Martha Elefteriadu ‎– Kresby Tuší (1980)

Welcome back to you all! Needless to say, how thrill I am today with this spectacular album, a real kaleidoscope of genres brought you by one of the greatest artists in former Czechoslovakia. Getting to know her better, unfortunately, I noticed that this album was an odd point of alternation in its career, founded basically on Soul Beat and then Pop Folk.

Always side by side with her beloved sister, this unique solo entry has brought us so many colors that I wonder why she gave up on this very bold path. Anyhow, we present this one that should be revered as one of the milestone records from former Czechoslovakia and as if an entire constellation of musicians was not enough, its richness is present, in the arrangements, special participations, multiple orchestras, and lush atmosphere!

Does it look good to you? Because it is much more than you can imaginePřipravit Se!

Let’s go to our artist:

The Elefteriadu’s – the 50s

Martha Elefteriadu (September 12, 1946 Bulkes, Yugoslavia) is a Czech singer of Greek origin, half of the duo Martha a Tena, together with her sister Tena. Their family emigrated from Greece because of the Greek Civil War and settled in 1950 in former Czechoslovakia. Their mother died while they were children, so they grew up in orphanages, she spent her childhood with her sister, in many children‘s homes (more than five, actually), which were reserved for Greek refugees, including one in Ivančice.

At the end of the 1960s, the sisters met a guitarist Aleš Sigmund from band Vulkán, who helped them create strong creative and musical foundations. They worked in Vulkán between 1966 and 1970, partly with another sibling couple, Hana and Petr Ulrych.

Martha A Tena – 1969

Their first records are from 1968, in 1970 they released their first LP record with Panton Records Dál Než Slunce Vstává. They quickly established themselves in Czech Pop music also collaborating with many notable artists such as Skupina Aleše Sigmunda, Bob Frídl, Gustav Brom Orchestra, Pavel Novák, and Jiří Suchý. The gals managed to continuously be active reaching stardom throughout the 1970s with countless participations and prizes at festivals, musicals, plays, TV shows, and tours not only within Czechoslovakia. (!)

Live, in the 70s

By the end of the decade, they had already released more than 30 albums and compacts! Ranging between pop-folk and Greek music. Martha later studied psychology, while at the same time devoted yourself professionally to music, since then, both sisters have been the stars of Czech popular music. Martha and Tena enriched Czech culture with their southern temperament and Greek spontaneity. At present, they focus mainly on the interpretation of Greek folk songs, the teaching of Greek dances, cuisine, books and occasionally performing, their latest album came out in 2005, besides greatest hits records and such.

Let’s go to our album:

Sister Love

How to understand a record that did not have a tour, who faced major problems with the censorship, and with modest participation in sales charts could bear the 1981 album of the year by Melodia magazine? Despite all these, (at least the critics seem to get it by the time) Kresby Tuší (Ink Drawings) remains intact by the passage of time thanks to its multiple composers, lyricists, orchestras (!) and gala participation of musicians like Michael Kocáb (arranger), but also by Dežo Ursiny, Vladimír Mišík, Vladimír Merta and Oskar Petr.

Martha delivers us a fabulous variation of art-rock, jazz, fusion, bossa nova, funk and more. It feels lush, dark and dense all over, but it also has its (brief) sunny moments.

The ‘IM’ highlights are Hrál Sis Hrál and Vítám Slunce Ranní.

Tracks Include:

