***Mode Plagal -III -fantastic Greek Jazz with folk infusions!***

Mode Plagal, a pioneering jazz-folk Greek fusion group offering a unique approach to traditional music, has created a signature sound both familiar and refreshingly new, that has led to their album topping many lists of the best recordings of 2001 in Greece. This is a work produced with great care, with an international audience in mind, including excellent bilingual liner notes (with a special English-only text on the history of vernacular Greek music), and the high caliber (and high profile) of guest singers. All those things are simply supportive of the main ingredient of the album, the group itself. Propelling the music with a verve and dignity that shows both great musicianship and deep admiration for the original material, Mode Plagal reinvent it without betrayal. Joyful and vibrant, their versions are an adaptation of the age-old material for contemporary society, conserving the tradition's intrinsic value in a way that no amount of faithful interpretation ever can. This is music produced over centuries, where reinterpretation was part of its appeal. The skillful performances of that material have an easy air, despite the apparent novelty of the jazz orchestration. It appears that Mode Plagal thought long and hard about the way their music would sound, but then performed it with total abandon. The high point of this album, and the difference from the previous two, is the participation of four noted guest performers. They deliver some of their best interpretations on record. Savina Yannatou is her usual wildly improvisational self, but it's quite rare for her to allow herself so much leeway, certainly more than on any of her solo records with the possible exception of the live Terra Nostra. Theodossia Tsatsou, who is best known for her ethereal vocals with her former band Blé and her ensuing solo career, delivers a highly original version of a twentieth century drunkard's song. Eleni Tsaligopoulou offers a minimalist but highly effective version of an immigrant's song in a career-high performance. Yiota Vei elaborates and attenuates lyrics that in the hands of a lesser singer would have appeared banal. Her treatment brings forth the soul of the songs, especially on "Deli Papas." The importance that Greeks have been placing on 'levendià,' a traditional manly characteristic and a word that is really untranslatable, comes to life with her performance. That this is a song about a priest is just indicative of her ability. Also featured is Evgenios Spatharis, a voice that is familiar to every Greek as the chief contemporary performer of "shadow plays," a traditional theatrical form of Middle Eastern ancestry akin to a puppet show, where the heroes are visible only through their projections on a screen. That is the only one that loses a lot of its majesty for non-Greek speakers, as the hilarious improvised dialogue is impossible to reproduce. Mode Plagal have once again developed their particular niche, this time through the help of their esteemed guests, and it seems that the sky is the limit for them. Together with the 'Greeks & Indians' co-operative, they should be considered the pre-eminent ambassadors of the much-maligned vernacular Greek music in the 21st century, a worthy accolade for a group of rare musical instinct.» (Nondas Kitsos, CDRoots) PART 1 PART 2

just a quick note from me

Hi fans, sorry i have been elsewhere engaged just recently. I have at .least 3 very good albums of different genres to upload very soon, so hold on a little longer! After the 9th April i will tidy up this site a bit & maybe get back into the business of posting more stuff. If i get round to it i may post the albums in a few hours from now..we'll see..

Enigma (1996) -Le Roi est Mort, Vive le Roi!

This album continued Enigma's trend, giving it a slightly more modern, futuristic sound by combining the elements of Enigma's first album, MCMXC a.D., and their second album, The Cross of Changes. Michael Cretu, producer of the project, considered Le Roi est mort, vive le Roi! to be the child of the previous two albums, with the first being the father and the second being the mother, as indicated by the 19-second track, "Third of its Kind".

There are two editions of the packaging; one with standard paper artwork, and another with translucent tray and booklet artwork printed on a heavier plastic.

Le Roi est mort, vive le Roi! was nominated in the 1998 Grammy Awards for Best New Age Album and Johann Zambryski's album art design earned him a nomination for Best Recording Package.[2]

The intro track begins with a sample of mission control contacting the Discovery from the movie 2001: A Space Odyssey. The intro, including the famed "Enigma horn", is played in reverse for the closing track, "Odyssey of the Mind".

The track "T.N.T. for the Brain" contains samples taken from Jeff Wayne's Musical Version of The War of the Worlds. The samples are just audible, underlying the main music. They can be most clearly heard at the start and the end of the track, but are just noticeable throughout.
-shamelessly copied from Wikipedia.

"Le Roi est mort, vive le Roi!" Michael Cretu 1:57
2. "Morphing Thru Time" Cretu 5:47
3. "Third of Its Kind" Cretu 0:19
4. "Beyond the Invisible" Cretu, David Fairstein 5:00
5. "Why! ..." Cretu 4:59
6. "Shadows in Silence" Cretu 4:21
7. "The Child in Us" Cretu 5:05
8. "T.N.T. for the Brain" Cretu 4:26
9. "Almost Full Moon" Cretu 3:25
10. "The Roundabout" Cretu, Fairstein 3:38
11. "Prism of Life" Cretu, Fairstein 4:54
12. "Odyssey of the Mind" Cretu 1:41
Total length:
45:32

*

Enigma 1993 -The Cross of changes

Haunting, evocative, mysterious, and magnificent, Enigma's Cross of Changes offers nine musical explorations of sound and sensation that dazzle and amaze. The songs unfold in rolling waves, each more complex and richly layered than the last, yet each fully capable of standing alone as a musically satisfying experience. The standout track on this disc is "Return to Innocence", which combines Native American chanting, Celtic harmonies, and a deceptively simple lyric to devastating effect. At once esoteric and elemental, Cross of Changes is a fine example of the best the genre has to offer. --L.A. Smith

***
The Cross of Changes is a 1993 album by the musical project Enigma. It is Enigma's second album, following MCMXC a.D., released three years earlier.

The most notable song of the album is "Return to Innocence", which was released as a single and featured in several film soundtracks. A more rock-infused sound is present in The Cross of Changes, and the Gregorian chants from the previous album were replaced with ethnic-style world chants.

No. Title Writer(s) Length
1. "Second Chapter" Curly M.C. 2:16
2. "The Eyes of Truth" Curly 7:13
3. "Return to Innocence" Curly, Kuo Ying-nan, Kuo Hsiu-chu 4:17
4. "I Love You ... I'll Kill You" Curly, David Fairstein 8:51
5. "Silent Warrior" Curly 6:10
6. "The Dream of the Dolphin" Curly, Fairstein 2:47
7. "Age of Loneliness (Carly's Song)" Curly 5:22
8. "Out from the Deep" Curly 4:53
9. "The Cross of Changes" Curly 2:23

Total length:
44:12



*

***Baris Manco - More of his earliest & best albums***

**********************************************
NOTE: as i have stated before, the available files were not the best quality but his albums are not all that easy to get. certainly worth a listen though! I love him!!


1972 -Dunden Bugune (Daglar Daglar)


1975 -2023


1976 Baris Mancho/Nick the Chopper


1979 Yeni Bir Gun

Enigma - 1990 - mcmxc a.d -classic German New Agey ambient

1. The Voice Of Enigma 2:21
2. Principles Of Lust: Sadeness/Find Love/Sadeness (Reprise) (Medley) 11:43
3. Callas Went Away 4:29
4. Mea Culpa 5:01
5. The Voice And The Snake 1:41
6. Knocking On Forbidden Doors 4:22
7. Back To The Rivers Of Belief: Way To Eternity/Hallelujah/The Rivers Of Belief (Medley) 10:36


*

***Jean Jacques Perrey (France) 2 of the best albums by Electronics legend***

*************************************************************************************

Moog Indigo (1970)



J.J. Perrey was born in France in 1929. He was studying medicine in Paris when he met George Jenny, inventor of the Ondioline. Quitting medical school, Perrey traveled through Europe demonstrating this keyboard ancestor of the modern synthesizer. At the age of 30, Perrey relocated to New York, sponsored by Caroll Bratman, who built him an experimental laboratory and recording studio. Here he invented "a new process for generating rhythms with sequences and loops", utilising the environmental sounds of "musique concrète." With scissors, splicing tape, and tape recorders, he spent weeks piecing together a uniquely comique take on the future. Befriending Robert Moog, he became one of the first Moog synth musicians, creating "far out electronic entertainment". After establishing himself at the vanguard of electronic music as one half of Perrey & Kingsley, J.J. Perrey continued to pursue his own uniquely space-age brand of humor-oriented pop throughout the 1970s. One of the best examples of his work during this time is "Moog Indigo", an album built around Perrey's experiments with the Moog synthesizer. This album has been popular with the electronica crowd thanks to the presence of "E.V.A.," a funky synth excursion that became popular with remixers.

