Xhol Caravan – Electrip (1969)

cover

Germany. By the end of the 1960s, the American and British counterculture and hippie movement had moved rock towards psychedelia, progressive rock and other styles that incorporated socially and politically incisive lyrics, 1968 German, FrenchItalian students had created a class of young, intellectual continental listeners. Avant-garde music had taken a turn towards the electronic in the mid-1950s, the minimalistic music current which emerged at the beginning of the 1960s with the works of La Monte Young and Steve Reich using drones and loops (often with synthesizers and tapes) in a kind of psychedelic, space-oriented music.

These factors, plus the Social Market Economy (Wirtschaftswunder) and Marshall Plan, reedified the country in less than 10 years after WWII, laying the scene for the explosion in what came to be termed Krautrock, which arose in a rock festival in 1968 in Essen. Like their counterparts, German rock musicians played a kind of psychedelic music, however, there was no attempt to reproduce the effects of drugs, but rather an innovative fusion of jazz, free-jazz and the electronic avant-garde.

Berlin, May 1945
Berlin, May 1945

That same year, 1968, saw the foundation of the Zodiak Free Arts Lab in Berlin by Hans-Joachim Roedelius and Conrad Schnitzler, which further popularized the psychedelic-rock sound in the German mainstream.

The next few years saw a wave of pioneering groups. In 1968, Can formed by two former students of Karlheinz Stockhausen, adding jazz to the mix, while the following year saw Kluster (later Cluster) begin recording keyboard-based electronic instrumental music with an emphasis on static drones. In 1970, Popol Vuh became the first group to use an electronic synthesizer, to create Kosmische Musik.

Can (w/ Damo Suzuki)
Can (w/Damo Suzuki)

By 1971, Tangerine Dream and Faust began to use electronic synthesizers and advanced production. Other bands like Ash Ra Tempel and Cosmic Jokers also made use of synthesizers and tape manipulation in a way foreshadowing the noise rock.

In 1972, two albums incorporated European rock and electronic psychedelia with Asian sounds: Popol Vuh’s In Den Gärten Pharaos and Deuter’s Aum, meanwhile, a band called Neu! began to play highly rhythmic music. By the middle of the decade, one of the best-known German bands, Kraftwerk, had released albums like Autobahn and Radioaktivität, which laid the foundation for the British 1980s synth-pop, new-wave, electro, techno, and other styles later in the century!

Kraftwerk
Kraftwerk

By the mid-late 1970s onward the terms electronic rock, electronic music, and new age have been used more often than Krautrock and Kosmische Musik, though the early scene continues still today to be regarded as a style in and of itself.

This is just a small digest of one of the greatest scenes in the history of modern music. if you want more (and I recommend) there is a BBC documentary showing all the social and economic background aspects, its developments, interviews with his (many) characters, performances and revelations, such as the proximity with the German new-wave filmmakers, Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders. And even close relations with the RAF (Red Army Faction) and its members. (!)

Stockhausen (60s)
Stockhausen Respite

Let’s go to our history:

The short-lived Xhol Caravan was one of the earliest Krautrock groups, and their unique fusion of jazz and rock was a precursor to the direction that Embryo, Out of Focus, Thirst Moon, Ikarus, Kraan and countless other German groups would take in the ’70s. Formed by saxophonists Tim Belbe and Hansi Fischer, the group started out in 1967 under the name Soul Caravan. With a Motown-influenced bassist as well as two African-American vocalists, James Rhodes, and Ronny Swinton, the group made competent but conventional R&B and soul music, that same year they released the record Get in High on CBS with little repercussion.

Soul Caravan Years
Soul Caravan Years

By 1968, after several lineup changes, their sound began to develop into a more distinct blend of psychedelic, progressive rock, and free jazz, with a wide range of influences, including The Soft Machine, Pink Floyd, Jimi Hendrix and Frank Zappa. Eventually, the group coalesced with Belbe, Fischer, Rhodes, Klaus Briest, Skip Vanwych, and Ocki Brevert. In early 1969 they changed their name to Xhol Caravan to release a single Planet Earth / So Down on the Hansa label and later that year, they released the strange and excellent Lp Electrip, also on Hansa.

