Moris – Ciudad de Guitarras Callejeras (1974)

cover

Moris’s reputation is mostly based on his participation in the early days of the Argentine rock movement, however, there is no reason to underestimate this fantastic composer, owner of a powerful voice. His amazing lyrics of social and political nature always guided his not as extensive production. Now considered a living legend among many other major artists, we’ll start by its second album, the mythical 30 Minutos de Vida will be left for later, as well as the famous El Oso and Ayer Nomás themes. Welcome to the world of the Elvis Porteño (only in rock n’ roll attitude)!

Let’s go to our history:

Mauricio Birabent born in 9 November 1942, is an undisputed hero from the genesis of Argentine Rock, better known as Moris, an original inhabitant of the legendary Cueva before the first rockers began to meet there. In 1966 Los Beatniks was born in Villa Gesell, Buenos Aires; after a few months playing at Juan Sebastián Bar they recorded in August what is considered the first single of Argentine Rock: Rebelde

Los Beatniks (Inflamable!)
Los Beatniks (Inflammable!)

To promote the song, the band rented a truck and performed live on the streets of Buenos Aires, something unusual for the time! Soon after, by the lack of attention they received, the group disbanded and groups like Manal and La Barra de Chocolate arise. In the same year, he starts his solo career. By 1967, Moris was in TNT studios while Los Gatos were recording, in one of the intervals, he manages to record a couple of tracks, those tapes would serve for the basis of their first album which is published two years later by Mandioca label: 30 Minutos de Vida.

With appearances from Pappo and Claudio Gabis, this was an eclectic album that blended the music he loved best, tango, rock, blues, and jazz. (!)

Live, 1970
Live, 1970

By the end of 1973, Moris published a book of photos, poems and lyrics called Ahora Mismo, subsequently, Talent label reissued his Lp with an extra cut (Juan, El Noble Caballero) and a different fold-out cover. Ciudad de Guitarras Callejeras, was released the following year. For this second album, released in July 1974, Litto Nebbia and Ciro Fogliatta were attended, it contained a theme that later would become a classic: Mi Querido Amigo Pipo, dedicated to journalist Pipo Lernoud. On 13 and 14 September, 1974 Moris starts the official presentation of the Lp in the Astral theater, with Beto Satragni (bass) and Ricardo Santillan (drums).

Primer Galán
Primer Galán

The lack of work, continuity, and fundamentally social and political unrest that Argentina lives in 1975 motivates him to migrate to Spain, where he and Aquelarre demonstrate that it was possible to sing rock in Spanish. Consolidated there, he edits Enrocate and Fiebre de Vivir with which obtained great success.

Briefly, in April 1980, Moris returns to Argentina to present his album and performs three concerts at Obras Stadium. Returning to Spain, Modern World is released.

Moris, 80s
Moris, 80s

Moris returned again on March 21, 1981, to perform and record a live album called Las Obras de Moris. After a few albums released throughout the 80s, his career slowed down, with collections and some unpublished material during the 90s and 2000s. Recently, alongside his son Antonio Birabent, they filled the Auditorium Theatre of Mar del Plata, to release a collaborative album: Familia Canción.

With ten new songs, composed and written by both.

Let’s go to our album:

This was his first album for RCA, who was very reluctant to sign Moris for his constant outbursts but was convinced by Lito Nebbia who also helped Birabent playing bass on most of the disc. Litto was just one of the figures in this album, which also includes another ex-gato, Ciro Fogliatta in piano and Rodolfo Alchourrón in its ubiquitous string arrangements. This is perhaps his most well-produced album, properly dressed as instrumental, more rock and less bleak and raging that previous 30 Minutos de Vida.

Moris & Antonio Birabent
Moris & Antonio Birabent

The ‘IM’ highlights are Rock de Campana, a basic rock n’ roll to envy the most conservative, simply straightforward, with a tight band and beautiful chorus, with lyrics that honor the town of Campana. And El Mendigo de Dock Sud, with a gloomy start, the song develops in a melancholy and exciting way, Moris tells the story of a beggar, his past and secrets over the creek; with lovely harmonies, high-pitch backing vocals and one of the most beautiful endings that have hitherto been presented so far!

Un disco bien porteño de nuestro juglar urbano, राम्रो यात्रा!

