Mother Love Bone – Shine Ep (1989)

Capa

Seattle, 1988. Before the worldwide mass exposure created on the so-called grunge scene and its characters, a genre that suddenly was self-proclaimed the soundtrack of Generation X (sic), there was a short-lived band who certainly opened the gates of stardom to all, this band was Mother Love Bone!

The first one to draw national media attention to the region, a contract with a major record company (PolyGram), putting the early Seattle scene definitely on the map. Alongside with Soundgarden, Melvins, Mudhoney, Nirvana and Alice in Chains, this prominent quintet had only a two-year living, with a full length (posthumous) album and an Ep. With no more than 20 shows held, one west-side mini-tour, two videoclips and a lot of hype around them, MLB was a comet of love.

Led by a flamboyant Andrew Patrick Wood (January 8, 1966 – March 19th, 1990), who previously created with its first band Malfunkshun, an alter-ego stage persona called, L’andrew the Love Child, a response to the Satan worship metal clichéLove Rock 333 (their sound) was the title that Andy glimpse, much based on its personal rock faves: Kiss, Queen, Elton John, and Marc Bolan. Andy’s exuberant personality, outlandish clothes, and funny lyrics helped bring attention to the band.

Mother Love Bone
Mother Love Bone

But the path the band was predestined to follow was subtly interrupted by Andy’s od on March 19th, 1990. He had historical problems with cocaine and heroin since 1985 (its first rehab), after the tour opening for The Dogs D’Amour, on mid’s 89, he checked himself into rehab and passed the last four months of the year sober. Their full-length album was recorded during this time. With the turn of the decade, high expectations on Apple began to arise, as its three remixes and a certain pressure.

A righteous future was broken when its fiancée Xana la Fuente, found him on a comatose state lying on the bed of their apartment. After three days in Harborview Hospital, living on life support, Andy was diagnosed with hemorrhage aneurysm; together with it’s family and band members, with A Night At The Opera playing, holding hands around the bed, they decided to plug out the life support and let him go.

Andy Wood
Andy Wood

Six months later the basis for Pearl Jam was formed and started to rehearse. Temple of The Dog was recorded on the end of the year, with two songs made directly to Andy (Say Hello 2 Heaven and Reach Down) it was Chris Cornell’s last homage to his friend, they also lived together for six months. Both Ten and TOTD releases happened in early 1991 and hits the musical charts in different ways, yet Seattle’s scene had already been paved by Andy, the love child. (RIP)

Let’s go to their history:

We will let Malfunkshun and Andy’s complete story to a dedicated post on the future, however, there is a very nice documentary about them directed by Scot Barbour.

By 1987, Andrew was living in Seattle and hanging out with Jeff Ament (bass) and Stone Gossard (guitar), members of Green River. It wasn’t long before the three of them were writing together, and as time went by they became closer. In late 87, early 88, Lords of the Wasteland started playing occasional shows, with the inclusion of Bruce Fairweather (guitar), though the repertoire was composed of covers.

By the time of their last show, Andy, anxious for success, left Malfunkshun and started to dedicate all his time for the new band. Stupid names like Dum Dum Boys or Daddy Long Legs were suggested, but it was from Andy’s mind that the band would be recognized: Mother Love Bone.

Promo
Promo

Regan Hagar (Malfunkshun’s drummer) was replaced by Greg Gilmore (10 Minute Warning) and the band changed their name, after a week of persuasion. They got into the studio as soon as possible and recorded 10 songs including, Holly Roller, Stargazer, Lady Godiva Blues and Capricorn Sister. The demo was received by Kelly Curtis (later the manager of Pearl Jam). Kelly made it possible for the band to record another demo, this one was sent to Geffen records who paid for them to make a third demo. With songs like Bone China, Crown of Thorns and Captain Hi-Top.

The demos made it out to a bunch of different companies, so the band waited through the summer and it paid off; they got a lot of calls from labels that heard the demo and they finally decided to signed with Polygram. They even got there on label on the company, Stardog Label. This process took place during February / August 1988.

They returned home and signed Kelly Curtis as their manager. In early 1989 starts the process to their debut album Shine. The band went on tour for the album and then took a few months to break, by September they were recording their next album.

Love Rock
Love Rock

In 1990 they had played around Seattle and gained much respect from local bands like Soundgarden and Melvins. The band had finished making their upcoming album Apple when Andy checked himself into a rehab program to deal with his addiction.

They were set to make their debut, when Wood died of a heroin od on March 16th.

Temple of the Dog was formed in Andy’s memory. The band included Stone Gossard, Jeff Ament, Soundgarden’s Matt Cameron, and Chris Cornell, and the new guy Eddie Vedder! After Temple of the Dog, Stone and Jeff got together with Eddie, Mike McCready, and Dave Krusen to form Pearl Jam. Bruce Fairweather joined Love Battery and Greg played with Blind Horse and Endino’s Earthworm.

Let’s go to our record:

Andy Wood, Jeff Ament, and Stone Gossard passed through the early ’80s in Seattle with punk, hard, glam, arena rock bands, gigs, friends, shows and a whole scene of musicians. They’re one of the founders from the so-called grunge scene and it’s here that this record gets something special and reveals us another side. It doesn’t resemble anything from the heaviness or angst-filled lyrics and moods like Soundgarden, Melvins, Mudhoney, Nirvana or Alice in Chains.

