Pino Daniele ‎– Nero A Metà (1980)

Let’s get a pause of the gals, shall we? I must admit I’m a bit ashamed for only get to know this COLOSSAL artist only a few years back but that’s one of the reasons that I have the ‘IM’. Pino Daniele is probably one of the greatest Italian artists of the 20th century, like Lucio Dalla and Vasco Rossi, this Napolitan musician, and composer stood out as a brilliant guitarist and bandleader, passionate composer, and a very very distinct singer.

Unfortunately, Pino passed away in 2015 due to a heart attack, a tragic loss of someone who didn’t reach its sixties, RIP! We choose to present you one of his masterpieces (yes he has more than one!), its third solo album, a voyage that ranges from Blues to Jazz, and even Pop elements, a real treat with a stellar band, so non andare da nessuna parte, vuoi?

Let’s get to our artist:

Pino Daniele 1979

Pino Daniele, born Giuseppe Daniele (Naples, 19 March 1955 – Rome, 4 January 2015), was an Italian singer-songwriter, musician and composer. Pino grew up learning both classical and traditional Neapolitan guitar, though as a teenager he became interested in British and American rock. In 1976, he started playing as a bassist in Napoli Centrale where he met James Senese who would become a key figure in the production of his first albums.

In the same year Claudio Poggi, EMI Italiana’s producer, listened to a demo tape with Daniele’s original songs and decided to produce his music. Within six months his first single was released titled Ca Calore / Fortunato, both songs were included on his first album, Terra Mia (released in 1977) sung in Neapolitan, was the first example of what Daniele called “taramblù” a combination of tarantella, rhumba, and blues (!).

27/06/1980

In 1979 his self-titled sophomore record was released, followed by Nero a Metà in 1980, and that same year Daniele was invited to open for reggae superstar Bob Marley for his show in Milan, with an attendance of more than 100.000 people it was by far its greatest show ever played. During the next few years the artist continued exploring his various Mediterranean, African, and Western inspirations, found in albums like Common Ground, a collaboration with Richie Havens, and the Middle Eastern-influenced Bonne Soirée, as well as writing soundtracks for films by his close friend Massimo Troisi.

Being active until its very last moment, Pino Daniele had released several albums, cinema soundtracks, television performances, world-tours, and countless collaborations. He is one of the most famous Italian musicians in the world and we simply thank you, Ragazzo!

Let’s go to our album:

On Tour 1981

Easy to say that Pino’s first five albums are absolutely mandatory, from 1977 to 1982 his career skyrocketed and then he continued to search new forms of expression through multiple collaborations and live performances in a very fruitful career. Nero A Metà sold over 300,000 copies and is present in the ranking of the 100 most important Italian records ever according to Rolling Stone Italia at position number 17. (!)

Pino’s thoughts about this album:

‘The title “Nero a Metà”, tied to a musical concept, was inspired by a beautiful book published in the ’70s, “Nero di Puglia”, which narrates the story of a colored man born in the South, a little like my friend James Senese’s story. Useless to say that my favorite piece is “Quanno Chiove”, one of my first love songs. We wanted to change things and music helped us a lot.’

Nero A Metà Promo

The ‘IM’ highlights are Quanno Chiove (probably one of the most beautiful love songs ever) and A Me Me Piace ‘O Blues (a funk-prog blues to stir up ANYTHING). Genio!

Tracks Include:

A1 I Say I’ Sto Ccà
A2 Musica Musica
A3 Quanno Chiove
A4 Puozze Passà’ Nu Guaio
A5 Voglio Di Più
A6 Appocundria
B1 A Me Me Piace ‘O Blues
B2 E So’ Cuntento ‘E Stà’
B3 Nun Me Scoccià’
B4 Alleria
B5 A Testa In Giù
B6 Sotto ‘O Sole

Musicians

Acoustic Guitar, Electric Guitar: Pino Daniele
Bass: Aldo Mercurio, Gigi De Rienzo
Congas: Karl Potter
Drums: Agostino Marangolo, Mauro Spina
Harmonica: Bruno De Filippi
Keyboards: Ernesto Vitolo
Percussion: Rosario Iermano, Tony Cercola (Astà)
Tenor Saxophone: James Senese
Backing Vocals: Enzo Avitabile