Tracks Include:

A1 Mi Querido Amigo Pipo

A2 Rock de Campana

A3 Muchacho Del Taller Y La Oficina

B1 El Mendigo de Dock Sud

B2 Tengo 40 Millones

B3 A Veces Estoy Cansado

B4 Cabalgando Por El Campo

B5 Si Te Tocaran El Timbre

B6 De Aquí Adonde Iré

RCA Vik ‎– LZ1264

Guitar, Vocals – Moris

Piano – Ciro Fogliatta / Daniel Russo (De Aquí Adonde Iré)

Drums – Ricardo Santillán

Bass – Daniel Russo / Litto Nebbia (De Aquí Adonde Iré)

Chorus – Victor Gomez, Rubén Parra, Moris

Guests

Drums – Corre López (Si Te Tocaran El Timbre, A Veces Estoy Cansado)

Bass – Ricardo Jelicie (Idem)

Tumbadora – Lalo Fransen

Arrangements – Moris

String Arrangement – Rodolfo Alchourrón

Produced by – Horacio ‘Gordo’ Martinez

Rio Paraná, Extension
Rio Paraná, Extension

Aguaturbia – Psychedelic Drugstore (1970)

Controversial Cover
Controversial Cover

Operation Condor was a campaign of political repression and terror involving intelligence operations and the assassination of opponents, officially implemented in 1975 by the right-wing dictatorships of the Southern Cone of South America. The program was intended to eradicate communist or Soviet influence and ideas and to suppress active or potential opposition movements against the participating governments. Due to its clandestine nature, the precise number of deaths directly attributable to Condor is highly disputed, estimates are that at least 60,000 deaths can be attributed to it. (!)

Condor’s key members were the governments in Argentina, Chile, Uruguay, Paraguay, Bolivia, and Brazil. The United States along with the CIA provided technical support and supplied military aid to the participants until at least 1978, and again after Ronald Reagan became president in 1981.

By Lattuf
By Lattuf

Chile. This alliance of terror was the icing on the cake that was already being prepared since the beginning of the 60s. The 1964 presidential election of Eduardo Frei Montalva (Christian Democrat), made the country embarked on a far-reaching social and economic programs, particularly in education, housing, and agrarian reform, including rural unionization of agricultural workers.

By 1967, however, Frei encountered increasing opposition from leftists, who charged that his reforms were inadequate, and from conservatives, who found them excessive. At the end of his term, Frei had not fully achieved his party’s ambitious goals.

After three attempts to run the country, Salvador Allende finally succeeded on September 4, 1970 elections with a narrow plurality of 36%, the candidate from the Unidad Popular (Popular Unity) became the first Marxist president of a Latin American country through open elections. The Chilean way to socialism was finally tangible: the nationalization of industries (Copper Mining), income redistribution, collectivization and economic-diplomatic approach with the socialist/communist countries, promised to break all the obstacles from the status quo, leading to a more equal life.

Allende Elected
Allende Elected

But the socialist dream did not last long, an economic depression that began in 1972 was exacerbated by capital flight, plummeting private investment, and withdrawal of bank deposits in response to Allende’s socialist program. Production fell and unemployment rose, simultaneously, opposition media, politicians, business guilds and other organizations helped to accelerate a campaign of domestic political and economical destabilization, some of which was helped by the United States (sic).

By early 1973, inflation was out of control.

Revolutionary Poster
Revolutionary Poster

The crippled economy was further battered by prolonged and sometimes simultaneous strikes by physicians, teachers, students, truck owners, copper workers, and the small business class. On 26 May 1973, Chile’s Supreme Court, which was opposed to Allende’s government, unanimously denounced the Allende disruption of the legality of the nation. Although illegal under the Chilean constitution, the court supported and strengthened Pinochet’s seizure of power. A failed attempted coup occurred in June, known as Tanquetazo helped to accelerate the process.

On September 11, 1973, Chile would go into his darkest period of its history, a military junta led by General Augusto Pinochet, took over control of the country and overthrew Allende. As the armed forces bombarded the presidential palace (La Moneda) Allende made its last speech and apparently committed suicide. The first years of the regime were marked by many human rights violations. On October 1973, at least 72 people were murdered by the Caravan of Death. At least 2,115 were killed, and at least 27,265 were tortured (including 88 children younger than 12 years old). (!!)