01 - Soul City
02 - E.V.A.
03 - The Rose and The Cross
04 - Cat In The Night
05 - Flight of The Bumblebee
06 - Moog Indigo
07 - Gossipo Perpetuo
08 - Country Rock Polka
09 - The Elephant Never Forgets
10 - 18th Century Puppet
11 - Hello Dolly
12 - Passport To The Future

With David Chazam - Eclektronics (2000)


01. What’s Up Duck?
02. Analog Dialog Listen
03. Loop 1
04. My Blue Morlok
05. Elephant on the Roof
06. Clones War Listen
07. Loop 2
08. Doc Tequil and Mister H.
09. Japanese Connection
10. Loop 3
11. Cyberbugs Time-Machine
12. 28th Paradigm
13. Loop 4
14. Neutronia
15. Bilbo K. [Instrumental]
16. Chronophonie 99
17. Loop 5

(LINKS ABOVE PICS)

WANT MORE??

***Supersister -Present from Nancy (Netherlands 1970) great fun 'Canterbury Scene' prog***

Supersister can claim to be one of the very first non-British groups to play rock music that was progressive. Although Zappa and Soft Machine were almost certainly big influences, the ironic thing is that the group sounds more like Hatfield and the North or Matching Mole, who didn’t exist until several years after the group recorded their debut album, considered by almost everyone to be their best album. Another irony is that the group basically kept the exact same sound and style on their first four albums, with little experimentation with new sonic possibilities, but of course, those albums were recorded over a pretty short period of time. Supersister’s lineup was keys/vocals, flute, bass, and drums. The lack of a guitarist and dedicated lead vocalist gives their music a very open and spacious quality. The keyboardist sticks to organ most of the time, often with the Canterbury-style distortion, but usually clean. There’s also a lot of electric piano and piano, especially on later albums. The roots of the music are a triumvirate of jazz, pop, and experimentalism, with a significant amount of humor and a whimsical approach. All of the albums sound quite similar to each other, so if you like one, you might as well buy all of them. Basically half of their music is humorous pop music, sometimes with lyrics, and the rest is the progressive instrumental stuff.

Present From Nancy is usually considered to be their best album, and it is a good album. Each side of the album is a long suite of short musical ideas that range from simple to very complex, peaceful to loud and dissonant, and always-changing to very repetitive. The main unifying force is the sound, which leans heavily on organ, and only occasionally does the flute or bass have a very important role.

part 1
part 2

***Airto Moreira -Seeds on the Ground (Brazil 1971) classic and classy jazz with gorgeous dreamy female vocals***

Airto Moreira (born August 5, 1941) is a Brazilian jazz drummer and percussionist. Airto is married to jazz singer Flora Purim. He currently resides in Los Angeles.
Airto Moreira was born in Itaiópolis, Brazil, into a family of folk healers, and raised in Curitiba and São Paulo. Showing an extraordinary talent for music at a young age, he became a professional musician at age 13, and his first landmark recording was Quarteto Novo with Hermeto Pascoal in 1967. Shortly after, he followed his wife Flora Purim to the United States.
This is one of Airto’s best albums, featuring Hermeto, Flora, Sivuca and Ron Carter. This is an acoustic recording, more like Brazilian folk music than the fusion styles of other Airto albums.

**

***The Wind in The Willows S/T (us 1968) Gorgeous folky pop-psych feat. a young Debbie Harry***

This New York group is most notable for the inclusion of Debbie Harry, who was later in Blondie. A dreamy album it has its moments. Aside from two cover versions of Don Everly and Roger Miller songs, the album's hippie flower-pop songs were written by the band members. The outstanding track being the hypnotic narration/chant There Is But One Truth, Daddy, which has a musical backing slightly reminiscent of Pink Floyd. The band took their name from the children's book by Kenneth Graham.

The album was produced was Artie Kornfeld, who contributed to the Woodstock '69 Festival. He also produced another interesting album, A Time To Remember!,which was credited to The Artie Kornfeld Tree.

01. "Moments Spent" 2:58
02. "Uptown Girl" 2:57
03. "So Sad" 3:15
04. "My Uncle Used To Love Me But She Died" 2:18
05. "There is But One Truth, Daddy" 8:20
06. "The Friendly Lion" 3:20
07. "Park Avenue Blues" 2:40
08. "Djini Judy" 2:42
09. "Little People" 4:07
10. "She's Fantastic And She's Yours" 3:44
11. "Wheel Of Changes" 4:02

IDA ANDREWS flute, vcls PETER BRITTAIN gtr, vcls ANTON CARYSFORTH drms STEVE "MARVELLO" DE PHILLIPS bs, vcls DEBORAH HARRY vcls WAYNE KIRBY vcls, bs, keyb'ds PAUL KLEIN gtr, vcls

**

***The Sound of Feeling -Up into Silence" (us 1968-1971) -wonderful twin vocal (literally) jazz album***

"The Sound of Feeling was a group initially consisting of multi-instrumentalist/arranger/singer Gary David and twin sister vocalists (Alyce Bielfeldt and Rhae Bielfeldt (later Alyce and Rhae Andrece), who met in Los Angeles in the mid-1960's. The sisters had been trying to break as a singing duo, and had even done a stint in Las Vegas as showgirls, whilst David had been playing jazz in the area around San Francisco, following his discharge from the army in 1959. In addition to being proficient on bass, piano, and drums, he also sang and arranged. He and the Andreces, choosing the name The Sound of Feeling, moved into realms of avant-garde jazz that managed to incorporate elements of pop music, classical, and even folk sources, built around the sisters' unique, soaring vocal sound. Their music, a bolder variant of the kind of vocalise approach that the Swingle Singers had been burning up the charts with (and which the Manhattan Transfer would virtually patent in the 70's), made them too cutting-edge to succeed as more than a cult act in mid-1960's Los Angeles; a stint at a club called the Losers, on the Sunset Strip had them pegged as 'too far out,' according to David in his notes to the 2007 reissue of their two albums. But by 1967, amid the burgeoning psychedelic boom, the Sound of Feeling were in exactly the right position in relation to pop and jazz — they were heard by jazz critic/scholar Leonard Feather, who took to their innovative approach to jazz vocalizing and put them together with Oliver Nelson. The result was their debut album for Verve Records, with Feather producing, supported by Nelson on soprano sax, with Ray Neapolitan (bass), Chuck Domanico (bass) and Dick Fisher (drums), which earned a Grammy nomination. They were signed to Mercury Records following an appearance with Duke Ellington at the Newport Jazz Festival, which yielded their second album, Spleen, which — like its predecessor — got a Grammy Award nomination. The group continued working together until 1972 when David and the Andreces went their separate ways."

Tracklist:

1. My Favourite Things 3:26
2. Waltz Without Words 4:10
3. Who Knows What Love Is? 4:24
4. Phrases 3:41
5. Circe Revisited 5:55
6. Hurdy Gurdy Man 5:29
7. Hex 6:12
8. Up into Silence 2:06
9. The Time Has Come for Silence 7:46
10. Along Came Sam (The Morning of the Mutations) 4:06
11. The Sound of Silence 3:37
12. Spleen 2:56
13. Mixolydian Mode from the Microcosmos, Book II 10:38
14. Something Big Bonus Track 3:33
15. Spider Man Bonus Track 2:44
16. Love Is in the Sun Bonus Track 2:24
17. Born With the Eagles Bonus Track 2:23
18. Spring Rain Bonus Track 2:41

*********************** Alyce Andrece — Vocals Rhae Andrece — Vocals Joe Roccisano — Flute, Sax (Alto), Sax (Soprano) Oliver Nelson — Sax (Soprano) Gayle Levant — Harp Paul Beaver — Moog Synthesizer Gary David — Marxophone, Piano, Vocals Fred Katz — Cello Ray Neapolitan — Bass Chuck Domanico — Bass Dick Fisher — Drums Maurice Miller — Drums Dave Parlato — Bass Emil Richards — Percussion

**

***Annabouboula-Immortal Water-2010 US-Greece- gorgeous Greek world music beauty-DON'T MISS!***

Apologies for the shitty bitrate but i couldnt find another file.
still bloody worth hearing and you can get album on Amazon.
(if you find a better copy let us know by posting in the comments.)

