Yoshiko Sai – Taiji No Yume (1977) [Repost]

Born on June 22, 1953, at Nara prefecture, Yoshiko Sai since his childhood demonstrated its precocity and many artistic gifts. During her elementary school days, she loved to paint and read all the classics from mythical writer Edogawa Rampo (The Japanese Poe). In junior high school, she was a member of the coral, taking his first lessons in music; by high school, she played (casually) in a folk-rock group.

In 1972 she tried to enter the Kyoto City University of Arts but wasn’t accepted, then she tried the Kyoto Doshisha University where she passed the entrance examination. In May of that year, she was caught by kidney disease, having to spend a year in observation.

Portrait
Portrait

Over this period she would recall:

‘I read a LOT of books from famous novelists, such as Mushitaro Oguri, Yumeno Kyusaku, Juran Hisao, and Yokomizo Masashi. These dark novels made me accept and relax about the disease, my forthcoming production of lyrics and music was strongly tied with this fact.’

After leaving the hospital, she incessantly started to wrote poetry and in 1974 debuted and won a contest at a local radio program. She then received an invitation to play an opening act for Rabi Nakayama concert. Two record companies became interested in her music and after the show, she was contracted by Teichiku Records.

1978 Promo
1978 Promo

Yoshiko Sai recorded four albums in four years, between May 1975 and December 1978, the 2nd (Mikkō) and 3rd (Taiji No Yume) of her releases may be considered more Progressive than Folk. Unfortunately, she abruptly retired from a career at the age of 25 in 1979.

A story told is that Yoshiko may have doubted her talent in music and lost her self-confidence. In recent years, a revival of interest in his music made her come back to record a new album with Jojo Hiroshige, called Crimson Voyage in 2001. Lastly, there’s been some re-releases from its 70s records, unedited live performances and poetry books.

Let’s go to our album:

In 1977 she moved to the Nippon Columbia company, and on September 25, she announced Taiji No Yume (Fetus Dream). Heavily inspired by the pre-war oddball and ghostly neurosurgeon doctor and writer Yumeno Kyusaku, hence the strange atmosphere this disc abides in. Quite dark in the overall texture, at the time of this she was merely 24 years old. Totally unknown for non-japanese listeners, this album is really a must for people into some more advanced Japanese historical recordings.

Melancholic Breeze
Melancholic Breeze

With utterly beautiful arrangements by the legendary Yuji Ohno, this is certainly my favorite album from her. A kaleidoscope of genres that spring from the depths of the inner mind: folk, jazz, bossa nova, flamenco, prog, rock and so. Yoshiko Sai plays the role of each and invites us to another dimension of reality, the “IM’ highlights are for:

Aoi Glass-Dama, with nice synths and strings, this rock ballad has an interesting crescendo, delivering an amazing emotional interpretation. And Taiji No Yume, a 9-minute epic, simply one of the best Japanese songs of all time, without exaggeration, I’ll let the words and adjectives to you, do not miss Yoshiko Sai’s haunting realms. 良い旅!

Tracks Include:

A1 ヒターノ (Gitano)

A2 アルハンブラの青い壜 (Alhambra No Aoi Bin)

A3 ある晴れた夜 (Aru Hareta Yoru)

A4 波止場 (Hatoba)

A5 春の夢 (Haru No Yume)

A6 海の沈黙 (Umi No Chinmoku)

B1 青いガラス玉 (Aoi Garasudama)

B2 遍路 (Henro)

B3 白昼夢 (Hakuchūmu)

B4 胎児の夢 (Taiji No Yume)

All songs and lyrics by Yoshiko Sai

Blow Up LX-7021A /// 25/09/1977

Musicians

Drums: Yasushi Ichihara

Electric & Acoustic Guitar: Tsunehide Matsuki

Gut Guitar: Kiyoshi Sugimoto

Electric Bass: Kenji Takamizu (1,2,4,5,9,10) /// Akira Okazawa (3,6,7,8)

