prog – interstellar medium

Yoshiko Sai – Taiji No Yume (1977) [Repost]

Born on June 22, 1953, at Nara prefecture, Yoshiko Sai since his childhood demonstrated its precocity and many artistic gifts. During her elementary school days, she loved to paint and read all the classics from mythical writer Edogawa Rampo (The Japanese Poe). In junior high school, she was a member of the coral, taking his first lessons in music; by high school, she played (casually) in a folk-rock group.

In 1972 she tried to enter the Kyoto City University of Arts but wasn’t accepted, then she tried the Kyoto Doshisha University where she passed the entrance examination. In May of that year, she was caught by kidney disease, having to spend a year in observation.

Over this period she would recall:

‘I read a LOT of books from famous novelists, such as Mushitaro Oguri, Yumeno Kyusaku, Juran Hisao, and Yokomizo Masashi. These dark novels made me accept and relax about the disease, my forthcoming production of lyrics and music was strongly tied with this fact.’

After leaving the hospital, she incessantly started to wrote poetry and in 1974 debuted and won a contest at a local radio program. She then received an invitation to play an opening act for Rabi Nakayama concert. Two record companies became interested in her music and after the show, she was contracted by Teichiku Records.

Yoshiko Sai recorded four albums in four years, between May 1975 and December 1978, the 2nd (Mikkō) and 3rd (Taiji No Yume) of her releases may be considered more Progressive than Folk. Unfortunately, she abruptly retired from a career at the age of 25 in 1979.

A story told is that Yoshiko may have doubted her talent in music and lost her self-confidence. In recent years, a revival of interest in his music made her come back to record a new album with Jojo Hiroshige, called Crimson Voyage in 2001. Lastly, there’s been some re-releases from its 70s records, unedited live performances and poetry books.

Let’s go to our album:

In 1977 she moved to the Nippon Columbia company, and on September 25, she announced Taiji No Yume (Fetus Dream). Heavily inspired by the pre-war oddball and ghostly neurosurgeon doctor and writer Yumeno Kyusaku, hence the strange atmosphere this disc abides in. Quite dark in the overall texture, at the time of this she was merely 24 years old. Totally unknown for non-japanese listeners, this album is really a must for people into some more advanced Japanese historical recordings.

With utterly beautiful arrangements by the legendary Yuji Ohno, this is certainly my favorite album from her. A kaleidoscope of genres that spring from the depths of the inner mind: folk, jazz, bossa nova, flamenco, prog, rock and so. Yoshiko Sai plays the role of each and invites us to another dimension of reality, the “IM’ highlights are for:

Aoi Glass-Dama, with nice synths and strings, this rock ballad has an interesting crescendo, delivering an amazing emotional interpretation. And Taiji No Yume, a 9-minute epic, simply one of the best Japanese songs of all time, without exaggeration, I’ll let the words and adjectives to you, do not miss Yoshiko Sai’s haunting realms. 良い旅!

Tracks Include:

A1 ヒターノ (Gitano)

A2 アルハンブラの青い壜 (Alhambra No Aoi Bin)

A3 ある晴れた夜 (Aru Hareta Yoru)

A4 波止場 (Hatoba)

A5 春の夢 (Haru No Yume)

A6 海の沈黙 (Umi No Chinmoku)

B1 青いガラス玉 (Aoi Garasudama)

B2 遍路 (Henro)

B3 白昼夢 (Hakuchūmu)

B4 胎児の夢 (Taiji No Yume)

All songs and lyrics by Yoshiko Sai

Blow Up LX-7021A /// 25/09/1977

Musicians

Drums: Yasushi Ichihara

Electric & Acoustic Guitar: Tsunehide Matsuki

Gut Guitar: Kiyoshi Sugimoto

Electric Bass: Kenji Takamizu (1,2,4,5,9,10) /// Akira Okazawa (3,6,7,8)

Acoustic Piano: Masahiko Sato

Electric Piano, Solina, Spinet & Synthesizer: Yuji Ohno

Percussion: Lary Sunaga

Arranged (strings, brass, instrumental) by Yuji Ohno

Credits

Directed by: Shun Ohki

Produced by: Akira Sakajima

Engineer: Tomiji Iyobe

Art Director: Kazuhiro Saito

Cover Illustration: Yoshiko Sai

Illustration: Tsuyoshi Takigaito

Photography by: Jin Komine

Layout: Takashi Eakabayashi

Pino Daniele ‎– Nero A Metà (1980)

Let’s get a pause of the gals, shall we? I must admit I’m a bit ashamed for only get to know this COLOSSAL artist only a few years back but that’s one of the reasons that I have the ‘IM’. Pino Daniele is probably one of the greatest Italian artists of the 20th century, like Lucio Dalla and Vasco Rossi, this Napolitan musician, and composer stood out as a brilliant guitarist and bandleader, passionate composer, and a very very distinct singer.

Unfortunately, Pino passed away in 2015 due to a heart attack, a tragic loss of someone who didn’t reach its sixties, RIP! We choose to present you one of his masterpieces (yes he has more than one!), its third solo album, a voyage that ranges from Blues to Jazz, and even Pop elements, a real treat with a stellar band, so non andare da nessuna parte, vuoi?

Let’s get to our artist:

Pino Daniele, born Giuseppe Daniele (Naples, 19 March 1955 – Rome, 4 January 2015), was an Italian singer-songwriter, musician and composer. Pino grew up learning both classical and traditional Neapolitan guitar, though as a teenager he became interested in British and American rock. In 1976, he started playing as a bassist in Napoli Centrale where he met James Senese who would become a key figure in the production of his first albums.

In the same year Claudio Poggi, EMI Italiana’s producer, listened to a demo tape with Daniele’s original songs and decided to produce his music. Within six months his first single was released titled Ca Calore / Fortunato, both songs were included on his first album, Terra Mia (released in 1977) sung in Neapolitan, was the first example of what Daniele called “taramblù” a combination of tarantella, rhumba, and blues (!).

In 1979 his self-titled sophomore record was released, followed by Nero a Metà in 1980, and that same year Daniele was invited to open for reggae superstar Bob Marley for his show in Milan, with an attendance of more than 100.000 people it was by far its greatest show ever played. During the next few years the artist continued exploring his various Mediterranean, African, and Western inspirations, found in albums like Common Ground, a collaboration with Richie Havens, and the Middle Eastern-influenced Bonne Soirée, as well as writing soundtracks for films by his close friend Massimo Troisi.

Being active until its very last moment, Pino Daniele had released several albums, cinema soundtracks, television performances, world-tours, and countless collaborations. He is one of the most famous Italian musicians in the world and we simply thank you, Ragazzo!

Let’s go to our album:

Easy to say that Pino’s first five albums are absolutely mandatory, from 1977 to 1982 his career skyrocketed and then he continued to search new forms of expression through multiple collaborations and live performances in a very fruitful career. Nero A Metà sold over 300,000 copies and is present in the ranking of the 100 most important Italian records ever according to Rolling Stone Italia at position number 17. (!)

Pino’s thoughts about this album:

‘The title “Nero a Metà”, tied to a musical concept, was inspired by a beautiful book published in the ’70s, “Nero di Puglia”, which narrates the story of a colored man born in the South, a little like my friend James Senese’s story. Useless to say that my favorite piece is “Quanno Chiove”, one of my first love songs. We wanted to change things and music helped us a lot.’

The ‘IM’ highlights are Quanno Chiove (probably one of the most beautiful love songs ever) and A Me Me Piace ‘O Blues (a funk-prog blues to stir up ANYTHING). Genio!

Tracks Include:

A1 I Say I’ Sto Ccà
A2 Musica Musica
A3 Quanno Chiove
A4 Puozze Passà’ Nu Guaio
A5 Voglio Di Più
A6 Appocundria
B1 A Me Me Piace ‘O Blues
B2 E So’ Cuntento ‘E Stà’
B3 Nun Me Scoccià’
B4 Alleria
B5 A Testa In Giù
B6 Sotto ‘O Sole

Musicians

Acoustic Guitar, Electric Guitar: Pino Daniele
Bass: Aldo Mercurio, Gigi De Rienzo
Congas: Karl Potter
Drums: Agostino Marangolo, Mauro Spina
Harmonica: Bruno De Filippi
Keyboards: Ernesto Vitolo
Percussion: Rosario Iermano, Tony Cercola (Astà)
Tenor Saxophone: James Senese
Backing Vocals: Enzo Avitabile

Lyrics and Music by Pino Daniele

Arranged By: Pino Daniele (tracks: A1 to A6, B2 to B6)
Arranged By: Gigi De Rienzo (tracks: B1)

Credits

Mixed By: Allan Goldberg (tracks: A1 to B2, B4 to B5), Gaetano Ria (tracks: B3, B6), Marcello Todaro (tracks: B3, B6)

Photography By: Cesar Monti
Producer: Willy David, Marcello Todaro, Pino Daniele
Recorded By: Allan Goldberg

Co-Producer: Gigi De Rienzo, Rosario Iermano
Artwork: Cesar Monti, Willy David
Engineer: Nick Lovallo
Graphics: Wanda Monti

Management: Totò Iacobone, Willy David
Management (Personal Manager): Joseph Lodato

Notes

EMI ‎– 3C 064-18468 / 12-2-80.

Registrato e mixato allo “Stone Castle Studio” tranne “Nun Me Scoccià'” e “Sotto ‘O Sole” mixati al “Trafalgar Recording Studio” (ottobre ’79 – gennaio ’80).

Halina Frąckowiak ‎– Geira (1977)

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.

Tracks Include:

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

Credits
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

Companies
Record Company: Polskie Nagrania
Printed By: Łódzka Drukarnia Akcydensowa

Polskie Nagrania Muza ‎– SX 1428

San Ul Lim (산울림) – Hourglass at Noon (한낮의 모래시계) [1979]

San Ul Lim aka Sanulrim, is a South Korean power trio combo, 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 longlasting stamp!

Their first album entitled Vol.1 아니벌써 (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 dictatorial government 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 extremely important 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’s cool 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 out and ການເດີນທາງທີ່ດີ!

The ‘IM’ highlights are 무녀도 (No Women Island) and 백자 (White Porcelain).

Tracks Include:

A1 한낮의 모래시계 (An Hourglass in the Afternoon)

A2 오솔길 (A Trail)

A3 봄 (The Spring)

A4 포도밭으로 가요 (Let’s Go to a Vineyard)

A5 무녀도 (No Women Island)

B1 이렇게 갑자기 (All of a Sudden)

B2 연 띄워라 (Fly a Kite)

B3 왜가 (Why, Leave)

B4 백자 (White Porcelain)

Credits

Chang Wan Kim (김창완): guitar, keyboards, vocals

Chang Hoon Kim (김창훈): bass

Chang Ik Kim (김창익): drums

Released on September 1979

SRB SR-0171

Pavlos Sidiropoulos (Παύλος Σιδηρόπουλος) & Σπυριδούλα (Spyridoula) – Φλου (Flou) [1979]

Composer, lyricist/singer Pavlos Sidiropoulos (July 27, 1948 – December 6, 1990), only lived until the age of 42, though he left behind a remarkable musical legacy and influence amongst young artists. He was the great-grandson of Zorba, nephew of the poet Elli Alexiou and since his early age showed a musical aptitude. A true legend, despite the few musical releases in life, today’s entry is simply considered as the most important rock album of all time in Greece! Fortunately, there’s plenty of information (in greek) available about Pavlos, your site/tribute, deserves a lookout!

Over time other albums will come and we’ll try to bring more details about the life of this fabulous artist, we count on to help from our Greek friends, rest in peace Pavlos.

Let’s go to our artist:

Sidiropoulos began his career in 1970 in Thessaloniki, where he was studying maths at Aristotle University. Together with Pantelis Delleyannidis they set up the folk-duo Damon and Phintias; though he does not graduate he returns to Athens, disappointed with the revolutionary youth, where he worked to his father’s factory. He soon met, at Kittaro’s, Dionysis Savvopoulos and his group Bourboulia, he joined the band and released the 45 release Damis The Tough (Ντάμης ο σκληρός) in 1972. There, he stayed until 1974, and therefore first experimented with combining folklore and rock.

Afterward, Sidiropoulos collaborated with the Greek composer Yannis Markopoulos, singing his compositions with lyrics by the poet Dimitris Varos. In 1976, together with Spiropoulos brothers, he founded the music group Spiridoula. It took three years for their first release, the cornerstone album Flou, with the homonymous theme song that inspired many musicians, opening a completely different path to Greek audience!

In 1975, he made its two film appearances. He had the leading role in the film (and OST) O Asymvivastos, directed by Andreas Thomopoulos, at the same time, he starred with Dimitris Poulikakos another movie by Thomopoulos, Aldevaran.

Sidiropoulos joined the band Οι Απροσάρμοστοι (The Misfits), in 1980 where he remained until his death. They released 3 studio albums and numerous live performances. En Lef̱kó̱ was published in 82′, and many of the songs were censored!

In 1985, Zorba the Freak came out and in 1989 they released (its lastly) Without Make-up, which was recorded live at Metro club in Athens. In the summer of 1990 and after his mother’s death, his left hand started getting paralyzed, as a result of his long term drug use that he was trying to overcome for many years. He continued his live performances but the deterioration of his health had serious implications. On December 6, 1990, he died from a heart attack, caused by heroin overdose. (RIP)

Let’s go to our album:

Considered by many the most important album in Greek rock music, I was completely surprised the first time I heard him a and it touched me really deep!

Pavlos is simply the best, always with a tight band, he delivers nice guitars, horns, elements from prog, psychedelic and jazz, folk and (beautiful) classic rock, wow!

The ‘IM’ Highlights are Oi Sovaroi Klooun (Serious Clown) and I Ora Tou Stuff (The Time of Stuff). Safar Wanaagsan!

Tracks Include (polytonic, romanized and translated):

A1 Ο Μπάμπης Ο “Φλου” – O Babis O Flou (The Father Flou)

A2 Μου ‘πες Θα Φύγω – Mou Pes Tha Fygo (You Told Me I Will Go)

A3 Που Να Γυρίζεις – Pou Na Gyrizeis (Where To Turn?)

A4 Ξέσπασμα – Xespasma (Outbreak)

A5 Οι Σοβαροί Κλόουν – Oi Sovaroi Klooun (Serious Clown)

B1 Το ’69 Με Κάποιο Φίλο – To ’69 Me Kapoio Filo (The ’69 With a Friend)

B2 Στην Κ. – Stin K. (In K.)

B3 Η Ώρα Του Stuff – I Ora Tou Stuff (The Time of Stuff)

B4 Τω Αγνώστω Θεώ – To Agnosto Theo (Tm Unknown God)

B5 Εν Κατακλείδι – En Katakleidi (In Conclusion)

Credits

Alto Saxophone, Clarinet: Γιάννης Φαναριώτης (John Fanariotis)
Bass: Τόλης Μαστρόκαλος (Tolis Mastrokalos)
Bass, Guitar (Slide): Νίκος Πολίτης (Nikos Politis)
Drums: Ανδρέας Μουζακίτης (Andreas Mouzakitis), Τάσος Φωτοδήμος (Tassos Fotodimos)
Electric Guitar, Acoustic Guitar: Βασίλης Σπυρόπουλος (Vassilis Spyropoulos)
Electric Guitar, Acoustic Guitar, Piano, Synthesizer, Flute: Νίκος Σπυρόπουλος (Nikos Spyropoulos)
Music, Lyrics: Παύλος Σιδηρόπουλος (Pavlos Sidiropoulos)
Piano: Δημήτρης Πολύτιμος (Dimitris Valuable)
Tenor Saxophone: Μάκης Παπαθεοδώρου (Makis Papatheodorou)
Trombone: Ανδρέας Γκαβογιάννης (Andreas Gkavogiannis)
Trumpet: Δημήτρης Λεονταρίδης (Dimitris Leontaridis)
Violin: Γιώργος Μαγκλάρας (Yorgos Maglaras)
Vocals, Percussion: Παύλος Σιδηρόπουλος (Pavlos Sidiropoulos)
Female Vocals: Dimitra Galani