La Moneda Under Attack
La Moneda Under Attack

A hallmark of terror was the countless detainees kept in the National Stadium, one of those tortured and killed was a teacher, theatre director, poet, singer-songwriter and political activist Victor Jara. He was brutally tortured, fatally shot in the head and its body was later thrown out into the street of a shantytown in Santiago.

Site of Torture / Death
Site of Torture / Death

This is obviously a small summary of a much more complex situation, Patricio Guzman’s The Battle of Chile develops into three parts the full details of the story, check it!

Let’s go to our history:

Aguaturbia was a unique experience in the history of rock, even today his name is associated with the roots of the movement in Chile. With a hippie inspiration, psychedelic characteristic and recognized authentic imitation in style and appearance of musicians like Jimi Hendrix and Janis Joplin were the ingredients that gave life to this quartet, perhaps the first local cult band. Its existence did not exceed five years and never achieved massive success, however, both musical quality and the irreverence of his discourse are recognized today as forces managed to shake Chilean society.

1970
1970

Established in May 1968, at the height of the 60s new libertarian tendencies, their leader Carlos Corales, was one of the most important guitarists of the local environment (The Tickets, Pat Henry and The Blue Devils and Los Jockers), which together with Denise on vocals, Willy Cavada on drums and Ricardo Briones on bass, shaped a band that never stopped looking at what the U.S. and England produced to expand his blues-rock and psychedelic music.

Denise, whose real name is Climene Puleghini Solis was a young Brazilian from higher sectors of society, fascinated with R&B and rock, despite having no musical training whatsoever. His parents did not authorize his bold idea of ​​forming a rock band with her boyfriend, and, to that refusal, she married with Corales!

Controversial Cover 2
Controversial Cover 2

They started playing covers in small clubs in Santiago, but eventually were encouraged in their own compositions (sung in English, like most local rock bands of the time). The themes concerning love, peace and the defense of their appearance held their debut album in 1970. Before recording, Corales traveled to the U.S. to buy new instruments.

However, this well-planned debut, recorded in just three days, would get sparks between the public, though not precisely for its musical arguments. Aguaturbia’s cover showed the four musicians naked, sitting in a circle with a neutral expression on their faces.

1973 Comeback
1973 Comeback

The album, released under the RCA label, had an acceptable sale and just a few months later, they released his successor Aguaturbia II (or Aguaturbia Volume 2), which created a new uproar, this time, for a photograph that appeared Denise crucified, inspired by Dali’s (magnificent) Christ of Saint John of the Cross.

The controversy was mixed with political and social upheavals from Popular Unity (Allende’s party) and the activity of the group lowered its intensity.

Carlos: ‘There came a very strong rejection of certain people, who even wanted to excommunicate us. Suddenly, there were these folks who wanted to beat us and cut our hair. They shouted fags, drug addicts! We played a time of change that was terrible in many ways. If the first album censorship failed to say anything, in the second, it was a complicated situation. Imagine a woman on the cross, is something very special.’

Pinochet + The Junta
Pinochet + The Junta

On late 1970, after been invited to participate in the famous Red Rock festival in Santiago (due to the general chaos that afternoon did not even get onto the stage), the band decided to try his luck in the U.S. They settled in New York to work and study, and formed a group called Sun, where his music was welcomed in some quarters and allowed them to survive. The band returned to Chile in 1973, with a different formation, after participating at the Viña del Mar festival the band finally ends in mid-74.

Let’s go to our album:

This 1993 re-release containing songs from the (only) two albums, helped to revive the interest of its music not only in Chile. The re-issue from the albums are now available via Light in The Attic site and since the mid-2000 Aguaturbia made its comeback to Chilean stages with the same energy from that era. Unfortunately, the drummer Willy Cavada died of a heart attack on early October 2013. (RIP)

Denise Nowadays
Denise Nowadays

After this long post, the ‘IM’ highlights for this HEAVY psychedelic-blues band are: Somebody To Love and Aguaturbia, don’t miss this little gem.

Bonan Vojaĝon!