Annabouboula are a Greek-American musical trio that flourished in the 1980s and 1990s. Its members were Anna Paidoussi, George Sempepos, and Chris Lawrence, who are based in New York, New York and in Athens, Greece.
The group's style was steeped in eastern Mediterranean music and in Greek music in particular. This is their last album recorded in 2010.

***

sounds extremely similar to



Beyond the Bosphorus

***Notice from Psychelatte

March 2012 -well, that is it. i am NOT doing my own uploads any more, getting too many hassles from MF and 4sh..so from now on i will just post to other's links...obviously i will check they work and will try to make sure they are the highest quality.

..if you find a link to a file is down (some of my more recent uploads have been suspended too), you can let me know if you like, but for quicker results, search for yourself on captaincrawl or filestube..

***Yma Sumac -Miracles (Peru 1971) -Rock with 4 Octave operatic legend voice!***

Yma Sumac was born on September 13, 1922 Ichocán, Peru as Zoila Augusta Emperatriz Chávarri del Castillo. A singer with an amazing four octave range, Yma Sumac was said to have been a descendant of Inca kings, an Incan princess that was one of the Golden Virgins. Her offbeat stylings became a phenomenon of early '50s pop music.
In 1971, she released a rock album, called "Miracles" produced by Les Baxter and then returned to live in Peru.Yma wails, moans and twitters her way through a groovy electric guitar backing.
It's the Peruvian lounge goddess doing her wild, wordless 5 octave vocalizations and this is her only album backed by a rock band.
There are no lyrics here, just Sumac's vocal flights which ride over rock textures. Although the rock here sounds like it is straight out of the Berklee College of Music, jazz influenced organ courtesy of Richard Person, Chuck Cowan's guitar, the bass of Roger Cowan and Skippy Switzer's drums, all shine here.

**

***Nancy Priddy -You've Come This Way Before (uk 1968) gorgeous batty pop-psych!***

Musician and actress Nancy Priddy made her debut album, You've Come This Way Before, in 1968. She'd started out in the mid-60's, performing in Greenwich Village clubs with The Bitter End Singers and seemed uncertain whether to throw her energies into singing or acting but did come up with a classic album of 'psychedelic folk-jazz- pop' (my own ugly invention to describe what she did) which no one bought. Nancy dropped out of the music world in order to raise her daughter, the actress Christina Applegate, did some minor film and TV work but did come back in 2008 with an album called Christina's Carousel.

Tracklisting

1. You've Come This Way Before
2. Ebony Glass
3. Mystic Lady
4. Christina's World
5. We Could Have It All
6. My Friend / Frank
7. Little Child
8. And Who Will You Be Then
9. On The Other Side
10. Epitaph

**

Gringo -Gringo (uk 1971, Canterbury Scene prog)

Evolving from student beat groups, Utopia /Toast, in sixties Bath, Gringo toured in Europe and even made a living with a club residency on the south coast of France. They were opening act on a UK tour featuring Barclay James Harvest and Caravan. Their recorded legacy is a quality album of pop-tinged progressive rock that still sounds fresh, with a lightness of touch and many distinctive twists. The song-within-a-song piece, Emma And Harry, is worthy of note, but all nine tracks are good. It is tempting to wonder if Land of Who Knows Where may have been inspired by a certain Caravan album released the same year! Gringo split and John Perry joined Spreadeagle but not in time to play on their only album. The Caravan connection reappeared and he joined that band in time for the Girls Who Grow Plump album. He played later with Quantum Jump, Curved Air and Aviator and did a host of session and solo work. Henry Marsh sampled chart success with Sailor, and Simon Byrne worked with Brotherhood of Man among others. There you have Gringo, an overlooked band and album, worth discovering. The B-side of their single is a non-album track. Tapestry Of Delights

01. Cry The Beloved Country

02. I'm Another Man

03. More And More

04. Our Time Is Our Time

05. Gently Step Through The Stream

06. Emma And Harry

07. Moonstone

08. Land Of Who Knows Where

09. Patriotic Song

Bonus

10. I'm Another Man (single A-side)

11. Soft Mud (single B-side)

**

***Magna Canta - Gregorian Mystics -2 cd of Gregorian monks chanting in Latin to a dance beat! Great for Enigma fans!***

Note: this band made 5 albums including this one, but as this one includes all their songs you may as well forget the others..i dont believe the versions are any different either..great stuff anyway..

"Rhythms of sensual melodies com-bined with smooth euro style dance beats make this an ethereal trip hop groove based release that takes elements of world music, new age and dance music to a higher ground. Where past, future and dreamlike visions and voices of chant unveil spiritual hymns and angelic forces of light and dark opening a mystical world of beautiful experiences.

So wander into the world of Magna Canta and bathe in divine bliss and amazing stories of mist filled skies and silvery moon filled evenings as they embrace fellow travelers in an angelic realm of magic and mystery." (Amazon.com)

"This is very well-done, blending beats and electronica with beautiful gregorian chanting. Exactly what I was looking for! It's darker, moodier and more varied than Enigma. Better in my opinion." (Amazon.com)

Track Listings

1. Hymn
2. Aethera Et Terra
3. Silentium
4. Ritmo
5. Offizium
6. Agnus Dei
7. Gregoria
8. Alleluia
9. Recordare
10. Cantandus
11. Spiritus Sanctus
12. Sancta Maria
13. Pater Noster
14. In Excelsiss Deo
15. Hiawari
16. Lux Lucies
17. Sanctum Chritie
18. Credo
19. Russia
20. Kyrie
21. Close To Heaven
22. Celestia Organa
23. Sequentia
24. Hymn ‹

cd1
cd2

The Souls of Inspyration (1970 Canada Psych Rock)

The "Souls Of Inspyration" were one of Canada's most obscure psych bands who recorded a real beauty back in 1968/69. Nice hammond / organ drenched psychy prog with some wonderful fuzzed out guitar and heavy vocals and psychy harmonies...what else could you ask for? At times this album really reminds me of early Deep Purple Mk 1 era with Geoff Mann like vocalizations (Twelfth Night Lead Singer). An excellent piece of Canadian Psych history.
(~ungerprog)

Red Lake, Ontario soft-psych rockers the Souls of Inspyration made the requisite bar slog across Central Canada before setting up shop in Sherbrooke, Quebec in late 1968. There, they recruited keyboardist Raymond Cloutier, morphed their sound into a murkier psychedelic mix and toured Quebec with the likes of Vanilla Fudge and Tommy James and the Shondells, thus solidifying their fan base across the belle province. A battle-of-the-bands competition at Montreal's Man and His World exposition in July 1970 won the band a fortnight slot at the Canada pavilion at Expo 70 in Osaka, Japan.

Awash in accolades and promise, the band inked a recording deal before cutting their lone wax offering for the then-progressive Columbia Canada label (whose adventurous roster also boasted The Magic Bubble, Mashmakhan and It's All Meat). Peddling the same somewhat hoary riffs as their fellow Quebeckers Mashmakhan - breezy Hammond organ, airy acoustic guitar and buoyant but blinkered lyrics - The Souls of Inspyration lamentably founders more than it floats. There are pockets of potential here - 'Eyes of Nature' is blithe and spacious post-psychedelia, recalling Jerry Corbetta's brighter moments with Sugarloaf. However, much of The Souls of Inspyration - the drug-addled lyrics and limp songwriting to be specific - is best left to languish in obscurity. For psych completists only.

Tracks:
side one:
A1_Pursuit
A2_Stranger
A3_Sun Shines In The Winter
A4_Dil Kusha (Hearts Happiness)

side two:
B1_Of Lambs & Wolves
B2_Eyes Of Nature
B3_Seasons Of Change

Souls Of Inspyration:
John Maciejewski - Lead Guitar and Vocal
Raymond Cloutier - Hammond Organ, Piano, Background Vocals
Mark Paradis - Drums, Background Vocals

**
Don Wilson - Bass
(~canuckistanmusic)

***Various Artists - Surf Rock Alla Turca -The Turkish Way to Surf***

Great Compilation By Cappucino, 20 Rare Turkish Surf Tracks

**

***Various Artists Beginner's Guide To Bollywood Vol. 2- even better than the first!!***

'The Beginner's Guide To Bollywood 2' is another voyage through Hindi cinema, exploring music culled from the six decades since Indian independence in 1947.

