Kostas Tournas (Κώστας Τουρνάς) born on September 23, 1949, Tripoli, Greece. Aside Mariza Koch andDionysis Savvopoulos, he’s certainly one of the greatest solo artists from its country, with dozens of albums, international recognition, passing through rock, pop, glam, disco, and many other influences; we’ll stick to its foremost concept gem by now. Still active, he’s also a member of the center-right political party New Democracy (sic). A dedicated post for Poll and his other solo classic Astroneirawill appear throughout our galaxy, don’t miss it!
Let’s go to his history:
As a child Kostas enjoyed singing popular Greek melodies of the era, due to financial difficulties, his family eventually moved to Kypseli, Athens, in 1959. He managed to finish high school and in its spare time, he used to study the guitar which he received as a present from his mother. At age 13 he joined his first band. Largely self-educated he took up guitar lessons in 1965, pursuing a more serious musical career, shortly after, he was with a garage band called The Teenagers.
In Athens, Kostas worked at various music clubs, playing melodramatic Italian and French songs which he didn’t enjoy very much. He was a Beatles fan to the point of having watched A Hard Day’s Night seven times in a single day. (!)
He started to write original Greek material at the end of the ’60s in collaboration with his childhood friend Robert Williams. After returning from the army (69/70), Kostas founded Poll, one of the first rock groups of Greece, along with Robert Williams and Stavros Logarides. They started appearing at the popular Athens music club Kyttaro presenting folk-rock songs influenced by the hippie culture.
A second album featured the anti-war song Anthrope Agapa, allegedly the first protest rock-song in Greece. They only existed for two years and managed to release two albums (1971 and 1972). Their easy-listening ballad style made them very popular with Greek audiences. After Poll disbanded, Kostas pursued a solo career.
Let’s go to our album:
In 1972 he released the album Απέραντα Χωράφια(Infinite Fields) based on songs he wrote with Poll but then blown up into a 35-minute (!) psychedelic pop-rock symphonic work which he presented with the group Ruth. This Magnusopus, much influenced by Beethoven, had no distinction into separate tracks, Kostas wrote and arranged it for a symphonic orchestra and provided vocals, guitars, and keyboards himself, as an autobiographical concept album. (!)
With a beautiful resemblance to David Axelrod’s work, Kostas managed to create multiple layers and passages along with the record. Brilliantly played and recorded, it helps us to enter into the greek rock scene, although it hasn’t much folklore or traditional instruments on it, this western rock-opera deserves your full attention!
Our usual highlights become one single track that flows into a rock combo with some fuzz, folk-ballads, sound effects, grand orchestra, and superb outcome. Goeie Reis!
A1 Απέραντα Χωράφια
B1 Απέραντα Χωράφια
Recorded At: Polysound Studio
Record Company: PolyGram
Phonographic Copyright (p): PolyGram Records S.A. (Greece)
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.
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.
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. (!!)
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 starsstill 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.
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)
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)
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 Roesliwith 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.
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)
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)
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)
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 withBali 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.
Today’s post will be a little extensive and will continue in future entries, through our ‘IM’ galaxy. Almendra deserves it. This is a first explanation essay, peace!
The holy triad of Argentine Rock, is composed by three groups, the first ones: Manal, a power-trio of blues psych-rock with great influence from Cream; Los Gatos, Castellano Rock founders, with a pop beat olla, and finally, Almendra, certainly the most inventive and poetic, of the three, they released only two albums by RCA Argentina, until their end in 1971. Among them, a skinny leader: Luis Alberto Spinetta(January 23, 1950 – February 8, 2012), known as ‘El Flaco’, was a singer, guitarist, poet, composer, considered one of the greatest artists from his country.
His instrumental affluence, lyrical and poetic works, got his recognition throughout Latin America and also worldwide. He’s considered one of the godfathers from Argentine Rock, leading Almendra, Pescado Rabioso, Invisible, and many other bands, apart from his wide solo career. In his lyrics, there’s the influence of writers, philosophers, psychologists, artists such as Rimbaud, Van Gogh, Lü Dongbin, Jung, Freud, Nietzsche, Foucault, Deleuze, Artaud y Castañeda, as also, native cultures.
Almendra was a quartet. Before its first historical record, released in late 1969, Los Chicos, in his early year, launched over 5 single records in Argentina. Today on the ‘IM’, we’ll have the first part of the series: two singles, a left out and a B-Side:
1)Tema de Pototo(Luis Alberto Spinetta, Edelmiro Molinari) //////////////////////////// El Mundo Entre Las Manos(Luis Alberto Spinetta, Rodolfo García) [RCA Vik 31Z-1368] *
2)Hoy Todo el Hielo En La Ciudad(Luis Alberto Spinetta) ////////////////////////// Campos Verdes(Luis Alberto Spinetta, E. Del Guercio) [RCA Vik 31Z-1413] **
4)Final(Luis Alberto Spinetta, E. Del Guercio) ///////////////////////////////////////////////////// B-Side from [RCA Vik 31Z-1565] ****
Let’s go to their history:
Almendra had his first precedent in 1965, from the English rock bands Los Larkins and Los Sbirros, both from Bajo Belgrano a neighborhood of Buenos Aires. Los Larkins was led by Rodolfo García, future drummer of Almendra, muchacho four years older than ‘El Flaco’ Spinetta and neighbors from the same neighborhood.
Spinetta: ‘Everything started on the 15th birthday of my sister. One of the guests was a pianist and played in a group called Los Larkins, they rehearsed very close to home, where Rodolfo played drums. One day I went to one of the tests with the suspicious eyes from my parents, they knew it was a definite step for me; when I entered and saw all those electric instruments, guitars unlike the Spanish or creole, I completely freaked out! From there I got this sound that is an emblem for me: bass, drums, and guitar.’
The other band that would give birth to Almendra, was Los Sbirros, composed by students from the same school that Spinetta, and was led by Edelmiro Molinari, who excelled at the dominion of electric guitar and Emilio del Guercio, future bassist. Spinetta started in Los Larkins, but played at any given time in both groups. Little by little they were merged in late 1966 and formed a quintet composed by Spinetta (voice), Rodolfo García (drums), Emilio del Guercio (bass), Edelmiro Molinari (guitar) y Santiago “Chago” Novoa (keyboards), they were 16, 17 years old on average and the foundations of what would be Almendra was ready.
In early 1967, Roldolfo García was drafted into military service. This fact made the band entered a one-year hiatus, more precisely the year that La Balsa, music from Los Gatos, composed by Lito Nebbia and Tanguito, explodes in the charts, achieving tremendous national success. It was the first original rock sung in Spanish and marks the beginning of a new musical style known in Argentina as Rock Nacional.
1967, 1968 and 1969 were years of great cultural transformations in Argentina and the world, placing the youth as a distinct social, revolutionary group: The Summer of Love that marked the birth of Hippie movement, the assassination of Che Guevara in Bolivia, the French May, the Prague Spring and domestically El Cordobazzo.
On this context, germinate the trends that Spinetta and other young Argentines both crave: take the vanguards of tango and folklore in order to give a sort of rock with local climate, sung in Castellano. The feat was a cultural rupture of enormous proportions, the esthetic standards of the time did not accept this unattended manifestation, especially in Spanish. On March 1968, García was discharged from military service and the group began rehearsing daily. Novoa, keyboardist, simply stopped going to rehearsals and the quintet turns into a quartet:
Luis Alberto Spinetta (leading voice and guitar)
Rodolfo García (drums and vocals)
Emilio del Guercio (bass and vocals)
Edelmiro Molinari (leading guitar and vocals)
In mid-1968, Ricardo Kleiman, the producer on the radio program ‘La Noche en Modart’, which had enormous popularity with the youth from those years, went to see a band rehearsal, they played an own song with English titles, Where are You Going Mary Sue?. Kleiman was impressed and offer them a single record on RCA with Rodolfo Alchurrón as artistic director. The single was recorded somewhere in August, released on September 20, 1968, and set out for sale at the beginning of 1969.
Tracks include: Tema de Pototo, side A///El Mundo Entre Las Manos, side B *
Tema de Pototo (Para Saber Cómo es la Soledad):
The first theme edited by the band was composed by Luis Alberto Spinetta to a college fellow who believed to have died on a trip to Bariloche (!). When he received the telegram denying the good news, the verses suggested: ‘La soledad es un amigo que no está / Es su palabra que no ha de llegar igual’. Years later the young prick called Mario D’Alessandro became the band’s official dentist! The theme has an orchestral accompaniment directed by Alchurrón composed of strings and woodwinds.
Hoy Todo el Hielo en La Ciudad:
The group releases another single record Hoy Todo el Hielo en La Ciudad, side a/// Campos Verdes,side b **, yet in 1968, and it’s from this one that the band begins to be noticed and established commercially.
Spinetta: ‘The Almendra singles are a work in itself, at the margin of the albums. The first two had consequences outside the band. On December 68′ came the second, which included Hoy Todo el Hielo en La Ciudad. There is here a poetic dimension that puts us at a distance of every beat wave, so common to the epoch; we passed by a minor key chorus and followed an epic escalation, with a baroque-pop feel!’
The myth of a dystopian frozen Buenos Aires comes in tune with ‘El Eternauta’the great sci-fi story by Oesterheld. There is no hell or deluge, in the end, only the eternal ice that covers the sky across the days. Even at noon, there’s no sun.
These years also held two video clips, one of the first ones made in Argentina.
The band’s debut on live stages, occurs at the disco Matoko’s in Mar del Plata, at Constitución avenue, a downtown nightlife balneary, where they played throughout the summer. For another magazine/publication of the time, Spinetta declared:
‘Ended the time of repeating what others do, translations, all of these vain things. We have to sing what is ours, what is authentic, from within.’
On January 2, 1969, they fix Gabinetes Espaciales*** at TNT studios. The band wanted the track as A-side, future single, but RCA Argentina, eyeing the huge commercial success of a romantic rewriting made by Leonardo Favio, re-launched as Para Saber Como es La Soledad, released the band’s third single record with a repeated song: Tema de Pototo, side A ///Final, side B****
Final, the pretended ending for Almendra (first) Lp, was cut from the final tracklist due to time limitations. It enters here as a tuneful simple ballad B side!
Let’s go to our highlights:
Our choices may not be always based on greatest hits, however, it is undeniable the quality and importance for Tema de Pototo, a #1 hit, tremendously arranged, with a hippy aura. It should always be a choice in someone’s lists, a delightful 100% psychedelic! But today, the ‘IM’‘ highlights are for:
Campos Verdes and Gabinetes Espaciales.
Lastly, there isn’t a lot of photos from the band, especially with high quality available on the internet, however, there’s an incredibly rare book, with drawings, text and rare photos, released in 1970/71, that you can luckily check it.
Born January 2, 1951, in the city of Chuncheon, the youngest in a family of 5 sisters, Kim Choo-Ja (김추자) is considered the first sex symbol of Korean pop music. Despite being an unknown worldwide, she’s one of the most influential artist’s from the Republic of Korea. Born with a lascivious curvy body, something unusual for an Asian, she was not afraid to show off in her dances, performances, clothes and record covers, wearing tight jeans or mini skirts, tops with cleavage-boosting and tall boots, a real foxy! During her career, Choo-Ja passed through a lot of personas and attitudes, that not only reflected on her appearance but also on her sound and sexuality, like the early beat-girlie, the stoned-rock-hippy, and ultimate ferocious diva!
Even didn’t write her songs, as an interpreter, she was much helped by Shin Joong Hyun, the godfather of K-Rock, through her career, especially in her first steps. They met each other in 1969 after she had won the first prize in a festival of Arts at the University of Dongguk, where she graduated in Theatre and Cinema.
In October’s same year, debuts her first album: Before Its Late (늦기 전에), produced by Shin and accompanied by the band The Donkeys, the record reached great commercial success, introducing a new face in Korean pop music. Based on the psychedelic combo bass-drums-guitars-keyboards they Americanize traditional folk/trot music, until then, sung only in a high pitch by singers that looked like plasticized mannequins with their stern-tacky Hanboks.
With more than 30 (!) albums released between 1969 to 1975, Kim Choo-Ja completely dominated the70’s and has established herself as one of the greatest singers of an era. She had problems with the censors for her hit ‘It’s a Lie’, which was banned by the military dictatorship, on the allegation that it instigates distrust. The military government, ruled by the infamous Park Chung-hee, also suspected her dance moves to be a hand signal for North Korean spies. (?!)
There was a period of blacklists and stronger repression, motivated by Shin’s charge and arrest for marijuana possession, in December 75. During those years she was out of the charts, but it won’t last much, her big comeback took place in the series of shows Recital 78, released on 1980, the album brings her greatest hits on some different live arrangements, but it’s probably the cover, its most iconic and extravagant leap, an incredible Korean Power Booty!!
For a society that has lived under a dictatorship for decades, Choo-Ja suffered constant boycotts from the government until its fall in 1988.
With the ’80s, she launches more than 15 (!) discs from live shows (mostly) and romantic collections; due to their children, a remarriage and family reasons, she retires from the market in 1988. But the legacy of Choo-Ja can be seen, in parts, with all those never-ending pretty dolls who littered the Korean pop music scene today.
