Martha Elefteriadu ‎– Kresby Tuší (1980)

Welcome back to you all! Needless to say, how thrill I am today with this spectacular album, a real kaleidoscope of genres brought you by one of the greatest artists in former Czechoslovakia. Getting to know her better, unfortunately, I noticed that this album was an odd point of alternation in its career, founded basically on Soul Beat and then Pop Folk.

Always side by side with her beloved sister, this unique solo entry has brought us so many colors that I wonder why she gave up on this very bold path. Anyhow, we present this one that should be revered as one of the milestone records from former Czechoslovakia and as if an entire constellation of musicians was not enough, its richness is present, in the arrangements, special participations, multiple orchestras, and lush atmosphere!

Does it look good to you? Because it is much more than you can imaginePřipravit Se!

Let’s go to our artist:

The Elefteriadu’s – the 50s

Martha Elefteriadu (September 12, 1946 Bulkes, Yugoslavia) is a Czech singer of Greek origin, half of the duo Martha a Tena, together with her sister Tena. Their family emigrated from Greece because of the Greek Civil War and settled in 1950 in former Czechoslovakia. Their mother died while they were children, so they grew up in orphanages, she spent her childhood with her sister, in many children‘s homes (more than five, actually), which were reserved for Greek refugees, including one in Ivančice.

At the end of the 1960s, the sisters met a guitarist Aleš Sigmund from band Vulkán, who helped them create strong creative and musical foundations. They worked in Vulkán between 1966 and 1970, partly with another sibling couple, Hana and Petr Ulrych.

Martha A Tena – 1969

Their first records are from 1968, in 1970 they released their first LP record with Panton Records Dál Než Slunce Vstává. They quickly established themselves in Czech Pop music also collaborating with many notable artists such as Skupina Aleše Sigmunda, Bob Frídl, Gustav Brom Orchestra, Pavel Novák, and Jiří Suchý. The gals managed to continuously be active reaching stardom throughout the 1970s with countless participations and prizes at festivals, musicals, plays, TV shows, and tours not only within Czechoslovakia. (!)

Live, in the 70s

By the end of the decade, they had already released more than 30 albums and compacts! Ranging between pop-folk and Greek music. Martha later studied psychology, while at the same time devoted yourself professionally to music, since then, both sisters have been the stars of Czech popular music. Martha and Tena enriched Czech culture with their southern temperament and Greek spontaneity. At present, they focus mainly on the interpretation of Greek folk songs, the teaching of Greek dances, cuisine, books and occasionally performing, their latest album came out in 2005, besides greatest hits records and such.

Let’s go to our album:

Sister Love

How to understand a record that did not have a tour, who faced major problems with the censorship, and with modest participation in sales charts could bear the 1981 album of the year by Melodia magazine? Despite all these, (at least the critics seem to get it by the time) Kresby Tuší (Ink Drawings) remains intact by the passage of time thanks to its multiple composers, lyricists, orchestras (!) and gala participation of musicians like Michael Kocáb (arranger), but also by Dežo Ursiny, Vladimír Mišík, Vladimír Merta and Oskar Petr.

Martha delivers us a fabulous variation of art-rock, jazz, fusion, bossa nova, funk and more. It feels lush, dark and dense all over, but it also has its (brief) sunny moments.

The ‘IM’ highlights are Hrál Sis Hrál and Vítám Slunce Ranní.

Tracks Include:

