Pot Zenda – Single (1970)

pot zenda - capa

Today’s post will have minor text info, quite because our friends from A Estos Hombres Tristes already made a small dossier about the artist, sadly, there’s no information about him on the net, too, let’s check it!

Let’s go to their history:

Argentina. We’ll have to go back in time, more specifically the late 50’s. Taking advantage of the explosion of Rock and Roll captained by Elvis Presley and its clones, RCA Argentina decided to start a fierce commercial strategy, beyond comparison of what was being made so far. With biweekly public concerts, dozens of Lp’s, frequent television shows and whole manufacture of new young idols, La Nueva Ola was born like that. Their Castellano versions of great American classics foresaw the pop mass consumption of these artists. Were part of this first cast, names like Chico Novarro, Palito Ortega, Violeta Rivas, Johnny Tedesco, Nicky Jones, amongst many others.

El Club del Clan
El Club del Clan

With the imminent success of the show, RCA and Channel 13 (El Trece) signed a contract to broadcast a weekly musical program, geared to a young audience, called El Club del Clan. It was aired for the first time on November 10, 1962. Starring a group of ‘friends’ where each artist represented a stereotypical character that corresponded to a musical genre, like Romantic, Tango, Twist, Bolero, Cumbia. A large second cast was formed this time and between them, there was a young Perico Gómez. The only Afro-American in the Clan used to wear a galley hat and always singed the Cumbia (solo or with duets); during the program, the protagonists talked about everyday situations and humorous sketches happened amid the presentations.

There’s a curious fact about it, because the same thing occurred in Brazil a bit later, on 1965, Jovem Guarda started its broadcast and with the same commercial musical proposal, launched artists like Roberto and Erasmo Carlos, Wanderléa and a whole bunch of teen idols that suddenly had TV programs, singles, albums, line clothes, action figures and a myriad of products for sale!

Jovem Guarda
Jovem Guarda

After one year on air, with more than three albums released, its national audience reached inedited peaks: scenes of collective hysteria were common in fashionable clubs, vying for the presence of his characters and certain profit. In 1964 the program already showed some attrition, and with the attendance of some participants to another channel (and program), the Club was canceled at the end of the year. The definitive entry of Beatlemania worldwide and in Argentina, helped the program losing ground amongst its fans eager for another product to consume.

In the late ’60s, Alfredo Aldo Céspedes, would change its name and style once again. The harmless and smiling Perico Gómez gives place to a more serious and mature Pot Zenda. Regarding this time, his name appears in the list of acknowledgments on the first Almendra Lp, he also collaborated with the band during the recordings. On its short career, he recorded three singles in diverse labels, participated in the Argentine version of Hair and after 1973 moved to Venezuela. There, he played throughout the country and died in an automobile accident in March 1988. His remains were then, taken to Buenos Aires where it received a grave. (RIP)

Club Clan Promos
Club Clan Promos

Let’s go to our album:

One year after changing its name, Pot Zenda entered at T.N.T. studios, in early 1970, accompanied by Edelmiro Molinari to record his first single, since the Club Clan era. Once again, Mandioca label is responsible for all production and distribution, the two songs appeared on the famous compilation Pidamos Peras a Mandioca released on the same year. He also participated in November at the Barrock festival.

With some horn attacks on the arrangements, Basta de Llorar, has its rock-soul pace with a great vocal performance and Edelmiro’s solos showing up; this uptempo song caught me in surprise, the silly beat/garage tender (so common at the time) evolves into a psychedelic bomb! Vuelvo a Sonreir takes us back to the Clan era, with mellow lyrics this romantic chanson got some orchestral tinges too.

As a bonus, I’ve added Heloisa. I have finally discovered where the song came from, a band called Totem from Uruguay, these chicos will appear soon here. Hea Teekond!

Tracks Include:

A1 Basta de Llorar

B1 Vuelvo a Sonreir

Bonus: Heloisa

Label – Mandioca MS-013

All songs and lyrics by: Alfredo Céspedes (Pot Zenda)

Companies

  • Recorded At: Estudios T.N.T.

Credits

  • Producer: Edelmiro Molinari
Club Clan Reunited
Club Clan Reunited

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

Tsvia Abarbanel – Soul of The East (1970)

Soul of The East
Soul of The East

Following our last post, we’ll continue in Israel. To show you a little forgotten 45 single, re-released by Fortuna Records. Established in 2012, this new label is aimed to reissue psychedelic nuggets printed in Israel, as well as Middle-Eastern grooves in general, although this time ain’t a Koliphone release. There are only two songs but I was really impressed with the fabulous crossover between east and west!

Let’s go to her history:

Born in Radda, South East Yemen in the late ’40s, Tsvia Abarbanel immigrated to Israel with her parents and settled in the north of the country. She was raised in a traditional Yemenite house where she learned the culture and traditions of Yemen.

She spent most of the youth as a Shepherdess looking after her family’s herd, during the long hours in the fields, Tsvia developed her singing skills, practicing traditional Yemenite chants, typical to the region of Radda. When she was 25 years old, she bravely left home to go and study Ethno-Musicology and Fine Arts at the Los Angeles University. The early hippie movement dominated the college halls and soon enough she started frequenting the LA club scene. It was by pure chance that she found herself at Watts, queuing for a Dinah Washington concert at the Kabuki Theatre.

Every night from midnight to 6, Tsvia, would flock to the Kabuki to get a glimpse of the biggest musicians of the time such as Ramsey Lewis, Ray Charles and more!