Apple's Photo Session
Apple’s Photo Session

With a heavy-tenor (like Robert Plant) sung by Andy, its lyrics, persona and a sharp band, they got all bases from the American Hard / Glam, with some mellow ballads on piano and funky uptempo. These ego imaginary dreamy lyrics ruled the short production of the band, yet they made also some mordacious, happy humor criticism, especially about catholicism, freedom of love, and the myth of commercial rockstar.

This is a small 5-track release, there are some proto-grunge, hard rock, funk, an epic ballad, and a blues. The ‘IM’ highlights are for: Crown of Thorns, their most famous song, much covered by Pearl Jam, got an 8-minute piece, here with Chloe Dancer introduction, the touching preamble reveals us some brute biographical lyrics based on choices, love, death, and addiction. An almost forgot classic from a modern rock!

Seattle's Wall
Seattle’s Wall

Cameron Crowe’s film about love on the early ’90s, Singles, was set in Seattle. On the very beginning of the film, we’re shown to a wall with Mother Love Bone name’s on it, still, Andy’s death interrupted any chance of a sequel or international recognition.

And Capricorn Sister: One of the first made, a nice blues with an over the top performance by Andy, remembering us those old blues singers from the South. This song also appears on Apple, but Shine’s version is much better, on the very final there’s a little funny hidden-track, Zanzibar, check it!

The Ep was recorded in November 1988, during ten days (or five?)Lastly, there is a revealing excerpt of Scot Barbour’s interview about Andy’s final moments:

Single's Wall
Single’s Wall

Scot: ‘Andy was allergic to everything, well not everything. But a lot of different prescription drugs & foods. In fact, that’s the REAL theory of how Andy REALLY died. Andy actually survived the heroin overdose and it looked like he was going to pull it off and live. When he was in a coma he was given a few different drugs to help him come back from the coma. The back of his brain swelled up so badly that the top his spinal cord actually protruded his brain causing him to be brain dead.

That is when they decided to take him off Life Support. The belief is that his brain swelling was the result of an allergic reaction to at least one of the drugs that were administered to him during that time. Coincidentally, the patient records for the last 24 hours of Andy’s life are missing and have yet to be located. And Virginia Mason (?) Hospital in downtown Seattle has made no statement. (!)

Shine's Tour
Shine’s Tour

He wasn’t into drugs as much as people are lead to believe. Andy had just gotten out of rehab recently. And the heroin dose he overdosed on was extremely small. Another very coincidental thing was the Hospital had reported four other heroin od’s that evening Andy was brought to the hospital, it was definitely a ‘bad batch’ that had hit the streets and wound up in Andy’s arm.’ (!) Drum Bun!

Tracks Include:

1 Thru Fade Away

2 Mindshaker Meltdown

3 Half Ass Monkey Boy

4 Chloe Dancer / Crown of Thorns

5 Capricorn Sister / Zanzibar

Released: March 20, 1989

Credits

  • Artwork: Klotz
  • Bass: Jeff Ament
  • Drums: Greg Gilmore
  • Guitar: Bruce Fairweather, Stone Gossard
  • Photography: Charles Peterson
  • Producer: Mark Dearnley
  • Vocals, Piano, Lyrics: Andrew Wood

Notes

Recorded at London Bridge Studios, Seattle. //// Mixed at London Bridge Studio, Seattle.

Mastered at Sterling Sound, New York.

Management: Kelly Curtis Management.

Label: Stardog/Mercury

(P) (C) 1989 Stardog Records.

Seattle
Seattle

Novos Bahianos + Baby Consuelo – No Final do Juízo (1971)

capa cópia

Brazil, 1969. After the infamous AI-5 (institutional act #5), the dictatorship that was ruling entered in a new phase, seeing its 5th birthday, with an urban guerrilla and a mass wave of protests throughout the country. The most reactionary group made a coup inside the coup. From that moment the previous censorship was installed on every layer of the society, no civil guaranties at all, any manifestation was a subversive act, elections/congress suspended, as the unions and student leadership.

The terror against anyone contrary to the order was real. Many people were persecuted, arrested, tortured, killed and buried as indigents under the iron tutelage of the State, and the connivance from big entrepreneurs, media groups, multinational companies, industrial bourgeoisie and CIA (Torture expertise). (!)

100.000 March, 1968
100.000 March 1968

The only thing that this tropical, multicultural and joyful society could vote and participate, was the emblematic Festivais (music festivals), liberated by the junta. Created in 1965, aired and transmitted live by multiple broadcasters, always held by the end of the year, it was the greatest musical event from the time; eagerly awaited, with mass media coverage, the crowds could boo and cheered to death in a collective catharsis, revealing new national superstars or villains!

Renowned artist like Elis Regina, Geraldo Vandré, Edu Lobo, Nara Leão, Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé, and many others was revealed there. However, due to the turbulent development in 1968 festival, the dictatorship decided to prune and systematize the spectacle. There was a strict preoccupation to show an ordained happily country to the world, the festival would be transmitted on early January to Europe, via Rede Globo (sic), in a 3-hour special.

At the end of the year, most mentioned artists were exiled by solidarity or not, Tropicalism was dead, Marighella too; inside this turbulent musical void, Os Novos Bahianos (first graphed with H, after without) emerged and caused a fuss.