Tracks Include:

1 Somebody To Love (Darby Slick)

2 Erotica (Carlos Corales)

3 Rollin’ ‘N’ Tumblin’ (M. Water)

4 Ah Ah Ah Ay (Corales, Cavada)

5 Crimson & Clover (Tommy James, Peter Lucia Jr.)

6 Heartbreaker (Page, Plant, Jones, Bonham)

7 Blues On The Westside (Nick Gravenites)

8 Waterfall (Carlos Corales)

9 E.V.O.L. (Carlos Corales)

10 I Wonder Who (Carlos Corales)

11 Aguaturbia (Carlos Corales)

Bass: Ricardo Briones

Drums: Willi Cavada

Guitar: Carlos Corales

Vocals: Denise Corales

Background ‎– HBG 122/15 (1993)

Today
Today

He 6 (히식스) – Go Go Sound ’71 Vol.1 & 2

 

Korea. After the formation of Add4 by Shin Jung-Hyun in 1962, Korea saw the development of Rock music, obviously thanks to the world entrance of The Beatles. 1964 would mark the very birth of K-rock, bands like Key Boys and He 5 turned into a national success, the images seen in A Hard Day’s Night became a common point between these bands. The ’60s was presented with dozens of records, tours, television appearances and mass hysteria by the legion of fans avid for the Korean Beatles!

The leader and guitarist of He 5 was Kim Hong-Tak, one of the predecessors of the electric guitar alongside Shin Jung-Hyun; after the triumph of Merry Christmas Psychedelic Sound in 1969, including famous covers and versions of traditional songs, with the turn of the decade, the group decided to add flute and clarinet to their sound, thus He 6 was formed. Predicting this success formula, Korea would saw a definitive entrance of psych, garage, and soul in its musical charts.

1972 Promo
1972 Promo

Let’s go to our history:

Since the late ’60s they played hard psychedelic songs on live shows (At Seven Club in I-Tae-Won, a small quarter of Seoul which is now well known even internationally for its diverse markets, restaurants, and bars) but they couldn’t make this music style on albums because of record company’s pressures. They gave them some discretionary power to have them created the results which they had first on Merry Christmas Psychedelic Album and later on (fabulous) He 6 Vol. 1 and Vol. 2.

But most their fans couldn’t understand the tracks of these albums, so they were forced to change to more popular styles, like trots and romantic ballads. (!)

At least they had their chances to make some albums with the music style they wanted after they became a nationally recognized pop-rock group. The band throughout their career launches only 8 albums, with the aforementioned difficulty to moving on after 1975 (second last Lp) and the definitive end in 1980.

Album Booklet
Album Booklet

Let’s go to our album:

This amazing set shows an excellent mixture of psychedelicblues-oriented hard rock and soul in a very laid back improvisation feeling. Kim Hong-Tak’s heavy fuzz guitar all-over the set with best funky rhythm set (Cho Yong-Nam and Kwon Yong-Nam, later entered in SJH & Yup Juns!) and beautiful flute passages.

The ‘IM’ highlights are Running Man, a furious 9-minute track coming out of a Blaxploitation movie, with tons of fuzz, swinging guitars, breakbeats, percussion and flutes in a variety of moods. A psychedelic shell! And In-A-Gadda-Da-Vida, the cover from Iron Butterfly’s megaton hit stands out to be a better version than Shin Joong Hyun’s live album, including the whole drum solo! Kim Hong-Tak’s abilities at guitar must be heard, this is no ordinary beat sound and deserves respect.

תיהנה בטיול!

Tracks Include:

Vol.1 Grand Records (GH-00020)

A1 Introduction Music

A2 4/4 For Guitar

B1 Running Man

B2 Percussion Theme

Vol.2 Grand Records (GH-00021)

A1 The World of 6/6

A2 The Storm

A3 Come On A Baby

B1 In-A-Gadda-Da-Vida

Credits

Kim Hong-Tak: guitar

Hun Choi: vocal

Kwon Yong-Nam: drums

Cho Yong-Nam: bass

Yoo Sang-Yoon: flute, organ, clarinet

Lee Young-Deok: guitar, piano

Released in July 1971, Limited Press (300)

Freshly
Freshly

Telegraph Avenue – Telegraph Avenue (1971)

capa cópia

Presently, there is a great demand and worldwide interest on foreign Latin-rock releases, these obscure gems, made with crude recording equipment, amateur techniques, and with pressings done, most of the time were on recycled vinyl.

The Peruvian Rock music scene (Inca Rock), initially was basically influenced by Rockabilly and later on by the tidal waves created by Elvis Presley and The Beatles. Peruvians groups played in the musical styles of Elvis, Bill Haley, Buddy Holly, throughout the ’50s and early ’60s. Later on, the mid-sixties saw the influence of Surf, Go-Go, The Beatles and some of the first Mersey Sound groups inspired the new generation of rock musicians. During the unrest cauldron that Latin America was, over the period, the country would face two subsequent military coups and its losses.