They were a popular group at the time, constantly gigging and playing festivals, and even appeared live on WDR Radio that year as well as on television with Zappa, Tangerine Dream and Amon Düül II (the legendary band). Fischer left the group before the end of the year, and the band eventually shortened their name to Xhol to avoid confusion with the British group Caravan.

Xhol Caravan Live
Xhol Caravan Live

More studio and live material were recorded that year, though the group was unable to release any of it until they signed on with Ohr Records. In 1971 Ohr released Hau-Ruck, the following year, Motherfuckers GMBH & Co KG came out, with both live and studio tracks (recorded in 1970). Xhol disbanded at about this time.

Let’s go to our album:

Today’s album is shaped more by the precedence than by personal preference! Still, in 1969 only them and Amon Düül II had released an album, the instant classic Phallus Dei (a dedicated post will appear). Both the bands were the vanguard for rock music in Germany and dictated the paths for many other acts. Already considered Germany’s answer to Soft Machine (i don’t like this comparison), the overall here is improvisational jamming with the composed sections not so developed.

This is definitely worth a listen for anybody interested in the early years of the Jazz-Rock movement, the electric flutes and saxes will please you as the druggy atmosphere. The only 5 songs release is once again most important as a whole than any selected piece, therefore enjoy the first steps of a multi-layered electronic genre that will often be shown up here, stay tuned and… Gute Fahrt!

Tracks Include:

A1 Electric Fun Fair

A2 Pop Games

A3 All Green

B1 Raise Up High

B2 Walla Mashalla

Hansa 80 099 IU

Printed by: Mohndruck Reinhard Mohn OHG

Record Company: Ariola Eurodisc GmbH

Credits

  • Drums: Gilbert ‘Skip’ Van Wyck III
  • Electric Bass: Klaus Briest
  • Flute (Electric), Soprano Saxophone (Electric), Alto Saxophone (Electric), Performer (Wienbrücke): Hansi Fischer
  • Noises (Kloabzug): Peter Meisel
  • Organ, Electric Piano, Noises (Plastikgesäuse), Tuba: Öcki Brevern
  • Tenor Saxophone (Electric): Tim Belbe
  • Written by – Xhol Caravan

‘World War II was only twenty years earlier. Those in charge of the police, the schools, the government, they were the same people who’d been in charge under Nazism. The chancellor, Kurt Georg Kiesinger, had been a Nazi. People started discussing this only in the 60’s. We were the first generation since the war, and we were asking our parents questions. Due to the Nazi past, everything bad was compared to the Third Reich. If you heard about police brutality, that was said to be just like the SS. The moment you see your own country as the continuation of a fascist state, you give yourself permission to do almost anything against it. You see your action as the resistance that your parents did not put up.’ (!)

Stefan Aust author of Der Baader Meinhof Komplex (1985)

RAF members in Trial
RAF members in Trial

Bubu – Anabelas (1978)

cover

Argentina, as in many other Latin American countries, had a turbulent political context over the 60’s/70’s. With the first coup in 1966, the new junta constantly exchange its presidents, closes the Congress and extinguishes all political parties, trade, and student unions. Due to this regress, massive popular demonstrations such as the Cordobazo/Rosariazo denounced the bad situation of life and lack of rights.

It didn’t take long for urban guerrillas like ERP and the Montoneros arose and began its murders and demands. Amid this turbulence, in 1973, Juan Domingo Perón (Argentina’s most important political figure) returns from an exile of 18 years, being received by millions of people at the Ezeiza airport.

During the occasion, extreme right-wing snipers kill more than 18 people and injure hundreds, in the event that became known as the Ezeiza massacre. (!)