Early Promo
Early Promo

Let’s go to their history:

It all started at Vila Velha theater (Salvador, Bahia) with the show ‘O Desembarque dos Bichos Depois do Dilúvio Universal’. The members: Luiz Dias Galvão, agronomist, poet, musician, cinema and dramatics enthusiast, 32 years; Antônio Carlos de Morais Pires, 21 years of fiery musical essay at Turiassu, interior of Bahia; Paulo Roberto de Figueiredo, ex-crooner from Orquestra Avanço, 23 years, nicknamed Paulinho Boca de Cantor; Bernadete Dinorah de Carvalho (Baby), from Niterói (Rio de Janeiro), newcomer to Salvador, which commemorate his seventeen years living under the bridge (!); lastly, Jorginho, Carlinhos, Lico e Pedro Anibal de Oliveira Gomes (Pepeu) that formed the backing band, Os Leif’s. With the exception of Bernadette, they were all from Bahia, unheard, strange, radicals and young.

It was the beginning of Novos Baianos, at the tropical chaos of 1969.

Baby, carioca problem-girl, dreamed, like many in its age, being an artist, a singer, the one who deserves posters with your initials. Her baptism name didn’t help too. In an impetus of boredom and freedom, she goes with her friend, Ediane, to Salvador, there she meets Galvão and Moraes at Brasa’s, a unique bar from there. Paulinho (boca de cantor) also met the triad and joins them at Dona Maritó boarding house. The only one with previous musical experience (live shows and recording), were Pepeu (guitar), owner of an unmistakable style, genuinely Brazilian, crossing Hendrix with Choro. (!!)

1970
1970

In the beginning, only a quartet: Moraes, Galvão, Paulinho e Baby (whose new name was born and celebrated from a movie character) which was accompanied by Leif’s. Galvão was the poet and mentor, Moraes the main composer, Galvão’s partner, with a subtle acoustic guitar. Paulinho was the rascal, Lúcifer, and mellow singer. Pepeu the guitar hero. Baby the stoned singer. All, with a Tropicalia pinch in 1969/70.

After the racket from Dilúvio in Salvador, they went to São Paulo, were performed in numerous TV shows always exceeding the expected number of songs and staging absurd expedients. The first manager was Marcos Lázaro, through João Araújo (manager of Gil, Caetano, Gal) they signed with RGE and release their first single:

Yet in 1969: De Vera /// Colégio de Aplicação.

Then in 1970, a caustic, sardonic, threatening Lp (Ferro Na Boneca – RGE) which included tracks from the compact, a cornucopia of styles/titles. They also participate as actors and on the soundtrack from two Underground (Marginal) films of the era: Meteorango Kid e Caveira My Friend. Still, they released a double compact without Baby, who was trying her first steps on a solo foray.

These early albums will have dedicated posts in the near future!

Fun!
Fun!

Let’s go to our record:

Today’s album is an incredible double compact, never re-released on Cd, forgotten and hated by the band due to technical aspects. It was the one and only attempt on Phillips, at the time directed by the mighty Nelson MottaOne thing that must be said, was the radical transformation that the band went through after meeting with João Gilberto, he also lived with them for a short period at the infamous apartment in Botafogo. The roots, that were until then based in various styles, such as, rock, baião, soul, tango, turned into samba and choro strictly.

This little revolution happened in late 1971, and it’s well counted in the documentary Filhos de João. So this is their last release without the sound that would be recognized and praised not only in Brazil but worldwide!

Psychedelic Novos
Psychedelic Novos

We go from hippy folk to a Latin brass experience (even sung in Spanish!), passing through some sambas and harsh fuzz rocks sang in an over the top registry by Baby! Special mention lyrics go for Dê um Rolê, a counterculture hymn, that became very (very!) famous on the interpretation of Gal Costa, the song preaches love from head to toe, going completely against the terror that was represented by the military.

Please enjoy this little gem and Jó Utat!

Tracks Include:

Novos Bahianos + Baby Consuelo – No Final do Juízo (1971)

A1 Dê Um Rolê (Moraes Moreira / Galvão) ~ Paulinho Boca de Cantor

A2 Você Me Dá Um Disco? (Moraes Moreira / Pepeu Gomes / Galvão) ~ Baby do Brasil

B1 Caminho de Pedro (Moraes Moreira / Galvão) ~ Moraes Moreira

B2 Risque (Moraes Moreira / Galvão) ~ Moraes Moreira e Baby do Brasil

Credits

Production Director: Nelson Motta

Photo: David Drew Zingg

Compacto Duplo – Philips 6245 003

Rio Curves
Rio Curves

Indonesian Mixtape ~ 2013

Benny Soebardja & Lizard
Benny Soebardja & Lizard

Indonesia. Fossilized remains of Homo Erectus and his tools, popularly known as the Java Man, suggest the Indonesian archipelago was inhabited by at least 1.5 million years ago. Austronesian People who form the majority of the modern population, are thought to have originally been from Taiwan and arrived in Indonesia around 2000 BCE. The earliest evidence of Islamised populations in Indonesia dates to the 13th century in northern Sumatra; for the most part, Islam is overlaid and mixed with existing cultural and (curious tolerant) multiple religious influences.