The first, led by Juan Velasco Alvarado in 1968, self-proclaimed the Armed Forces Revolution, tried and managed to overthrow the aristocratic republic with nationalist and anti-imperialist ethos. Infamous actions as the confiscation and prohibition of rock music through the national broadcasting services, the increased price for importing sound equipments and instruments and its pinnacle on the cancellation of Santana’s concert, in 1971, who was already at the Airport, in Lima; the government alleged the possession of marijuana by its band members and the fear of crescent youth riots, merged with a discourse of alienation music and maintained order. (!)

1968 Coup d'État
1968 Coup d’État

The imminent economic fiasco, made the military junta exchange its key figure, thus, Francisco Morales Bermúdez inaugurated the second phase government in early 1975. With more conservative guidance, opening Peru to foreign capital and multinationals, the Inca inheritors would only saw a new constitution in 1979 and their first elections after thirty years in 1980.

By the end of the decade, the psychedelic scene and its bands changed to the ‘new’ Progressive, Punk Rock and Heavy Metal aesthetics.

Let’s go to their history:

Peru. The year of 1969 saw the development of the most interesting era from the Lima musical scene, groups like Laghonia, Traffic Sound, Black Sugar, Pax, El Alamo, Gerardo Manuel & El Humo, Tarkus and Telegraph Avenue popped through a context of repression, poor technical conditions and radio boycotts. Peruvian rock only stands behind by Brazilian and Argentine scenes, with beautiful melodic textures and balanced blends of folklore and western influences!

Special note by the legendary Mag label, they recorded 80% of the material from all these bands and certainly deserves a dedicated post.

Album Insert
Album Insert

In the mid-’70s, Telegraph Avenue was formed after the lead guitarist Bo Ichikawa returned to Peru, after having stayed half a year in San Francisco, he had been exposed to the vivid local hippie rock culture. The crazy chain of events from the ’60s and ’70s had made Telegraph (a real avenue), as well as Berkeley, a symbol of the Counterculture of an era, attracting a diverse audience of visitors, including college students, tourists, artists, street punks, eccentrics, and homeless.

There are some brilliant photos from that era by Nacio Jan Brown and Joe Samberg, for you to understand the outlook of an epoch, check it!

On its return, he assembled all kinds of American influences, in a very powerful way, with English lyrics, and unlike ideas for the main arrangements. The band was finally formed with Bo Ichikawa and Chachi Luján on the guitars, Alex Nathanson on bass, and Walo Carrillo on drums and percussion; the only four-piece band that included melodic vocals and a mixture of psychedelic rock with Latin rhythms. An interesting fact is the multi-instrumental ability of all its members, too.

Telegraph Avenue
Telegraph Avenue

Later, the band would see a two-year hiatus after their first release, with Carrillo and Nathanson forming Tarkus on 1972. Then, the group reunited for its second and final release Telegraph Avenue Vol. 2 in late 74′ early 75′, shortly after, they were disbanded and the album became one of the lasts from the Peruvian psychedelic scene, much persecuted by the military dictatorship (sic).

Nevertheless, since 2008 the band gather together once again, much influenced by the rediscovered and re-press of their first album. As if not enough, they also released a third Lp with inedited material on 2011, called Telegraph Avenue III!

Let’s go to our record:

Before publishing its first album, the group was known from playing at parties in Pueblo Libre, the majority of these being graduation parties. There were also appearances at celebrations for the Club de Leones, Club Yugoslavo, Club Hebraica, and the Galaxy Discotheque, including a time were Telegraph Avenue played in the interior of an empty swimming pool! One of the most exciting concerts was at the University of Lima in November of 1970, the group was asked to play every weekend, and had bookings on Friday, Saturday, and Sunday almost all year round.

Live
Live

In June 1971, the band published their first self-titled Lp, which contained eight songs, it reached great sales during that year, and was well recognized throughout Peru. With more than 50 performances, they decided to take a break at the year’s end.