A1 Dvě Kresby Tuší I.
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

A2 Měla Jsem Vždycky Smůlu
Lyrics By: Pavel Kopta
Music By: Dežo Ursiny

A3 Proměna
Lyrics By: Pavel Kopta
Music By: Vladimír Mišík

A4 Hrál Sis Hrál
Lyrics By: Pavel Fiala
Music By: Pavel Větrovec

A5 Výlet Po Řece
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

A6 Kde? Kdy? Já A Ty
Written By: Vladimír Merta

B1 Mám Ráda Běh
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

B2 Melancholická Noc
Lyrics By: Jiří Dědeček
Music By: Michael Kocáb

B3 Vítám Slunce Ranní
Lyrics By: Pavel Kopta
Music By: Dežo Ursiny

B4 Podzimní Odpoledne
Lyrics By: Martha Elefteriadu
Music By: Michael Kocáb

B5 Tohle Že Máš Být Ty?
Lyrics By: Martha Elefteriadu
Music By: Michael Kocáb

B6 Dvě Kresby Tuší II.
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

Musicians

Acoustic Guitar, Harmonica, Vocals: Vladimír Merta (tracks: A6)
Bass Guitar, Contrabass: Ondřej Soukup
Drums: Ladislav Malina, Vratislav Placheta
Electric Piano, Piano, Synthesizer: Michael Kocáb
Guitar: Jiří Špidra, Martin Koubek
Percussion: Jiří Tomek
Harmonica: Ondřej Konrád

Backing Band (Studiová Skupina): Studiová Skupina Michaela Kocába

Oboe: Jiří Kaniak
Flute: Jiří Stivín
Clarinet: František Pušman
Alto Saxophone: Antonín Nachtman,  Miroslav Krýsl
Baritone Saxophone: František Kryka
Clarinet, Tenor Saxophone: Jan Kubík
Tenor Saxophone: Bedřich Kuník, Milan Ulrich
Trombone: Jiří Doubrava, Josef Pavelka, Mirko Koželuh, Svatopluk Košvanec
Trumpet: Jiří Hlava, Laco Deczi, Vlastimil Voňavka, Zdeněk Šedivý

Strings: Jan Mráček, Jiří Fišer, Jiří Rajniš, Květomír Řezníček
Strings, Orchestra: Smyčcový Orchestr Oliver Dohnányi
Violin: Jan Hrubý

Vocals: Dežo Ursiny (tracks: B3),
Hana Hostková-Löfflerová (tracks: A2),
Helena Viktorinová (tracks: B5),
Lída Nopová (tracks: A2), Marie Jakoubková (tracks: A2, B5),
Michael Kocáb (tracks: B1), Tena Elefteriadu (tracks: B3)

Conductor (Smyčcový Orchestr Řídí): Oliver Dohnányi

Arranged By: Michael Kocáb

Credits

Cover: Václav Šimice
Engineer: Jan Štěpánek, Petr Podlešák
Photography By: Taras Kuščynskyj
Producer: Ondřej Konrád
Recording Supervisor: Pavel Kühn, Svatoslav Rychlý

Notes

Panton ‎– 8113 0039

Record Company: Panton, Vydavatelství Českého Hudebního Fondu
Recorded At: Studio Smetanova Divadla
Pressed By: Gramofonové Závody

Nahráno ve studiu Smetanova divadla v Praze, 1979—1980

Dnešek

The Markko Polo Adventurers ‎– Orienta (1959)

We’ve already got a little good share of Exotica here in the ‘IM’, you can easily go for Yma, Russ, and Dominic for your exquisite delight! But I think we should talk a little bit more about it since its one of my fav genres, always with some magical cover and a fantastic vibe from faraway, today’s album is no different so let’s get a ticket to the (wild) East.

Let’s go to our history:

Exotica is a form of easy-listening lounge music that draws upon world music, but it doesn’t aim for authentic replication. Instead, exotica’s primary concern is lightweight entertainment, gathering readily identifiable ethnic sounds into a smooth, easily digested pop form. The music typically conjures up images of exotic foreign tourist destinations geared toward white Americans, and in that sense, it’s sort of the equivalent of a pre-packaged resort vacation: fun, inauthentic, and safely familiar. (!)

1958 Fire Goddess

Exotica is usually arranged for standard orchestras, with instrumentation added according to the location being evoked (ethnic percussion, string instruments, etc.); some exotica also borrows the otherworldly sound effects that define the space-age pop style. The Pacific, the Caribbean, Latin America, Brazil, and Africa are among exotica’s most popular regional musical sources, major exotica artists include Les Baxter, Martin Denny, Arthur Lyman, Eden Ahbez, Gene Rains, Esquivel, Yma Sumac and many more.

