Kim Choo Ja (김추자) Mixtape ~ 2013

kim choo ja cópia

Born January 2, 1951, in the city of Chuncheon, the youngest in a family of 5 sisters, Kim Choo-Ja (김추자) is considered the first sex symbol of Korean pop music. Despite being an unknown worldwide, she’s one of the most influential artist’s from the Republic of Korea. Born with a lascivious curvy body, something unusual for an Asian, she was not afraid to show off in her dances, performances, clothes and record covers, wearing tight jeans or mini skirts, tops with cleavage-boosting and tall boots, a real foxy! During her career, Choo-Ja passed through a lot of personas and attitudes, that not only reflected on her appearance but also on her sound and sexuality, like the early beat-girlie, the stoned-rock-hippy, and ultimate ferocious diva!

Even didn’t write her songs, as an interpreter, she was much helped by Shin Joong Hyun, the godfather of K-Rock, through her career, especially in her first steps. They met each other in 1969 after she had won the first prize in a festival of Arts at the University of Dongguk, where she graduated in Theatre and Cinema.

1971
1971

In October’s same year, debuts her first album: Before Its Late (늦기 전에), produced by Shin and accompanied by the band The Donkeys, the record reached great commercial success, introducing a new face in Korean pop music. Based on the psychedelic combo bass-drums-guitars-keyboards they Americanize traditional folk/trot music, until then, sung only in a high pitch by singers that looked like plasticized mannequins with their stern-tacky Hanboks.

With more than 30 (!) albums released between 1969 to 1975, Kim Choo-Ja completely dominated the 70’s and has established herself as one of the greatest singers of an era. She had problems with the censors for her hit ‘It’s a Lie’, which was banned by the military dictatorship, on the allegation that it instigates distrust. The military government, ruled by the infamous Park Chung-heealso suspected her dance moves to be a hand signal for North Korean spies. (?!)

1973
1973

There was a period of blacklists and stronger repression, motivated by Shin’s charge and arrest for marijuana possession, in December 75. During those years she was out of the charts, but it won’t last much, her big comeback took place in the series of shows Recital 78, released on 1980, the album brings her greatest hits on some different live arrangements, but it’s probably the cover, its most iconic and extravagant leap, an incredible Korean Power Booty!!

For a society that has lived under a dictatorship for decades, Choo-Ja suffered constant boycotts from the government until its fall in 1988.

With the ’80s, she launches more than 15 (!) discs from live shows (mostly) and romantic collections; due to their children, a remarriage and family reasons, she retires from the market in 1988. But the legacy of Choo-Ja can be seen, in parts, with all those never-ending pretty dolls who littered the Korean pop music scene today.

Hippy 70
Hippy 70

Let’s go to our record:

Today’s album is actually a Mixtape, organized by myself, traversing many records, trying to go through all periods from our Korean Bombshell!

It’s a pop-psychedelic beginning, the encounter with the Soul and its variations, the Latin accent, their romantic-modern versions of Trots and even a medley from the aforementioned ‘Recital 78’, with several successes, such as ‘Sgt. Kim’, ‘Regret’, ‘Rumour’, and even a version from ‘Ani Holem al Naomi’, single that sold more than 1 million copies in 70s Japan, from the Israeli duo Hedva and David!

We would be unfair to Choo-Ja if we just label her as an exclusively psych-folk singer, such as Kim Jung Mi (김정미) was. What we see here are Big Bands and their orchestrations, Brass Funk-Soul, Psych, Rock, Trots, Ballads and a familiar Korean tendency to put a few spoons of sugar into the romanticism‘Nangman’ (낭만)!

Portrait
Portrait

Unfortunately, the translation and reading in Hangul are extremely difficult, the content of the lyrics is still an incognita, as well some of the albums where the songs came out. A large number of compilations, pirate and collaboration albums, contribute to make this a HARD work, but in almost all themes the year is indicated on the mp3 file.

The ‘IM’ highlights today are for: ‘No’ (아니) a megaton groove, with breakbeats, brass, and an outstanding guitar swing! This is a really infectious soul that could be covered by any funk masters, such as Earth, Wind and Fire, Tower of Power or even the pope James Brown! The other one is ‘Rain’ (비), one of the few that I couldn’t retrieve any info, what a pity! I’ve got a sentimental keen on that, a standard ballad, with Big Band accompaniment and a blue finale, an instant CLASSIC!

Lastly, don’t forget to check our special gallery selection, with some personal and rare photos. Phew! Perjalanan Yang Baik!

Rogério Duprat – A Banda Tropicalista do Duprat (1968)

capa cópia

Born in 1932 in Rio de Janeiro, Rogério Duprat, began studying cello at the early ’50s, a period that integrates the State Symphony Orchestra. In 1955 moves to São Paulo, becoming conductor and composer of the Symphony Orchestra. In the early ’60s, funds the classical avant-garde movement ‘Música Nova’, alongside Júlio Medaglia, Damiano Cozzella, Régis DupratGilberto Mendes.

still on the ’60s, travels to Europe, where he studied in France, with the composer Pierre Boulez, and in Germany with Karlheinz Stockhausen. (!)

Back in Brazil, he dedicated to creating experimental pieces on the computer, with Damiano Cozzella once more. At the University of Brasilia, where he taught, Duprat was part of happenings and manifestations of random music.

Still, on the sixties, he began working on several film soundtracks and is from there that he initiates contact with popular music, most especially with Os Mutantes!

III Festival de Música Popular Brasileira, TV Record
III Festival de Música Popular Brasileira, TV Record

Debut in 1967 with Domingo no Parque alongside Giberto Gil and Os Mutantes and bill the award for the best arrangement of the III Festival of MPB (TV Record). Thereafter, the proposal of Geléia Geral by Tropicalia enters the scene.

Pop Cannibalism. Revolution Consumerist. /// o sol se reparte em crimes, espaçonaves, guerrillas /// He works extensively with Caetano Veloso, Gal Costa, Gilberto Gil, Os Mutantes, Tom Zé, Lanny Gordin, Erasmo Carlos, Walter Franco, etc, of the records from Festivals, dozens and annual, recorded live.

Gil & Mutantes, Live Divino Maravilhoso (Tv Program)
Gil & Mutantes, Live Divino Maravilhoso (TV Program)

Let’s go to our record:

When asked of his first solo foray, the conductor is emphatic:

‘I do not really like that. In fact, they forced a lot. For starters, that picture, made ​​me climb on the table to beat photograph … Something so silly, naive, bitchy! Anyway, I ended up doing because I wanted to make the album, has some things I like. But it suffered from the fact that the record company forces me a bit on some international music repertoire, which was a bit more commercialized. Within the record company, they did not understand things well…’

Launched in the first half of 1968, riding on the musical-wave Tropicalia, the album was a commercial failure and saw over the decades to become a holy grail of all Tropicalista production from 67 to 69. Often compared to a tupiniquim George Martin, Rogério Duprat has his own vision of what you expect from American standards, pop, sambas, bossa, psychedelia and much more!

The Maestro
The Maestro

Both scholar and pop, coming from the leading arranger of Brazilian music, certainly the freest and inventive, the Tropicalia pope! The ‘IM’ highlights: ‘Flying’, roaming a psych landscape with reverse fuzz and an oniric feel. And ‘Quem Será?’, a samba from the ’40s in a luxury cinematic collage, amazing!

As if that were not enough, the album also features the always welcome participation of Os Mutantes in four tracks, wandering through all aspects of the disc. Bonum Iter!

Tracks Include:

A1. Judy In Disguise
(J. Fred / A. Bernard / J. Wessler)

A2. Honey
(Bobby Russell)
Summer Rain
(James Hendricks)

A3. Canção Para Inglês Ver
(Lamartine Babo)
Participação: Os Mutantes
Chiquita Bacana
(João de Barro / Alberto Ribeiro)
Participação: Os Mutantes

A4. Flying
(John Lennon / Paul McCartney)

A5. The Rain, The Park And Other Things
(Steve Duboff / Artie Kornfield)
Participação: Os Mutantes

A6. Canto Chorado
(Billy Blanco)
Bom Tempo
(Chico Buarque)
Lapinha
(Baden Powell / Paulo César Pinheiro)

B1. Chega de Saudade
(Tom Jobim / Vinicius de Moraes)

B2. Baby
(Caetano Veloso)

B3. Cinderella-Rockefella
(M. Williams)
Participação: Os Mutantes

B4. Ele Falava Nisso Todo Dia
(Gilberto Gil)
Bat Macumba
(Gilberto Gil / Caetano Veloso)

B5. Lady Madonna
(John Lennon / Paul McCartney)
Participação: Os Mutantes

B6. Quem Será?
(Jair Amorim / Evaldo Gouveia)

Ficha técnica do disco sem créditos aos músicos da banda.

 Philips 765.048 (Mono)

Chacrinha & Caetano Veloso, 1971
Chacrinha & Caetano Veloso, 1971
StereoMono

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The Music of Parallel Realities

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Bodega Pop

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GRAVETOS & BERLOTAS

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Las Galletas de Maria

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Rock Peruano (Imágenes)

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Discófilos Anônimos

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Global Groove Independent

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Toque Musical

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La Nave Del Rock Argento

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JPOP80SS

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'Girls Of The Golden East' - (Mostly) Seventies Songstresses of the Soviet Satellites

'Girls Of The Golden East' - Female and Female-led Pop Music from the former Eastern Bloc from the late 1960s to the early 1980s

Flabbergasted Vibes

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Sangre Yakuza

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JUGO ROCK FOREVER

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50 Watts

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lady walker

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FLASH STRAP

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Cabeza de Moog !

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madrotter-treasure-hunt

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BibliOdyssey

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Rockasteria

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Discos con Mucho Polvo

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Órfãos do Loronix

Recuperando o acervo do Loronix

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