CD1 introduces us to the faintly ludicrous but hypnotically funky world of Bollywood Disco, plundering dance tracks from the late ’70s and early ’80s. CD2 goes back a few decades to explore big band rock ’n’ roll tracks from Hindi films of the ’50s, ’60s and ’70s. CD3 is a collection of much-loved kitsch and exotica – novelty tunes, comedy ditties and children's songs from Bollywood's golden age.

You'll hear these shrill vocals, thunderous folk rhythms, crunchy guitars and ramshackle string sections blaring out of radios and televisions in most of the Third World, from Indonesian taxi cabs to Kenyan bars to Mumbai restaurants. It's the music that greeted the fall of the Taliban in Afghanistan. It's the sound of Bollywood and it's the most popular music in the world.

Track List

CD 1
1 Love Is Many A Splendoured Thing
Usha Uthup
Film: 'Dard Ka Rishta' (1982)
2 Rambha Ho Ho Ho
Usha Uthup & Chorus
Film: 'Armaan' (1981)
3 Jab Chaye
Asha Bhosle
Film 'Lootmar' (1980)
4 I Am A Disco Dancer
Vijay & Chorus
Film 'Disco Dancer' (1982)
5 Jeena Bhi Kha
Salma Agha
Film 'Kasam Paida Karne Wale Ki' (1984)
6 Kasam Paida Karne Wale Ki
Vijay Benedict
Film 'Kasam Paida Karne Wale Ki' (1985)
7 Ah Dil Kya Mahfil Hai
Kishore Kumar
Film 'Hum Kisise Kum Naheeni' (1977)
8 Om Namah Shivae
Kishore Kumar
Film 'Pyaas' (1982)
9 Main Gul Badan
Usha Uthup
Film 'Locket' (1986)
10 Aflatoon
Bappi Lahiri & Chorus
Film 'Dilse Mile Dil' (1978)
11 Hari Om Hari
Usha Uthup & Chorus
Film 'Pyaara Dushman' (1980)
12 Auva Auva Koi Yahan Nache
Usha Uthup
Film 'Disco Dancer' (1980)
13 Krishna Dharti Pe Aaja Too
Nandu Bhende
Film 'Disco Dancer' (1982)

CD 2
1 Jaan Pehchaan Ho
Mohammed Rafi
Film 'Gumnaam' (1965)
2 Main Hoon Pyar Tera
Asha Bhosle
Film 'Teesri Manzil' (1966)
3 Bade Miyan Diwane
Mohammed Rafi
Film 'Shagird' (1967)
4 Gulabi Raat Gulabi
Asha Bhosle
Film 'Upkar' (1967)
5 Piya Tu Ab To Aaja
Asha Bhosle
Film 'Carravan' (1971)
6 Motiyon Ki Lari Hoon Main
Lata Mangeshkar
Film 'Loafer' (1972)
7 O Mehki Mehki Thandi Hawa
Kishore Kumar
Film 'Bombay To Goa' (1972)
8 Duniya Pagal Hai
Mohammed Rafi
Film 'Shagrid' (1967)
9 Pyase Do Badan
Asha Bhosie
Film 'Prem Nagar' (1974)
10 Karie Pyar
Asha Bhosie
Film 'Talash' (1969)
11 Tum Ne Apna Na Banaya To
Asha Bhosie
Film 'Upaasna' (1971)
12 Tum Jo Mil Gaye Ho
Mohammed Rafi
Film 'Hanste Zakhm' (1973)

CD 3
1 We Love Sunday
Kishore Kumar & Chorus
Film: 'Anjaan Raahen' (1947)
2 Sunay Ke Sunday
Chitalkar...
Film: 'Shehnai' (1947 )
3 Are Tauba Are Tauba Yeh Teri Ada
Geeta Dutt
Film: '12 O'Clock' (1958)
4 Tum PyarSe Dekho
Nitin Mukesh
Film: 'Sapnon Ka Saudagar' (1966)
5 Twinkle Twinkle Little Star
Asha Bhosie
Film: 'Purab Aur Pachim' (1970)
6 Hum The Who Thi
Kishore Kumar
Film: 'Chalti Ka Nam Gaadi' (1958)
7 Listen To The Pouring Rain
Usher Iyer
Film: 'Bombay To Goa' (1972)
8 Shola Jo Bhadke
Late Mangeshkar
Film: 'Albela' (1951)
9 African Dance
Chorus
Film: 'Aamne Saamne' (1967)
10 Phoolon Ke Mele
Asha Bhosie
Film 'Devta' (1956)
11 Koi Aaya Aane Bhi De
Asha Bhosie
Film 'Kaala Sona' (1975)
12 Freak Out Music
Instrumental
Film 'Heera Panna' (1973)
13 Haal Kaisa Hai Janab Ka
Asha Bhosle
Film 'Chali Ka Nam Gaadi' (1958)
14 Mil Gaya Ham Ko Saathi
Asha Bhosle
Film 'Hum Kisise Kum Naheen' (1977)

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***Orhan Gencebay - Leyla ile Mecnun (1983) -outrageously fantastic Turkish film OST!***

From Wikipedia:

Orhan Gencebay (born August 4, 1944 in Samsun, Turkey as Orhan Kencebay) is a Turkish musician, bağlama virtuoso, composer, singer, arranger, music producer, music director, and actor.

Gencebay was born in the coastal town of Samsun on August 4, 1944, to Crimean Tatar and Balkan Turkish parents.[citation needed] He started learning music at the age of six, taking violin and mandolin lessons from Emin Tarakçı who was an old Classical Musician from the Ukraine Conservatoire. At the age of seven, he started playing the bağlama (a traditional Turkish instrument), and continued taking traditional Turkish folk music lessons. At ten, he created his first composition. At thirteen, he started playing the tambur, an instrument often used in Turkish classical music to improve himself in the theoretical and practical details of Turkish classical music.

During his high school years, he performed in Classical and Traditional Turkish Folk Music groups playing the tambur and baglama, taught music lessons in his own music courses, and took part in organizing community music centers in Istanbul and Samsun.

When he was sixteen, he became interested in jazz and rock music, and started playing tenor saxophone in wind orchestras. He enrolled in the Turkish conservatory in Istanbul, and studied there for four years. During his military service, he played saxophone in the military brass band.

In 1968, he released his first "free-style" single "Sensiz Bahar Gecmiyor/Basa Gelen Cekilirmis", and was rewarded. During the 1970s he released many singles in a new genre that is a fusion of traditional Turkish Folk music, Turkish classical music, Western classical music, jazz, rock, country, progressive, psychedelic, Indian, Arabic, Spanish, and Greek music styles. Even though some musical societies such as TRT named that kind of World fusion music recordings Arabesque music, Orhan Gencebay refused the term arabesque, saying it was inadequate to define his style.[3][4][5] In 1972, he founded the Kervan Record Company, which became very successful, attracting many other talented musicians such as Erkin Koray, Ajda Pekkan, Muazzez Abaci, Mustafa Sagyasar, Ahmet Ozhan, Kamuran Akkor, Semiha Yanki, Samime Sanay, Nese Karabocek, Bedia Akarturk, Nil Burak, Ziya Taskent, Semiramis Pekkan and Ferdi Ozbegen.

Throughout his career Orhan has performed leading roles in 36 movies, has been a composer almost in 90 movies, composed of about a thousand[6] works, released almost 35 singles, 15 albums, and dozens of MC's. His albums sold out over 65 million legal copies.

As a composer, film musician, and as a person interested in other musical cultures, Orhan Gencebay is one of the major exponents of Turkish music in the 20th century.

***

***Various Artists- Beginners Guide to Bollywood Vol 1 3cd box set***

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***Bruno Spoerri -Gluckskugel -fantastic blippy electronic wizardry with a jazzy feel***

Editorial review from Amazon.com:

Finders Keepers present the first ever collection of musical works of Bruno Spoerri, the mythical character who used to work with members of legendary Krautrockers CAN and composed music for engineering companies and made motivational music for industrial sites and factories utilising concrete techniques, primitive sampling techniques and contemporary experimental psych-rock and funk musicians. Bruno also composed embryonic pre-Nintendo sprite-themes for the Germanic equivalents of It's A Knock Out and various Takeshi's Castle style fantasy sporting events - as well as educational robot sex films and art school cinematic anomalies. Packed with rare and previously unseen photographs and detailed liners by Bruno, and following the success of Jazzman Records long deleted and HIGHLY collectable 7" reissue a few years ago, this unique collection of Bruno's vast, and largely unheard until today, body of work is sure to go on to similar critical and commercial success!