Lyrics and Music by Pino Daniele

Arranged By: Pino Daniele (tracks: A1 to A6, B2 to B6)
Arranged By: Gigi De Rienzo (tracks: B1)

Credits

Mixed By: Allan Goldberg (tracks: A1 to B2, B4 to B5), Gaetano Ria (tracks: B3, B6), Marcello Todaro (tracks: B3, B6)

Photography By: Cesar Monti
Producer: Willy David, Marcello Todaro, Pino Daniele
Recorded By: Allan Goldberg

Co-Producer: Gigi De Rienzo, Rosario Iermano
Artwork: Cesar Monti, Willy David
Engineer: Nick Lovallo
Graphics: Wanda Monti

Management: Totò Iacobone, Willy David
Management (Personal Manager): Joseph Lodato

Notes

EMI ‎– 3C 064-18468 / 12-2-80.

Registrato e mixato allo “Stone Castle Studio” tranne “Nun Me Scoccià'” e “Sotto ‘O Sole” mixati al “Trafalgar Recording Studio” (ottobre ’79 – gennaio ’80).

Naples Alley (RIP)

Izabela Trojanowska ‎– Układy (1982)

Today’s artist does not have an extensive musical career, but as it always here on the IM’ it is worth checking it out! Due to political problems at the height of its popularity she was forced to leave Poland only to return after 7 years, close to the fall of the USSR. Also a talented actress Izabela remains today as an active performer, with a 2016 latest release.

Let’s go to our artist:

Izabela Ludwika Trojanowska (born Izabela Ludwika Schütz; 22 April 1955) is a Polish singer and film actress, she first appeared in a short-running 1979 TV series Strachy and subsequently played the title role in the feature film Carmilla. She rose to fame in 1980 with the hits “Tyle Samo Prawd Ile Kłamstw” and “Wszystko Czego Dziś Chcę”, the latter performed to a big success at the National Festival of Polish Song in Opole, accompanied by the legendary Polish rock band Budka Suflera. In a meteoric rise up Trojanowska became one of the most popular singers of the early 1980s in Poland.

Izabela, The Actress in 1979

At the very beginning of this decade, Izabela established trends in music. As an artist, she traveled the world, watching her peers live abroad. In the stores, on the shelves, however, there were only vinegar, and potatoes with kefir given to eat. She wanted to sing about what was bad in the country, what really hurt Poles. Soon, she became the enemy number one for power and a hero for society. With an androgynous look, backed up by an astounding band and acid lyricists Izabela started her upswing with Romuald Lipko, Budka Suflera’s leader. He composed eight tracks for her debut album, simply entitled Iza and released in 1981. The record was ordered in a record circulation of nearly one million copies, however, due to technical reasons, only 50,000 were sold on the market copies and a cassette tape. However, the singles promoting her spread over 300,000 copies (!!)

Who Loves Iza?

The same year Trojanowska teamed up with another rock band, Stalowy Bagaż, with whom she recorded an EP and performed at the Opole Festival. Their performance drew controversies as she was wearing a red tie on stage, typical for the outfit of the members of Union of Polish Youth (ZMP). The organization accused her of desecrating the symbol of the Union as its performance of ‘Song of the Brick’ caused that Solidarity also turned away from her. After the scandal broke out she began being persecuted by the authorities.

By early 1982, Izabela finished recording her second LP, Układy. The album showcased a rockier sound and spawned hits “Brylanty” and “Karmazynowa Noc” with more than 100.000 copies sold. Later that year, she paired with Tadeusz Nalepa for the album Pożegnalny Cyrk (released commercially in 1993), whose politically charged lyrics strongly criticized martial law in Poland. That record was withdrawn by the censorship office. Burned by Solidarity, persecuted by the authorities she emigrated in 1983.

The Star in 1982

In the following decades, Izabela only released 5 records being Na Skos the latter and also it’s best, placing the good old rock n roll ahead of more Pop-English oriented songs.