A1 Dvě Kresby Tuší I.
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

A2 Měla Jsem Vždycky Smůlu
Lyrics By: Pavel Kopta
Music By: Dežo Ursiny

A3 Proměna
Lyrics By: Pavel Kopta
Music By: Vladimír Mišík

A4 Hrál Sis Hrál
Lyrics By: Pavel Fiala
Music By: Pavel Větrovec

A5 Výlet Po Řece
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

A6 Kde? Kdy? Já A Ty
Written By: Vladimír Merta

B1 Mám Ráda Běh
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

B2 Melancholická Noc
Lyrics By: Jiří Dědeček
Music By: Michael Kocáb

B3 Vítám Slunce Ranní
Lyrics By: Pavel Kopta
Music By: Dežo Ursiny

B4 Podzimní Odpoledne
Lyrics By: Martha Elefteriadu
Music By: Michael Kocáb

B5 Tohle Že Máš Být Ty?
Lyrics By: Martha Elefteriadu
Music By: Michael Kocáb

B6 Dvě Kresby Tuší II.
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

Musicians

Acoustic Guitar, Harmonica, Vocals: Vladimír Merta (tracks: A6)
Bass Guitar, Contrabass: Ondřej Soukup
Drums: Ladislav Malina, Vratislav Placheta
Electric Piano, Piano, Synthesizer: Michael Kocáb
Guitar: Jiří Špidra, Martin Koubek
Percussion: Jiří Tomek
Harmonica: Ondřej Konrád

Backing Band (Studiová Skupina): Studiová Skupina Michaela Kocába

Oboe: Jiří Kaniak
Flute: Jiří Stivín
Clarinet: František Pušman
Alto Saxophone: Antonín Nachtman,  Miroslav Krýsl
Baritone Saxophone: František Kryka
Clarinet, Tenor Saxophone: Jan Kubík
Tenor Saxophone: Bedřich Kuník, Milan Ulrich
Trombone: Jiří Doubrava, Josef Pavelka, Mirko Koželuh, Svatopluk Košvanec
Trumpet: Jiří Hlava, Laco Deczi, Vlastimil Voňavka, Zdeněk Šedivý

Strings: Jan Mráček, Jiří Fišer, Jiří Rajniš, Květomír Řezníček
Strings, Orchestra: Smyčcový Orchestr Oliver Dohnányi
Violin: Jan Hrubý

Vocals: Dežo Ursiny (tracks: B3),
Hana Hostková-Löfflerová (tracks: A2),
Helena Viktorinová (tracks: B5),
Lída Nopová (tracks: A2), Marie Jakoubková (tracks: A2, B5),
Michael Kocáb (tracks: B1), Tena Elefteriadu (tracks: B3)

Conductor (Smyčcový Orchestr Řídí): Oliver Dohnányi

Arranged By: Michael Kocáb

Credits

Cover: Václav Šimice
Engineer: Jan Štěpánek, Petr Podlešák
Photography By: Taras Kuščynskyj
Producer: Ondřej Konrád
Recording Supervisor: Pavel Kühn, Svatoslav Rychlý

Notes

Panton ‎– 8113 0039

Record Company: Panton, Vydavatelství Českého Hudebního Fondu
Recorded At: Studio Smetanova Divadla
Pressed By: Gramofonové Závody

Nahráno ve studiu Smetanova divadla v Praze, 1979—1980

Dnešek

Shahram and Shohreh ‎– Telésm (1984)

Okay, let’s go back in time a little bit and recall one of the all-time favs of the ‘IM’, the stunning Ramesh. We’re proud to visit Iran again, but first off, let me remember you to always check the COMMENTS section at every entry to listen to what is referred, in the end, all that matters is the music my dearest matelots stellaires, so do not miss.

This fantastic treasury includes two of one of the mighty artists Iran has ever brought to us, to be sincere, there’s a TON of talent that flourished throughout the country before the 1979 Revolution. Gradually we will enclose most of them and for that, we will stick only with the girl today, the all-time legend Shohreh Solati. Her partner Shahram Shabpareh, simply regarded as the father of pop music in Iran, soon will also be here.

Before we start one last thing, today’s album is exclusive, so please enjoy (only) with us!

Let’s go to our artist:

Shohreh & Shahram Solati (her brother) – 70s

Shohreh Solati  (Persian: شهره صولتی) (born Fatemah Solati on January 4, 1957, in Sar-Cheshmeh) in Tehran to a well-to-do family of artists and entertainers, she developed an interest in music early on, singing at seven years of age. She later went on to study at the Tehran Conservatory of Music, where she received training in singing and the clarinet.