By
fluffy, the human being. (forest lake, mn) - See all my reviews
This review is from: Gluckskugel (Audio CD)

for something off the beaten track, here's an extremely fun cd of music composed between 1971 and 1980 for various projects, including: some rejected tracks for a TV show in switzerland (1978), three tracks from an experimental film about an evening in the life of a striptease dancer (also 1978), an electronic work for a trade exhibition in basle (1971), theme music for a successful swiss tv quiz show (1972), music for a PR-disc made for an iron-foundry company (1972), more PR music for a company called "lansing-bagnall" (1971), and finally, music from a documentary film about an art exhibition in zurich (1980). lots of synths, keyboards, and electronics throughout. and it is all fun stuff. highly recommended for those who like something different.

**

***Baris Manco -Sozum Meclisten Disari (1981)***

**

***Baris Manco 1977 - Sari Cizmeli Mehmet Aga- Turkish anatolian folk-psych***

another of the very best albums of Mr.Manco!

**

***Baris Manco -Sakla Samani Gelir Zamani (1976) -great RARE Anatolian album from this Turkish legend!***

NOTE** Most of Baris Manco's albums are very scarce and go for large sums even on cd, and the downloads available are unfortunately not top quality, but they are far better than nothing!

Istanbul born Barış Manço was one of the most influential Turkish musicians of all times. His musical style combined traditional Turkish folk music, türkü, with western rock and even funk. In 1962 Manço formed his first band after seeing a live performance of another legendary Turkish rock star Erkin Koray. After few own bands in 1960s and brief recordings backed by well known Turkish band Mogollar and reformed Kaygısızlar (his own band from late 60s) he went to form Kurtalan Ekspres in 1972. That band accompanied him until his death in 1999. After a serious car accident in 1967 Manço grew his signature moustache to cover the scars he got.

Sakla samanı gelir zamanı (a Turkish proverb meaning “save hay for a rainy day”) was the third album of Barış Manço after succesful Dünden Bugüne (1972) and 2023 (1975). All these were backed by the legendary Kurtalan Ekspres orchestra. Sakla samanı gelir zamanı wasn’t actually a studio album, but a compilation of singles released by Yavuz between 1972 and 1976. There’s plenty of different types of good tracks in this album. The hypnotic downtempo rare groove number “Gönül dagi” (1973), midtempo funky Anatolian rock number “Kalk gidelim küheylan” (1973) with nice percussion work and very oriental feeling. There’s also midtempo funky “Nazar eyle nazar eyle” (1974) and “Ölum allahin emri” (1972) which after a minute or so intro turns into a nice midtempo oriental funkrock song. “Lambaya püf de!” (1973) is a downtempo mellow song that turns into a nice oriental funk song in the end. The best track no doubt is the uptempo oriental funk song “Ben bilirim ben bilirim” (1975) with nice catchy melody and abreak in the end. There’s also quite hilarious music video of that song where the tempo slightly pitched up. “Ben bilirim” was later released on 20 Sanat yılı disco Manço cassette as a percussion driven disco version. Despite the variety of recording years and musical styles this album is a very strong Anatolian rock album. There is a German reissue of Sakla samanı gelir zamanı from 2008 with different cover and slightly different expanded tracklist.

**

***Various -Dirty French Psychedelics" ***

“On paper, “Dirty French Psychedelics” is a compilation for classic rock radio with names our parents would recognize. In reality, it is a hallucinated voyage through the land of French pop psychedelics to be listened to in one sitting, eyes half-open in the heat of the summer of 2009. Certain experts will tell you that Bernard Lavilliers or Brigitte Fontaine are not psychedelic, and they are probably right. Who cares? May the experts go back to counting their CDs. Psychedelics is a notion too precious and subjective to be imprisoned by such stylistic formatting; psychedelics are about perception, not “controlled appellations of origin”.
Dirty French Psychedelics is intended for fans of French pop from Serge Gainsbourg to Air, for people who want to discover or rediscover the music of the seventies, for those who want to listen to music without really paying attention and for those who want to listen attentively through their headphones.
Have a good trip.”

1. Christophe - Ferber Endormi
2. Bernard Lavilliers - Les Aventures Extraordinaires D'un Billet De Banque
3. Brigitte Fontaine - Il Pleut
4. Dashiell Hedayat - Long Song For Zelda
5. Cortex - Cortex A
6. Nino Ferrer - Looking For You
7. Jeanne Marie Sens - Tape Tape Tape
8. Jean Jacques Dexter - Be Quiet
9. Alain Kane - Speed My Speed
10. Francois De Roubaix - La Frite Équatoriale
11. Cheval Fou - La Fin De La Vie, Le Début De La Survivance
12. Christophe - Sunny Road To Salina
13. Ilous & Decuyper - Berceuse
14. Karl Heinz Schäfer & Arabian - Utopia

**

***Krautrock -Music for your Brain Vol 4- various artists***

Disc 1

01 - Ton Steine Scherben - Macht kaputt was Euch kaputt macht
02 - Out of Focus - Blue Sunday Morning
03 - Percewood's Onagram - Cause Me Pain
04 - Mythos - Neutron Bomb
05 - Drosselbart - Engel des Todes
06 - Michael Rother - Feuerland
07 - Murphy Blend - First Loss
08 - Pell Mell - City Monster
09 - Message - Before the Dawn
10 - Hanuman - Taue der Fremdheit
11 - Embryo - Es ist wie's ist
12 - Guru Guru - Electric Junk

Disc 2

01 - Neu ! - Isi
02 - Lied des Teufels - Nichts
03 - Out of Focus - Tsajama
04 - Nine Days Wonder - Moss Had Come
05 - Rufus Zuphall - Portland Town
06 - Drosselbart - Jemima
07 - Parzival - Black Train
08 - Nektar - King of Twilight
09 - Michael Rother - Katzenmusik 9
10 - Anyone's Daughter - Blue House
11 - Armaggedon - Open
12 - The Petards - Blue Fire Light
13 - Ihre Kinder - Wurfelspiel
14 - Ernst Schulz - XY

Disc 3

01 - Flaming Bess - Tanz der Gotter
02 - Neu ! - Negativland
03 - Thirsty Moon - Big City
04 - Out of Focus - Hey John
05 - Witthuser & Westrupp - Orienta
06 - Lied des Teufels - Das Lied des Teufels
07 - Embryo - Opal
08 - Deuter - Babylon
09 - A.R. & Machines - I'll Be Your Singer, You'll Be My Song
10 - Rufus Zuphall - I'm on My Way
11 - Improved Sound Limited - Catch a Singing Bird on the Road
12 - Emtidi - Traume

Disc 4

01 - A.R. & Machines - Globus
02 - Murphy Blend - Speed Is Coming Back
03 - Parzival - Groove Inside
04 - Michael Rother - Sonnenrad
05 - Ton Steine Scherben - Der Traum ist aus
06 - Sonny Hennig - Pik As
07 - Ihre Kinder - Hexenhammer
08 - Checkpoint Charlie - Smogalarm
09 - Jerry Berkers - Es wird morgen vorbei sein
10 - Improved Sound Limited - Rio Bravo 59
11 - Hoelderlin - Peter
12 - Drosselbart - Liebe ist nur ein Wort
13 - Armaggedon - Round
14 - Deuter - The Key

Disc 5

01 - Straight Shooter - My Time - Your Time
02 - Streetmark - Dreams
03 - Harlis - Runaway
04 - Ramses - Time
05 - Bullfrog - A Housepainter's Song
06 - Shaa Khan - The World Will End on Friday
07 - Wolfgang Riechmann - Silberland
08 - Cluster - Sowiesoso
09 - Octopus - The First Flight of the Owl
10 - Ramses - La Leyla
11 - Streetmark - Lovers

Disc 6

01 - Brainticket - Black Sand
02 - Tangerine Dream - Rising Runner Missed By Endless Sender
03 - Faust - Jennifer
04 - Triumvirat - Illusions on a Double Dimple
05 - Kraan - Wintrup
06 - Ougenweide - Der Fuchs
07 - Orexis - Unter-Rock
08 - Eloy - The Sun Song
09 - Franz K. - Sensemann

Vol 1
Vol 2
Vol 3
Vol 4
Vol 5
Vol 6

***Los Jaivas -Alturas De Macchu Picchu (Chile prog-folk,1981)- A celebrated classic***

Review from progarchives.com:

