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

capa cópiaComposer, 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:

Mural
Mural

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’sDionysis 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!

Pavlos Sidiropoulos & Spyridoula
Pavlos Sidiropoulos & Spyridoula

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 ThomopoulosAldevaran.

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!

Παύλος Σιδηρόπουλος
Παύλος Σιδηρόπουλος

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!

Live
Live

Pavlos is simply the best, always with a tight band, he delivers nice guitars, horns, elements from progpsychedelic 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 

Recorded: Γιώργος Κωνσταντόπουλος (George Konstantopoulos)

Engineer (Assistant): Γιώργος Τζάννες (George Tzanes), Εμμανουήλ Ψαρράς (Manolis Psaras)

Cover, Design, Photography: Γιώργος Μανιάτης (George Maniatis), Δημήτρης Αρβανίτης (Dimitris Arvanitis)

Producer: Θόδωρος Σαραντής (Theo Sarantis)

Coordinator: Μάνος Ξυδούς (Manos Xydous)

  • Made, Printed: EMI Greece S.A.
  • Pressed: Columbia, Athens – 7608

Harvest ‎– 14C 062-70913

1984 (Rock On!)
1984 (Rock On!)

Alla Pugacheva (Алла Пугачева) – Mirror of the Soul (Зеркало Души) [1978]

capaThe ’60s and ’70s saw the beginning of modern Russian pop and rock music, it all started with the wave of VIA’s (vocal-instrumental ensemble), a specific sort of music bands performing radio-friendly pop, rock, and folk, composed by members of the Union of Composers, approved by censorship. This wave began with Pojuschie Gitary and Pesnyary, popular VIA bands also included Tcvety and Zemlyane.

That period also saw individual pop stars such as Iosif Kobzon, Sofia Rotaru, Alla Pugacheva, Valery Leontiev, Yuri Antonov, many of them remain popular and active to this day. They were the mainstream of Soviet music media, headliners of festivals such as Song of the Year, Sopot, and Golden Orpheus. The year 1977 saw the establishment of Moskovsky Komsomolets hit parade, Russia’s first music chart.

VIA Singing Guitar
VIA Singing Guitar

The term VIA represented a model under which the Soviet government was willing to permit domestic rock and pop music acts to develop. To be able to break through the state-owned Soviet media, a band needed to become an officially-recognized VIA. Each VIA had an artistic director who served as manager, producer, and also state-appointed censor. In some bands the artistic director was the band’s leading member and songwriter, while in others he played the role of an impresario.

Songs varied from pop ballads, dance disco and new wave to mainstream rock (although bands avoided the rock music label until the late ’70s, because rock was considered a bourgeois art and formally banned) (!). The typical VIA consisted of 6 to 10 band members, lead vocalists usually did not play an instrument, virtually every member of a VIA was a professional musician, with formal musical education.

VIA Charivni Guitar
VIA Charivni Guitar

The Soviet government had strict rules governing how members of a VIA were to behave on stage and conduct themselves in public. Performers were only allowed to wear suits, folks costumes, or military uniforms. Movements around the stage were discouraged and anything outside of the conservative norm, such as long hair, tattoos, leather jackets, or metallic accessories were strictly forbidden. Due to state censorship, the lyrics of VIAs were family-friendly, typical topics were universal emotions like love, joy, and nostalgia, or idealized vignettes from usual daily life.

VIA song recordings were done by Melodiya, the State-owned record company, and the concerts/performances were organized by professional associations such as Soyuzkontsert (Union Concerts), Moskontsert (Moscow Concerts), Lenkonsert (Leningrad Concerts), Roskontsert (Russian Concerts), along with regional groups.

Let’s go to our artist:

Alla Pugacheva & Kristina Orbakaitе
Alla Pugacheva & Kristina Orbakaitе

Alla Borisovna Pugacheva (April 15, 1949) started performing when she still was at junior school. In 1965, she composed and recorded The Robot, her first song for the national radio. After high school, Pugacheva continued education in Moscow State Music College, at the department of conducting and choir singing. Later, in 1981 she also got a degree in theatre directing at the (arrant) State Theatre Art College.

Alla Pugacheva started a professional singing career in the early ’70s, as a leading singer of VIA’s Funny Guys, but real recognition only came when she won the Grand Prix of the Golden Orpheus song contest with the song Harlequin in 1975.

Afterward, she went to work in what would be the turning point of its career: the musical film The Woman Who Sings, in 1977. In co-op with the band Rhythm, she played the leading lady, a pop singer who sacrifices her personal life for her career.