Acoustic Piano: Masahiko Sato

Electric Piano, Solina, Spinet & Synthesizer: Yuji Ohno

Percussion: Lary Sunaga

Arranged (strings, brass, instrumental) by Yuji Ohno

Credits

Directed by: Shun Ohki

Produced by: Akira Sakajima

Engineer: Tomiji Iyobe

Art Director: Kazuhiro Saito

Cover Illustration: Yoshiko Sai

Illustration: Tsuyoshi Takigaito

Photography by: Jin Komine

Layout: Takashi Eakabayashi

Taiji No Yume Illustration
Taiji No Yume Illustration

Halina Frąckowiak ‎– Geira (1977)

Halina has already appeared here on a 2014 post about multiple female artists, but today she deserves a full entry, another Pole legend to grace us with all her talent!

Let’s go to our artist:

Halina Maria Frąckowiak (born April 10, 1947, in Poznań) is a Polish pop/rock singer, composer, and songwriter. She debuted in 1963 at the Young Talents Festival in Szczecin, where she competed with future polish legends such as Czesław Niemen, Zdzisława Sośnicka and Krzysztof Klenczon, and became the winner of the so-called “Golden Ten”.

Then she won further awards at song festivals in Opole and in Kołobrzeg in the years 1969, 1976, 1977, 1988, 1991 and 1993 (!). Working with such bands as Czerwono-Czarni, ABC Group, Tarpany, they launched a plethora of hits throughout the late ’60s and early ’70s.

Halina & Grupa ABC – 1972

In 1972 Halina outset in a solo career, it was then that she won the plebiscite for the most popular singer, several times took part in foreign festivals (Ostend, Rostock, Dresden), where she received the most important awards, including “Golden Microphone” of the Polish-American Artistic Agency. Halina has recorded over 20 discs and cassettes, and her concerts have been seen in many places in Europe as well as in the US and Canada. She performed, at the Musical Theater in Gdynia, the Grand Theater in Łódź and Warsaw.

Halina’s 1977 Grace

The album Ogród Luizy (Luisa’s Garden) from 1981 was created as a result of Halina Frąckowiak’s fascination with the poetry of Kazimierz Wierzyński, this is the effect of the gradual change of the singer’s repertoire to a more serious and lyrical one conception since its debut with the renowned Idę in 1974. The last decade only saw re-releases of her past records and many live presentations until today, its last record is from 2006.

Let’s go to our album:

Let us present you Halina’s second (and better) entry, a fantastic collaboration between the singer and the almighty prog-trio SBB, here in a way that some fans might not know:

Zespół SBB – Made In Poland

“The three musicians that revolutionized Polish rock” or “Beyond doubt the most prominent representatives of progressive rock in Poland” with these credentials it’s easy to drool out with this magnificent record. The trio changed their groove in some nice ways for the album, mostly known for their long-form, fusion-styled jams, here, they compact that energy into shorter, tighter songs that often have a funky rock style or ambient jazz-pop that draws equally from the vocals in the lead, and from the keyboards of Jozef Skrzek!

Believe me, you don’t want to miss this one…

The ‘IM’ highlights are Wzejdę Polnym Makiem and Śnij Tylko Szczęście.

Tracks Include:

A1 Jesteś Spóźnionym Deszczem
A2 Myśli Twoje Śnić Zaczynam
A3 Wzejdę Polnym Makiem
A4 Otwieram List – Brązowy Wrzesień
A5 W Powszednie Dni
B1 Śnij Tylko Szczęście
B2 Pieśń Geiry
B3 Chcę Być Dla Ciebie
B4 Brzegi Łagodne

Credits
Featuring: Zespół SBB

Backing Vocals: Alibabki
Lyrics By: J. Matej
Music By: J. Skrzek

Design – Rafał Jasionowicz
Engineer: J. Złotkowski, M. Gola
Photography By: Marek Karewicz

Companies
Record Company: Polskie Nagrania
Printed By: Łódzka Drukarnia Akcydensowa

Polskie Nagrania Muza ‎– SX 1428

Presently

Zafer Dilek – Oyun Havalari (1977)

folder cópiaAs previously, today we’re going to another unknown artist to most of the Western audience; legendary Turkish producer and arranger, again there’s little information available about this grand maestro! Per hour, we will continue to investigate its details and if some Turkish readers could provide us more details, it will be welcome!