What would it sound like if you combined symphonic prog with Andean folk influences? Well, "Alturas De Macchu Picchu" by Los JAIVAS answers that question. This album is an incredible find for anyone who enjoys both progressive rock and traditional Peruvian, and Chilean, folk music. If you can imagine electric guitars, bass, drums, piano, and the Moog interacting with instruments like the cuatro, quena, and zamponia then you're in for a treat. "Alturas..." combines epic-length symphonic prog tracks, with shorter traditional Andean songs. In my opinion, the keyboardist really stands out when playing acoustic piano. He tends to mix pentatonic-based melodies with local rhythms, yet those melodies sound closer to Chinese classical folk more than American blues, or Eastern European folk. His style is unique in the world of rock. The other musicians are equally impressive, but I think most listeners will focus in on the excellent vocals. Anyway, this is one of the top 5 prog rock albums to come out of South America.*****

1. Del aire al aire (Alberto Ledo) (2:16)
2. La poderosa muerte (Los Jaivas - Pablo Neruda) (11:12)
3. Amor americano (Los Jaivas - Pablo Neruda) (5:28)
4. Aguila sideral (Los Jaivas - Pablo Neruda) (5:22)
5. Antigua America (Los Jaivas - Pablo Neruda) (5:38)
6. Sube a nacer conmigo hermano (Los Jaivas - Pablo Neruda) (4:46)
7. Final (Los Jaivas - Pablo Neruda) (2:43)


Line-up / Musicians

- Gato Alquinta / lead vocals, electric and acoustic guitars, bass, cuarto, zampoña, quena, ocarina
- Mario Mutis / bass, electric guitar, zampoña, quena, vocals
- Eduardo Parra / electric piano, Mini-Moog, tarka
- Claudio Parra / grand and electric piano, mini-Moog, harpsichord
- Gabriel Parra / drums, percussion, xylophone, trutrucas, tarka, vocals

Guest musicians:
- Alberto Ledo / all instruments (1)
- Patricio Castillo / quena (4), tarka (5)



**

***Los Jaivas -Cancion Del Sur (Chile prog 1977)***

review from Progarchives.com:

A unique sounding band produces a great album, very cheerfull and melodic classical folkish andean rock music, with great piano and guitar play, augmented with some more traditional instruments.

The music changes throughout the songs, often starting etnic/folkish and slow, but the intesity of the music grows on each passing minute, especially on Dum Dum Tambora, Danzas and Canción Del Sur that build-up is perfectly illustrated. The final Frescura Antigua kicks right in with classical guitars, augmented with some flute wizardry that also makes Canción Para Los Pàjaros such an enjoyable listening.

Los Jaivas in one of the few bands of South American origin I know, but it sure sounds very good, I prefer the next album Alturas de Macchu Picchu over this gem, but this album defines their sound in marvelous fashion.

Recommended, certainly if you like flute and etnic/folk melody and structures.

Listen and you will enjoy this.

Songs / Tracks Listing

1. La Vida Màgica, Ay Sí (3:21)
2. En La Cumbre De Un Cerro (5:06)
3. Canción Para Los Pàjaros (3:14)
4. Dum Dum Tambora (7:50)
5. Canción Del Sur (7:39)
6. Danzas (8:44)
7. Frescura Antigua (3:18)


Line-up / Musicians

- Gato Alquinta / vocals, electric and acoustic guitars, bass, trutrucas
- Pajaro Canzani / bass
- Eduardo Parra / electric piano and Mini-Moog
- Claudio Parra / grand piano, keyboards
- Gabriel Parra / drums, percussion and vocals

Guest musicians:
- Alberto Ledo / charango

**

***Baris Manco & Erkin Koray -Iste Baris, Iste Erkin- (Turkish Anatolian psych comp 1994)***

Fantastic compilation album of two great Turkish legends with plenty of fuzz guitar and catchy, catchy tunes!!
(Baris Manco is like a sort of Turkish George Harrison to me!)

**

***Los Jaivas -Los Jaivas/Indio (1975, Chile)-prog-folk- gorgeous album!***

review from progarchives.com:

During their early years, the interest on expanding the musical possibilities of folk music to new sonic domains drove Chilean ensemble Los Jaivas to assimilate the prog thing and use it as a strategy to realize their artistic vision. Their eponymous third album is a turning point, since the prog thing stops being just a mere strategy and becomes the main structure of their compositions and performances. With a momentarily new bassist in the fold (it wouldn't be long before Mutis returned to the band) and a renewed sense of energy, Los Jaivas conceived an amazing repertoire for an amazing record.

The opener 'Pregón para Iluminarse' starts with some delicious recorder lines that soon give way to an up-tempo Paraguayan folk based number: what takes place here is an exulting combination of jungle colours and the fire of rock, specially during the explosive guitar solo that appears in the closing section. By now the listener must be hooked, to say the least. 'Guajira Cósmica' finds the band traveling northbound, to the rain forests of Central America. After a brief, delightful acoustic interlude in 6/8 tempo, a guajira explodes in exaltation, with a whole lot paraphernalia of tropical percussion, enthusiastic chanting about the order of the universe, and eventually a recorder that flies around like a bird of truth - while this sequence fades out, a sustained distorted organ chord announces the reprise of the intro motif. In perspective, what we witnessed was the sudden emergence of a cosmological revelation that for a while filled our ordinary dull lives with an irresistible touch of joy and celebration.

'La Conquistada' goes somewhere else: a place of introspective reflectiveness where melancholy rules the soul and obliges the heart to face its own pain. The endless piano flourishes draw captivating images with mesmeric flows of classically oriented precise lines and jazzy painting; meanwhile, Alquinta's guitar leads perfectly complement the passion condensed in his singing. This is perhaps the most overtly emotional number on the record. Tracks 3 and 4 are the most directly focused on the folkish roots. 'Un Mar de Gente' is a delicate acoustic Andean ballad that soon incorporates a massive spectrum of percussive elements, giving the track a high- spirited tropical twist; 'Un Día de tus Días' is a romantic huayno, tender, evocative, nothing special but full of simple beauty. Had both these numbers been further developed, I imagine they could have become as attractive and explosive as the previous three ones.

The three-part instrumental suite 'Tarka y Ocarina' closes down the album with full splendour in an amazing display of electric fire and magical intensity. Despite the title mentioning two typical woodwind instruments from the Andes, this is in fact a piece where the electric stuff is the predominant one. Of course, there's lots of Andean woodwind and drums here and there, bur it is the jams which take the leading role in this epic: the hard rocking parts where Alquinta's guitar comes to the frontline, and the jazz fusion passages where Claudio Parra's piano floats energetically and exquisitely are simply unbelievable.

Despite the fact that I have mentioned and praised just a couple of specific factors, the thing is that this whole repertoire should be valued as an ensemble effort. The rhythm section is simply astonishing, since it sensibly captures both the ancient magic of Latin American folklore and the various nuances of jazz and rock; and the way that all five musicians share their woodwind and percussion duties is a symptom that these individual minds basically work as a whole unified one. "Los Jaivas" (also commonly known in the Latin American prog fan circles as "El Indio" and "El Indígena") is a quintessential in the context of South American 70s prog: though not a masterpiece, sure it is very good and essential.

**

***Los Jaivas -Todos Juntos (1972, Chile) -Prog-Folk***

review from Amazon.com:

this is a one of the most original works of andean music, colours and sounds of fusion of folk and rock. This album includes some titles like "todos juntos" recorded on 1976, its really a symbol, or "mira niñita", a ballad with powerful energy. Los jaivas have many albums and if you are looking a new kind of music I recomended that and others like alturas de machu picchu (words of a great poet Pablo Neruda) or "trilogia" to discover the music of this amazing group.

**

***Los Jaivas (Chile) -El Volantin -Mad wild rare Psych/prog/ethnic raveup!***

Los Jaivas appeared in Chilean music in 1963 as a progressive-rock-andino group, mixing rock with South American ancestral music. The Parra brothers met Mario Mutis and Eduardo "Gato" Alquinta (gato is the Spanish word for cat) in their childhood and joined to play music. They acquired fame in Viña del Mar, by playing at diverse parties and shows.