60's Alla Pugacheva
60’s Pugacheva

The soundtrack, which was co-written by her, included a myriad of pop songs, the Soviet audience, regarding the film as autobiographical, brought the OST to reach record audience of the year in 1979, as it was bought by 55 million people! (phew)

Though for many she grew to represent the government-pop culture that was forced upon the people, her popularity skyrocketed, and she released many albums throughout the decades. Her contributions to Russian music were recognized when she has bestowed the title of People’s Artist of the U.S.S.R. in 1991. She enjoys an iconic status across the former Soviet Union and has overshadowed a long time rival Sofia Rotaru as the most successful Soviet performer in terms of record sales and popularity. Her last album was released in 2008 and lately, Pugacheva is the main judge on Factor A, Russia’s version of the British X-Factor television series.

Let’s go to our album:

Primadonna
Primadonna

Mirror of the Soul was Alla Pugacheva’s first studio album, published in the Soviet Union in May 1978, as a double album, and later re-released in two parts. The Lp includes songs performed by her, recorded in 1975/1977 primarily composed by (master) Alexander Zatsepin. It became one of the most sold in the USSR in late 70’s early 80’s. By 1983, it had sold 7,753,500 copies, and with a general circulation exceeding 60 reissues, the album approached the terrific mark of 10 million copies!

A collection of singles, which had previously appeared in the film or in separate publications, it firmly stands as a kaleidoscope of genres, ranging from kitschy hits, funk-rock, orchestral ballads, prog synths, art pop, funny marches and much more from a devilishly talented singer and composer, prepare yourself for Alla’s realms.

The ‘IM’ highlights are Приезжай (Come) and Мы Не Любим Друг Друга (We Do Not Like Each Other)хорошая поездка!

Tracks Include:

A1 Бубен Шамана (Tambourine Shaman) / Centerline of The Skies OST

A2 Верю В Тебя (I Believe in You) / Basketball OST

A3 Сонет Шекспира (Shakespeare’s Sonnet)

B1 Приезжай (Come)

B2 Не Отрекаются Любя (Do Not Deny Loving)

B3 Песенка Про Меня (Song About Me)

B4 Женщина, Которая Поет (The Woman Who Sings)

C1 Все Могут Короли (Kings Can Do Everything)

C2 Куда Уходит Детство (Where Does Childhood?) / Fantasy Vesnuhina OST

C3 Волшебник-Недоучка (Wizard-Dropout) / Brave Chirac OST

C4 Полно Вокруг Мудрецов (Fully Sages Around) / Brave Chirac OST

D1 Мы Не Любим Друг Друга (We Do Not Like Each Other) / Cook & Singer OST

D2 Если И Долго Мучиться (If You Long To Suffer) / Cook & Singer OST

D3 До Свиданья, Лето (Goodbye, Summer) / Centerline of The Skies OST

D4 Любовь Одна Виновата (Love One to Blame) / Centerline of The Skies OST

D5 Найди Себе Друга (Find a Friend) / Fantasy Vesnuhina OST

Credits

Conductor: V. Terletsky (B2), A. Avilov (A2, A3, B1, B3, B4), V. Kleynot (A1, C1 to D5)

Ensemble: VIA B. Kleynota (A1, C1 to D5), Rhythm (A2, A3, B1, B3, B4)

Music: Alexander Zatsepin (A1, A2, B3, C2 to D5), Boris Gorbonos (A3, B1, B4), Boris Richkov (C1), Leonid Garin (B4), Mark Minkov (B2)

Lyrics: William Shakespeare (A3), Boris Gorbonos (B1), V. Tushnova (B2), Kaisyn Guliyev (B4), Leonid Derbenyov (A1, B3, C1 to D5), Onegin Gadzhikasimov (A2)

  • Arrangements: Alexander Zatsepin (except B2 and C1)
  • Photographer: Vyacheslav Maneshina
  • Supervised: A. Kachalina

Мелодия ‎– 33 С 60-09799-802

Vasilissa the Beautiful by Ivan Bilibin
Vasilissa the Beautiful by Ivan Bilibin

Chrisye – Sabda Alam (1978)

prambanan cópiaGamelan is traditional ensemble music of Java and Bali in Indonesia, made up predominantly of percussive instruments. The most common instruments are metallophones played by mallets as well as a set of hand-played drums called kendhang which registers the beat. It also includes xylophones, bamboo flutes, bowed instrument called rebab, and even female vocalists called sindhen.

The popularity of gamelan has declined since modern pop music, though gamelan is still commonly played at formal occasions and in many traditional ceremonies. For most Indonesians, gamelan is an integral part and a symbol of Indonesian culture.