70's Portrait
70’s Portrait

This community-only event drew her deep into the sounds of soul and jazz, inspiring Tsvia to give her own musical background a totally new interpretation. Before even recording her first song, she started performing throughout the west coast, in big venues such as the Hollywood Bowl & The Cow Palace in San Francisco, showcasing her unique brew of traditional Yemenite singing and western jazz rhythms.

A beautiful 26 years old Yemenite girl was an odd sight in the Afro-American music scene of LA in the mid-’60s. She looked different, she sounded different, but her musical talent was so explosive she was immediately embraced by local musicians!

Let’s go to our record:

Returning to Israel in 1970, Tsvia started working on her debut album with a prominent Tel Aviv jazz band called Piamenta’s Guys. Led by Albert Piamenta, musician and arranger, who introduced funk and western elements into traditional Israeli songs, the result was one of the most magical recordings to ever come out of the region. However, the Israeli record industry found it far too strange and of no commercial potential. (!) And so Tsvia and her husband released a limited 45, making this one of the most obscure and hard to find Israeli records ever.

Yemeni Lady
Yemeni Lady

The ‘IM’ highlights spare any comment: Yahalel Hawa, has an strong percussion pace and a sour folklore singing, assisted by this little cool jazz veil. A classy ethnic one! And Wings of Love, certainly a challenge to anyone who admires the frontiers from music, with a Yma Sumac’s intro, this jazzy soul got some horn attacks, organ, sax solos, heavy drums, and the always lively percussion, recalling us the strong geographical bond that Yemen has with Africa. Unluckily both sounds end up until 3 minutes, but the fusion stamp that Tsvia left are forevermore!

Our little Shepherdess, is still performing, writing and composing her own material, spreading Yemenite music in Israel to this day. Hyvää Matkaa!

Tracks include:

A Yahlel Hawa

B Wings of Love

Credits

  • Accompanied: Piamenta’s Guys
  • Mastered [Uncredited]: Beau Thomas
  • Producer: A. Piamenta, D. Abarbanel
  • Written: S. Shabazi

Notes

Licensed courtesy of Tsvia & David Abarbanel

Produced and recorded in Tel Aviv, 1970

(P) & (C) Fortuna Records 2012

Sana'a, Yemen
Sana’a, Yemen

Grazia (גרציה) – Grazia! (1978)

Koliphone Cover
Koliphone Cover

Israel. Jaffa in the late ’60s and early ’70s had an exciting and exotic sound to offer, where folk musicians performed live at its taverns seven nights a week. It was far from the mainstream hit-parade of swinging Tel-Aviv but close enough geographically to attract listeners from across the Tel-Aviv / Jaffa metropolis. The scene got bigger and wilder, as it embraced the Middle Eastern celebration style known as Hafla, involving heavy drinking, local food, and music of course.

Standing at the center of old Jaffa and its vibrant music scene was the record store and label, Koliphone Records. Owned by the Azoulay brothers, Koliphone tirelessly recorded these artists and sold their records to the growing masses. At first, they released mostly Greek and Turkish music, shortly followed by Yemenite, Moroccan and Hebrew records, showcasing the cultural melting pot of this ancient town.

Pradisiac Jaffa
Paradisiac Jaffa

The biggest and most influential artist of the time was Aris San. A singer and guitar virtuoso, San created the Israeli-Greek style and introduced the drums-bass-guitar rock combo to folk audiences. His fans thought they were listening to traditional bouzouki melodies, but in fact, San’s music was a lot heavier, strongly influenced by American surf, verging on the psychedelic. San’s huge popularity attracted many other artists to record the new style he had pioneered. Artists such as Trifonas, Levitros, Nino Nikolaidis and many more began to appear on Jaffa’s record stands. Among them was a young girl who sang in Turkish. Her name was Grazia Peretz (גרציה פרץ)!

Grazia was a wonder kid in the early ’70s. She started singing at the age of nine, performing at Turkish weddings and Mediterranean nightclubs, sharing a stage with Aris San and Trifonas. Soon, she became an in-demand act for events up and down the country, landing herself a weekly TV spot on the Channel 1 music segment!

Let’s go to our record:

Psych Portrait
Psych Portrait

For her 16th birthday, her father sent her to record a full-length Hafla style album at the Koliphone Studios. Marko Bachar, who was the label’s in-house producer, arranger, and keyboard player, was in charge of the project. Bachar had just sold his organ and bought a monophonic Moog synthesizer. Grazia wanted to break free from the conformities of Greek and Turkish folk music and introduce the early sounds of disco she and her peers were getting so much into.

When the album finally hit the shops it sold… nothing! Hard funk drums, pounding bass coupled with synth blips and psychedelic Turkish guitars, well… it was all a bit too much for the unsuspecting folk audience. At the age of 18, disheartened by the music industry and the undue touring environment she had to endure at such an early age, she stopped singing and never returned to the studio or the stage.

The ‘IM’ highlights unfold us a distinctive tinge from the east, beautifully sang in Turkish, with utmost moogsSoyle Beni, with an eerie sci-fi feel, this Israeli disco prog shows us the kind of sound that people used to dance, back on Jaffa nightclubs. And Rampi Rampi, an upbeat with broken pace, key winds solos, luscious chorus and the usual Arab/oriental scales with its minor harmonics. A Rocky feel at its best!

Chuyến đi Tốt!

Tracks include:

A1 Kemangi

A2 Soyle Beni

A3 Artik Sevmeyegegim

A4 Istemen

A5 Elveda Meyhanec

B1 Rampi Rampi

B2 Muhabbet

B3 Olmek Var

B4 Arkadas

B5 Gidis O Gidisse

Licensed courtesy of Azoulay Brothers.

Recorded in Jaffa, 1978.

Koliphone ‎– 46407

Reissue by ℗ & (C) Fortuna Records 2013.

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
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