Name

The former name of the band was High-bass, which related to their differences in height, although another source mentions that it was because the bass guitar played at a very high volume compared to the other instruments. However, they quickly realized that an English-sounding name was not appropriate for a folk band, so they changed it to Jaivas (HIGH-BASS), a "Chileanized" pronunciation of "high bass" which ignores the fact that bass rhymes with base in English. The spelling of Jaivas is also a word play with the word Jaibas, which means crabs in Spanish.

'El Volantin' is one of the most sought after long plays of Chilean music history,fetching prices of 900-1000 USD.

The music on this album was almost completely derived from improvisations, and can be considered as a performance of a "happening". It was pretty wild and free. From 20 hours of work only 40 minutes were used for publication. There were only 500 albums printed. It became not so widely known because it also did not fit to what radio stations usually played. The usual rock groups from that time explored the electroacoustic styles, and were influenced by Cream or Jimi Hendrix and Led Zeppelin. Los Jaivas used the development of improvisation, also during the live concerts.This album was first privately released, with free, freak-out and drugged like versions of music based upon Chilean Folk fundaments and demented percussion. Not always fantastic, but with fine moments. Especially "Cacho" is worth discovering. The rest might be a bit exaggerating. Almost the complete album was totally improvised.

(From:http://progressive.homestead.com/LOSJAIVAS.html)

Los Jaivas are still active in Chile.


Songs / Tracks Listing

1. Cacho (5:44)
2. La Vaquita (7:11)
3. Por Veinticinco Empaná (3:00)
4. Tamborcito De Milagro (4:00)
5. Que O La Tumba Serás (3:22)
6. Foto De Primera Comunión (6:34)
7. Ultimo Día (8:26)
8. Bolerito (0:25)

Total time 38:44

Line-up / Musicians

- Gato Alquinta / lead and backing vocals, electric and acoustic guitars, recorder, ocarina, tumbadora
- Mario Mutis / bass, vocals, acoustic guitar, recorder, tarka, tumbadora, tambotcito de milagro, pandereta
- Eduardo Parra / organ, bongo, kultrum, xylophone, backing vocals
- Claudio Parra / piano, güiro, rasca de metal, pandereta, maracas, tambotcito, backing vocals
- Gabriel Parra / drums, tumbadora, kultrum, caja, maracas, cacho, trutruca, piano introdaction, vocals (2), backing vocals

Guest musicians:
- Geraldo Vandré / vocals
- Monks of Abadia del Viejo Mundo / bells

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***Tom Ze & Gilberto Assis -Santagustin (Brazil 2002) -This is GREEAAT!!***

The reviewer below also says "I can say that I have yet to hear a bad record by the guy, including his 90s comeback albums Hips of Tradition (1992) and Fabrication Defect: Com Defeito de Fabricao (1998). Strike that. I have yet to hear a Zé record that wasn't pretty great-- and in light of Animal Collective's recent Brazilian odd-ysseys, now is as good a time as any to seek out one of the country's original outsiders."


"Santagustin finds Zé returning to his roots in theater, as he teams with composer Gilberto Assis to provide music for the ballet troupe Grupo Corpo. Ballet? Yes, but check it: It's got homemade answering machine IDM, discordant guitars and flutes with "Tom Sawyer" drums, non-discordant guitars and mandolins that will appeal to the same sect of Brazilian music lovers who dug Sung Tongs, guys and gals going, "Gee-ahhh, oh-way-oh-way, oh-waaayyy!", and lots of pitter patter Brazilian percussion. Apparently, Zé based his music on the ideas of Christian philosopher Saint Augustine, though to read a translation of his comments in the CD booklet is to enter a convoluted world of whimsical theory: "The technique of inducing a controlled infection in order to produce an antidote is well known. In this instance, through controlled error in the tonal functions we create a ferment ranging by degrees between rage and inoculation." It goes on like this. Fortunately, most of this (wordless) music is its own reward.

Opener "Marco da Era" begins as a cold, repetitive cell-phone ring, moving subtly into tones from other phones and eventually morphing into micro-beat electronica. The high pitches and digital precision sound closer to Mille Plateaux than Bahia, and when the messy splatter of brass that ends the piece hits, I wonder if I somehow managed to insert the wrong CD. However, "Ayres da Mantiqueira"-- with synth-flute, off-key whistling, pizzicato plucking and counterpoint of acoustic and electric guitar-- betrays Zé as the heart of this music. Likewise, the bouncy, classically tinged "Nogueira do Monte" sounds practically lifted from one of Zé's mid-70s LPs, with immediately distinctive guitar figures and a vocal melody fit for restless kings.

"Pixinguim-Rasqueira" also features a Zé trademark of short, wordless vocal accents like "oh!" and "ah!" used as percussive thuds and pings, amid more intricate acoustic guitar arpeggios and bizarre horn lines sounding part of a demented circus orchestra. Throughout the CD, there is a faux-chamber orchestral feel (which gets the better of my interest on the fairly tedious "Ciro-Gberto"), though its best moments are invariably the bubbliest and most infectiously catchy. I wouldn't recommend anyone start with Santagustin as an entry into Zé's music, but fans will easily pick out the joyous, eccentric strains of his stuff."

01 - Choro 1: Marco da Era
02 - Choro 2: Ayres da Mantiqueira
03 Choro 3 Nogueira do Monte
04 -Choro 4 Moura-Sion
05 - Choro 5 Pixiguim-Rasqueira Marky-Patifório - Hermetório - Joãogilbertório - Yamanduzório
06 - Choro 6 Ciro-Gberto
07 - Choro 7 Bate-Boca
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***Tom Ze - Grande Liquidacao -Fantastic Eccentric Tropicalia! (Brazil)***

Tom Zé (Portuguese pronunciation: [ˈtõ ˈzɛ]; born Antônio José Santana Martins, 11 October 1936 in Irará, Bahia, Brazil) is a songwriter, multi-instrumentalist, and composer who was influential in the Tropicália movement of 1960s Brazil. After the peak of the Tropicália period, Zé went into relative obscurity: it was only in the 1990s, when the musician and label head David Byrne discovered an album recorded by Zé many years earlier, that he returned to performing and releasing new material.

In 1968 Tom Ze moved from Salvador, Bahia to Sao Paulo where he hung out and wrote with his friends Gilberto Gil and Caetano Veloso. Although initially part of the Tropicalia movement, Ze was extremely independent and determined to forge his own musical path. He started by recording Grande Liquidacao, a hyperactive pop album backed up by two incredible psychedelic rock bands: Os Brazoes and Os Versateis.

Tom Ze's material on this album includes traditional Brazilian Tropicalia laced with crazy vocal melodies and samples a multitude of genres from funk to psychedelic rock and bossa nova creating, in the process, a sort of unheard pop exotica. This is especially apparent on the track Gloria with its changing tempos, bubbling instrumentation and off-the-wall harmonies. The pace of the album, considering it was the 60s, is brutal, so Ze takes a break between songs to address the listener before resuming his zigzag trajectory. The album here also includes the fantastic Parque Industrial which was later recorded by Gal Costa, Gilberto Gil and Caetano Veloso on the Tropicalia: Panis et Circenses album.

Style

Remaining true to the experimental and Dada impulses of Tropicália, Zé has been noted for both his unorthodox approach to melody and instrumentation, employing various objects as instruments such as the typewriter.[5] He has collaborated with many of the concrete poets of São Paulo, including Augusto de Campos, and employed concrete techniques in his lyrics. Musically, his work appropriates samba, Bossa Nova, Brazilian folk music, forró, and American rock and roll, among others. He has been praised by avant-garde composers for his use of dissonance, polytonality, and unusual time signatures. Because of the experimental nature of many of his compositions, Zé has been compared with American musicians such as Frank Zappa and Captain Beefheart.[6]

One of his last efforts, though, has been a return to Bossa Nova, his Estudando a Bossa - Nordeste Plaza. Says Zé: “That music has inhabited my psyche for 50 to 60 years. Familiar and profound, yet somehow extraterrestrial in my mind. It had to come out, to be dealt with.

***Le Orme -Ad Gloriam -(Italy) -wonderful psychedelia!***

Le Orme (Italian: "The Footprints") is an Italian progressive rock band formed in 1966 in Marghera, a frazione of Venice. The band was one of the major groups of the Italian progressive rock scene in the 1970s. They are one of few Italian bands to have success outside their own country, having played concerts across North America and Europe, and releasing an album in English at the height of their success.

