to the Telegraph Avenue entry, ready to fall in love?!

There’s some live videos from nowadays presentations, but i couldn’t find more info, anyhow, it’s good to see Tino Pow Sang rocking with these new guys, check it out!

The ‘IM’ Highlights are: Pusher Men and Malos Pensamientos.

Jauku Ceļojumu!

Tracks Include:

A1 Candy

A2 Can You See Me

A3 Pusher Men

A4 Good Night

A5 Sweet My Woman

B1 Listen Me

B2 I Cry

B3 Borgoña

B4 Malos Pensamientos

Credits

  • Bass: Arturo Montenegro
  • Drums: Ricardo Allison
  • Guitar (1ra): Tino Pow Sang
  • Guitar (2da): Luis Iturri
  • Organ: Jaime Salinas
  • Percussion (Gran Tumbador Peruano): Anibal López
  • Photography: Lorenzo Figueroa
  • Design (Desiños): E. Ruiz Floriano
  • Coordinator: Luis Rivera B.
  • Engineer: Jorge Avalos Vera
  • Producer: José Sardón, Victor Paz

Decibel ‎– LPD-1143

Alamo, 1960 Film

Alamo, 1960 Film

Embryo – Embryo’s Reise (1979)

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capa cópiaThis post is dedicated to the German friends, simply, one of our faithful visitors, Vielen Dank! Let’s make another recap on the subject Krautrock, shall we? Years away from the Xhol Caravan entry, Embryo’s galaxy roamed through our World during its existence, influenced by psych, prog, ethio-jazz, fusion and today’s album are definitely my favorite, a special gem, let’s learn how to cultivate it!?

Let’s go to our music:

Krautrock (Kosmische Musik) is a German avant-garde, experimental rock movement that emerged at the end of the 60’s, intending to go beyond the eccentricities developed by the psychedelic rock of the US, by giving a special emphasis to electronic treatments, sound manipulation and minimal hypnotic motifs (musique concrete/minimalist) Krautrock put the emphasis on extended/ecstatic instrumental epics, neglecting the (trivial) pop universe.

The term Krautrock was first used by the British music press in a very derogatory way, though it rapidly found a better reputation under the underground music circle, gaining (with time) a certain popularity, also thanks to the Brain-Festival Essen.

Ash Ra Tempel's Flyer, 1973

Ash Ra Tempel, Bravo’s Magazine / 1973

With their own particular artistic expression, multiple musical collectives supplied psychedelic incantations, mantra like drones, lugubrious atmospheres, long and convoluted collective improvisations, binary repetitive drum pulses, fuzz guitars, primitive electronic noises, hallucinatory ballads, and garage blues rock trips. Krautrock can be described as an anarchic, intense, acid, tellurian, nocturnal, spacey, dark and oniric adventure through rock music! (phew!!)

The most consistent years of the scene cover a relatively short period from 1970 to 1975. After their first spontaneous, hyperactive and psychedelic efforts, the bands generally split up or declined into other musical sensibilities, more in line with mainstream rock or with ambient soundscapes. Each region develops its particular musical scene, interpreting differently the Krautrock musical structure.

Faust

Faust

For instance the Berlin school focused on astral synthscapes, weird electronic experimentation and acid jams (Ash Ra Tempel, Agitation Free, The Cosmic Jokers, Kluster), the Munich scene offered fuzzed out (Eastern) psych rock mantras with some folk accents (Popol Vuh, Amon Duul, Gila, Guru Guru). Cologne and Dusseldorf underground scenes focused on political rock, electronics, pulsating rhythms and clean sounding (Floh de Cologne, La Dusseldorf, Neu!, Can).

Let’s go to our artist:

Embryo is centered around multi-instrumentalist Christian Burchard, founded in the late 60’s, after Burchard had played in several jazz combos and allegedly spent a short time in Amon Düül II. Since then, busloads of musicians have played together with him in Embryo and there are probably not two albums with the same line-up.

Nevertheless, some musicians stayed with Burchard for quite a long time, Roman Bunka and Edgar Hoffman were one of those. Two excellent multi-instrumentalists who both ramained for most of the 70’s and 80’s In addition, Embryo has also played constantly with musicians from outside Europe, especially from Asia and Africa. (!)

Multi-Arts Embryo!