El Cordobazo
El Cordobazo

With his death in 1974, the situation between the left and right parties intensifies, the junta creates the Argentine Anticommunist Alliance (death squad), that along with the Operation Independence stopped a guerrilla attempt to capture and secede the territories of Tucumán. Chaos reigned through the country and the military made a last coup d’état, on 24 March 1976. The military government led by Jorge R. Videla, started one of the bloodiest regimes from the Southern Cone, marked by repression, censorship and (innumerable) disappearances (sic); it also implemented coercive measures in the political, economic and cultural spheres.

Videla & The Junta
Videla & The Junta

Among these was: the hardness of employers over their employees, cultural restrictions such as the prohibition of certain songs and musicians of national and international acts, authoritarian power against the Peronist model, common workers, guerrillas, trade unionists, and intellectuals. Under this dictatorship, youth should belong to a line responsible and committed with patriotism as well as the western lifestyle and Christianity. By contrast, the rock of ’60s had outlined a rebellious young man, with long hair, beard and hippie ideology (free of dogmas).

Perón
Perón

The world in those years lived immersed in a post McCarthyism witch hunt, reflected in the military panorama that was installed throughout Latin America. These functioned as referees control amid the Cold War between East and West.

The Argentine rock, like society as a whole, suffered greater censorship during this period, seen as subversive by the military, in a speech of 1976 Admiral Massera denounced rock musicians and their fans as potential subversives! In the eye of the hurricane, the mid-70s saw the folk and pure rock n’ roll groups lose strength to a new and complex sound: the progressive and symphonic rock. (!)

Bands like Crucis, Espiritu, Contraluz, Alas, El Reloj, La Máquina de Hacer Pájaros and (lastly) Serú Girán inaugurated a new era for Argentine Rock.

Montoneros Symbol
Montoneros Symbol

The rebellious lyrics and criticism of the society through metaphorical and explicit pamphlets relating to love, drugs, and imaginary heroes have been set aside, for unusual concepts and aesthetics that constantly annoyed the regime.

Let’s go to our history:

Bubu was originally formed in 1973 and led by Miguel Zavaleta (singer), characterized by its musical and theatrical proposal, whose tendency is assimilated with progressive or symphonic music of the time. They began performing in public under the name of Sion and debuted in theater Del Globo in 1976, marked by its freshness, joy, and staging. After a series of successful concerts, the band started to record their debut album, but now without the participation of Zavaleta, resulting in difficulties at the beginning, which were overcome by incorporating Patty Guelache.

Bubu Gang
Bubu Gang

Concluding the conceptual work in 1978, with the name of Anabelas, heavily influenced by King Crimson, the band had to wait a few more months until the album release. With the Lp on the streets, the group decides to separate.

Let’s go to our album:

A few months ago when I heard the album for the first time, I could not fail to impress me and ask myself: why i haven’t known this before?! I must confess I’m not a proghead, my favorite acts from Argentine Prog are Serú Girán and La Máquina, but even here we do not notice any resemblance to these bands.

The band touches across many different styles yet imitates no one! The King Crimson influence is mostly through the guitar of Eduardo Rogatti which is Fripp-like in many places and is the closest this band comes to imitation. As Bubu performs driving marches with dramatic vocals and Wagnerian intensity, you can also hear shades of the Canterbury scene from Henry Cow to Soft Machine and Stravinsky!

Argentine Prog Ensemble
Argentine Prog Ensemble

Debuting with only 3 songs, an avant-garde initiative for the standards of the time, once more I won’t highlight any track. Like many other conceptual albums, the whole is more important than an excerpt. Bubu is a band to challenge your listening skills and is a great place to start to get into the more adventurous styles of prog rock.

Nzuri Safari!