Gamelan Ensemble
Gamelan Ensemble

They are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style. Certain styles may also be shared by nearby ensembles, leading to a regional style. The varieties are grouped geographically, with the principal division between the styles favoured by the Balinese, Javanese, and Sundanese peoples.

Typically, players in the gamelan will be familiar with dance movespoetry, while dancers are able to play (along) in the ensemble. In wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music.

Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten, which is used in the celebration of Mawlid an-Nabi (Muhammad‘s birthday), other pieces are also believed to possess magic powers, and can be used to ward off evil spirits!

Children's Gamelan Orchestra at Peliatan, Bali
Children’s Gamelan Orchestra at Peliatan, Bali

The gamelan has been appreciated by several western composers (Colin McPhee, Béla Bartók, Francis Poulenc, Olivier Messiaen, Pierre Boulez, Benjamin Britten, Steve Reich, Phillip Glass, György Ligeti and John Cage), most famously Claude Debussy who heard a Javanese gamelan in the premiere of Louis-Albert Bourgault-Ducoudray‘s Rapsodie Cambodgienne at the Paris Exposition World’s Fair of 1889.

The gamelan that Debussy heard in it was in the slendro scale and its equal-tempered whole tone scale appears in his music. A Javanese gamelan-like heterophonic texture is emulated on occasion, particularly in Pagodes, from Estampes (solo piano, 1903), in which the great gong‘s cyclic punctuation is symbolized by a prominent perfect fifth.

XIX Century Gamelan
XIX Century Gamelan

There is a famous Javanese saying that sums up Gamelan’s role importance in Indonesian habitual daily life: It is not official until the gong is hung’. (!)

Let’s go to our artist:

Chrismansyah Rahadi (16 September 1949 – 30 March 2007) was born in Jakarta, as the second of three brothers from Laurens Rahadi and Hana. He graduated from high school in 1967 and had the opportunity of studying Architectural Engineering in APP Trisakti, but he dropped out on its third year. Chrisye initiated his career in music by joining the Sabda Nada Band in 1968, the short-lived group morphed into Gipsy (later famous Guruh Gipsy) in 1969 along with some change of personnel.

70's
70’s

Gipsy became a well-respected band from Jakarta and had the most luxurious equipment of the day. In 1971/1972 they flew to New York and played in the Ramayana Restaurant for about a year. Back to Indonesia, Chrisye managed to popularize the song Lilin-Lilin Kecil (Small Candles) winning the Youth Contest Prambors Songwriting Contest in 1977. His first albums Badai Pasti Berlalu and Sabda Alam managed to be very popular and successful in the domestic market.

This would only be the beginning of a highly consolidated career through the ’80s and ’90s, he’s merely one of the biggest record sellers from all-time in Indonesia!

Let’s go to our album:

In May 1978 Chrisye began work on his first (solo) album Sabda Alam (Nature’s Order), incorporating several songs by other artists and some written by himself, including the title song, which he recorded it after locking himself in the studio. The album, greatly influenced by Badai Pasti Berlalu (OST Lp) and drawing on the double-tracking technique (the vocals are recorded twice to achieve fuller sound), was released in August that year. Heavily promoted in a campaign during which Chrisye was interviewed on the national television station TVRI and on the radio.

Chrisye
Chrisye (RIP)

The album eventually sold more than 400,000 copies! (phew)

This renowned artist (still) remains unknown to most of the Western public, today we exclusively present one of his greatest releases, full of melodic and harmonic beauty, Chrisye’s soulful interpretation is quite something. Supported by a sharp band with the always welcome participation of Yockie on keyboards, once more splitting the arrangements with Chrisye, the Lp got prog ballads, folk, disco, a fantastic version of Smaradhana (Guruh Gipsy’s song), female chorus, and one of the greatest Indonesian songs in my opinion, Anak Jalanan, this album is no joke!

The ‘IM’ highlights are Cita Secinta and Anak Jalanan.

Vjaġġ Tajba!