Multi-Arts Embryo!

The continuous changes in the band line up and the wide range of musical styles probably typify the musical restlessness of Burchard. Although the band started as a Krautrock outfit, it was clear within a few albums that he had a genuine interest in combining jazz, rock and a large variety of ethnic (different) music styles.

Throughout the 70’s, the jazz and ethnic influences were often embedded in a jazz rock/fusion format, while in the mid and late 80’s the band often focused on purely ethnic music, especially from Africa. During the 90’s, Embryo developed more or less into an ethnic jazz band, rarely restricting themselves to a strict compositional format, always allowing ample room for spontaneous musical interaction.

70's

Kraut-World

Surprisingly, Embryo still exits after 30 years and the band still play many concerts and festivals, throughout Europe, the Middle East and Northern Africa. (!)

Let’s go to our album:

This double album is certainly one of the best attempts to fuse progressive-type rock with ethnic/world music and few have succeeded as well as Embryo’s Reise (voyage). Indeed around the departure of the ever-important Roman Bunka, plans had been made to travel from Istanbul to Pakistan and Nepal, while recording their musical encounters with the many people found on their road paths!

Embyo’s Reise

Embyo’s Reise

The group was giving improvised multimedia concerts along the way, including stunning live performance paintings, some of these jams are actually really successful, mixing the European (often electric) rock musicians and the acoustic local musicians (Road To Asia), while others are more ethnic players playing freely along.

Symbolic of the 70’s hippy dream, a real must not only in Embryo’s discography!

Embryo Live, Lately

Embryo Live, Lately

The ‘IM’ Highlights are: Kurdistan and Cello Celloਤੁਹਾਡਾ ਸਫਰ ਸੁਰੱਖਿਅਤ ਰਹੇ!

Tracks Include:

A1 Strasse Nach Asien (Christian Burchard)

A2 Paki Funk (Michael Wehmayer)

A3 Lost Scooters (Roman Bunka)

A4 Anar, Anar (Traditional, arr. Burchard)

B1 Es Ist, Wie’s Ist (Christian Burchard)

B2 Kurdistan (Christian Burchard)

B3 Far East (Roman Bunka)

B4 Chan Delawar Khan (Traditional, arr. Burchard)

C1 Farid (Christian Burchard)

C2 Cello, Cello (Christian Burchard)

D1 Rog de Quadamuna Achna (Traditional, arr. Burchard)

D2 Hymalaya Radio (Traditional, arr. Burchard)

Credits

Roman Bunka: guitar, vocals, bass, piano, guitar synth, drums, oud

Christian Burchard: vocals, drums, synth-vibes, percussion, tamtam, marimbaphone, pianet

Remigius Drexler: acoustic & electric guitars

Edgar Hoffmann: violin, soprano saxophone, shinai, dilruba, flute, harmonica

Uve Müllrich: bass, electric guitar, oud, rhubab, electric saz, vocals, percussion

Michael Wehmayer: organ, piano, harmonium

Participations

Abdul Jabar: tula / Friedemann Josh: flute / Abdul Madjid: tambur

Schamsdin Masrur: dotar / Mrs. Ramamani: vocals / Mr. Chandramouli: kanjira

Mr. Chandrasekhar: khol / Mr. Gopalakrishna: tabla / Mr. Rajagopal: dhol

Mr. Ramesh: ghatam / Mr. Ramesh Shotam: tavil / Mr. Ravi: dolki

Mr. Sashikumar: mridangam, top pitch / Mr. Sampath Kumar: morsing

Mr. Satyakumar: dholak / Mr. TS Mani: mridangam / Malang Negrabi: zerbagali

Ustad Mohamed Omar: rubab / Machin Abdul Raschid: saranda

Ashok Roy: sarod / Ustad Salim: dilruba / *Ubekannter Zirkusansager: vocals

Bahul Jazz Group of Calcutta: tam-tam, flute, violin, vocals

  • Cover: Hartmut Bremer, Stefan Rustige, Uve Müllrich
  • Engineer: Etienne Conod, Günter Heidler, Rolf Sylvester
  • Mastered: Rico Sonderegger
  • Photography: Georg Kramer, Michael Wehmeyer
  • Recorded: Brian Greenman, Etienne Conod (tracks: A1, B2, B3, C1),
  • Gunni Heidler (tracks: A3, D2), Rolf Sylvester (tracks: A3, A4, B3, C1, D1)

Recordings from Afghanistan, Pakistan and India.