Tracks Include:

A1 El Cortejo de Un Día Amarillo (Danza de Las Atlantides / Locomotora Blues)

B1 El Viaje de Anabelas

B2 Sueños de Maniquí

Credits

  • Bass, Effects: Edgardo ‘Fleke’ Folino
  • Drums, Percussion: Edurado ‘Polo’ Corbella
  • Flute (Piccolo, Bass Flute): Cecilia Tenconi
  • Guest, Piano: Mario Kirlis
  • Guitar, Effects: Eduardo Rogatti
  • Lead Vocals: Petty Guelache
  • Chorus: Cecilia XZ, Golo, Manzana, Maqui, Marcelius ‘El Potente’, Voulet
  • Tenor Saxophone: Win Fortsman
  • Violin: Sergio Polizzi
  • Lyrics by: Win Forstman
  • Music, Arrangements by: Daniel Andreoli
  • Sleeve design by: Carlos Felipe Fernández

Notes

‘Así continuó Anabelas su cósmico desplazarse en espiral por los espacios vacíos del sueño. Ondulando entre lo que podríamos decir la conciencia propia y las intersecciones de una realidad que cada tanto la ve aparecer en la fluorescencia de las piedras, en la perfección quimérica de las estructuras móviles del abrazo, o entre silencios que le son absolutamente propios.’

Recorded between March and October of 1978

EMI ‎– 8574

Buenos Aires Overview
Buenos Aires Overview

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

Alice Coltrane W/ Strings – World Galaxy (1972)

capa cópiaToday’s record has a distinct imprint, something really powerful, different from everything that already appeared here. With a very suggestive name, i invite you all to enter in a spiritual journey led by the surpassing Alice Coltrane, namaste!

Let’s go to our history:

Born and raised in the religious family of Solon and Anne McLeod in Detroit, Michigan, Alice McLeod (August 27, 1937 – January 12, 2007) became interested in music and began her study of the piano at the age of 7. She consistently and diligently practiced and studied classical music. Subsequently, she enrolled in a more advanced study of the music of Rachmaninoff, Beethoven, Stravinsky, and Tchaikovsky.

Alice: ‘Classical music for me, was an extensive, technical study for many years. At that time, I discovered it to be a piece of truly profound music with a highly intellectual ambiance. The classical artist must respectfully recreate the composer’s meaning. Although, with jazz music, you are allowed to develop your own creativity, improvisation, and expression. This greatly inspires me.’ (!)

Heavenly Strings
Heavenly Strings

With a scholarship to the Detroit Institute of Technology, her musical achievements began to echo throughout the city, to the extent that she played in many music halls and churches, for various occasions as weddings, funerals, and religious programs. Her skills and abilities were highly enhanced when she began playing piano and organ for the (gospel) junior and senior choirs at her church.

But her brother, bassist Ernie Farrow, introduced her to jazz early on, and as a teen, she became quite taken with bop and its offshoots. In Detroit, she played piano on sessions with masters like guitarist Kenny Burrell and saxophonist Lucky Thompson. By the early 60’s she was sharing the bandstand with vibes player Terry Gibbs, it was on tour with Gibbs that she met saxophonist John Coltrane.

John & Alice
John & Alice

Their 1965 wedding was the start of a musical union as well. When she replaced pianist McCoy Tyner in the classic Coltrane Quartet there was hubbub in the jazz world. But John Coltrane’s music was unfolding further with every passing month, he had begun probing musical motifs and deep inspiration from the East.

When her husband died in 1967, Alice continued working with members of his last group, including Garrison, saxophonist Pharoah Sanders, and drummer Rashied Ali. She began playing the harp, utilizing sitar and tablas in the ensemble, and turning fully to Eastern cultures for inspiration. Spiritual and colorful, her music morphed into the soundtrack for prayer and meditative techniques. (!)

70's Alice
70’s Alice

Coltrane was a devotee of the Indian guru Sathya Sai Baba, and over the 70’s she established herself into the Vedantic Center, in California, changing his name to Turiya and evolving as a spiritual Hindu guru. Even releasing some albums through the 80’s and 90’s, she decided to diminished their public appearances, and following a 25-year break from major public performances, returning to the stage for three U.S. appearances in the fall of 2006, with a concert for the San Francisco Jazz Festival with her son Ravi, drummer Roy Haynes, and bassist Charlie Haden.

Alice Coltrane died of respiratory failure at West Hills Hospital in LA, aged 69. (RIP)

Alice & Swami Satchidananda
Alice & Swami Satchidananda

Let’s go to our record:

This big lush symphonic beauty must be heard over and over, with no distinction of tracks or highlights, Alice’s music creates his own wash of color and dynamic for the strings to fall like water from the sky into her mix, it shifts and change constantly as the rhythm section responds, in the prism of Coltrane’s textured harpistry.

This set may take some getting used to for some, but it’s easily one of the strongest records Alice Coltrane ever released, and one of the finest moments in 70’s jazz!

Prepare yourself and be ready for the voyage, चांगल्या ट्रिप!

Tracks Include:

A1 My Favorite Things (Rogers – Hammerstein)

A2 Galaxy Around Olodumare

A3 Galaxy In Turiya

B1 Galaxy In Satchidananda

B2 A Love Supreme (Coltrane)

All Galaxys composed by Alice Coltrane

Personnel

  • Alice Coltrane: percussion, piano, organ, harp, tamboura
  • Reggie Workman: bass
  • Ben Riley: drums
  • Elayne Jones: timpani
  • Frank Lowe: saxophone, percussion
  • Swami Satchidananda: voice
  • Leroy Jenkins: solo violin

The String Orchestra

  • David Sackson: concertmaster (all other members, strings)
  • Alan Shulman
  • Arthur Aaron
  • Avron Coleman
  • Edward Green
  • Harry Glickman
  • Henry Aaron
  • Irving Spice
  • Janet Hill
  • Joan Kalisch
  • Julien Barber
  • Ronald Lipscomb
  • Seymour Miroff
  • Thomas Nickerson
  • William Stone

Credits

  • Arranged, Orchestrated, Producer – Alice Coltrane
  • Cover, Design – Peter Max
  • Engineer (Assistant) – Dan Tuberville, Dennis Ferrante
  • Mixed By – Baker Bigsby
  • Mixed At – The Village Recorder (LA)
  • Narrator – Swami Satchidananda (tracks: B1, B2)
  • Photography By – Philip Melnick
  • Producer – Ed Michel
  • Recorded By – Tom Flye
  • Recorded At – Record Plant, NYC

Recorded November 15 and 16, 1971, at The Record Plant (NYC)

Impulse AS-9218

Alice's Lastly Portrait
Alice’s Lastly Portrait

Shin Joong Hyun and The Yup Juns (신중현과 엽전들) – Vol. 1 (1974)

capa cópia

Shin Joong Hyun’s music on the last couple of years, began to be very widespread across the western world, thanks (once again) to Light In The Attic who even brought him to play its first show on American soil! Re-discovered and re-launched by Lion Productions, this is their last effort on the 70’s Korean musical scene.

With only two albums recorded, and its dissolution in 1975, the Yup Juns didn’t succeed at the time, much caused by military repression and boycott, that would last until the turn of the decade. With the coming 80’s Shin returned with other projects and began its upswing again. Its versatility and influence throughout decades assure him as a Korean answer to Hendrix or Brian Wilson’s work, as the godfather of Korean rock (K-Rock), we will return its biography along with other posts and records!

A Film's Excerpt
A Film’s Excerpt

Let’s go to our artist:

Korea. Born in Seoul in 1938, Shin spent several years living with his father and stepmother in both Japan and Manchuria. After becoming orphaned at age 15, he returned to its birth city and slowly began plotting a career in rock and roll.

It was in 1957, at the spring variety show at the 8th US Army base in Seoul, that Shin Joong Hyun gave his first public performance. The 19-year-old had lived through Japanese rule, the subsequent division of Korea into two warring states, and the US police action that followed. The Harmony guitar he strummed had been paid for by many hours toil at a relative’s pharmaceutical factory! At the variety show, as girl dancers gyrated for the entertainment of American GLS, Shin played standards and showed tunes, a tame material for a boy who worshiped Elvis and Charlie Parker.

