Slađana Milošević and Neutral Design – Neutralni Design (1983)

All right, continuing with the aforementioned Top 5 records (since our departure) this one also fits in this relation, a very very sick New Wave entry with a talented and flamboyant artist who broke all standards back in the day and still are, either performing, writing, modeling or producing she maintains herself as one of the greatest personas of former SFR Yugoslavia, Serbia and even expanding her horizons all over Europe and America.

This is a killer LP, and we will only start off with, so more will come eventually, shall we?

Let’s go to our artist:

Aleksandra “Slađana” Milošević Hagadone (born 1955 October 3 in Belgrade, PR Serbia, FPR Yugoslavia), better known as Slađana Milošević. Her talent for music became very apparent at an early age, so she started education in classical music at the age of five, playing the piano. A few years later, her interest turned to study the violin. Eventually, she embraced rock and the bass guitar performing in school and recording at the age of 15. (!)

Sasha Subota Orchestra – 1976

From then on, her interests had shifted towards various artistic expressions such as acting, playing music and dancing in the fringe theatres and experimental movies. She acted in Belgrade’s Ex Art Theatre, Atelje 212 Theatre and in Academic Kino Club Krsmanović. In 1976, she toured the Soviet Union as a soloist in the Sasha Subota Orchestra, where she had recorded a compilation of World Hits and a single Mikado for Soviet label Melodiya.

Being in constant discordance with the restrictive regime and the media, despite all the efforts, she could not release a solo record in her homeland for many years. Thus, she invests her funds and finally manages to produce and release the first single in 1977.

An Ordinary Gal – 1977

Unexpectedly, it had achieved immediate success hitting No. 1 on the charts. Milošević’s provocative first song “Au, Au” caused many controversial reactions inside the regime. However, her creative potential, persistence, and consistency of ideas had won over. She influenced younger musicians and other less courageous, to follow her bold path.

From then on, every song she had released hit the top of the charts: “Au, Au” (1977), Simpatija” (1978), “Sexy Dama”(1978), then “Amsterdam”, and “Očigledno Nije Mi Svejedno”, off her first and highly-rated LP Gorim Od Želje Da Ubijem Noć from 1979. Milošević’s fame spread throughout the entire region and the surrounding countries. For instance, at midnight, the Hungarian audience celebrated with Alexandra an arrival of the New Year 1979, through her one-hour performance on National TV, Budapest.

Gorim Od Želje Da Ubijem Noć Tour

In 1982, she embarked with her band on a national Yugoslav tour with English rockabilly legends Matchbox. In 1983, she started a band “Neutral Design” in Munich, Germany and released a self-titled album. Musicians in this project collaborated with bands known worldwide such as Santana and Nina Hagen Band. Songs off of this LP were broadcast and sold in West Germany, Sweden, Yugoslavia, and other European countries.

A single “Das Licht von Kairo / Miki, Miki” released in Yugoslavia, became a mega-hit.

Therefore she would only ascend with a myriad of prizes, world tours, and a 1988 LP. Slađana eventually moves on to different countries, expands her professional acting, waning her solo acts in the 90s releasing her last album in 2000, Animal Tested.

Neutral Design Era

Let’s go to our album:

With an incredible variation of rhythms and influences, this is her most mature and lasting album, for a certain period I heard it repeatedly for months, something that grows inside you, a perfect photograph of what was the effervescent beginning of the ’80s.

Being the chameleon she always was, soon Slađana would follow a more Pop direction in ’84 and walk the paths of Jazz on her subsequent album.

Contemporary of Nina Hagen and Bebi Doll in the exotic, provocative and singular aesthetics senses she remains one of the greatest stars of her country and beyond!

1984

The ‘IM’ highlights are Klown I Smrt, a dark-reggae with a wall of synths and Nad Tobom Anđeli Imaju Moć a soothing cyclotomic ballad.

Tracks Include:

A1 Das Licht Von Kairo (Svletla Kaira)
Lyrics By M. Bajagić
Music By, Arranged By P. Labontie

A2 New York
Arranged By S. Milošević
Guitar (Solo) Rudolf Gast
Lyrics By D. Đurić
Music By B. Werber

A3 Hey, Little Boy
Written-By Slađana Milošević

A4 Klovn I Smrt
Arranged By S. Milošević
Lyrics By M. Bajagić
Music By B. Werber

B1 Miki, Miki
Saxophone (Solo) Mića Marković
Written-By Slađana Milošević

B2 Neko Je Tu (Sa Mnom U Sobi)
Arranged By S. Milošević
Lyrics By M. Bajagić
Music By B. Werber

B3 Nad Tobom Anđeli Imaju Moć
Written By Slađana Milošević

B4 Ja Sam Neka Čudna Vrsta
Lyrics By M. Tadić
Music By, Lyrics By, Arranged By S. Milošević

Musicians

Bass: Pit Zaepernick
Drum Programming, Synthesizer (Prophet 5), Organ (Hammond B3): Attila Terry
Guitar, Drum Programming, Effects: Bruce Werber
Producer, Vocals, Guitar, Drum Programming, Effects: Alexandra Sladjana M.
Synthesizer (Roland V, Yamaha): Alex Grunwald
Synthesizer (Roland, Korg), Programmed By (Synthesizer): Florian Anwander

Credits

Design: Gordan Škondrić
Mixed By: Uli Rudolf
Photography: Ljubo Trifunović
Recorded By: Cristian Leibi

Notes

Jugoton ‎– LSY-63185

Recorded at Western Studio, Munich, Germany.
Mixed at Aquarius Studio, Belgrade, Yugoslavia.

Nowadays

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 1979

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 (!).

27/06/1980

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:

On Tour 1981

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.’

Nero A Metà Promo

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).

Naples Alley (RIP)

Alpha Beta – Astral Abuse (1971)

7″ / 45 RPM

Today’s presentation is an obscure record released without the alias that made him a worldwide famous composer, producer, and musician: Vangelis.

Let’s go to our artist:

Born in Volos, Greece on the 29th of March 1943 Evángelos Odysséas Papathanassíou (Ευάγγελος Οδυσσέας Παπαθανασίου) was a self-taught prodigy who avoided most formal piano lessons. Apparently, a gifted painter as a child his schooling was based on a formidable memory that enabled him to learn by intuition rather than by rote.

In the ‘60s he was part of the popular groups The Forminx and Aphrodite’s Child who hit big with “Rain and Tears” and the double album 666, selling more than 1 million copies over the four years of the band’s duration of rising stardom in Europe and US!

A Beardless Vangelis in 1965

A significant figure during turbulent times in Greece Vangelis began his score work in 1970 and then released his first proper solo disc – Earth – in 1973. After moving to London Vangelis’ distinctive electronic album work took off, acclaimed scores for movies like Chariots of Fire, Conquest of Paradise, Blade Runner, Alexander, and many many more remain perennial best sellers and feature in the American Film Institute’s list of greatest scores of all time(!). He is considered a titan in the electronic field releasing more than 50 albums in a career spanning the period from the 1960s when he was in bands in his native Greece to the present day. A deeply private and guarded individual who rarely grants the press entry into his world Vangelis explains himself best when he says:

“Mythology, science, and space exploration are subjects that have fascinated me since my early childhood. And they were always connected somehow with the music I write.”

Aphrodite’s Child

In 1975 Vangelis looked back:

“I like the whole spectrum of music. Jazz, pop, rock, the classics. I have no taboos, any kind of music is great, so long as it is honest. So I’m glad to help any artist whom I like. You see, I don’t regard myself primarily as a producer. It’s just that I have so many ideas, I can’t put them all on my own records. Production allows me more flexibility, more outlets. I was a prisoner of Aphrodite’s Child for three years, in the end, I was desperate. I was forced into the position of turning out music that didn’t interest me because of our own success. When I first went to Paris, I had lots of ideas that I wanted the group to be. But I realized that, as a new and foreign act, we had to create confidence in ourselves from the record company. And that confidence comes only from proving that you can earn money for them. What I didn’t realize is, that has created a precedent, it’s very difficult to diverge from it. It takes years to change your product. I have no regrets about that period, but it did waste a lot of time.

Synth Genius

Let’s go to our album:

Alpha Beta is probably it’s less known work to date, released on the legendary BYG Records label and distributed by Discodis in France back in 1971, this 7” presents a wild experimentation vibe with haunting vocals, paced percussion, lots of keyboards floating around the psychedelic guitar-synth driven session in a far off trip… απολαμβάνω!

Tracks Include:

A Astral Abuse
Written By: Koulouris, Papathanassiou, Vilma

B Who Killed?
Written By: Papathanassiou, Gomelsky

Credits

Guitar: Argiris Koulouris
Performer: Evangelos Papathanassiou
Vocals: Vilma Lado

Illustration: Evangelos Papathanassiou

Today

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

capa cópiaSan Ul Lim aka Sanulrim, is a South Korean power trio combo, the name is the combination of words, San (, 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).

San Ul Lim, 70's
San Ul Lim, 70’s

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!

Live
Live

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.

K-Rock Portrait
K-Rock Portrait

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.

Last Revival
Last Revival

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 (The Spring)

A4 포도밭으로 가요 (Let’s Go to a Vineyard)

A5 무녀도 (No Women Island)

B1 이렇게 갑자기 (All of a Sudden)

B2 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

Bibimbap (Korean Cuisine)
Bibimbap (Korean Cuisine)

Daniela Casa – Societa’ Malata (1975)

capa cópiaLibrary music, also known as production or stock music, was originally recorded as fodder for media projects that needed readymade soundtrack cues. The tracks were usually brief instrumentals, typically no more than a minute or two in length, and often adopted whatever sounds were popular at the time. As a result, they serve as wonderful snapshots of the various musical eras in which they were laid down, from breezy easy listening and mellow mood to lethal funk jams and Moog noodlings.

These releases were not available to the general public and were chiefly distributed within media production circles. Free of the commercial pressure to produce hits, it was not uncommon for artists to abandon conventional song structures and immerse themselves into it. Even though it was supposed to be background music, a lot of this stuff is quite musically imaginative and makes for enjoyable listening on its own!

Let’s go to our music:

Alessandro Alessandroni
Alessandro Alessandroni (Braen)

Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, production music libraries own all copyrights of their music, thus, it can be licensed freely without the composer’s permission.

Library music composers and session performers typically work anonymously and have rarely become known outside their professional circles. In recent years some veteran composers, performers, and arrangers such as Alan Hawkshaw, John Cameron, and Keith Mansfield have achieved cult status as a result of a new interest in library music of the ’60s and ’70s, notably the beat/electronica cues recorded for KPM British label.

Suzanne Ciani
Suzanne Ciani

The Italian library scene from the ’70s is certainly the most popular and extensive of the ‘genre’, recently praised by worldwide labels, Dj’s and the blogosphere.

Soundtrack composers and arrangers such as Alessandro Alessandroni, Piero Umiliani, Bruno Nicolai, Suzanne Ciani, are just some of the greats from the period!

Let’s go to our artist:

Daniela Casa (February 6, 1944 – 28 July 1986), was the daughter of a builder of boats, that graduated from Art Schoolduring this time Daniela studied chant and guitar with Maestro Claudio de Angelis. She was discovered in 1963 and put under contract by Fonit label, participating in the same year at the Grand Prix (RAI TV show), in which she presents his own version of Senza Fine, the famous song by Gino Paoli.

Daniela Casa, 1964
Daniela Casa, 1964

The following year Daniela released her second 45 single, also by Fonit.

In 1965, at the Piper Club in Rome, she forms the duo Dany & Gepy with Giampiero Scalamogna, specializing in the revival of covers of soul and r&b. Along the 70’s she devoted herself to composition, writing the famous hits Regolarmente, engraved by Mina, and Dimmi Cosa Aspetti Ancora, performed by Dominga. Then, Uomo became the theme song of the television program Storie di Donneat the same time she married the musician Remigio Ducros and in 1972, Valentina Ducros was born.

Thenceforth, she develops several instrumental/library albums whose recording career lasted from 1963 through to her untimely death from cancer in 1988. (RIP)

Let’s go to our album:

1971

A genuine pioneer of experimental pop music, electronics, Giallo jazz and even heavy drone-rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia Alessandroni, Doris Norton, and Suzanne Ciani, retaining one of the most diverse composing styles of an advanced mechanical musician. Originally designed for use in Italian thrillers, nature documentaries, educational projects, and commercial installations.

I’m not an ardent fan of Library music, but this wonder recently re-released on vinyl has really poked me from the very first second. Daniela’s aural reflection of the wickedness of humanity and decay of our world delivers a multi-layered musical landscape that remains as vibrant and authentic today as they did 35 years ago!

Piero Umiliani Experiements
Piero Umiliani Experiments

Lastly, this is another exclusive release, godere di questa meraviglia, sì?!

The ‘IM’ highlights are Strade Vuote and Occultismo.

Bon Vwayaj!

Tracks Include:

A1 Ignoto

A2 Strade Vuote

A3 Pericolo

A4 Angoscia

A5 Fabbrica

A6 Oppressione

B1 Esoda

B2 Vizio

B3 Occultismo

B4 Noia

B5 Dittatura

Deneb ‎– DNB 0116

Suspiria's Japanese Poster
Suspiria’s Japanese Poster