Recorded Sept 1978 – May 1979

Remix and playback July 1979 by Sunrise-Studios, Kirchberg, Switzerland.

Notes

Tracks A1, B1 and B2 recorded after returning from the journey in August/September 1979 at Sunrise Studio. Track A2, with vocals from an unknown Circus Announcer*, recorded in November 1978 10 km west of Peshawar, Pakistan in the tent of Jan Bahader Circus. Track A4, B3, B4, C1, D1 recorded March 1979 at Goethe-Institut Kabul, Afghanistan; Playbacks for Track B3, C1 July 1979 at Sunrise Studio.

Track D2 recorded at doon school Dehra Dun, Hymalaya, India. Track A3, C2 recorded February 1979 in Bangalore (Heidler, Sylvester), track A3 playbacks July 1979 at Sunrise Studio, KirchbergD4 recorded January 1979 in the docks of Calcutta (Greenman). Track D3 is a ‘field recording’ from December 1978.

Berlin City Nights

Berlin City Nights

Disciplina Kičme – Ja Imam Šarene Oči (1985)

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capa cópiaThe Socialist Federal Republic of Yugoslavia was the Yugoslav state that existed from the end of WWII (1945) until it was formally dissolved in 1992 amid the Yugoslav wars. It was a socialist state that comprised the area of the present-day independent states of Bosnia and Herzegovina, Croatia, Republic of Macedonia, Montenegro, Serbia, Slovenia and Kosovo. Outside the Eastern Bloc, but a founding member of the Non-Aligned Movement and as such, it was far more opened and tolerant to western influences comparing to the (many) other socialist states.

Unlike the citizens of other Socialist countries, Yugoslavs enjoyed freedom of travel and had an easy access to Western popular culture. The Yugoslav pop and rock music scene was well developed and covered in the media including numerous magazines, radio and (pioneering) TV shows. SFR Yugoslavia was also the only Socialist country which was taking part in the Eurovision Song Contest, it joined in 1961 even before Western nations such as Portugal, Ireland, Greece and Turkey. (!)

Stjepan Filipović / 'Death to fascism, freedom to the people!'

Stjepan Filipović / ‘Death to fascism, freedom to the people!’

Let’s go to our music:

The new wave music scene emerged in the late 70’s worldwide and had a significant impact on Yugoslav culture. As its counterparts, the British and the US movement, the Yugoslav new wave was also closely related to Punk Rock, Ska, Reggae, 2 Tone, Mod Revival, etc. The period around 1982 is considered especially crucial concerning the decline of the scene in Yugoslavia, and around the globe.

Zoran Kostić-Cane, the former vocalist of Radnička Kontrola, formed the furious garage punk group Partibrejkers and achieved huge success. Idoli, Prljavo Kazalište and Film became pop-rock and all of them respectively achieved great mainstream success. The cult band Azra gradually moved on to a more conventional folk-rock sound and Električni Orgazam went through a psychedelic phase.

Partibrejkers, 1981

Partibrejkers, 1981

Symbols of the Yugoslav new wave era are the compilation albums Paket Aranžman, Novi Punk Val, Artistička Radna Akcija and especially movies Davitelj Protiv Davitelja (starring Idoli member Srđan Šaper) and Dečko Koji Obećava (featuring appearances by Šarlo Akrobata and Idoli). Also an important rockumentary covering this effervescent period is Sretno Dijete, check it out! Lastly, Dušan Kojić-Koja, the former bass player of Šarlo Akrobata formed the legendary group Disciplina Kičme.

This period in the former Yugoslav music is considered a Golden Age Era!

Paket Aranžman (Compilation), 1981

Paket Aranžman (Compilation), 1981

Let’s go to our artist:

Disciplina Kičme (Spinal Discipline), currently working under the slightly altered name of Disciplin A Kitschme, was one of two spin-offs of the seminal Belgrade post-punk/new-wave band Šarlo Akrobata, the other being Ekatarina Velika.