Shortly after, he became the first rock star South Korea had ever seen, and its first prominent band, Add 4, was the first native rock band. The following year, Shin cast his first records, covers of Korean pop, beat, and garage. His own tastes remained attuned to the west, however. He pioneered style after style for Korean-speaking audiences, embodying the rebellious rock and roll attitude, too. The year, 1964.

A Young Shin
A Young Shin

Shin: ‘I remember the first time I heard the Beatles. I was mesmerized by their sound: it was blissful. I tried to mimic them with my four-piece, Add 4

AFKN (American Forces Korea Network) had also guided him into psychedelic sounds, then emanating live from the US, such as Jefferson Airplane:

Shin: ‘I mimicked their music, visuals, and sounds without fully understanding what it was. Later, I was playing a psychedelic song and some American hippies – antiwar protesters – came to listen. I became friends with them, and they taught me what psychedelic music really was. They also gave me LSD.’

In 1972, at the height of his career, the South Korean government requested him to pen an ode to (infamous) President Park Chung-Hee and his ruling Republican Party (sic). Shin refused the dictatorship’s request; soon, he was blacklisted within South Korea’s music industry and his songs banned. The final descent happened some years later, arrested for possession of marijuana in 1975, he then was tortured in prison and incarcerated in a psychiatric hospital (check Kim Choo Ja post). (!)

Shin Joong Hyun & The Yup Juns
Shin Joong Hyun & The Yup Juns

Shin: ‘It was all, ‘Let’s work hard’ and ‘Let’s be happy’ kind of stuff. It was completely physical, with no spirit, no mentality, no humanity. That trend has carried over all the way to today. When I was arrested, I was so miserable, had any motivation to continue, that time I really reached rock bottom.’

Let’s go to our record:

Originally recorded in 1974 as a very limited-edition, intended only for radio stations, the record failed to catch fire at its release, Shin’s Korean record label (Jigu Records) dropped it, and the band had to re-cut the whole material. The original version was, until now, almost impossible to find in both the East and the West.

Shin earned renown for his guitar playing, he is only the sixth guitarist in history to earn recognition from the Fender guitar company’s Custom Shop Tribute Series. His performance pushes ahead of the beat and then lags behind it, creating suspense, urgency, and at times, reggae-style upbeat emphasis, in such unique flow!

Yup Juns Promo
Yup Juns Promo

Shin: ‘In the spring of 1974, I named my 3-piece group Shin Joong Hyun & Yupjuns. We got a room at the Tower Hotel and started writing songs. We wanted to write and create a Korean style rock album. It took us six months to write 10 songs and Beautiful Woman was one of them, this song became extremely popular.

In Korean, yupjun literally means a brass coin, however, during that time it was used as slang to describe a sense of unpleasantness and dislike. Since I was so unpleasant and dissatisfied (in my career), I told myself, Ok, fine, I am just a yupjun!’

This is without the slightest doubt its best work, my favorite too, a truly Korean rock masterpiece, with psychedelic, hard, soul and groove influences that permeate the album. Kim Jung Mi’s 1975 Lp has a similar mood, probably Shin’s collaboration too.

Nowadays
Nowadays

The ‘IM’ highlights are: Think, a fuzzy bullet with a swinging pace and short time length, but do not underestimate it, Shin’s voice catches and invites you to sing all along! And The Rising Sun, the only instrumental one, with a very laid back feeling, this improvisation got brilliant guitar solos, sound effects, and an eerie atmosphere.

여행을 떠나요!

Tracks Include:

A1 Beautiful Woman

A2 Think

A3 I Think There Was Someone Else

A4 Long, Long Night

A5 I Love You

B1 Lady

B2 Anticipation

B3 I’ve Got Nothing To Say

B4 I Do Not Know

B5 The Rising Sun (Instrumental)

Release: 1974-08-25

Credits

Vocals, Guitar, Composer, and Arrangements: Shin Joong Hyun

Bass: Lee Nam-Yi

Drums: Kim Ho-Sik

Produced: King Park

Jigu – JLS-120891

Gwangju Uprising
Gwangju Uprising