Her first album titled Dokhtar-e-Mashreghi (Persian for “Eastern Girl”) was successfully released in 1976 (even before she already had released a couple of singles), garnering a lot of notability, also, magazines directed toward the youth of Iran in the 1970s gave a ton of exposure to the singer. In a short period, she entered the hall of the Iranian celebs.

Cinema Stars

Shortly before the Revolution, Shohreh left Iran to perform in a series of concerts in the US and, due to restrictions imposed on entertainers by the new leadership, she wasn’t able to return. She moved to Los Angeles in 1982, settling with the exiled Iranian music industry performers of the 70s. Working with songwriters, composers, and arrangers such as Mohammed Moqadam, Jaklin, Siavash Ghomeishi, and Shubert Avakian, she produced, performed and released several new albums in an almost four-decade span.

Zan-e Rooz Magazine – Dream Team Singers

At the turn of the millennium, Shohreh continued releasing more albums outreaching her popularity beyond the borders of Iran. She has been credited to have given sold-out performances in the US, Canada, Norway, Denmark, Netherlands, Italy, Britain, Sweden, France, Switzerland, Germany, Cyprus, Turkey, Israel and beyond. (!)

She has had one of the most consistently active and prolific careers among contemporary, women Iranian singers who still remain. Having received recognition for her ability to continuously reinvent herself as well. Sometimes called the Iranian Madonna, Shohreh also has been referred to as the Queen of Scene, for her attention-grabbing music videos and stage presence, as well as the (majestic) Queen of Iranian Pop آیا کافی است؟

Actress Irene Zazians

Let’s go to our album:

This second album of her career, in addition to being divided side by side with Shahram, has the special collaboration of Manuchehr Cheshmazer in the arrangements, it also has plenty of excellent American musicians in the backing band, giving a unique touch.

Tehran’s feast winds blow here with an unusual eastern feel between folklore, disco, rock and more. Manoochehr’s keys are truly hypnotic, allow yourself to get into that!

The ‘IM’ highlights are Telésm and Gomshodeh.

Tracks Include:

A1 Telésm
A2 Boro
A3 Rosva
A4 Mitoony
B1 Ghesmat
B2 Chera Rafti
B3 Adat (New Version of Hamvatan)
B4 Gomshodeh

Musicians

Keyboards: Manoochehr Cheshmazar
Guitar: Ardeshir Farah
Bass: Jerry Wats
Drums: Alfredo Reyes, Evan Caplan
Percussion: Shahram Shabpareh, Al Chak, Manouchehr Lashkari
Tonbak: Majeed Ghorbanian
Trumpets: Howie Shear, Rick Page
Tenor Sax: Bob Shepard
Trombone: Doug Wintz, David Stout
Viola: George Hunt, Nina Roma
Violins: Rony Barg, Mihel Moro, Tom Shanon, Edward B. Bone

Arranged By: Manoochehr Cheshmazar

Credits

Recorded & Mixed: Hit City West, LA, CA
Engineered By: Jason Bell
Photo: Orad Azarbeygui
Producers: Djahanguir Tabariai, Vartan Avanessian

Notes

Taraneh ‎– 125
Taraneh Enterprises INC. 1984 U.S.A.

Actual Shohreh Solati

Black Sugar – Black Sugar (1971)

Hello to all, we already covered a little bit of the Inca Rock scene in previous posts, so today we’re going straight to it. A band that is no surprise to all who enjoys Latin Rock, already discovered and re-released for the past decade Black Sugar feels closer to Malo than your correlated Peruvian brothers from the ’70. They’ve returned to play since the mid ’10, in spite of not having all its original members, so let’s attend to them and begin.

Let’s go to our artist:

Peru, Lima. An era marked by a military government that, after assuming power in 1968, brought, among many other consequences, the debacle of the first generation of Peruvian rock, discouraging everything that leaned towards the foreign, more precisely to the gringo. Black Sugar’s Latin touch was the safe-conduct for their survival within that hostile and repressive context of those harsh days (the entirety of Latin America).