Beginnings (1966-1970)

Le Orme was founded in 1966 in Venice by Aldo Tagliapietra (vocals, guitar), Marino Rebeschini (drums), Nino Smeraldi (lead guitar) and Claudio Galieti (bass guitar). Originally intending to name themselves Le Ombre, a literal translation of The Shadows, they ultimately decided on the similar sounding Le Orme. The band's early work evoked a feel somewhere between beat and psychedelic rock,[1] similar to what was coming out of the United Kingdom at the time. One of their first major performances was June 2, 1966, when they and other local bands accompanied a British beat group, The Rokes, at the Teatre Corso in Mestre.

In 1967, the day after recording their first single, "Fiori e Colori", for Milan's CAR Juke Box label (having been rejected by EMI), Rebeschini left for the military. He was quickly replaced by Michi Dei Rossi of the dissolved Hopopi. The following year, their second single, "Senti l'estate che torna", was chosen to participate in Un disco per l'estate, a televised music competition organised by the Italian Phonographic Association and RAI.[3] It was at this time that Tony Pagliuca (formerly of Hopopi and Delfini) joined the group on keyboards. Later in the same year, the band began recording its first album, Ad gloriam, to be released in 1969. Soon Galieti left for the military as well, leaving Tagliapietra to cover on bass guitar. Not long later Smeraldi left as well, leaving the trio that would be at the core of the band for its most successful era. An evolution in their sound towards more richness and complexity can already be heard in a non-album single the band would publish in 1970, "Il Profumo delle Viole / I Ricordi Più Belli

Mainstream success (1970-1977)

In the spring of 1971 Le Orme recorded their second studio album, Collage. Thanks to its promotion through the RAI radio program Per voi giovani, the album was quickly successful, earning a top 10 placing in the Italian charts.[4] This was followed up with Uomo di pezza in 1972, which topped the Italian charts.[5] Uomo di pezza also generated a hit single, "Gioco di bimba", and the band toured Italy in December 1972 with Peter Hammill of Van der Graaf Generator (VdGG being on hiatus at the time). It was with their next album however, Felona e Sorona, considered to be one of the "finest examples of Italian progressive rock",[6] that Le Orme truly gained prominence beyond their home country. At the request of Tony Stratton-Smith, Le Orme recorded an English version of Felona e Sorona for Charisma Records, with translation provided by Peter Hammill. The band toured the United Kingdom in support of the album, including dates at the Marquee Club and the Commonwealth Institute.

In January 1974, Le Orme recorded their first live album, In concerto at the Teatro Brancaccio in Rome. Later in the year a further studio album, Contrappunti, followed. It also was successful, charting in the top ten, but failed to reach the lofty heights achieved by Felona e Sorona. In 1975 Neil Kempfer-Stocker's Cosmos imprint issued Beyond Leng, a largely instrumental compilation to introduce the band to a wider American audience. The band then headed to Los Angeles to record their next album. At the same time, they hired a guitarist, Tolo Marton, bringing the group to four members. The resulting Smogmagica, boasting a cover by Paul Whitehead, was significantly more commercially-oriented than their previous work, and was largely viewed as a disappointment by fans.[7] Marton left soon after the album was completed, and Germano Serafin was recruited in his stead. The following album, however, Verità nascoste, was a return to form and would prove to be a high point as the band would soon suffer from the downturn in progressive rock's popularity.

Changes in direction (1977-1982)

Following the release of their eight studio album, Storia o leggenda, Le Orme retired from touring to focus on exploring new directions for their music.[9] The result was 1979's Florian in which the band members traded in their electric instruments for classical ones, emerging with a sound more akin to chamber music than rock. The album was critically acclaimed, winning an Italian Music Critics' Award.[10] They followed up with Piccola rapsodia dell'ape, which, although stylistically similar was not nearly as successful. Reverting to their classic trio formation, the band attempted to return to the mainstream with a straight-pop effort, Venerdì. This album was also unsuccessful, and the band split amiably following its release.Reformation (1986-1992)

Le Orme would reform in 1986, intending to play concerts only.[9] They were soon persuaded to enter a single, "Dimmi che cos'è", at the 37th annual Sanremo Music Festival, where it finished seventeenth.[11] Though concentrating their efforts on concerts, the band released another studio album, titled simply Orme in 1990. Another pop effort, the disc went largely unnoticed. In 1992, Pagliuca ended more than two decades with the band to be replaced by Michele Bon. Later the same year the band added Francesco Sartori on piano.

Return to form (1992-present)

Encouraged by the success of their concerts and strong sales of their 1970-1980 anthology, the band returned to the recording studio. The resulting product, 1995's Il fiume, a "triumphant return"[12] to the sound that made them famous more than twenty years before. A string of concerts, culminating in appearances at progressive rock festivals in Los Angeles, Quebec City and Mexico City, followed. Two further albums were released, Elementi in 2001 and L'infinito in 2004, completing with Il fiume a trilogy around the concept of the "becoming" of the human being. Le Orme have since headlined NEARFest 2005, and recently returned to a trio formation. They continue to play concerts both inside and outside of Italy. At the end of
2009, Aldo Tagliapietra left the band.here

***The Tafo Brothers – Plugged In Pakistani Pops (2009)***

01 – Yeh Aaj Mujih Ko
02 – Tut Tooro Tooro Tara Tara
03 – Oh My Love
04 – Bura Honda Juwariyan Da
05 – Par Kahin Aankh Laraee
06 – Bijli Bhari Hai
07 – Dilon Man Laee
08 – To Shamae-Mohabbat
09 – Mera Mehboob Hai Tu
10 – Lakh Karo Inkar
11 – Tere Siwa Dunya Men
12 – Munda Shahr Lahore Da
here

***Andy Votel and Jane Weaver -Europium Alluminate Mix -spooky childlike female vocals!***

This video doesn't i think depict music from the mix, but it does depict its strangeness and surreal charm..
Andy Votel and Jane Weaver have brewed a magical blend of spectral, eldritch, female-centric folk called Europium Alluminate. Its tracklist (damnably AWOL, as is common with many Votel-helmed mixes) emanates from a time when irony in music was mostly unconscionable. The prevalent doe-eyed sincerity is positively touching and the gentle sonic strangeness utterly charming.here

Vague tracklist, from what i managed to 'Shazam'!!:-

*Pearl's Dream (from b/w old film Night of the Hunter)

*My name is Nobody -Ennio Morricone from ??

*Say your prayers -Dot -From comp lp 'Everything you ever wanted to know about Twisted Nerve but were Afraid to Ask'

*Turning in Circles -Jane Weaver from'The Fallen By Watch Bird'

*Valzerino del Nonno -Carlo Savina & Orchestra- from 'Giulietta Degli Spiriti'

*Noctilumina - Jane Weaver- Fallen by Watch Bird

*Lilith -singing in the Dark -Bruno Spoerri - 'Glucksgugel'

*Prinderella -The Holy Mackerel -The Holy Mackerel

*Est-ce que tu -Dusty Trails -'Dusty Trails'

*Magic Man -Heart - 'Dreamboat Annie'

*March of the Siamese Children -Martin Denny -' the Exotic Sounds of Martin Denny'

*Rosemary's Party - Urszula Dudziak -Rosemary's Baby OST

*Tape-Tape-Tape - Jeanne Marie Sens -Dirty French Psychedelics

*H.i.a - Horrific Child - 'Letrange Mr Whinster'

*Jay -Grace Slick -'Manhole'

*Silver Chord -Jane Weaver -the Fallen by Watch Bird

..some of these are definites, some not so much, and there is still much good bits i couldnt tag at all... Never mind!

***Andy Votel (various artists) Vintage Voltage -Global Robotic Rock***

Review From Amazon.co.uk:

Volume 4 of Andy Votel's Fat City Mix CDs, this is another trawl through his global record collection. Whilst the previous three volumes have been mostly of the psych variety, the focus here is on electronic, synth driven pop and rock. Featuring cuts from 72 songs crammed into 78 minutes, there is no one except Votel that could conceive and pull something like this off - it's both audacious and bold but, like the previous volumes, it works perfectly.

Krautrock, Electro-Pop, Library and just about just about every known other-wordly genre - even Bollywood - have been cherry picked for obscure robotic and electronic sounds. It's seamlessly mixed and there is never a dull moment. As usual there's no track list and casual listeners will be hard pushed to name more than a few tracks - Votel does not deal in mainstream music.

Shazam says:

Zodiac ