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
This post is dedicated to German friends, simply, one of our faithful visitors, Vielen Dank! Let’s make another recap on the subjectKrautrock, shall we? Years away from the Xhol Caravan entry, Embryo’s galaxy roamed through our World during its existence, influenced by psych, prog, ethio-jazz, fusion, and today’s album are definitely my favorite, a special gem, let’s learn how to cultivate it!?
Let’s go to our music:
Krautrock(Kosmische Musik) is a German avant-garde,experimentalrock movement that emerged at the end of the 60’s, intending to go beyond the eccentricities developed by the psychedelic rock of the US, by giving a special emphasis to electronic treatments, sound manipulation and minimal hypnotic motifs (musique concrete/minimalist) Krautrock put the emphasis on extended/ecstatic instrumentalepics, neglecting the (trivial) pop universe.
The term Krautrock was first used by the British music press in a very derogatory way, though it rapidly found a better reputation under the underground music circle, gaining (with time) certain popularity, also thanks to the Brain-Festival Essen.
With their own particular artistic expression, multiple musical collectives supplied psychedelic incantations, mantra-like drones, lugubrious atmospheres, long and convoluted collective improvisations, binary repetitive drum pulses, fuzz guitars, primitive electronicnoises, hallucinatory ballads, and garage blues rock trips. Krautrock can be described as an anarchic, intense, acid, tellurian, nocturnal, spacey, dark and oniric adventure through rock music! (phew!!)
The most consistent years of the scene cover a relatively short period from 1970 to 1975. After their first spontaneous, hyperactive and psychedelic efforts, the bands generally split up or declined into other musical sensibilities, more in line with mainstream rock or with ambient soundscapes. Each region develops its particular musical scene, interpreting differently the Krautrock musical structure.
For instance, the Berlin school focused on astral synthscapes, weird electronic experimentation and acid jams (Ash Ra Tempel, Agitation Free, The Cosmic Jokers, Kluster), the Munich scene offered fuzzed-out (Eastern) psych rock mantras with some folk accents (Popol Vuh, Amon Duul, Gila, Guru Guru). Cologne and Dusseldorf underground scenes focused on political rock, electronics, pulsating rhythms and clean sounding (Floh de Cologne, La Dusseldorf, Neu!, Can).
Let’s go to our artist:
Embryo is centered around multi-instrumentalist Christian Burchard, founded in the late ’60s after Burchard had played in several jazz combos and allegedly spent a short time in Amon Düül II. Since then, busloads of musicians have played together with him in Embryo and there are probably not two albums with the same line-up.
Nevertheless, some musicians stayed with Burchard for quite a long time, Roman Bunka and Edgar Hoffman were one of those. Two excellent multi-instrumentalists who both remained for most of the ’70s and 80’s In addition, Embryo has also played constantly with musicians from outside Europe, especially from Asia and Africa. (!)
The continuous changes in the band line up and the wide range of musical styles probably typify the musical restlessness of Burchard. Although the band started as a Krautrock outfit, it was clear within a few albums that he had a genuine interest in combining jazz, rock and a large variety of ethnic(different) music styles.
Throughout the ’70s, the jazz and ethnic influences were often embedded in a jazz-rock/fusion format, while in the mid and late 80’s the band often focused on purely ethnic music, especially from Africa. During the ’90s, Embryo developed more or less into an ethnic jazz band, rarely restricting themselves to a strict compositional format, always allowing ample room for spontaneous musical interaction.
Surprisingly, Embryo still exits after 30 years and the band still play many concerts and festivals, throughout Europe, the Middle East, and Northern Africa. (!)
Let’s go to our album:
This double album is certainly one of the best attempts to fuse progressive-type rock with ethnic/world music and few have succeeded as well as Embryo’s Reise (voyage). Indeed around the departure of the ever-important Roman Bunka, plans had been made to travel from Istanbul to Pakistan and Nepal, while recording their musical encounters with the many people found on their road paths!
The group was giving improvised multimedia concerts along the way, including stunning live performance paintings, some of these jams are actually really successful, mixing the European (often electric) rock musicians and the acousticlocal musicians (Road To Asia), while others are more ethnic players playing freelyalong.
Symbolic of the 70’shippy dream, a real must not only in Embryo’s discography!
The ‘IM’ Highlights are Kurdistan and Cello Cello. ਤੁਹਾਡਾ ਸਫਰ ਸੁਰੱਖਿਅਤ ਰਹੇ!
A1Strasse Nach Asien (Christian Burchard)
A2Paki Funk (Michael Wehmayer)
A3Lost Scooters (Roman Bunka)
A4Anar, Anar (Traditional, arr. Burchard)
B1Es Ist, Wie’s Ist (Christian Burchard)
B2Kurdistan (Christian Burchard)
B3Far East (Roman Bunka)
B4Chan Delawar Khan (Traditional, arr. Burchard)
C1Farid (Christian Burchard)
C2Cello, Cello (Christian Burchard)
D1Rog de Quadamuna Achna (Traditional, arr. Burchard)
D2Hymalaya Radio (Traditional, arr. Burchard)
Roman Bunka: guitar, vocals, bass, piano, guitar synth, drums, oud
Christian Burchard: vocals, drums, synth-vibes, percussion, tamtam, marimbaphone, pianet
Remigius Drexler: acoustic & electric guitars
Edgar Hoffmann: violin, soprano saxophone, shinai, dilruba, flute, harmonica
Uve Müllrich: bass, electric guitar, oud, rhubab, electric saz, vocals, percussion
Michael Wehmayer: organ, piano, harmonium
Abdul Jabar: tula / Friedemann Josh: flute / Abdul Madjid: tambur
Remix and playback July 1979 by Sunrise-Studios, Kirchberg, Switzerland.
Tracks A1, B1 and B2 recorded after returning from the journey in August/September 1979 at Sunrise Studio. Track A2, with vocals from an unknown Circus Announcer*, recorded in November 1978 10 km west of Peshawar, Pakistan in the tent of Jan Bahader Circus. Track A4, B3, B4, C1, D1 recorded March 1979 at Goethe-InstitutKabul, Afghanistan; Playbacks for Track B3, C1 July 1979 at Sunrise Studio.
Track D2 recorded at doon school Dehra Dun, Himalaya, India. Track A3, C2 recorded February 1979 in Bangalore (Heidler, Sylvester), track A3 playbacks July 1979 at Sunrise Studio, Kirchberg. D4 recorded January 1979 in the docks of Calcutta (Greenman). Track D3 is a ‘field recording’ from December 1978.
Hello everyone! Today’s entry will be very short due to the lack of information available from this curious artist. An Indian(raised?) in Italy, who played with important members of the progressive scene from there. We thank our colleagues from Boxes of Toys for the rip and remember that this is an obscure album, the supposed lack of sound quality should be tolerated. Many of you may already know the funkySkinny Woman, but this album has much more to offer, let’s check!
Let’s go to our artist:
In 1974 a new incarnation of Garybaldi was formed by Bambi Fossati along with old cohort Maurizio Cassinelli, bassist Roberto Ricci, and Indian percussionist Ramasandiran Somusundaram as Bambibanda & Melodie. The percussionist previously active as a session musician also released an album and no less than three singles (in a more commercial vein) between 1974 and 1976 on the Magma label.
Let’s go to our album:
The A-side have a funky (non-stop) party atmosphere, with heavy percussion, cosmic keyboards, insane flutes, lo-fi brass, all wrapped in an exploitation feel. On B side things slow down a little bit, we see some influences of Ramasandrian homeland, with oriental tinges, melodic ballads, in a very peaceful Hindu atmosphere. (!)
It’s strange to imagine that this is the same artist from the beginning, the songwriting, a bit iffy on side A, convinces us in B-side, along with the tight band that accompanies him. The overall feeling at the end of the album is of surprise and contentment!
The ‘IM’ highlights are Electronic Heart and Chan.
The 1953 Iranian coup d’état, known in Iran as the 28 Mordad Coup, was the overthrow of the first democratically electedPrime Minister of IranMohammad Mosaddegh on 19 August 1953, orchestrated by the United Kingdom’s MI6(Operation Boot) and the United States’s CIA(TPAJAX Project).
Mossadegh had sought to audit the books of the Anglo-Iranian Oil Company (AIOC), a British corporation (now BP) and to renegotiate the terms of the company’s access to Iranian oil reserves. Upon refusal of the AIOC to cooperate with the Iranian government, the parliament (Majlis) voted to nationalize the assets of the company and then, expel their representatives from the country. (!)
Following the coup, a military government under General Fazlollah Zahedi was formed which allowed exiled dictator Mohammad-Rezā Shāh Pahlavi, the Shah of Iran (Iranian king), to effectively rule the country as an absolute monarch.
By the ’70s, there was growing unrest with the Shah’s autocratic and repressive government along with its infamous police: the SAVAK. In January 1978 the first major demonstrations againstthe Shah occurred. After a year of strikes, clashes and millions of people on the streets, the country, and its economy were paralyzed.
The Shah fled Iran in January 1979, then Ayatollah Ruhollah Khomeini returned from exile to Tehran to establish the Islamic Republic,becoming the supreme leader.
Let’s go to our artist:
The golden age of Iranian pop music took place on a westernized and liberal Tehran of the ’60s and ’70s. This market offered an unprecedented way of artists for all tastes, the classically-trained Ramesh Azar Mohebbi(November 13, 1946) was part of it.
Playing the serious, quiet marquess in contrast toGoogoosh’s languorous pop princess, both singers made the papers every time they changed their haircuts and appeared on TV frequently. Ramesh’s appearance though was not as gay and colorful as the blond-haired and joyfully dancing singer-actress mate!
Ramesh appeared dark-haired, with stiffer hairstyles, always with a certain distance, never showing much of her emotions, except a somewhat melancholy of silence.
Belying what Light in the Attic promo-release says about the artist, Ramesh isn’t dead! Iranian Wiki, Youtube (!) and some musical blogs deny the fact. Its last song recording ‘Rumi’ (and album?) comes from 2003. Nowadays, she retired from the music business and glamorous spots to devote (only) to its family and daughter. (!)
Let’s go to our album:
I must admit, I’m very thrilled by the artist of today, this compilation by Pharaway Sounds is arguably one of the best, presenting us with a very rich scene that was the Iranian pre-revolution period. Other singers will be debuting here soon, ok?!
A funky queen whose rich voice sits like a mink coat, twirling its a melancholy way around long-necked lutes, sleazy Western brass, strings, synths and goblet drums. Luckily, the collection of videos with her performances on TV programs and Festivals are vast! You can appreciate them at the following links, check it out!
The ‘IM’ highlights are Mondanam Az Bodanet and Aroose Noghreh Poosh.
After threeMixtapes last year, I was already missing a new one, and you? Whenever we try to do it, we try to leave a distinct mark either in the choice of artists or the era approached, well, this time we’ll leave the extensive biographies and contexts aside, these artists should appear soon in our galaxy, along with their full contents.
So, let’s get right to it: our dámské and its songs.
Halina Frąckowiak & SBB – W Powszednie Dni / Geira (1977) / Polskie N. Muza
Kati Kovács & Juventus – Add Már Uram Az Esöt! / Single (1972) / Pepita
Kati Kovács & Locomotiv GT – Szólj Rám, Ha Hangosan Énekelek / Kovacs, Kati (1974) / Pepita
BornKovács Katalin, October 25, 1944, Verpelét, Hungary. Singer, Actress, Lyricist, Songwriter. Probably the most famous singer of Hungary, with dozens of recorded albums, awards, and presentations indoor/abroad, international recognition and a very active career until today. Hungarian musical critics have praised her raspy and strong voice, calling her ‘The Voice of Hungary’!
Born November 1, 1942, České Budějovice, Czech Republic. Singer, Actress and TV Presenter. She was the most popular female pop singer in Czechoslovakia in the late ’60s. In 1967 she won Zlatý Slavík award (Golden Nightingale). Her song ‘Prayer for Marta’ became a symbol of national resistance against the occupation of Warsaw Pact troops in 1968. During the Prague Spring, she recorded over 200 (?!!) single records and one LP, Songy a Balady in 1969, which was immediately banned from stores. In 1970, the government falsely accused her of making pornographic photographs leading to a ban from performing in the country until 1989. (!)
aka Charlotte Sachert, December 14, 1947, Budapest, Hungary. Famous controversial Singer, Actress, Writer, already known from previous posts here in ‘IM’, check out our exclusive. Known as the Hungarian Janis Joplin!
We have an interesting study about the Rock development in the Eastern Bloc, from our homonyms friends which eventually will form the basis for other posts.