Europeans arrived in Indonesia from the 16th century seeking to monopolize the sources of nutmeg, cloves, and cubeb pepper in Maluku. In 1602 the Dutch East India Company (VOC) was established and became the dominant European power. Following bankruptcy, the VOC was formally dissolved in 1800, and the Netherlands government created the Dutch East Indies under government control. (sic)

By the early 20th century, Dutch dominance extended to the current boundaries. The Japanese invasion and subsequent occupations in 1942-45 during WWII ended Dutch rule and encouraged the previously suppressed Indonesian independence movement. Two days after the surrender of Japan on August 1945, nationalist leader (future leader), Sukarno, declared independence and became president.

Tielman Brothers
Tielman Brothers

While the West and many other western-styled democratic countries reveled in rock music, the left-leaning government of Sukarno took a dim view of western influence in the early days of the Indonesian Republic, restricting the purchase and sale of Beatles, Rolling Stones, Elvis Presley, Tom Jones, as well as those of homegrown artists performing western-style rock music. This could be accredited to a rejection of Western culture after three centuries under Dutch colonial rule and was argued to help Indonesian artists create their own form of Indonesian pop music. (!)

Sukarno’s government insisted on Indonesia producing its own brand of pop music, yet many of these groups still showed western musical influences in their arrangements shown either by the crooner styled vocals or R&B flavored guitars for rhythm. Indonesia’s more popular groups, most notably Koes Bersaudara, later renamed Koes Plus found life increasingly difficult under Sukarno frequent queries from the authorities for performing western rock, while other Indonesian rock n’ roll pioneers like the Tielman Brothers had to make their name in Europe.

These were the early beat, garage and pop scene.

Dara Puspita 60's
Dara Puspita 60’s

Let’s go to our history:

Sukarno’s anti-imperial ideology saw Indonesia increasingly dependent on Soviet and then communist China. By 1965, the PKI was the largest communist party, outside the Soviet Union or China. Penetrating all levels of government, the party increasingly gained influence at the large expense of the army.

On September 30, 1965, six of the most senior generals within the military and other officers were executed in an attempted coup. This fact prompted a violent army-led communist purge, aided by CIA and British Foreign Office, over a million people were killed in a year, a year and a half, throughout the country. (!!)

1965-66 Prisions
1965-66 Prisons

General Suharto politically outmaneuvered President Sukarno, and became president in March 1968. When he finally opened the floodgates for western culture, Suharto’s new order regime’s friendly stance towards western powers allowed the emerging rock music scene to flourish. With the country entering open relations with the western, many Anglo-American artists like Led Zeppelin, Deep Purple, Genesis, Jimi Hendrix, The Doors, King Crimson, Janis Joplin and Black Sabbath flooded Indonesia’s radio waves while its fresh new sound helped create many of Indonesia’s best-known artists of the ’70s, be it directly or indirectly. The decade also provided numerous bands and household rock stars still active on today’s musical charts.

Thanks to Now Again’s fantastic compilation (2011) of Indonesian rock, Those Shocking Shaking Days, people worldwide were able to taste the greatest bands from the Indorock scene. With a tumultuous historical background, led by a 33-year dictatorship, Rock music was a real exhaust valve in a land of fear, death, and corruption. We’re talking about a place where a right-wing paramilitary organization Pemuda Pancasila grew out of the death squads to reach maximum popularity as national heroes! They got strictly bonds with the government and more than 3 million members throughout Indonesia! With no trials or official recognition, this frightening aspect it’s shown on Joshua Oppenheimer documentary, The Act of Killing.

Commie Purge
Commie Purge

Let’s go to our mixtape:

A Mixtape it’s a personal choice that usually ranges a certain time or era, serving as a gateway for new listeners. Today we’ll focus on 70’s scene, therefore, some brilliant Indonesian bands will be out of our first selection, such as Koes Plus, AKA, Shark Move, Super Kid, Panbers, Duo Kribo, etc. Their complete biography and developments will be left for an exclusively dedicated post, there will be many, don’t worry! This is just warming for Indonesian rock, phew, let’s to them!?

Dara Puspita ~ Tabah & Cobalah (1971)

dara puspita 71 cópia

Harapan Kosong /// Did You Know That?

Dara Puspita (Flower Girls) was Indonesia’s most successful girl band of the 1960s. The girls were one of the few groups who actually played their own music. Hailed from the city of Surabaya in East Java and first formed in 1964, on 1965 the band relocated to Indonesia’s capital, Jakarta, and soon gained a reputation as a sensational live act, bashing away their instruments, jumping and screaming out their songs.

Riding on the beat garage, in 1968 they took the almost unprecedented move for an Indonesian band of trying their luck in Europe and spent the next few years touring in England, Holland, France, Belgium, Spain, Germany, and Hungary. They even played in Turkey and Iran! In late 1971 the girls returned to Indonesia and played a number of concerts, and on April 1972 they played their last show.

The selected songs are from their last era, a real psychedelic issue with less girlie posture, serious fuzz, and organ. Words in English and Indonesian, some soul swing and no political themes on lyrics. By the way, the band was much used in Suharto’s years as a nationalist flag of Indonesia’s greatness (sic). Their 71′ released are also on Hans Pokora’s book, that’s why is so difficult to find any good transfer.