Founded in 1982 by Dušan Kojić-Koja (bass and vocals), Disciplina Kičme was characterized by an unconventional line-ups: bass + one or two drummers, sometimes with and without a brass line. Musically, they are best described as an aggressive and artistic rhythmic explosion, experimenting and seeking out new expressiveness while finding (plenty) inspiration in the traditions of punk rock, funk, jazz fusion, noise, drum n’ bass and even the works of Jimi Hendrix. (!)

Disciplina Kičme (Koja & Zica), 1982

Disciplina Kičme (Zica & Koja), 1982

Let’s go to our album:

After the first independent album release Sviđa Mi Se Da Ti Ne Bude Prijatno (1983), the band continued performing in major Yugoslav cities, mainly in small clubs, and in 1985, they released an EP Ja Imam Šarene Oči (I Have Colorful Eyes), with the single ‘Novac Neće Doći’, released by Slovenian label Dokumentarna.

Todorović did the drums and Krasavac appeared only on the intro for the track ‘Sviđa Mi Se…’ and on ’28. jun 1984′ recorded live at Belgrade’s SKC on the same date. Kojić produced the EP and for the first time included a trumpet played by Jugoslav Muškinja. Along the decades they passed through many different line-ups and styles, with an (very) active career, being internationally recognized.

Nowadays, the band enjoys a solid cult status, and a last album from 2011!

Disciplin A Kitschme

Disciplin A Kitschme

Disciplina Kičme also held three albums in the YU 100: The Best albums of Yugoslav Pop and Rock music book: Sviđa Mi Se Da Ti Ne Bude Prijatno (No. 52), Zeleni Zub Na Planeti Dosade (No. 32) and Svi Za Mnom! (No. 65) (!)

The ‘IM’ highlights are: Veruj Meni! and Vaspitanje.

Góða Ferð!

Tracks Include:

A1 Doboš 7 Puta (Snare Drum 7 Times)

A2 Novac Neće Doći! (Money Won’t Come)

A3 Veruj Meni! (Trust Me!)

A4 Pristanište (Pier)

B1 Sviđa Mi Se… (I Like…)

B2 Pregršt Novca (Plenty of Money)

B3 Vaspitanje (Manners)

B4 28. Jun 84!

Credits

  • Bass, Vocals, Bells: Koja (Dušan Kojić)
  • Drums, Percussion (Daire): Zica (Srđan Todorović)
  • Drums on 5 and 9: Nenad Krasavac
  • Handclaps: Đorđe Kostić, Nenad Krasavac
  • Music, Lyrics, Artwork (Cover): Dušan Kojić
  • Trumpet: Jugoslav Muškinja
  • Photography: Igor Petrović
  • Producer: Disciplina Kičme
  • Producer, Handclaps: Darko Milojković
  • Recorded: Enco Lesić
  • Recorded, Producer: Miroslav Cvetković

Recorded at studio Druga Maca, Beograd, September 1983 / 12’’ EP

B4 recorded live in SKC on 28.06.1984 w/ Branislav Trivić (sax), Zekerman (trumpet)

Dokumentarna ‎– DOK P-4

Belgrade Fortress

Belgrade Fortress

Magic Carpet – Magic Carpet (1972)

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folder cópiaThe emotion provided by Raga (classical India music) is not only affective, it’s a real message, an aesthetic of the nature, of the divine, a virtue able to guide the listener to a state of emotional trance. In the 60’s, with the launch of international success of raga, masters such as Ravi Shankar and Ali Akbar Khan, leaded European and American artists to become more and more captivated by the dynamical relation between mystical emotion, spirituality and music. The emergence of Raga schools from everywhere (still perpetuating the ancestral musical traditions), and initiatic travels of Western minimalist-modern jazz composers (Terry Riley, Don Cherry) to India, founded a growing interest for this (transcendental) musical universe.

George Harrison & Ravi Shankar

George Harrison & Ravi Shankar

The emphasis on circular rhythms, ornamentation (gamaka), the use of acoustic stringed patterns, the sense of beatific endurance and lengthy improvisation are the central characteristics of this music in term of practice and sound aestheticism. Emotionally, the function on the listener is hypnotic, voluntary trying to reach him into a higher state of consciousness, modulating his perception of time and space. (!)

The basic conception of drone (continuous sound form) will be taken back in popular music and turned into kosmische electronica (70’s Berlin underground). After Seventh Sons’s first original but rather discreet effort simply called Raga (1964) and Malachi’s Holy Music (1967), famous bands such as The Beatles in Revolver (1966) and Traffic in their album Mr. Fantasy (1967) were seduced by the sonorities of Indian raga music, they also occasionally incorporate sitar elements to their music.

Raga Megha, Kailash Raj

Raga Megha, Kailash Raj

Let’s go to our artist:

Way back in the early 70’s in London, three friends came together to play some unusual music: Sitarist Clem Alford, guitarist Jim Moyes and tabla player Keshav Sathe, formed a unique Anglo-Indian fusion, calling themselves Sargam (the name of a note in an Indian scale). They made one album under the name Sagram, misspelt by the Windmill recording company and inappropriately entitled Pop Explosion Sitar Style. This album was released without the band’s permission, with a ludicrous cover photograph bearing no relation to any band members or anything about them. (!)

In 1971, soon after the release of Sagram, the Sargam trio were offered another Lp recording contract by Mushroom Records, with the proviso that they find a singer. Having met her when they were both at Chelsea School of Art, Jim Moyes contacted Alisha Sufit. She busked in street markets, singing and playing at the London Underground by day, and did gigs round the clubs and colleges at night.

Cheesy Cover!

Cheesy Cover!

Jim Moyes invited her to play and the four musicians soon renamed themselves Magic Carpet, forming an unique Anglo-Indian musical collaboration, facilitated by the fact that Alisha was writing songs set in open modal tunings on the guitar making them instantly compatible with the tuning of the sitar. The band recorded the Magic Carpet album in the winter of 1971/1972 on Mushroom Records label.

The four stayed together for nearly a year, doing a few prestigious gigs, at the 100 Club in London, Wavendon (Cleo Laine, John Dankworth’s venue), several festivals, Sounds of the Seventies on BBC Radio, but they finally parted company in 1972.

Magic Carpet

Magic Carpet

After a considerable gap, the four met up again. Jim was no longer performing and Keshav had retired, but Clem and Alisha were still playing professionally and it was a natural step to do another album, in 1996 they recorded the album Once Moor (subtitle Magic Carpet II) released on the Magic Carpet Records label. It consists of songs written/sung by Alisha, plus some instrumental tracks, with Clem Alford on sitar/tamboura, Alisha on guitar, and Pandit Dinesh and Esmail Sheikh on tabla.

Let’s go to our album:

Originally published in 1972 for Magic Carpet records, the Lp shows a dynamic mixture of original folk inventions, psych-Hindu sitar gems and gorgeous, omnipresent, accentuated female vocals by Alisha. Lyrically all the album is about east mysticism, love, spirituality, time of Creation and such. The music itself is poetic, combining simplistic folk guitar motifs to raga scales, in a spiritual Hindu-folk experience, with soft psychedelic flavor floating all along the album!

Alisha Sufit

Alisha Sufit

There’s a fantastic interview with Alisha Sufit with long details about them made by our friends from It’s Psychedelic Baby, with track by track comments, and more!

The ‘IM’ highlights are: Father Time and Take Away Kesh.

बॉन यात्रा!

Tracks Include:

A1 The Magic Carpet (Alisha, Alford, Moyes, Sathe)

A2 The Phoenix (Alisha)

A3 Black Cat (Alisha)

A4 Alan’s Christmas Card (Alford, Moyes, Sathe)

A5 Harvest Song (Alisha)

A6 Do You Hear The Words (Alford, Moyes, Sathe)

B1 Father Time (Alisha, Alford, Moyes, Sathe)

B2 La La (Alford, Moyes, Sathe)

B3 Peace Song (Alisha)

B4 Take Away Kesh (Alisha, Alford, Moyes, Sathe)

B5 High Street (Alisha)

B6 The Dream (Alisha)

Credits

  • Electric Guitar: Jim Moyes
  • Sitar, Esraj, Tambura: Clem Alford
  • Tabla, Percussion: Keshav Sathe
  • Vocals, Acoustic Guitar: Alisha
  • Design (Cover Design)Alisha
  • Photography: Gabriel Weissman
  • Producer, Engineer: Vic Keary

Magic Carpet Records ‎– MC 1001 LP

Fantastic (Pulp) Magazine

Fantastic (Pulp) Magazine

French-Oriental Female Ep (2014)

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ann sorel cópiaThis Ep is an attempt to present some artists who will enter soon in our galaxy, today will address exclusively two countries: France and Japan. Great arrangers, actresses singers, side B, and even famous ones, (feel free to) leave us a comment and enjoy!