Tracks Include:

A1 Juwita

A2 Sabda Alam

A3 Smaradhana

A4 Duka Sang Bahaduri

A5 Cita Secinta

B1 Kala Sang Surya Tenggelam

B2 Nada Asmara

B3 Citra Hitam

B4 Adakah

B5 Anak Jalanan

Credits

Yockie: Acoustic Piano, Keyboards

Chrisye: Bass, Guitar

Keenan: Drums, Percussion

Ronnie: Piano, String Melody, Synths

Nina, Ana, Ani: Backing Vocals

Arranged: Yockie and Chrisye

Musica / msc7060 (cassette)

Balinese Cuisine
Balinese Cuisine

Kim Jung Mi (김정미) – 이건 너무 하잖아요 (It’s Too Much Unfair) [1974]

capa cópiaThe music of South Korea has evolved over the decades since the end of the fourth Korean War (1953) and has its roots in the music of the Korean people, who have inhabited the Korean peninsula for over a millennium. Contemporary South Korean music can be divided into three different main categories: Traditional Korean folk music, popular music, or K-pop, and Western-influenced non-popular music.

The first evidence of Korean music is old, and it has been well documented by surviving written materials from the 15th century and was brought to heights of excellence during the Yi Kings of the Joseon Dynasty. Imperial Japan’s annexation of Korea (sic) eliminated Korean music from 1905 to 1945. (!)

Traditional Music Ensemble
Traditional Music Ensemble

A brief post-war period reawakened folk and patriotic music, by 1951, Korea was split into the Democratic People’s Republic of Korea (North) and the Republic of Korea (South), from which emerged two completely different approaches to music.

Korean traditional music includes kinds of both folk and classical, including genres like sanjo, pansori, and nongak. The three types of Korean court music are Aak (oldest), Dang-ak (less known) and Hyang-ak (extant form). Today, the Korean Wave, or hallyu (한류), is the word used to discuss the influence of contemporary Korean popular culture on the rest of Asia, and also the rest of the world!

Traditional Dance
Traditional Dance

Let’s go to our artist:

T’onga guitar (tong guitar) is a form of Korean folk and folk-rock music developed in the early 60’s/70’s. It was heavily influenced by American folk music, artists in the genre were then, considered Korean versions of American folk singers, such as Joan Baez or Bob Dylan. Notable early Korean folk musicians include the American-educated Han Dae-soo and Kim Min-ki. Hahn and Kim recorded socially and politically conscious songs, and both had their work censored/banned by the (aforementioned) autocratic Park Chung-hee 1970s dictatorial government (sic).

Han Dae-soo
Han Dae-soo

Despite the government’s efforts to censor political music, popular folk songs increasingly came to be used as rallying cries for social change within Korea, leading to the term norae undong (노래운동), or literally, song movement, being coined to describe songs targeted at social change. In the midst of this turmoil, our today artist flourished thanks to the (irreplaceable) presence of Shin Joong Hyun.

At the dawn of the ’70s, South Korea’s rock music scene was at its zenith, much of the reason for this was the god-like musical touch of guitar wizard, songwriter, producer, and arranger Shin Joong Hyun. In 1971, he took a girl named 김정미 or simply Kim Jung Mi, and transformed her from a wallflower student into a (famous) folk-psych chanteuse in record time, like a Korean Francoise Hardy.

Kim Jung Mi, 1972
Kim Jung Mi, 1972

Born on April 23, 1953, they worked together intensively in six albums until the fateful year of 1975 where the Korean rock was shut down! Only to reinvent itself with the entry of San Ul Lim in 1977. Kim Jung Mi came back that same year with a different sound style and the last effort in 1978, to finally retire from the music business.

I really would like more information about her, like interviews and curiosities, about its life, or even recent news, but so far i (still) haven’t had much success reading and translating in Hangul, could our Korean friends give us any help?!

Let’s go to our album:

The rockier side of her, again thanks to Shin Yung-Hyun’s participation along with the Yupjuns, this certainly defined the Korean psych-rock sound; plus the addition of horns, organ, and even a string section. Still owing a decent reissue, unlike the recent hyped Now (1973), pressed by Lion Productions, and distributed by Light In The Attic, this groovy folk-funk are possibly her best work! With a famous cover from Janis’s Move Over (!), this one sprinkled pepper along with her folk, trot work!

Korean Gipsy
Korean Gipsy

Lastly, this rip comes from the Korean cd re-release, but believe me, the sound is identical to the few versions we have available in Soulseek, etc, terrible!!

But in any matter, this will disparage the appreciation of a beautiful B side from South Korea, let us enjoy another great artist and Udhëtimi i Mirë!

The ‘IM’ highlights are 너와 나 (You & Me) and 너를 갖고파 (I Want You).