With styles very varied, ranging from Californian feelings, soul, blues, and sixties flavored rock styles, the psychedelic element is rather unique and can only be heard in other Peruvian acts, such as Black Sugar. The ‘IM’ highlights are for: Happy, an ultimate ballad that makes me long for a time that I didn’t live, with heavenly guitars, tuned chorus, and sweet naïve lyrics. An instant hit! And Let Me Start, a hard punch one with colorful fuzz, swinging bassline and nice uptempo mood. If on one hand, the band doesn’t have much-engaged lyrics, the harmonic parts are over the psych average, don’t miss this Inca Rock memento. Yaxşı Səyahət!

Telegraph Dreamers, 1972
Telegraph Dreamers, 1972

Tracks Include:

A1 Something Going

A2 Happy

A3 Sweet Whatever

A4 Lauralie

B1 Sungaligali

B2 Let Me Start

B3 Sometimes In Winter

B4 Telegraph Avenue

Companies

  • Recorded At – Estudios Mag

Credits

  • Acoustic Guitar, Percussion (Gemelas), Congas (Tumbas), Vocals – Chachi Luján
  • Acoustic Guitar, Clavichord, Bass, Alto Vocals – Alex Nathanson
  • Maracas, Tambourine (Pandereta), Percussion, Drums, Vocals – Walo Carrillo
  • Xylophone, Acoustic Guitar, Harmonica, Guitar (1a), Vocals – Bo Ichikawa
  • Written By – Nathanson (tracks: A1, A3, A4), Ichikawa (tracks: A2, B1 to B4), Luján (tracks: A2, B1 to B3), Carrillo (tracks: A3)

Notes

Grabación: Hecha en Los Estudios Mag de Lima, Perú en 8 Canales.

  • Design (Diseño) – Ichikawa, Carrillo
  • Design (Diseño), Photography By – Mario Acha

Gracias Joe.

Mag LPN-2404

Today
Today

Mikael Ramels Musikband – Rycker Dej I Svansen (1979)

capa

Sweden. Despite being known worldwide by its pop mass bands such as ABBA, Roxette, and Ace of Base, this Scandinavian rich country saw the usual rock development throughout its 60’s and 70’s in a very special way.

The so-called Progg scene, a left-wing and anti-commercial heterogeneous movement that paved the path for bands who didn’t want to sign with major labels, intended their own distribution methods and organized numerous music festivals and forums along the country’s decade. This unique attitude, unthinkable in many countries that would still suffer from military coups or persecution, featured a broad spectrum of musical styles, such as pop, folk, psych and prog

Artists like Bo Hansson, Mikael Ramel, Kebnekajse, Hoola Bandoola Band, Nationalteatern and Samla Mammas Manna vied for the attention of anarchists, communists, and socialists audiences in the very early of the ’70s. (!)

Steampacket
Steampacket

The movement was closely connected to similar fronts in arts, theatre, design, and to alternative lifestyles; most lyrics were in Swedish and had a strong criticism against the governing Social Democratic Party. There was also a movement in support of the National Front for the Liberation of Vietnam, for instance.

And the famous protests to stop tennis matches against tennis players from the Pinochet-ruled Chile in Båstad 1975. At the end of the decade, however, the movement started to decline, as many of the bands disintegrated and the music forums were closed. The left-wing ideals became less dominating among youngsters, and rock/folk were being replaced by hard rock and electronic music.

Steampacket, At Ease
Steampacket, At Ease

On the other hand, since the end of the ’90s and the saturation from the vanguards of yore, many Progg bands have experienced some renaissance, reuniting for concerts, and new records/DVDs. The film Together (2000), directed by Lukas Moodysson goes through that era, with a satirical view of socialist values, tied with a bittersweet comedy, it also offers some brilliant soundtrack, check it!

Let’s go to their history:

Mikael Ramel is the son of the legendary Povel Ramel, whose witty tunes from the ’40s and onwards have made him one of the Swedish national treasures, probably the greatest one! With influences from Beatles, Zappa & The Mothers of Invention, The Byrds, Buffalo Springfield, and Dr. John, they recorded a single together in 1965 before Mikael formed Steampacket the same year.

Recording, 70's
Recording, 70’s

He played all the instruments himself on his first solo Ep, released on January 1967, special note to the track ‘Bara Ett Par Dar’. Ramel started working on his first solo album in 1969, painstakingly putting it together in his home studio, he wasn’t done until three years later. At the time of the release of Till Dej, Ramel was an also a member of Flasket Brinner, Sweden’s prolific progg / jazz band!

