Halina has already appeared here on a 2014 post about multiple female artists, but today she deserves a full entry, another Pole legend to grace us with all her talent!
Let’s go to our artist:
Halina Maria Frąckowiak (born April 10, 1947, in Poznań) is a Polish pop/rock singer, composer, and songwriter. She debuted in 1963 at the Young Talents Festival in Szczecin, where she competed with future polish legends such as Czesław Niemen, Zdzisława Sośnicka and Krzysztof Klenczon, and became the winner of the so-called “Golden Ten”.
Then she won further awards at song festivals in Opole and in Kołobrzeg in the years 1969, 1976, 1977, 1988, 1991 and 1993 (!). Working with such bands as Czerwono-Czarni, ABC Group, Tarpany, they launched a plethora of hits throughout the late ’60s and early ’70s.
In 1972 Halina outset in a solo career, it was then that she won the plebiscite for the most popular singer, several times took part in foreign festivals (Ostend, Rostock, Dresden), where she received the most important awards, including “Golden Microphone” of the Polish-American Artistic Agency. Halina has recorded over 20 discs and cassettes, and her concerts have been seen in many places in Europe as well as in the US and Canada. She performed, at the Musical Theater in Gdynia, the Grand Theater in Łódź and Warsaw.
The album Ogród Luizy (Luisa’s Garden) from 1981 was created as a result of Halina Frąckowiak’s fascination with the poetry of Kazimierz Wierzyński, this is the effect of the gradual change of the singer’s repertoire to a more serious and lyrical one conception since its debut with the renowned Idę in 1974. The last decade only saw re-releases of her past records and many live presentations until today, its last record is from 2006.
Let’s go to our album:
Let us present you Halina’s second (and better) entry, a fantastic collaboration between the singer and the almighty prog-trio SBB, here in a way that some fans might not know:
“The three musicians that revolutionized Polish rock” or “Beyond doubt the most prominent representatives of progressive rock in Poland” with these credentials it’s easy to drool out with this magnificent record. The trio changed their groove in some nice ways for the album, mostly known for their long-form, fusion-styled jams, here, they compact that energy into shorter, tighter songs that often have a funky rock style or ambient jazz-pop that draws equally from the vocals in the lead, and from the keyboards of Jozef Skrzek!
Believe me, you don’t want to miss this one…
The ‘IM’ highlights are Wzejdę Polnym Makiem and Śnij Tylko Szczęście.
A1 Jesteś Spóźnionym Deszczem A2 Myśli Twoje Śnić Zaczynam A3 Wzejdę Polnym Makiem A4 Otwieram List – Brązowy Wrzesień A5 W Powszednie Dni B1 Śnij Tylko Szczęście B2 Pieśń Geiry B3 Chcę Być Dla Ciebie B4 Brzegi Łagodne
Featuring: Zespół SBB
Backing Vocals: Alibabki
Lyrics By: J. Matej
Music By: J. Skrzek
Design – Rafał Jasionowicz
Engineer: J. Złotkowski, M. Gola
Photography By: Marek Karewicz
Record Company: Polskie Nagrania
Printed By: Łódzka Drukarnia Akcydensowa
Together with Yma Sumac’s exquisite records, Russ Garcia’s Fantastica, and the unknown The Markko Pollo Adventures self titled album, our today entry comes with great passion, a personal favorite in the Exotica and Space Age Pop universe. You can check a dossier about the subject here, and with our last entries highlighted on top! We believe that the milestone works from Martin Denny and famous arranger Les Baxter are truly amazing, though due to the high commercial appeal and large number of releases, the musical developments became to dilute throughout the years, climaxing with the death of the genre in the mid-60’s.
Together with Yma Sumac’s exquisite records, Russ Garcia’sFantastica, and the unknownThe Markko Pollo Adventures self titled album, our today entry comes with great passion, a personal favorite in the Exotica and Space Age Pop universe. You can check a dossier about the subject here, and with our last entries highlighted on top! We believe that the milestone works from Martin Dennyand famous arrangerLes Baxter are truly amazing, though due to the high commercial appeal and large number of releases, the musical developments became to dilute throughout the years, climaxing with the death of the genre in the mid–60’s.
Dominic Frontiere(17 June 1931, New Haven, Connecticut)grew up in a musical family, learning several instruments before adopting the accordion as his main focus. He proved a prodigy, and was travelling to New York for lessons with accordion virtuoso Joseph Biviano at 7 and performing solo at Carnegie Hall at the age of 12. From an early age, its interest in music went beyond just performing, though, and he studied classical music, arranging, and composition through high school and after!
He joined Horace Heidt’s big band in 1949, replacing accordion star Dick Contino and becoming leadarranger as well. He left Heidt in 1952 and moved to Hollywood, where he studied with Mario Castelnuovo-Tedesco at UCLA and with violinist and studio conductor Felix Slatkin. Frontiere was then, taken under the wing of Alfred Newman, music director at 20th Century-Fox studios, and his brother, famous film composer Lionel Newman, who soon had him working on a variety of scoring jobs.
Frontiere experimented several novelties from his studio work, one was an album for Columbia, Pagan Festival, that is now recalled fondly as one of the prime examples of true exotica. One suspects that he ran Yma Sumac’s albums for a few spins while conceiving on the pieces on this work, which feature titles as ‘Jaguar God’, ‘Venus Girl’,with subtitles recalling Mayan or Inca language, as Ixtab, and Tampu-Anca.
Dominic has concentrated on composing for films/television since the early ’60s. His scoring credits include such films as Hang ‘Em High, Incubus, Chisum, The Train Robbers, Brannigan, and The Stunt Man.On television, he composed the theme for the aliens-are-among-us series, The Invaders, science fiction The Outer Limits, and alsoThe Fugitive, The Flying Nun, Branded, Movin’ On, amongst many others.
Along with Art Van Damme and Johnny Hamlin, he ranks among the leading (and only) jazz accordionists, with an active career until the ’90s. Recently many of its soundtracks were available in cd re-releases, where you can check it out here!
Let’s go to our album:
The liner notes on the back cover spoke of the music’s “interpretation of ancient Inca rituals, superstitions, and the romance and mysteries of their colorful civilization“, but the blending of musical styles was not limited to that of the ancient Latin American culture (if anyone knew what that would sound like!). Frontiere let his imagination run wild, and he brought in sounds from the South Pacific to Eastern Europe, e.g.
So, here a female choir wafted in and out along with string sections, brasses, and reeds, creating a patchwork quilt that somehow held together. Frontiere‘s music charmed like an entertaining Hollywood score for a movie set in some faraway place, it may not have been historically accurate, but it was a lot of fun to listen to, jouir!
The ‘IM’ highlights are House of Dawn(Paccari-Tampu) and Venus Girl(IX-Koben).
Lastly, this is an exclusive release, เดินทางที่ดี!
San Ul Lim aka Sanulrim, is a South Korean power triocombo, the name is the combination of words, San (산, mountain) and Ullim (울림, echo). The band is considered one of the most influential figures in the Korean Rock scene, its musical experiments varied from songs for children to progressive and psychedelic rock.
They broke up after the death of the drummer, Kim Chang-ik (김창익), in 2008 (RIP). Upon its release in 1977, their first LP sold over a half-million copies and paved the way for many further volumes. The songs are full of fuzz guitar, tinny keyboards, unique timbres, and simple production, reminding one of the American garage and pop-psychedelic groups from the ’60s, but with a very special Asian flavor. (!)
Let’s go to our artist:
The three members of San Ul Lim are brothers, they were Kim Chang-wan (김창완, 1954-), Kim Chang-hoon (김창훈, 1956-), and Kim Chang-ik (김창익, 1958-2008).
The band, formed when the three were university students, was initially called Mui and was never meant to be professional. Kim Chang-hoon’s other college band, named Sand Pebbles, won the MBC College K-pop Festival with their song, What Shall I Do?;Mui was initially nominated to win with their song, Please Open the Door but wasn’t qualified because Chang-wan had already graduated from the university.
Gaining confidence, the band looked for a music agency, changing the name into San Ul Lim by their new manager’s demand. At first, they recorded a demo tape, the brothers had already over one hundred songs written before its debut, to then finally arrive at SRB label. Willing to sound like AC/DC heavy guitars, they’ve stumbled into insufficient technological know-how, thus, only depending on psychedelic ad-lib or fuzz guitar, this ironically made their sound unique, founding a longlastingstamp!
Their first album entitled Vol.1아니벌써(What, Already?) came out in December 1977, the Lp largely impacted the Korean music scene, becoming both critically and commercially successful, revealing a new type of music which Koreans had never heard before, people were totally absorbed with the psychedelic/hard rock sound.
San Ul Lim’s stellar appearance was significant because they vitalized the Korean popular music scene, which was currently devastated after several musicians were charged and arrested for marijuana possession. The dictatorialgovernment of Park Chung-hee leaded mass boycotts on pop/rock music around 1975. (!)
During 1977-1984, they released more than 10 albums, ending in the middle of the disco boom (a bit late in South Korea) in 1984. With the K-pop retrospective revival during the ’90s, all of their Lp’s were reissued and a tribute album was released.
They performed in Seoul on July 5th, 2007 for their 30th anniversary and planned to release a vol. 14 album within the same year, unfortunately, on January 29, 2008, drummer Kim Chang-ik was killed in a work-related accident in Vancouver, Canada. Ever since, Kim Chang-wan announced the end of the band, though he recently reformed it and occasionally plays with another formation. He also has been actively performing as a musician, painter, actor, writer, and broadcast celebrity!
Let’s go to our album:
Today we’ve got a very special album, of an extremelyimportant band! Still unknown to large Western audiences, (still expecting an official re-release of their albums), but thanks to the blogosphere work from Gold Korea Vinyl(for instance), Vol. 1 and 2 can be easily heard on youtube, soundcloud, etc. Here, let’s go a little further.
Together with Vol. 3, this Vol. 5 are my favorite, even if the compositions seem a bit naive in terms of harmony and arrangements, this power trio REALLY understands about colors and effects, maximizing the (holy) punk aesthetic of less is more.
There’s a previously unseen disco offshoot here, San Ul Lim’s vision and concept of it are quite unique, embracing multiple passages and genres. Lastly, Arirang’scool series of documentaries, are available with legends in English, scrutinizing every detail of the rock development in the country, with an exclusive chapter on the band, its history, and idol status. Needless to say, more, check it outandການເດີນທາງທີ່ດີ!
The ‘IM’ highlights are 무녀도(No Women Island) and 백자(White Porcelain).
Another brief entry, as we previously talked about Léonie and its (surprising) short career, based on 45singles, started in the late-60’s amidst the french yé-yé scene. The dossier from this unknown singer can be checked in Hero Culte blog, don’t miss out the detective work from tiny noggin and other curiosities about French stars!
Let’s go to our album:
This time, she is backed up with the mighty arrangements/compositions by the number one french maestroJean Claude Vannier. Léonie’s peculiarsensual voice stands out on its 5th release, she knows how to be pop and cult simultaneously.
A side has a characteristic (slower) charleston piano/xylophone pace, playedby Vannier, along with strings andwizardry guitars in a vintage delicate atmosphere.
B side are my favorite, this fuzzy psych ballad has a magic cadency that sticks to the head, an example of how you can be pop without neglecting good aesthetic choices!
I really would like to count on better quality rips, but the fact is none of her singles were duly re-released on CD, this and other entries are a good invitation to meet the B-side on what is called Pop Jerk, somewhat ahead from the naive (early) works of France Gall,Sylvie Vartan, Céline, Françoise Hardy, Séverine, and many others.
We’ll leave for an upcoming entry, more details about the yé-yéscene and its powerful independent girls, for now, keep it up with this lovely obscure pearl.
The ’60s and ’70s saw the beginning of modern Russianpop and rock music, it all started with the wave of VIA’s(vocal-instrumental ensemble), a specific sort of music bands performing radio-friendly pop, rock, and folk, composed by members of the Union of Composers, approved by censorship. This wave began with Pojuschie Gitary and Pesnyary, popular VIA bands also included Tcvety and Zemlyane.
That period also saw individual pop stars such as Iosif Kobzon, Sofia Rotaru, Alla Pugacheva, Valery Leontiev, Yuri Antonov, many of them remain popular and active to this day. They were the mainstream of Soviet music media, headliners of festivals such as Song of the Year, Sopot, and Golden Orpheus. The year 1977 saw the establishment of Moskovsky Komsomolets hit parade,Russia’s first music chart.