Let’s go to our record:
Today’s album is actually a Mixtape, organized by myself, traversing many records, trying to go through all periods from our Korean Bombshell!
It’s a pop-psychedelic beginning, the encounter with the Soul and its variations, the Latin accent, their romantic-modern versions of Trots and even a medley from the aforementioned ‘Recital 78’, with several successes, such as ‘Sgt. Kim’, ‘Regret’, ‘Rumour’, and even a version from ‘Ani Holem al Naomi’, single that sold more than 1 million copies in 70s Japan, from the Israeli duo Hedva and David!
We would be unfair to Choo-Ja if we just label her as an exclusively psych-folk singer, such as Kim Jung Mi (김정미) was. What we see here are Big Bands and their orchestrations, Brass Funk-Soul, Psych, Rock, Trots, Ballads and a familiar Korean tendency to put a few spoons of sugar into the romanticism: ‘Nangman’ (낭만)!
Unfortunately, the translation and reading in Hangul are extremely difficult, the content of the lyrics is still an incognita, as well some of the albums where the songs came out. A large number of compilations, pirate and collaboration albums, contribute to make this a HARD work, but in almost all themes the year is indicated on the mp3 file.
The ‘IM’highlights today are for: ‘No’ (아니) a megaton groove, with breakbeats, brass, and an outstanding guitar swing! This is a really infectious soul that could be covered by any funk masters, such as Earth, Wind and Fire, Tower of Power or even the pope James Brown! The other one is ‘Rain’ (비), one of the few that I couldn’t retrieve any info, what a pity! I’ve got a sentimental keen on that, a standard ballad, with Big Band accompaniment and a blue finale, an instant CLASSIC!
Lastly, don’t forget to check our special gallery selection, with some personal and rare photos. Phew! Perjalanan Yang Baik!
Born in 1932 in Rio de Janeiro, Rogério Duprat, began studying cello at the early ’50s, a period that integrates the State Symphony Orchestra. In 1955 moves to São Paulo, becoming conductor and composer of the Symphony Orchestra. In the early ’60s, funds the classical avant-garde movement ‘Música Nova’, alongside Júlio Medaglia, Damiano Cozzella, Régis Duprat e Gilberto Mendes.
still on the ’60s, travels to Europe, where he studied in France, with the composer Pierre Boulez, and in Germany with Karlheinz Stockhausen. (!)
Back in Brazil, he dedicated to creating experimental pieces on the computer, with Damiano Cozzellaonce more. At the University of Brasilia, where he taught, Duprat was part of happenings and manifestations of random music.
Still, on the sixties, he began working on several film soundtracks and is from there that he initiates contact with popular music, most especially with Os Mutantes!
Debut in 1967 with Domingo no Parque alongside Giberto Gil and Os Mutantes and bill the award for the best arrangement of the III Festival of MPB (TV Record). Thereafter, the proposal of Geléia Geral by Tropicalia enters the scene.
Pop Cannibalism. Revolution Consumerist. /// o sol se reparte em crimes, espaçonaves, guerrillas /// He works extensively with Caetano Veloso, Gal Costa, Gilberto Gil, Os Mutantes, Tom Zé, Lanny Gordin, Erasmo Carlos, Walter Franco, etc, of the records from Festivals, dozens and annual, recorded live.
Let’s go to our record:
When asked of his first solo foray, the conductor is emphatic:
‘I do not really like that. In fact, they forced a lot. For starters, that picture, made me climb on the table to beat photograph … Something so silly, naive, bitchy! Anyway, I ended up doing because I wanted to make the album, has some things I like. But it suffered from the fact that the record company forces me a bit on some international music repertoire, which was a bit more commercialized. Within the record company, they did not understand things well…’
Launched in the first half of 1968, riding on the musical-wave Tropicalia, the album was a commercial failure and saw over the decades to become a holy grail of all Tropicalista production from 67 to 69. Often compared to a tupiniquimGeorge Martin, Rogério Duprat has his own vision of what you expect from American standards, pop, sambas, bossa, psychedelia and much more!
Both scholar and pop, coming from the leading arranger of Brazilian music, certainly the freest and inventive, the Tropicalia pope! The ‘IM’ highlights: ‘Flying’, roaming a psych landscape with reverse fuzz and an oniric feel. And ‘Quem Será?’, a samba from the ’40s in a luxury cinematic collage, amazing!
As if that were not enough, the album also features the always welcome participation of Os Mutantes in four tracks, wandering through all aspects of the disc. Bonum Iter!
A1. Judy In Disguise
(J. Fred / A. Bernard / J. Wessler)