Till Dej (1972) is a great effort of inventive and gracious Swedish-language folk-psychedeliaExtravagansa (1974) features more experimentation and was made by the same core musicians. 3:Dje Skivan (1977) is more polished but the experimenting is kept at bay. The album features the rhythm section of Kaj Söderström (bass, keyboards) and Hempo Hillden (drums). Both were members of Splash, the band plays on half of the tracks on Ramel’s last 70’s album, Rycker Dej i Svansen.

Mikael Ramel continues making music, although he’s a music therapist.

Portrait
Portrait

Let’s go to our record:

A bit aside from the whole scène, Mikael stands out as one of the most famous and talented artists from Sweden, imagine yourself being a son from the greatest artist of its country, it shouldn’t be easy, but Mikael was not complexed with that, aside from early comparisons, he traced its own path and sound. His first two records got a straight folk-rock direction that was completely dissolved in this one, again this is a marvelous point outside the curve of someone’s career!

Mikael: ‘This Lp was made with two different bands. I came in contact with the group Splash from Söderhamn. I had heard them and liked very much for their experimental and crazy folkloric music. After a period of contact, we agreed on an exchange, I promised to record an Lp with them on my existing mobile studio, for letting me use them as musicians in the whole production. They were nine people in the band, it was one of life’s absolute peaks! Earnings eventually became the Splash (1978) Lp.’

Today
Today

With a beautiful voice, tight band, arrangements and a fabulous mix of genres, the ‘IM’ highlights are Förpackningar, a megaton reggae that could be perfectly played by The Wailers!. And Jag Rycker Dig I Svansen, a crazy disco-funk with some prog tinges that flourishes into guitar solos and Latin percussion. Aside from these two, the album offers moments that will surely surprise you, this is also an exclusive rip!

Ha En Trevlig Resa!

Tracks Include:

A1 Mr. Stand-In

A2 Utflykt – A) Samling B) Karusellsväng C) På Väg

A3 Förpackningar

A4 Toner

B1 Jag Rycker Dej I Svansen

B2 Hon Och Han

B3 Jönsson Med Lien

B4 En Ton För Ett Don

B5 Mr. Byråkrat

B6 Djupt Till Roten

All songs and lyrics: Mikael Ramel

Mikael Ramel Band

1~5 recorded in May 1975 by Mikael Ramel Musikband and guest musicians.

Mikael Ramel & Splash

5~10 recorded in Villa Splash, Söderhamn, April 1978 with Splash.

Credits

Tomas Jutterström: keyboards / Kenny Håkansson: guitar

Bruno Råberg: bass / Bosse Skoglund: drums

Guest Musicians

Bengt Dalén: guitar / Tony Ellis: organ, guitar / Bill Ohrstrom: congas

Splash

Leif Halldén: trumpet, flugelhorn / Lennart Löfgren: bass trombone

Torbjörn Carlsson: tenor sax, flute, oboe

Christer Holm: baritone saxophone, clarinet, bassoon

Christer Jansson: guitar / Kay Söderström: bass / Hempo Hillden: drums

Sonet SLP – 2650

Stockholm Sight
Stockholm Sight
StereoMono

foreign lavish sounds

The Music of Parallel Realities

foreign lavish sounds

Bodega Pop

foreign lavish sounds

GRAVETOS & BERLOTAS

foreign lavish sounds

Las Galletas de Maria

foreign lavish sounds

Rock Peruano (Imágenes)

foreign lavish sounds

Discófilos Anônimos

foreign lavish sounds

Global Groove Independent

foreign lavish sounds

Toque Musical

foreign lavish sounds

La Nave Del Rock Argento

foreign lavish sounds

JPOP80SS

foreign lavish sounds

'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

foreign lavish sounds

Sangre Yakuza

foreign lavish sounds

JUGO ROCK FOREVER

foreign lavish sounds

50 Watts

foreign lavish sounds

lady walker

foreign lavish sounds

FLASH STRAP

foreign lavish sounds

Cabeza de Moog !

foreign lavish sounds

madrotter-treasure-hunt

foreign lavish sounds

BibliOdyssey

foreign lavish sounds

Rockasteria

foreign lavish sounds

Discos con Mucho Polvo

foreign lavish sounds

Órfãos do Loronix

Recuperando o acervo do Loronix

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