The term VIA represented a model under which the Soviet government was willing to permit domestic rock and pop music acts to develop. To be able to break through the state-owned Soviet media, a band needed to become an officially-recognized VIA. Each VIA had an artistic director who served as manager, producer, and also state-appointed censor. In some bands the artistic director was the band’s leading member and songwriter, while in others he played the role of an impresario.
Songs varied from pop ballads, dance disco and new wave to mainstream rock (although bands avoided the rock music label until the late ’70s, because rock was considered a bourgeois art and formally banned) (!). The typical VIA consisted of 6 to 10 band members, lead vocalists usually did not play an instrument, virtually every member of a VIA was a professional musician, with formal musical education.
The Soviet government had strict rules governing how members of a VIA were to behave on stage and conduct themselves in public. Performers were only allowed to wear suits, folks costumes, or military uniforms. Movements around the stage were discouraged and anything outside of the conservative norm, such as long hair, tattoos, leather jackets, or metallic accessories were strictly forbidden. Due to state censorship, the lyrics of VIAs were family-friendly, typical topics were universal emotions like love, joy, and nostalgia, or idealized vignettes from usual daily life.
VIA song recordings were done by Melodiya, theState-owned record company, and the concerts/performances were organized by professional associations such as Soyuzkontsert (Union Concerts), Moskontsert (Moscow Concerts), Lenkonsert (Leningrad Concerts), Roskontsert (Russian Concerts), along with regional groups.
Let’s go to our artist:
Alla Borisovna Pugacheva(April 15, 1949) started performing when she still was at junior school. In 1965, she composed and recorded The Robot, her first song for the national radio. After high school, Pugacheva continued education in Moscow State Music College, at the department of conducting and choir singing. Later, in 1981 she also got a degree in theatre directing at the (arrant) State Theatre Art College.
Alla Pugacheva started a professional singing career in the early ’70s, as a leading singer of VIA’s Funny Guys, but real recognition only came when she won the Grand Prix of the Golden Orpheus song contest with the song Harlequin in 1975.
Afterward, she went to work in what would be the turning point of its career: the musical film The Woman Who Sings, in 1977. In co-op with the band Rhythm, she played the leading lady, a pop singer who sacrifices her personal life for her career.
The soundtrack, which was co-written by her, included a myriad of pop songs, the Soviet audience, regarding the film as autobiographical, brought the OST to reach record audience of the year in 1979, as it was bought by 55 million people! (phew)
Though for many she grew to represent the government-pop culture that was forced upon the people, her popularity skyrocketed, and she released many albums throughout the decades. Her contributions to Russian music were recognized when she has bestowed the title of People’s Artist of the U.S.S.R. in 1991. She enjoys an iconic status across the former Soviet Union and has overshadowed a long time rival Sofia Rotaru as the most successful Soviet performer in terms of record sales and popularity. Her last album was released in 2008 and lately,Pugacheva is the main judge on Factor A, Russia’s version of the BritishX-Factor television series.
Let’s go to our album:
Mirror of the Soul was Alla Pugacheva’s first studio album, published in the Soviet Union in May 1978, as a double album, and later re-released in two parts. The Lp includes songs performed by her, recorded in 1975/1977 primarily composed by (master)Alexander Zatsepin. It became one of the most sold in the USSR in late 70’s early 80’s. By 1983, it had sold 7,753,500 copies, and with a general circulation exceeding 60 reissues, the album approached the terrific mark of 10 million copies!
A collection of singles, which had previously appeared in the film or in separate publications, it firmly stands as a kaleidoscope of genres, ranging from kitschy hits, funk-rock, orchestral ballads, prog synths, art pop, funny marches and much more from a devilishly talented singer and composer, prepare yourself for Alla’s realms.
The ‘IM’ highlights are Приезжай(Come) and Мы Не Любим Друг Друга(We Do Not Like Each Other). хорошая поездка!
A1 Бубен Шамана (Tambourine Shaman) / Centerline of The Skies OST
A2 Верю В Тебя (I Believe in You) / Basketball OST
A3 Сонет Шекспира (Shakespeare’s Sonnet)
B1 Приезжай (Come)
B2 Не Отрекаются Любя (Do Not Deny Loving)
B3 Песенка Про Меня (Song About Me)
B4 Женщина, Которая Поет (The Woman Who Sings)
C1 Все Могут Короли (Kings Can Do Everything)
C2 Куда Уходит Детство (Where Does Childhood?) / Fantasy Vesnuhina OST