Let’s go to our history:

Belly Dance in the Middle East has two distinct social contexts: as a folk or social dance, and as performance art. As a social dance, belly dance is performed at celebrations and social gatherings by ordinary people who are not professional performers. Dancers wear their ordinary clothes rather than a special dance costume.

The version of belly dance that is performed on stage has its roots in the social dance, and is typically a more polished version, with more emphasis on stagecraft, use of space, and special costumes designed to show off the movements to best effect.

Princess Banu
Princess Banu

Professional performers (dancers, singers, and actors) are not considered to be respectable in the Middle East, and there is a strong social stigma attached to female performers since they display their bodies in public, which is considered haram. (!)

As Turkish law does not impose restrictions on Turkish dancers’ movements and costuming as in Egypt, where dancers are prevented from performing floor work and certain pelvic movements, Turkish dancers are often more outwardly expressive than their Egyptian sisters. They’re known for their energetic, athletic (even gymnastic) style, and their adept use of finger cymbals, also known as zills.

Sabine Sevan
Sabine Sevan

Another distinguishing element of Turkish style is the use of the Karsilama rhythm (faster than others) in a 9/8 time signature, counted as 12-34-56-789.

Turkey was also known, male belly dancers!

Let’s go yo our artist:

Zafer Dilek (b. 1945) is one of the unsung heroes of Turkish music having worked as arranger, producer, and guitarist for countless famous Turkish artists (usually uncredited); also in film soundtracks, as a solo artist and in Zafer Banu Hülya group. He officially began its career in 1971 and in 1976 produced Selda’s second album.

The development of Turkish pop music in the ’70s saw the consolidation of Anadolu Rock, drinking on traditional influences, suddenly folklore (once seen as outdated) became a true fever when arranged with electric (modern) instruments.

Zafer Dilek
Zafer Dilek

The so-called Oyun Havalari turned into an export product, with its appealing (erotic) covers, uptempo overall and many famous artists doing this kind of exploitation portrait of the Middle East, such as Esin Engin, George Abdo, Omar Khorshid, Ahmad DjamalErköse Kardeşler and Ozel Turkbas. (!)

Let’s go to our album:

Groovy instrumental, lot’s of ethnic percussion, beautiful woodwinds, and excellent guitar / Bağlama playing in an unstoppable rhythm, feverish psychedelia with short length tracks, and a small sense of deja-vu: the songs are quite similar in this oriental party, but this will not belittle your hearing appreciation, hoşlanmak!

The ‘IM’ highlights are Arabi Oyun Havası and Konyalı(this is an exclusive rip)

Приятной поездки!

Tracks Include:

A1 Kol Bastı Oyun Havası

A2 Tokat Sarması

A3 Sultan Ciftetellisi

A4 Arabi Oyun Havası

A5 Eminem

A6 Tulum

A7 Fasulya

B1 Döktürü

B2 Konyalı

B3 Bahriye Çiftetellisi

B4 Kelle

B5 Adana Çiftetellisi

B6 Kazancı Oyun Havası

B7 Adanalı

Devir ‎– DP 7777

Erotik Kapak!
Erotik Kapak!

Majida El Roumi (ماجدة الرومي) – Wadaa (1977)

cover

Today we’ll be back to Lebanon, a special place when it comes to female singers, and it is precisely by the success of Samira Tawfik’s post, we’ll go to another beautiful flower of the East Mediterranean. Almost as famous as Fairuz, globally recognized and certainly one of the most awarded inside and outside of your country.