Harry Roesli Gang ~ Philosophy Gang (1973)

harry roesli cópia

Peacock Dog //// Roda Angin

Harry Roesli has been a well-known artist in Indonesia, who pioneered contemporary music with consistent delivery of social and humanity critics in a straight forward and transparent way. He was born in Bandung and passed away on December 11, 2004.

During early ’70s, Harry formed a band called Gang of Harry Roesli with his friends: Albert Warnerin, Indra Rivai, and Iwan A Rachman. Five years later the group was disbanded. Harry was then granted a scholarship by Cultuur, Recreatie en Maatschapelijk Werk (CRM), to study in Rotterdam Conservatorium, Netherlands. To support his life while studying and expressing his musical talent, he played piano at Indonesian restaurants, achieving Ph.D. in Music (1981) and then lecturing at the department of music at Universitas Pendidikan Indonesia (UPI).

This is his first release, words in English and Indonesian, fabulous keys timbres, small Latin accent with a pop-psych overall. Harry lyrics suffered constant boycotts and a blacklist agenda by the military government. He’s certainly the most restless author from all, with dozens of records and few acknowledgments worldwide.

Benny Soebardja & Lizard ~ Benny Soebardja & Lizard (1975)

Benny Soebardja cópia

Crime /// Loosing Time

The Indonesian Hendrix, the self-proclaimed founder of the private press scene, Benny Soebardja is one of the most important figures from the Indonesian music industry. Having been a member of three of the biggest bands in Indonesia: The Peels, Shark Move and Giant Step. Backed by the almost unknown Lizard band.

He got some problems due to its first solo release, with a banned cover and government intimidation who saw too much freedom of speech on its lyrics. The words in English were made with the help of British poet Bob Dook. With psychedelic nature, organ, reeds, light/heavy guitar work, and harmonic soulful chorus, some social criticism themes are included. He’s still on the run!

God Bless ~ God Bless (1976)

godbless cópia

Sesat /// Eleanor Rigby

God Bless pioneered the birth of rock music in Indonesia dated back in early ’70s. The band’s central figure vocalist Ahmad Albar, previously formed Take Five (1966-1967), and later Clover Leaf (1967-1972). When he returned to Indonesia, Fuad Hassan (drums), Donny Fatah (bass) and Deddy Dores (keyboard) were invited to form with him, God Bless. They dominated rock music performance during the decade, even though they did cover versions of Deep Purple, Genesis, Kin Ping Meh, Queen.

God Bless also performed as the opening act for a spectacular show (with 120,000 crowds!) featuring Deep Purple live in Stadion Utama, Jakarta, 1975. The band released its self-titled debut album in 1976, by Indonesian label Pramaqua. With a major hit: Huma di Atas Bukit the album remarked the birth of Indo rock scene.

Classic Rock at it’s the best definition, words in Indonesian with a tuned rock band. They’re the best selling rock band from Indonesia history and are still on the run!

Giant Step ~ Kukuh Nan Teguh (1977)

giant step cópia

Mekar //// Alam Bebas

One of the legendary Indonesian progressive rock acts of the ’70s, with influences from the American/British prog legends, they established their own sound with great originality. They went through a series of line-up changes with the omnipresent figure of Benny Soebardja, plus the best musicians from Bandung: Deddy Stanzah (Rollies), Deddy Dores (Freedom of Rhapsodia), Albert Warnerin (Philosophy Gang).

They managed to release several albums with great commercial success before finally breaking up in 1986. Sung in Indonesian, strong moogs and synths, nice guitars, flutes, broken signature, and beautiful rock ballads. Altogether, you can call them true prog heroes, with no influences from traditional music or social criticism themes.

Guruh Gipsy ~ Guruh Gipsy (1977)

guruh gipsy cópia

Janger 1897 Saka /// Geger Gelgel

The only album released by the band (with Chrisye), it’s the second greatest from all time according to Rolling Stone Indonesia (!). We’ll make a complete post with biography and info members in the near future, this is no ordinary record! After sixteen months of production, as the two musical elements have different spectrum in terms of notes and chords progression, Guruh spent a lot of time outside the studio to learn the subtleties of western music as well as Bali traditional music. They strived to find the harmony that blended prog rock with Bali traditional gamelan music.

With a rock combo (guitar, bass, drums, organ), orchestra, female backing vocals, heavy moogs, and traditional instruments, this is probably the greatest mix between traditional and modern anglo music I’ve ever seen, at least in Indonesia!

A symphonic prog with outstanding arrangements, full-length songs, heavenly chorus and many different climates throughout the record, a must-see.

Trip Becik!

Indonesian Orangutan
Indonesian Orangutan

JAGATARA (暗黒大陸じゃがたら) – Nanban Torai (南蛮渡来) [1982]

Nanban Torai
Nanban Torai

JAGATARA (Jacatra, romanized), is an exclusive 80’s band from Japan, so they didn’t participate the 60/70’s Avant rock scene as their eldest predecessors, like Happy End, Sadistic Mika Band, Speed, Glue & Shinki, Haruomi Hosono, Jacks, Maki Asakawa, and Yoshiko Sai. Thus, our usual background for Japanese rock, early context, and its characters’ stories will appear throughout our galaxy, not today! Further that, this is an odd kind of rock, especially for an oriental one.

Japanese rock is primarily founded on folk and blues, later, southern rock and psychedelia, all these wisdom, are set aside to give chance for a new wave aesthetics! Like all great band, they deserved a continuous rewriting and rediscovering of its sound, live performances, and biography, all CD re-releases made by BMG Japan are quite new, ergo, all digital archives found on the net today. This fact, made them formerly unknown worldwide, also, the original Lp’s (released on an independent label) are rather expensive treasures in today’s heated market of vinyl. Hereupon, welcome to the outstanding world of JAGATARA!

Let’s go to their story:

Having on its key figure, your deceased singer, writer, and composer, Edo Akemi (July 1, 1952 – January 27, 1990)JAGATARA, are an incredible mix of genres, backed on a punk rock basis (drums, bass, guitar). They moved away from the usual rock that was being made back then, to debut as one of the greatest bands from Japan, audience and commercially speaking. Edo’s performances are a separate chapter in their history, his visceral punk anima, shocked the public due to extreme actions, such as constant injuries, bleed out, golden showers and live defecations! (!!)

But it’s the music power combo and its lyrics, their greatest development. Coming from a restless hyperactive frontman, themes like loneliness, madness, life in the big city, drug abuse and satirical social issues were present throughout his short career.

Early Formation
Early Formation

Born in Nakamura, a Kochi prefecture, near Tokyo, Edo Masataka (birth name) was the fourth from a five sisters family. Since childhood, an intelligent, fastidious and sore loser used to play tricks with its friends and learned early to question authority. A famous episode was a discussion with the priest from his Junior High School, he doubted and alleged some ‘big mistakes on the bible’, horrified the cleric expelled him from the church. That event was his Christian withdraw!

During the period of 1971 until 1979, he entered at Meiji University, on Tokyo, to attend on Letters and History course, the fact that it took twice as long until his graduation, shows us a loosely mind not so fitted with the common and boring status quo. But it was there, that the embryo from JAGATARA would be formed, more precisely in his eight and last admission, on august 79, together with Ebby (guitar) and Pan (bass) they debuted on live stages.

Thenceforth, the band began his ascent to the mainstream, their anarchist live performances on April 1980 at Shinkuku Theater called the national media attention: Akemi’s tearing up and eating in the raw a live chicken and a Shimahebi (sort of snake) (!!). The season concerts extend sold out throughout the year with dozens of publications from specialized magazines and even a Playboy famous interview.

Punk Samurai
Punk Samurai

An Ep (Last Tango in Joku) is released in April 1981, the live exposures continue. Due to mass media coverage plus high expectations from the audience (only) for Edo’s freak shows, with months, they realize the monster that they birth: a ZERO interest in their music! The band had become a fancy bourgeois product. Aware of it all, later that year comes the shift that would transform the band’s whole proposal. Alongside with OTO‘s (guitar) entry, the pure punk sound is left a bit aside, gaining new colors with the funk and afrobeat. During September/October they began the production of their first full-length album, that would take until April 1982.

With Nanban Torai release, they consolidate their status as real musicians and composers, from that on, the band entered in another suicidal domestic tour, by the end of 1983, Edo was diagnosed with a harsh mental disorder. Hospitalized and later discharged with his parents in Shikoku, simultaneously on Tokyo, the Dark Continent Jacatra band would see a two-year hiatus (1983-85) caused too, by many quarrels among its members and multiple charges for drug possession.

A live release occurs in the interval and in 1986 the band returns with a new formation, on the same basis, but more close to the big band formula: horn sections, keyboards, percussion and female choir dancers!

Final Formation
Final Formation

Until 1990, more than 6 albums hits nihonjin music charts, unfortunately, in early January 90, Edo is found dead at his home, the Mortis causa: accidental drowning while bathing. The astonishing news suddenly hits all band members, though he had offered to leave the band just before death, JAGATARA broke up instantly due to lack of its central figure. As if not enough on April 8, 1992, Pan dies of acute pneumonia, eight months later Shinoda (sax) passes by myocardial infarction (!).

Let’s go to our record:

Considered the 22nd greatest album by Rolling Stone 100 JapanNanban Torai (Barbarian Introduction) is a contagious mix. Ranging from diverse personal genres, such as Frank Zappa, southern rock, funk, afrobeat, reggae, punk rock and post-punk. The album, released on May 1982 for Dr. Records, an independent label, got a strange live feeling and it was an instant success on Japan, being aired on Tokyo Channel 12 and transmitted by NHK-FM.

For instance, during a live TV performance the vocalist from a punk band called Gism, entered underhand and had an aggressive struggle with Edo. That would cause one of the greatest disagreements, the band didn’t even try to mend the fight, on the contrary, the song was played until the end, with both on the floor!

The ‘IM’ highlights for today will be straight: End of Season, an urban post-punk, with lots of fuzz, dancing uptempo, singing way manifesto and dissonant ending. A direct shot! And Baby, simply the greatest groove so far, an homage to everything that jumps: soul, funk, disco, boogie. Nile Rodgers swing guitar feels, heavy solos and the greatest mantra chorus for your party time, please enjoy.

God Tur!

Track include:

A1 でも・デモ・Demo

A2 季節のおわり(End of Season)

A3 Baby

A4 タンゴ (Tango)

B1 アジテーション (Agitation Vagina)

B2 ヴァギナ・Fuck

B3 FADE OUT

B4 クニナマシェ (Kuninamashe)

Music, Songwriting: Edo Akemi /////// Arrangement: Dark Continent Jacatra

Members:

Akemi Edo ~ vocals /// SAMMY ~ drums /// Pan ~ (bass)

Ebby ~ guitar /// OTO ~ guitar

Guest musicians:

  • Yoshida (Yoshida Tetsuji) (trumpet) 1, 3
  • Smiley (baritone sax) 1
  • Shinnosuke (alto sax) 1
  • Beginning Band (Chorus) 1
  • P · C · E & C (Aso Rabbit) (chorus) 1
  • Jacatra Girls (Chorus) 1, 3, 7, 8
  • Yutaka Fukuoka (Chikada Haruo & Biburatonzu) (percussion) 1, 5
  • Benkei (Tokyo Grand Guignol) (alto sax) 3, 7
  • Masashi Yamamoto and Oblique Eye Patch (chorus) 3
  • Kenji Ono (trumpet) 7
  • Sadagawa Aya (voice) 7
  • George Kawabe (Kawabe Noriyuki)
  • Kai (drums) 8
  • Kid in The Neighborhood (chorus) 8
Edo Akemi
Edo Akemi

Mariza Koch (Μαρίζα Κωχ) – Arabas (Αραμπάς) [1971]

capa cópia

Greece. The cradle of modern civilization, an amalgamation of elements of Minoic, Phoenician, Doric, and Ionic cultures that at one time spread from the Caucasus to the Pyrenees via Asia Minor, and from the Crimean to Sicily and the North-African coast. Plato, Xenophon, Homer, Socrates, Pythagoras, Archimedes still live on, in their works, thoughts, and writings. Despite its glorious past, Romans, Byzantines, Visigoths, Slavs, Bulgarians, Venetians, Crusaders, Serbs, and finally, Turks took it in their turn to occupy Greece for about 1,800 years!

The last Turkish garrison left Athens in March 1833, they managed to stay more or less independent for just over 100 years, when Hitler and Mussolini decided they’d go for a life-long supply of Ouzo (a greek drink) in April 1941. After a good 20 years of turbulent democracy, Greece was back in the hands of the extreme right when the colonels took over on April 21st, 1967, they were to remain in power ’till 1974.

A democratic and republican constitution was promulgated only in June 1975.

Military Junta Logo
Military Junta Logo

The presence of the military junta during the late ’60s and early ’70s has been quite a deterrent, having prevented a musical development concurrent with that of other European countries. To complete the picture, the continued loss of civil rights, widespread censorship, political detentions, and torture, caused countless confrontations and assassination attempts on both sides. In 1969, Costa-Gavras masterpiece Z, was the first attempt to internationalize the message of serious lack of civil rights and its situation. The film was banned from Greece, at the time.

The late ’60s were characterized by political oppression from the authorities and a strong folk movement (oriented by the political left) that sought its identification in the traditional Hellenic roots. A lot of male and female folk singers were known throughout Greece but the outside world remained virtually oblivious to them. Most of the bands that existed back then, however, played only cover versions of English-sung hits and their overall approach was orientated towards light pop and beat. They were called The Rabbits, The Stormies, The Teenagers, The Knacks, etc.

Z's Poster
Z’s Poster

In the very beginning, the most well-known bands were from outside Greece: Aphrodite’s Child and Axis, achieved relative commercial success in France, singing in English, debuting albums, single charts and appearances on TV shows.

Domestically, over the ’70s, bands and artists like, Socrates Drank the Conium, Nostradamus, Akritas, Iraklis, Dionysis Savvopoulos, Manos Hadjidakis, Kostas Tournas, and Pavlos Sidiropoulos, were largely observed, censored or even arrested by the military junta. (!) This is some of the key figures in the national rock scene, ελληνικό ροκ (Greek Rock). Even the term psychedelic is derived from the Ancient Greek, words psuchē (ψυχή – psyche, mind) and dēlōsē (δήλωση – manifest): 

Translating to mind-manifesting!

But today we’ll speak of a woman, their achievements and wonderful music.

Let’s go to her history:

Mariza Koch is one of the most renowned Greek singers of all time (together with Fleury Dandonakis). Endowed with a superb voice and a colorful timbre, she’s famous for served the Greek traditional music and been the first to introduce electric sound to folklore. Always working beside poets, such as Sappho, Kostas Varnalis and the Greek poet of the seas Kavvadias; its lyrical depth is one of the aspects, which will always be remembered, her minstrel attitude, the freedom of speech and its political views over one of the heaviest cultural heritages from our history.

Young Mariza
Young Mariza

Born March 14, 1944, in Athens by a Greek mother and a German father, member of the army occupation, he was executed by the Nazi forces the very year of her birth. Mariza and her sister Eirini grew up in her mother’s native Thera (Santorini).

From four to nine years old, she grew up in an institution, the widowed mother had problems growing two kids and working alongside. This fact develops a strong bond with her work on itself. Nowadays, she established an own record label (Verso Music) destined to folklore/traditional songs from all over Greece and more specifically, music for children. The experimental music center, Movement & Logos Mariza Koch designed for experimental music teaching only for children has its own choir, plays, books, and cd releases; this is her flag today, an author and educator.

But let us return to our biography

Hippy
Hippy

The time lived in Santorini, founded the roots of its musical expression: the contact with Byzantine music and insular songs. At age 16, she returned to Athens to take music lessons. There, gained contact with the common wave, it’s performers, and debuts commercially in 1967. Two years later, shares an Lp with Nick Chouliaras, based on folk and traditional songs. The year 1970, in Greece, marks the very birth of greek bands singing in greek, Koch’s album ain’t the original first one, but it’s way thicker than other releases from the time, more distant from original folklore.

Based on several traditional regions of Greece, Arabas saw huge commercial success and led her to a large career on different record labels, through the decades.

Mariza: ‘When I started singing was in the era of dictatorship, the very beginning. I wanted to sing an uncensored version from numerous songs, but they all passed through censorship and I can not say exactly what they wanted. So I chose to sing traditional songs that I love very much and I had grown up with them. So the cry of protest is not like before, I took through the text, through the electric instruments and cover versions of songs that I did. It was my personal revolution.’

1976
1976

Soon established as a premier folk singer in her country, instructed by Manos Hadjidakis, she took part in the Eurovision Song 1976 contest, held in Hague, with the song Panagia Mou, Panagia Mou, written by herself, in protest by the Turkish occupation of Cyprus. The coup within the coupled more than 5,000 dead and wounded on and off the isle. (!) The song ends up in 13th place, but its performance, transmitted live through Europe, unleashes her success worldwide.

From that point, she traveled around the globe singing in greatest theaters and recognized music festivals in Western Europe, Russia, Canada, USA, Latin America, Australia, India, Middle East, and Africa as an ambassador of Greek traditional music. Dozens of albums were launched, and over time its aesthetic transformations changed the main proposal of its career: original folklore, from the past with traditional instruments formations (lyres, flutes, and Cretan lyras).

Let’s go to our record:

Today’s record is a bit different, this is for all those who do not resist an acoustic side with strong connections to the traditional folklore. You all will be pleased with a blessed voice, a tuned backing band (bass, drums, guitar, keyboards) and all these beautiful songs and instruments from the Mediterranean!

Eurovision Performance
Eurovision Performance

Mariza’s unique vocals became the centerpiece of the music, which one, more than one occasion needed no accompaniment. Indeed, it’s first solo foray Arabas (Αραμπάς), released in 1971, was a step forward on a greek musical constellation, the first gold album (50.000) in its history! An almost rock album with traditional blends, heavy drums, swing guitar, light fuzz, breakbeats, led by a powerful female voice, who was also a sharp musician and composer, something unusual for the time!

Mariza: ‘Nothing is difficult if it comes from your truth. The difficulties aren’t that will run, as long as it will go, how they establish what you have inside you. For me, it was not difficult this blend, these traditional covers. This sounds like to give and I’m fortunate that he loved and fell in a good time when the audience of my generation understood what was needed. It was a model that was presented as a personal need.’

Live Extasis
Live Extasis

The ‘IM’ highlights are Arabas (Αραμπάς), a mysterious lute introduction unravels a psych melody with hard percussion pace, eerie organs and sweet rhythm guitar, like many others of the album, none of its songs overlaps 4 minutes! And: Smyrna Dance (Σμυρνέϊκος Χορός), an instrumental one, apropos, the unique in that feel on all record, by the way, Smyrna is an ancient city located on the coast of Anatolia, showing us how Greek and Turkish culture can merge, despite the old cultural brawl.

On the back cover, Mariza writes: ‘I started with the desire to keep up with the evolution of our time carrying through my experiences, which are directly associated with the traditional song. So I began an effort to the contemporary expression of traditional song, encouraged by the fact that it always transformed into the tradition.’

Here’s a TV appearance, from 1973, where she sings in a psychedelic scenario, and on its final seconds, her brilliant hippy political view.

Lastly, you can check her astounding performance in Eurovision 76′.

Boa Viagem!

Tracks Include (polytonic, romanized and translated):

A1 Κάτω Απ’ Τη Βροχή / Kato Apo Ti Broxi (Walking in the Rain)

A2 Ο Μέρμηγκας / O Mermigkas (The Big Ant)

A3 Αραμπάς / Arabas (Carriage)

A4 Το Αρμενάκι / To Armenaki (Sailor Boy)

A5 Σαράντα Πήχες Δίμιτο / Saranta Pixes Dimito (Forty Yards of Twill)

A6 Η Λαφίνα / H Lafina (Mother Doe)

B1 Σκέψεις (Χιλιοτσακισμένο) / Skepsis (Thoughts)

B2 Ο Γιάννης / O Giannis (John & Song)

B3 Τσάπ’ Δηλαδή / Tsap Diladi (Tsap)

B4 Τ’ Άστρο Και Το Φεγγαράκι / To Astro Kai To Feggaraki (The Star and The Moon)

B5 Σμυρνέϊκος Χορός / Smirneikos Xoros (Smyrna Dance)

Credits

  • Composed, Adapted: Μαρίζα Κωχ (Mariza Koch)
  • Orchestrated, Conductor: Νίκος Παναγόπουλος (Nick Panagopoulos)

Minos ‎– MSM 139 (Mono) or Minos ‎– ST.MSM 139 (Stereo)

Mariza, Lately
Mariza, Lately
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