Izabela stated: ‘At the beginning of the crazy and wonderful eighties together with Romuald Lipko and Andrzej Mogielnicki we were able to prepare a repertoire that electrified people. Then there was a lot of electricity in the air… Then came the next records … I am always happy to come back to singing, even after a long break. I take it as seriously as I do acting, maybe even more frightened… One thing I know: I would never want someone to say that I am the best singer among actresses and the best actress among singers.’

Let’s go to our album:

‘Na Skos’ Cover

Everyone seems to forget this second album always recurring to the first one Iza to talk about her but here in the IM we go deeper! This one is a fav of mine, with a strong post-punk and synth-pop feelings, showcasing how things were more liberal in countries such as Poland and Yugoslavia, at least in musical terms as we know it. Chodź Usłysz!

The ‘IM’ highlights are Obejdzie Się Bez Łez and Nic Naprawdę

Tracks Include:

A1 Układy
Backing Vocals: Bogdan Gajkowski / Guitar: Aleksander Mrożek

A2 Obejdzie Się Bez Łez
Backing Vocals: Jan Borysewicz

A3 Mało Siebie Znam

A4 Brylanty

B1 Karmazynowa Noc

B2 Daj Boże Daj
Backing Vocals: Bogdan Gajkowski

B3 Nic Naprawdę

B4 Obce Dni
Guitar: Aleksander Mrożek

B5 Układy
Guitar: Aleksander Mrożek

Credits
Bass: Wojciech Bruślik
Drums: Andrzej Dylewski
Guitar, Guitar (Solo): Jan Borysewicz
Keyboards: Janusz Grzywacz
Lyrics By: A. Mogielnicki

Music By: A. Mrożek (tracks: A1, B4), B. Gajkowski (tracks: A4, B3), J. Borysewicz (tracks: A2), W. Bruślik (tracks: B2), W. Trzciński (tracks: A3, B1)

Arranged By: A. Mrożek (tracks: A1, B4, B5), B. Gajkowski (tracks: A4, B3), J. Borysewicz (tracks: A2, A3, B1, B2), W. Bruślik (tracks: B2)

Engineer: J. Mastykarz
Engineer (Assistant): W. Żywioł

Notes
Recorded at Studio Nagrań ZPR Teatru STU, Kraków 1982. Tonpress ‎– SX-T 12

Solidarność Rally

Akiko Yano (矢野顕子) ‎– There Must Be Love (愛がなくちゃね。) [1982]

Simple and direct this is one of the Top 5 albums that I’ve been listening to nonstop since our departure in 2014, a wild collaboration between Akiko, YMO and David Sylvian’s Japan. East + West = Gemstone! There will be more Akiko’s albums throughout our trip, she is a VERY special composer, singer, and performer that is still rocking on so this is just the beginning. This LP is a fav of the Blog so get ready…

Let’s go to our artist:

Akiko Yano (3 February 1955) was born in Tokyo and raised in Aomori, Japan. She began playing piano at the young age of three (!) and demonstrated promising talent. When she was only fifteen, Akiko moved to Tokyo on her own and entered into Aoyama Gakuin High School where she pursued her musical career. She later began performing in jazz clubs where her masterful skill at the piano brought her popularity among other musicians. Akiko joined a band with roots in Tin Pan Alley.

Nihon Shōjo

Akiko recorded her debut album, Japanese Girl, primarily in Los Angeles with Lowell George and Little Feat. When it was released in 1976 many reputed her to be a “girl with a musical wonder.” She then began collaborating with Yellow Magic Orchestra (YMO).
They continued to play on her next recording projects and invited Akiko to join them on two of their worldwide tours. Akiko expanded her musical collaborations with YMO on her subsequent LP releases, she continued to release LPs joined by Japan and Pat Metheny and has performed on albums by Thomas Dolby and other artists.

YMO Tour

In 1990 Akiko relocated to New York where she collaborated and toured with some of the world’s most renowned musicians including The Chieftains, Toninho Horta and Jeff Bova on his project The Hammonds. August 2007 marked her second debut as yanokami a pop unit with Rei Harakami, an electronic musician and sought-after producer.