Let’s go to our artist:

Orienta was the work of three music industry professionals with a history of involvement in exotica and easy listening music. Producer Simon Rady was coming off the huge success of The Music from Peter Gunn, which spent 10 weeks at No. 1 on Billboard’s album chart, and won the inaugural Grammy Award for Album of the Year in 1959. Associate producer Michael H. Goldsen was one of the industry leaders in popularizing Hawaiian music and was later inducted into the (legendary) Hawaiian Music Hall of Fame.

Debra Paget in Fritz Lang’s The Indian Tomb

The album was arranged and conducted by Gerald Fried, a Juilliard School-trained oboist who later went on to fame as a composer of music for motion pictures and television, including the 1960s series Star TrekThe Man from U.N.C.L.E., and Gilligan’s Island.

Orienta was an attempt to capitalize on the popularity of exotica music in the late 1950s. The genre’s popularity peaked in 1959 as Martin Denny’s 1957 album Exotica spent five weeks at No. 1 on Billboard’s album chart. The album was recorded in stereo and was designed to appeal to the growing popularity of albums demonstrating the new technology. It features a wide assortment of woodwind and rhythm instruments as the liner notes describe a recording studio filled with as many as 25 percussion instruments.

Sandy Warner, 1959

Let’s go to our album:

The album’s liner notes stated that:

”The music resembles the dreams of an imaginative person who has fallen asleep during a ‘Dr. Fu Manchu’ movie on television, with vignettes that combine the sounds of the East with the wit of the West; the charm of the Orient with the humor of the Occident.”

A lost lounge gem from the RCA catalog, with a dreamy exotica feeling, Gerald Fried arranged and conducted this faux (studio) group, and his overall approach has lots of sweeping woodwinds and percussion, similar to the great Les Baxter work on Capitol during the period. The tracks have a pronounced Eastern feel including original compositions and adaptations from Rimsky-Korsakov, Harry Warren, and Vernon Duke.

The ‘IM’ highlights are Rain in Rangoon and Mountain High, Valley Low.

Tracks Include:

A1 Song Of India-Beggars’ Procession
Arranged By: Gerald Fried
Composed By: Rimsky-Korsakoff

A2 Yokahama Ferryboat
Composed By: Leon Pober

A3 Rain In Rangoon
Composed By: Vèrnon Duke

A4 Madam Sloe Gin’s
Composed By: Leon Pober

A5 The Girl Friend Of A Whirling Dervish
Composed By – Dubin, Warren, Mercer

A6 Mountain High, Valley Low
Composed By: Bernard Hanighen, Raymond Scott

B1 Scheherazade
Arranged By: Gerald Fried
Composed By: Rimsky-Korsakoff

B2 Limehouse Blues
Composed By: D. Furber, P. Braham

B3 Night Of The Tiger
Composed By: Leon Pober

B4 Nagasaki
Composed By: H. Warren, M. Dixon

B5 Train To Ranchipur
Composed By: Gerald Fried

B6 Runaway Rickshaw
Composed By: Leon Pober

Credits

Arranged By: Gerald Fried
Conductor: Gerald Fried
Co-producer (Associate): Michael H. Goldsen
Producer: Simon Rady
Recorded By (Engineer): Thorne Nogar

Notes

Recorded in Hollywood, California, May 15, 21 and 31 and June 6, 1958

Gerald Fried, Alive and Kicking

Dominic Frontiere and His Orchestra – Pagan Festival: An Exotic Love Ritual For Orchestra (1959)

Together with Yma Sumac’s exquisite records, Russ Garcia’s Fantastica, and the unknown The Markko Pollo Adventures self titled album, our today entry comes with great passion, a personal favorite in the Exotica and Space Age Pop universe. You can check a dossier about the subject here, and with our last entries highlighted on top! We believe that the milestone works from Martin Denny and famous arranger Les Baxter are truly amazing, though due to the high commercial appeal and large number of releases, the musical developments became to dilute throughout the years, climaxing with the death of the genre in the mid-60’s.

folder cópia

Together with Yma Sumac’s exquisite records, Russ Garcia’s Fantastica, and the unknown The Markko Pollo Adventures self titled album, our today entry comes with great passion, a personal favorite in the Exotica and Space Age Pop universe. You can check a dossier about the subject here, and with our last entries highlighted on top! We believe that the milestone works from Martin Denny and famous arranger Les Baxter are truly amazing, though due to the high commercial appeal and large number of releases, the musical developments became to dilute throughout the years, climaxing with the death of the genre in the mid60’s.

Nevertheless, expect to encounter ‘Hypnotique’ and ‘The Passions’ here soon!

Let’s go to our artist:

Dominic Frontiere
Dominic Frontiere

Dominic Frontiere (17 June 1931, New Haven, Connecticut) grew up in a musical family, learning several instruments before adopting the accordion as his main focus. He proved a prodigy, and was travelling to New York for lessons with accordion virtuoso Joseph Biviano at 7 and performing solo at Carnegie Hall at the age of 12. From an early age, its interest in music went beyond just performing, though, and he studied classical music, arranging, and composition through high school and after!

He joined Horace Heidt’s big band in 1949, replacing accordion star Dick Contino and becoming lead arranger as well. He left Heidt in 1952 and moved to Hollywood, where he studied with Mario Castelnuovo-Tedesco at UCLA and with violinist and studio conductor Felix SlatkinFrontiere was then, taken under the wing of Alfred Newman, music director at 20th Century-Fox studios, and his brother, famous film composer Lionel Newman, who soon had him working on a variety of scoring jobs.

Alfred Newman
Alfred Newman

Frontiere experimented several novelties from his studio work, one was an album for Columbia, Pagan Festival, that is now recalled fondly as one of the prime examples of true exotica. One suspects that he ran Yma Sumac’s albums for a few spins while conceiving on the pieces on this work, which feature titles as ‘Jaguar God’Venus Girl’, with subtitles recalling Mayan or Inca language, as Ixtab, and Tampu-Anca.

Dominic has concentrated on composing for films/television since the early ’60s. His scoring credits include such films as Hang ‘Em High, Incubus, Chisum, The Train Robbers, Brannigan, and The Stunt Man. On television, he composed the theme for the aliens-are-among-us series, The Invaders, science fiction The Outer Limits, and also The Fugitive, The Flying Nun, BrandedMovin’ Onamongst many others.

1968 Film Poster
1968 OST

Along with Art Van Damme and Johnny Hamlin, he ranks among the leading (and only) jazz accordionists, with an active career until the ’90s. Recently many of its soundtracks were available in cd re-releases, where you can check it out here!

Let’s go to our album:

The liner notes on the back cover spoke of the music’s “interpretation of ancient Inca rituals, superstitions, and the romance and mysteries of their colorful civilization“, but the blending of musical styles was not limited to that of the ancient Latin American culture (if anyone knew what that would sound like!). Frontiere let his imagination run wild, and he brought in sounds from the South Pacific to Eastern Europe, e.g.

1963/64 OST
1963/64 OST

So, here a female choir wafted in and out along with string sections, brasses, and reeds, creating a patchwork quilt that somehow held together. Frontiere‘s music charmed like an entertaining Hollywood score for a movie set in some faraway place, it may not have been historically accurate, but it was a lot of fun to listen to, jouir!

The ‘IM’ highlights are House of Dawn (Paccari-Tampu) and Venus Girl (IX-Koben).

Lastly, this is an exclusive release, เดินทางที่ดี!

Tracks Include:

A1 Festival

A2 House of Dawn (Paccari-Tampu)

A3 Temple of Suicide (Ixtab)

A4 Moon Goddess (Ixchel)

A5 Time of Sunshine (Yaxkin)

A6 Goddess of Love (X-Tabai)

B1 House of Pleasure (Tampu-Anca)

B2 The Harvest (Zax)

B3 Corn Festival (Zabacil Than)

B4 God of Seasons (Kukulkan)

B5 Jaguar God (Balam)

B6 Venus Girl (IX-Koben)

Credits

  • Artwork: Irene Trivas
  • Composed, Conductor: Dominic Frontiere

Columbia ‎– CL 1273

Beltrane Fire Festival
Beltrane Fire Festival

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!)

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