France

1968

Brigitte Fontaine – Je Suis Inadaptée / Est… Folle, 1968 (arr. Jean Claude Vannier)

June 24, 1939 / The diva of French underground music.

Brigitte Fontaine made a series of increasingly strange and eclectic art-pop in the 70’s that gathered a lot of acclaim in France, although she remains obscure to an international audience. Initially she was an eccentric but accessible pop singer, presenting melodic and orchestrated material, working with (living legend) arranger Jean Claude Vannier; on subsequent records she got jazzier, and then into avant-gardism and art song, her albums were commendably wide-ranging and erratic.

With an active career and 2013 last release, albums like Est…Folle, Barbara’s Madame, and even less known Jean Constantin’s Le Poulpe, are some of the wonderful panorama that Vannier conducted throughout the 70’s.

A dreamy arrangement, with delicacy, strong pace and multiple colors!

nicoletta 2 cópia

Nicoletta & Zoo – Dieu Est Negre / Visage, 1970 (arr. Zoo)

April 11, 1944 / Nicole Chappuis-Grisoni

She was considered as part of what is known as the French yé-yé generation heavily influenced by American music, particularly R&B, rock and roll and beat music, mostly known for her version of ‘Mamy Blue’ with her very specific, bluesy voice, she certainly gained a special place in French pop music, with many radio and television appearances, where she had a number of hits in the 60’s and the 70’s.

Her material after the 70’s is somewhat dubious, with that sugar chanson feel, returning to top form from mid-90’s and recently launched Ici Et Ailleurs.

Honestly, these recordings with Zoo are certainly Nicoletta’s best moment, a passionate diva interpretation with an incredible escort by these guys, check it!

ann sorel 2 cópia

Ann Sorel – L’Amour à Plusieurs / Single, 1972 (arr. Jean Claude Vannier)

Ann-Chantal Sorel, 71 years (more info ?). She released a few pairs of singles during the 60’s and 70’s, early on yé-yé and then, precious moments like this magistral one under Vannier’s tutelage. Banned (!) on radio, with a scandalous lyrics from Fréderic Botton, Ann’s sexy voice guides us through an unusual encounter.

Wrapped in a simple deep red cover, this is a fantastic erotica re-discover!

Japan

chinatsu cópia

Chinatsu Nakayama (中山千夏) – 砂漠 (Desert) / Single, 1971

July 13, 1948 / Actress Singer

Former wonder actress, TV personalitysinger and later established writer. She released a few singles during the 70’s and stopped its singer career in early 00’s, to fully devote herself as a writer, human rightscivil and feminist activist.

A B side soul-psych bomb with tons of brass, fuzz and nicely chorus!

rumi koyama 3 cópia

Rumi Koyama (小山ルミ) – 恋人の記念日 / Sasurai No Guitar, 1971

August 11, 1952 / Actress Singer

Another famous actress and Tv star, Rumi released a bit more singles and albums through the 70’s. A swinging one, with western brass, percussion, mellow strings and that Tarantino’s Kill Bill homage. Like Meiko Kaji tunes, expect some more entrances from Rumi Koyama, too, she sings with grace and got a real nice 1971 Lp!

rabi cópia

Rabi Nakayama (中山ラビ) – 夢のドライブ (Drive of a Dream) / Hira Hira, 1974

The one (and only) who helped Yoshiko Sai in his first years, Rabi Nakayama are probably one of the most famous singers from Japan, the female Bob Dylan often called, started its career in early 70’s with a dozen of releases, very active until 2009.

Here she catches a heavier side, with a furious backing band, this is almost a B side in Hira Hira’s album, totally folk oriented. Even being unknown worldwide, Rabi’s career are pretty solid, with diverse moments and bands, soon she’ll enter here!

Hyvää matkaa!

Blind Woman's Curse, 1970 (Meiko Kaji)

Blind Woman’s Curse, 1970 (Meiko Kaji)

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