To date, Akiko has released more than 30 (!) original albums, being Welcome to Jupiter her last in 2015, latter ones such Soft Landing are reissues or even Live records.

Let’s go to our album:

1982 Promo

The following text is taken from Jansen Photography Blog, so I will take a short extract from it, thank you for the Infos and photos!

‘In 1978 YMO performed as Yano’s back-up band for a Japanese tour, and at this time she became romantically involved with Sakamoto, following the breakup of her marriage. Although at the time this wasn’t noted in the press, once YMO became famous the story was spread across the papers, something that Akiko further highlighted herself by including clippings from the tabloid reports in a tour program. In 1979 Akiko became a support member of YMO; taking a break in early 1980 when she gave birth to daughter Miu Sakamoto, before returning for the second YMO world tour.

Japan the band first became aware of Akiko Yano because Japanese fans gave the group mixtapes of music they thought they would like. At that time, they did not know that there was a connection between YMO and Akiko. This soon changed when Japan attended a YMO concert and was introduced backstage. David Sylvian, Sakamoto and Yano started to exchange letters, something referred to in the song “David” released later in the 80s.

Japan

For her 1981 tour, Akiko recruited Masami Tsuchiya as a guitar player, and he went on to play on her album “Tadaima”. Both artists came to London in early 1982 and booked time at Air Studios, Masami to record “Rice Music” and Akiko “Ai Ga Nakucha Ne”.

Akiko specifically chose to work with Japan members and to record at Air because of “Tin Drum”; she liked the clarity of sound and the feel of the album, and wanted that for her own recording. To that end, not only did Akiko recruit the Japan members, but she employed Steve Nye and David Rhodes for the duration of the recording.

The producing role would be performed by fiancé Ryuichi as the couple would marry before the album was released in 1982.06.25.’

Akiko Yano + Ryuichi Sakamoto

So finally let us drink the waters from a synth-pop masterpiece with multiple touches you will hardly find it in any Western release!

The ‘IM’ highlights are Onnatachiyo Otokotachiyo and Donnatokimo Donnatokimo Donnatokimo.

Tracks Include:

Side A うし (Ushi – Cattle)

A1 愛がなくちゃね (Ai Ga Nakucha Ne – There Must be Love)

A2 悲しくてやりきれない (Kanashikute Yarikirenai – Unbearable Sadness)

A3 What’s Got In Your Eyes?

A4 おいしい生活 (Oishii Seikatsu – Small Time Crooks)

A5 みちでバッタリ (Michi De Battari – I Ran Straight on the Road)

Side B ぞう (Zō – Elephant)

B1 女たちよ 男たちよ (Onnatachiyo Otokotachiyo – About Women and Men)

B2 あいするひとよ (Aisuru Hitoyo – Overnight Love)

B3 Sleep On My Baby

B4 Another Wedding Song

B5 どんなときも どんなときも どんなときも (Donnatokimo Donnatokimo Donnatokimo – Anytime, Anytime, Anytime)

B6 Good Night

All songs and lyrics by Akiko Yano

Except for A2 by Kazuhiko Kato & Hachiro Sato / A5 by Yuji Takahashi & Masafumi Oka.

Credits

Arranged By: Akiko Yano, Ryuichi Sakamoto
Bass: Haruomi Hosono, Mick Karn
Drums: Steve Jansen, Yukihiro Takahashi
Guitar: David Rhodes, Kenji Omura, Robbie Mackintosh
Keyboards: Akiko Yano, Ryuichi Sakamoto

Engineer: Shinichi Tanaka, Steve Nye

Mixed By – Steve Nye

Co-producer: Ryuichi Sakamoto

Producer – Akiko Yano

This album was recorded in London with members of Yellow Magic Orchestra and Japan.

Nowadays

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

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 ’60s, 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 significant because they vitalized the Korean popular music scene, which 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 ’90s, 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 a 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), 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 exclusive 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)

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 tiny noggin 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