Los Far-Fen

The roots of this band are in a group called Los Far-Fen (in allusion to the musical communion between the Farfisa organ and the Fender guitar), formed at the end of the sixties by the guitarist Víctor “Coco” Salazar, to solely animate parties. The breakpoint of this stage as party entertainers occurred when his music reached the ears of Jaime Delgado Aparicio, one of the most transcendental musicians in contemporary Peruvian history of which very little is known, and who sadly died at age 40 in 1983 (RIP).

At that time, in the early ’70, the then young but already renowned Peruvian musician who graduated from the Berklee School in Boston had arrived in Lima after a season of musicalizing films in Italy and held the position of manager of Sono Radio, one of the most important record companies in the country. It is Delgado Aparicio who proposes to abandon the repertoire of parties and record an LP with (all) original material.

There the sound of the group was born.

A Young Jaime Delgado

As trumpeter Antonio Ginocchio recalls:

“The studio was gigantic, the size of a soccer field (laughs). I was prepared to record a big band, with modular rails, a 36-channel console… and since Jaime was the manager, we had all the hours we wanted. We never got tired, we were around 20 years old.”

Re-baptized as Black Sugar and sponsored by Jaime Delgado Aparicio, they endorsed for a season the modern recording studio owned by the label at the capital Lima. Songs like Too Late (who even hit the seventh place in the charts in Miami), Viajecito, The Looser and Funky Man made this album an immediate success throughout Peru back in 1971/72.

Black Sugar Rehearsal

The group toured extensively over these years and around 1974 they released a (still successful) second entry at Sono Radio once more. By 1976 the group began to show an inclination towards the disco sound and this led to the departure of vocalist Carlos “Pacho” Mejía and Hermes Landa who was his manager since its beginnings. In addition to this, the curfew imposed by the military regime caused the contracts to begin to decrease substantially, hence this the original members began to abandon the ship.

Muevete, Muevete / La Camita 78 is their latest singles on 7-inch vinyl records by Corona Records, sadly it marks the departure release by the band in 1978-79.

Let’s go to our album:

Rehearsal II

With first-class musicians, superb arrangements and a passionate vocalist, the band owes nothing to the great Latin combos of its generation, in addition to compositions that overcame the question of time, their style is rather unique, with influences from Tower of Power, Blood Sweat and Tears and Chicago mixed with a Latin Funk flavor.

In the end, Black Sugar was a world-class Latin funk institution! And you can watch here as the band’s activities have resumed this past decade. Gracias Chicos!

The ‘IM’ highlights are The Looser and When You’re Walking.

Tracks Include:

A1 Too Late
Arranged By: V. Salazar
Written By: Black Sugar, C. Mejía

A2 Viajecito
Arranged By: J.D.A. (Jaime Delgado Aparicio)
Written By: J.D.A., M.C. (Miguel “Chino” Figueroa)

A3 The Looser
Arranged By:  M. Figueroa
Written By: Black Sugar, C. Mejía, M. Figueroa

A4 This Time
Arranged By: V. Salazar
Written By: Black Sugar, C. Mejía

A5 Funky Man
Arranged By: J.D.A.
Written By: Black Sugar, J.D.A., V. Salazar

B1 Understanding
Arranged By: V. Salazar

B2 When You’re Walking
Arranged By: V. Salazar
Written By: Black Sugar, C. Mejía

B3 When I Needed Someone
Arranged By: J.D.A.
Written By: Black Sugar, C. Mejía

B4 Pussy Cat
Arranged By: J.D.A.
Written By: G. Halligan

Musicians

Acoustic Guitar, Guitar, Tambourine: Victor “Coco” Salazar
Alto Saxophone, Flute: Jorge Chávez
Bongos, Percussion (Tumbas): Coco Lagos, Miguel Salazar
Electric Bass: Roberto Valdez
Organ, Piano: Miguel “Chino” Figueroa
Percussion: José “Arroz” Cruz
Trumpet, Valve Trombone (Valve Bone): Antonio Ginocchio
Vocals: Carlos Mejía

Credits

Photography: Carlos Aramburú
Recorded By: Luis Temple, Manuel Bellido
Recorded By (Assistant): Willy Castro

Management: H. Landa
Mixed By, Producer: J.D.A.

Notes

Sono Radio ‎– S.E. 9432

Recorded and Mixed for P.M.I. at Industrial Sono Radio S.A. – Lima – Perú – Studio I.

Live, 2019

Elektra – Keegi (1981)

One of the greatest things about running the ‘IM’ is having the curiosity to hear sounds from all over the world and that is why today’s post is the inaugural of a country that had not yet entered our route: Estonia. The work that the Frotee label has been doing for the last few years is priceless, thanks to them we can present you this unfamiliar artist, and for the most avid travelers we can forefront a couple of suitable names that came from this fantastic musical scene, groups like Väntorel, Keeris, Tornaado, Velly Joonas, Gunnar Graps and Magnetic Band, Fix, Ruja and many more deserve your close attention.

Along with our journey, other eesti-rock gems will be here, so please come always sõber!

Let’s go to our artist:

Elektra started out in the middle of the 1960s as a female vocal group with a fluctuating line-up which was accompanied by different instrumental groups.

Ansambel Elektra 60s

At the end of the 1970s, pianist Aarne Saluveer became the head of the backing musicians and his friends Agu Tammeorg, Meelis Punder, and Jaan Karp joined the band. During this period, Elektra performed together with the college girl band Kooli-Prii which Kadri Hunt, who was the daughter of Elektra’s conductor Märt Hunt, had formed together with her classmates. By 1981, the Kooli-Prii girls had replaced the former singers of Elektra.

Kadri Hunt loved songs with Afro-American influences, which she heard from radio or the few records she could get her hands on. Kooli-Prii played these songs at their concerts and (legendary) soul singer Marju Kuut taught them voice placing. The girls went to a school which focused on English teaching so they sang in English at their concerts but they had to get the lyrics translated in order to avoid problems with recordings (censorship).

Hiiglane Marju Kuut

In 1981, Elektra recorded only a few disco songs but that was it because the number of music studios in Tallinn was very limited. For example, the Estonian Radio studio where they could record with 8-track tape recorders was vacant only during the nights. (!)

During the next few years, disco music went out of fashion in Estonia and the repertoire of the band became more popular to match the musical taste of Aarne Saluveer (the band’s leader). In addition to that, Kadri Hunt became its only singer. In 1985, Elektra released its only record (a 7” EP) and their music had become way distanced from soul music. By 1986 the group had dissolved with some of its members going solo or engaging new bands.

Let’s go to our album:

Elektra 1981

Keegi with the original title “You Might Need Somebody” was based on Randy Crawford’s interpretation of the song which was released the same year, the original was a yacht-rock song performed by Turley Richards. The original version of Meid Kaasa Muusika Viib called “Jump To The Beat” was made famous by the teenage singer Stacy Lattishaw.

These two cuts from this single are amazing, I wasn’t aware of the originals the first time I’ve listened to, so I still think these covers are a MUST, there’s something with these gals vocals and Estonian phonetics that kept me mesmerized! Kas Sa Tahaksid Tulla?

Tracks Include:

A Keegi
Lyrics By: Märt Hunt
Written By: Nan O’Byrne, Tom Snow

B Meid Kaasa Muusika Viib
Lyrics By: Märt Hunt
Written By: Lisa Walden, Narada Michael Walden

Credits

Bass: Meelis Punder
Drums: Jaan Karp
Flute: Tauno Saviauk
Guitar: Agu Tammeorg
Keyboards: Aarne Saluveer
Vocals: Kadri Hunt, Kersti Raik, Signe Tükk, Tiina Kalle

Mastered By: Lynn Petrin
Photography: Arno Saar
Recorded By: Mati Brauer

Notes

Frotee ‎– FRO004

Mastered At: Ebony Cuts

Recorded at Eesti Raadio Studio, Tallinn, October 1981.

Tallinn Landscape

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)