Majida El Roumi Baradhy (ماجدة الرومي‎), known by her stage name Majida El Roumi, is a Lebanese soprano. Born and raised in Kfarshima, Lebanon, she began her musical career in the early 70s when she participated in the talent show Studio El Fan on Télé Liban at the age of 16 and won the gold medal for the best female singer. Since her appearance on television, she became one of the most successful and respected singers of the Arab world, as well as a UN Goodwill Ambassador. (!)

‘Music can speak out louder than words. I will use my music and my voice to speak out on behalf of the needy and undernourished everywhere.’

2013, Ordre des Arts et des Lettres
2013, Ordre des Arts et des Lettres

Let’s go to our history:

Majida El Roumi is the daughter of Lebanese musician Halim El Roumi and wife Marie Loutfi who were a Melkite Greek Catholic couple from Tyre, a city in South Lebanon. They got married in Egypt, lived in Kfarshima and had three girls Maha, Mona, and Majida, and a boy Awad. Halim worked with many great singers with mentioning his discovery to many well-known artists, mainly the Lebanese singer Fairuz, and introduced her to the talented musicians: the Rahbani brothers.

They stayed in Kfarshima, which was home to many Lebanese singers, musicians, poets, and writers like Philemon Wehbi and Melhem Barakat. The residence of the family was a meeting place for many cultural figures, thanks to that, growing up in an artistic environment, Majida listened to the works of Fairuz, Umm Kulthoum, Wadih El-Safi, and Asmahan. Her vocal abilities attracted the attention of her family and neighbors when she was 5 years old (!), she sang her first song, Miladak.

Fairuz
Fairuz

Raymond Safadi (Majida’s cousin) was fascinated with her voice and thought that she could be very successful if she pursued singing as a profession. However, the big obstacle was her father who knew more than anyone else how difficult it was to work in the music industry. Although the father’s refusal, Majida’s participation in Studio El Fan, was a success. Singing songs for Asmahan and Leila Mourad, like Ya Toyour and Ana Albi Dalili, the jury was impressed and awarded her the gold medal.

Halim El-Roumi gave Majida his blessings to pursue singing as a profession as long as she continued her higher education. Despite the war in Lebanon in 1975, Majida obtained her BA in Arabic Literature from the Lebanese University. On September 17, 1977, she got engaged to a businessman, Antoine Dfouni became not only her husband but also her manager. They had two daughters: Hala and Nour.

1977, Ceremony
1977, Ceremony

Let’s go to our album:

Majida’s first single, I Dream of You, O’ Lebanon was a song about her war-torn country. The song was written by Said Akel and composed by Elias Al Rahbani. In 1976, Majida starred in Youssef Chahine movie Awdat Al Ibn Al Dal (The Return of the Prodigal Son) providing also 3 soundtracks for the movie. Chahine introduced her as the Voice of the 20th Century and received the Egyptian Critics Award.

Majida El-Roumi released her first self-titled debut album in 1977, the album was a huge success and it launched Majida into stardom. She continued to produce very successful albums through the decades and performed at various festivals in the Arab world: Beiteddine, Jerash, Bosra, Carthage, as the Cairo Opera House.

Majida's Portrait
Majida’s Portrait

During her concert in Beirut on April 15, 2002, Majida took a firm stand opposing the Israeli occupation of Palestinian Territories and Israeli human rights violations:

“What is going now in Palestine is a crime against humanity, and I am here to say a final ‘No!’ to the Israeli occupation. To the Palestinians, I say, our hearts are with you; our souls are with you; justice is with you, and the land will always be yours!”

With over 14 albums released during his career, countless singles, music videos, and feature films, Majida’s full biography will be held later, today, we will attend to his brilliant start. With a strong folk accent, their debut album has a bit more modern and accessible western tinges, comparable with Samira’s previous post. She currently lives in Jounieh, and released Ghazal and Nour Men Nour in 2012/13.

Live, 2005
Live, 2005

The ‘IM’ highlights are: Khedni Habibi, the opening track is one of her greatest successes, (acclaimed even today) with a beautiful string arrangement, rhythmic modulations, Arabic percussion, and some nice guitar work. This 9-minute track is one of the magnum opus from Lebanese pop-folk music. And Matrahak Bi Albi a romantic one, with some keyboards and light synths with Majida’s strong performance and sticky chorus. Enjoy this another Lebanese nightingale and Haerenga Pai!

Tracks Include:

A1 Khedni Habibi (Henri Zgheib – Nour Al Mallah)

A2 Matrahak Bi Albi (Maroon Karam – Ehsan Al Mounzer)

A3 Kelshi Am Yekhlas (Ilyas Rahbani)

A4 Wadaa (Maroon Karam – Ehsan Al Mounzer)

B1 Am Yesalouni Alaik El Nas (Maroon Karam – Nour Al Mallah)

B2 Nabea El Mahabeh (Maroon Karam – Nabea El Mahabeh)

B3 Ounshoudet Al Oumahat (Jebreael Fayad – Halim El Roumi)

B4 Ounshoudet Al Oumahat (Instrumental) [Halim El Roumi]

Voix d’Orient (Sawt Al Sharq)

Beirut's District
Beirut’s District

Yockie and Chrisye – Jurang Pemisah (1977)

capa cópiaThe culture of Indonesia has been shaped by long interaction between original indigenous customs and multiple foreign influences. Centrally-located along ancient trading routes between the Far East, South Asia, and the Middle East, resulting in many cultural practices being strongly influenced by a multitude of religions, including Hinduism, Buddhism, Confucianism, Islam, and ChristianityThe result is a complex cultural mixture very different from the original indigenous cultures.

Balinese dances have stories about ancient Buddhist and Hindu kingdoms, while Islamic art forms and architecture are present in Sumatra, especially in the Minangkabau and Aceh regions. Traditional art, music, and sport are combined in a martial art form called Pencak Silat, for example. Western culture has greatly influenced Indonesia in science, technology and modern entertainment such as television shows, film, and music, as well as political system and issues.

Balinese Dancers
Balinese Dancers

India has notably influenced Indonesian songs and movies, a popular type of song is the Indian-rhythmical dangdut, which is often mixed with Arab and Malay folk music. Despite the influences of foreign culture, some remote Indonesian regions still preserve uniquely indigenous culture, ethnic groups like Mentawai, Asmat, Dani, Dayak, Sasak are still practicing their ethnic rituals, customs and wearing traditional clothes. Examples of cultural fusion include the fusion of Islam with Hindu in Javanese Abangan belief, the fusion of Hinduism, Buddhism and animism in Bodha, and the fusion of Hinduism and animism in Kaharingan, can be cited.

Mentawai People
Mentawai People

Let’s go to our artist:

Today’s album presents us a duo that worked together throughout its careers, Christian Rahadi (16 September 1949 – 30 March 2007) and Jockie Soerjoprajogo are considered the brainchild of the revolution in Indonesia’s pop music.

Chrisye

Born in Jakarta of mixed Chinese-Indonesian descent, Chrisye became interested in music at an early age, at high school he played bass guitar in a band he formed with his brother, Joris. In the late 60’s he joined Sabda Nada (later Gipsy), a band led by his neighbors, the Nasutions. In 1973, after a short hiatus, he rejoined the band to play in New York for a year, he briefly returned to Indonesia and then went back to New York with another band, the Pro’s. After returning to Indonesia, he collaborated with Gipsy and Guruh Sukarnoputra to record the 1976 legendary indie album Guruh Gipsy.

Live Act
Live Act

Following the success of Guruh Gipsy, in 1977 Chrisye recorded two of his most critically acclaimed works: Lilin-Lilin Kecil, which eventually became his signature song, and the soundtrack album Badai Pasti Berlalu (w/ Eros Djarot and Jockie), with impressive 9-million copies sold up to date! Their success landed him a recording contract with Musica Studios, with whom he released his first solo album, Sabda Alam, in 1978. Over his almost 40-year career he recorded a further twenty albums.

Chrisye died in his home in Jakarta (2007) after a long battle with lung cancer.

Rolling Stone Indonesia declared him the third-greatest Indonesian musician of all time in 2011. Thanks to his successful career, he received two-lifetime achievement awardsBASF Awards in 1993 and SCTV (Indonesia TV), posthumously in 2007. (RIP)

80s Promo
80’s Promo

Jockie (Yockie)

Jockie was born in Demak, Central Java on 14 September 1954. Most of his musical skills were self-taught, although he did study composition under Muchtar Embut and musical notation under Idris Sardi (famous arranger). After middle school, Jockie moved to Jakarta and joined with several acts there, in 1973, he joined with Ahmad Albar, Donny Fattah, and Ludwig Leeman to form God Bless (as keyboardist).

He split from the band for a brief time to found the bands Giant Step in Bandung and Double Zero in Malang, but returned in early 1975. During this period he was heavily into drugs, once stealing and selling a ring belonging to Harry Roesli to fuel his habit!

Indo-Rock
Indo-Rock

In 1976 Jockie joined the committee for Prambors FM’s Teenage Song Writing Competition, he approached Chrisye to ask him to sing the song Lilin-Lilin Kecil, when Chrisye was finally convinced to record, Jockie handled the arrangement.

His first solo album Musik Saya Adalah Saya, came out in 1978, this was followed by four more albums over the next 15 years. Meanwhile, with God Bless he released Cermin (1980), Semut Hitam (1988), and Raksasa (1989), along with many tours.

Jockie joined with Chrisye and Djarot once again in the ’80s to produce a trilogy of albums, Resesi, Metropolitan, and Nona, all three went platinum. He is still on active duty and recently organized a famous series of concerts in tribute to Chrisye. (!)

Live, Lately
Live, Lately

Let’s go to our album:

Jurang Pemisah is an Indonesian pop-prog album, it was Chrisye’s first album, produced and released by Pramaqua Records. Chrisye performed the vocals on seven tracks and played the bass, while Jockie played the keyboards, guitar and drums.

Ian Antono and Teddy Sujaya played the guitar and drums respectively for the songs Mesin Kota and Dia. Jurang Pemisah was a portrait of social reality, dealing with themes such as the environment and politics, the eponymous song, was about class discrimination causing a divide between the different social strata. The other single, Jeritan Sebrang was a portrait of supporters of the Republic of South Maluku.

Republic of South Maluku
South Maluku Natives

This astonishing album reveals us a more melodic pop side of what we saw in our previous mixtape, Chrisye’s soft timbre and Jockie’s splendid keys translate the ambitious goals of this masterpiece. Different from Guruh Gipsy’s work, the Lp got no gamelan or traditional influences, nevertheless, do not be intimidated by the language, the beautiful songs showed here will capture the most universal feelings.

With folk, prog and rock tinge the ‘IM’ highlights are: Dendam, a ballad to hear over and over, with acoustic base, minor harmonics and light synths that will take you to some nostalgic place. And Mesin Kota, a hard organ-driven, with uptempo pace, joyous chorus, and some nice guitar work. Lastly, I would like to know a little more of the language and further understand the lyrics, will anyone could help us?

Apik Trip!

Tracks Include:

1 Jeritan Seberang (Shriek from the Other Side)

2 Jurang Pemisah (Dividing Canyon)

3 Sirna (Disappeared)

4 Mesin Kota (Machines in the City)

5 Putri Madam

6 Dendam (Revenge)

7 Gerutu Menggerutu (Yockie) [Grumbling Roughly]

8 Harapan (Yockie) [Hope]

9 Dia (Her)

Jakarta
Jakarta