Tracks Include:

1 이건 너무 하잖아요 (This Does So)

2 생각해 (Think)

3 난 정말 몰라요 (I Do Not Know Really) – Move Over

4 담배꽁초 (Cigarette Butt)

5 너와 나 (You & Me)

6 갈대 (Reed)

7 당신이 (You)

8 나는 바보인가 봐 (I’m Like a Fool)

9 너를 갖고파 (I Want You)

10 셋방살이 (Living in a Rented Room)

11 너를 보내고 (Send You)

Credits

Performer: Kim Jung Mi

Performed, Composed: Shin Joon Hyun & The Yupjuns

Jigu / JLS 120920

World Psychedelia / WPC6-8499

Psych Foxy
Foxy

French-Oriental Female Ep (2014)

ann sorel cópiaThis Ep is an attempt to present some artists who will enter soon in our galaxy, today will address exclusively two countries: France and Japan. Great arrangers, actresses singers, side B, and even famous ones, (feel free to) leave us a comment and enjoy!

France

1968

Brigitte Fontaine – Je Suis Inadaptée / Est… Folle, 1968 (arr. Jean Claude Vannier)

June 24, 1939 / The diva of French underground music.

Brigitte Fontaine made a series of increasingly strange and eclectic art-pop in the ’70s that gathered a lot of acclaim in France, although she remains obscure to an international audience. Initially, she was an eccentric but accessible pop singer, presenting melodic and orchestrated material, working with (living legend) arranger Jean Claude Vannier; on subsequent records, she got jazzier, and then into avant-gardism and art song, her albums were commendably wide-ranging and erratic.

With an active career and 2013 last release, albums like Est…Folle, Barbara’s Madame, and even less known Jean Constantin’s Le Poulpe, are some of the wonderful panoramas that Vannier conducted throughout the ’70s.

A dreamy arrangement, with delicacy, strong pace and multiple colors!

nicoletta 2 cópia

Nicoletta & Zoo – Dieu Est Negre / Visage, 1970 (arr. Zoo)

April 11, 1944 / Nicole Chappuis-Grisoni

She was considered as part of what is known as the French yé-yé generation heavily influenced by American music, particularly R&B, rock and roll and beat music, mostly known for her version of ‘Mamy Blue’ with her very specific, bluesy voice, she certainly gained a special place in French pop music, with many radio and television appearances, where she had a number of hits in the ’60s and the ’70s.

Her material after the ’70s is somewhat dubious, with that sugar chanson feel, returning to top form from mid-’90s and recently launched Ici Et Ailleurs.

Honestly, these recordings with Zoo are certainly Nicoletta’s best moment, a passionate diva interpretation with an incredible escort by these guys, check it!

ann sorel 2 cópia

Ann Sorel – L’Amour à Plusieurs / Single, 1972 (arr. Jean Claude Vannier)

Ann-Chantal Sorel, 71 years (more info ?). She released a few pairs of singles during the ’60s and ’70s, early on yé-yé and then, precious moments like this magistral one under Vannier’s tutelage. Banned (!) on radio, with a scandalous lyrics from Fréderic Botton, Ann’s sexy voice guides us through an unusual encounter.

Wrapped in a simple deep red cover, this is a fantastic erotica re-discover!

Japan

chinatsu cópia

Chinatsu Nakayama (中山千夏) – 砂漠 (Desert) / Single, 1971

July 13, 1948 / Actress Singer

Former wonder actress, TV personalitysinger and later established writer. She released a few singles during the ’70s and stopped its singer career in early ’00s, to fully devote herself as a writer, human rightscivil and feminist activist.

A B side soul-psych bomb with tons of brass, fuzz and nicely chorus!

rumi koyama 3 cópia

Rumi Koyama (小山ルミ) – 恋人の記念日 / Sasurai No Guitar, 1971

August 11, 1952 / Actress Singer

Another famous actress and Tv star, Rumi released a bit more singles and albums through the ’70s. A swinging one, with western brass, percussion, mellow strings and that Tarantino’s Kill Bill homage. Like Meiko Kaji tunes, expect some more entrances from Rumi Koyama, too, she sings with grace and got a real nice 1971 Lp!

rabi cópia

Rabi Nakayama (中山ラビ) – 夢のドライブ (Drive of a Dream) / Hira Hira, 1974

The one (and only) who helped Yoshiko Sai in his first years, Rabi Nakayama is probably one of the most famous singers from Japan, the female Bob Dylan often called, started its career in early ’70s with a dozen of releases, very active until 2009.

Here she catches a heavier side, with a furious backing band, this is almost a B side in Hira Hira’s album, totally folk-oriented. Even being unknown worldwide, Rabi’s career is pretty solid, with diverse moments and bands, soon she’ll enter here!

Hyvää matkaa!

Blind Woman's Curse, 1970 (Meiko Kaji)
Blind Woman’s Curse, 1970 (Meiko Kaji)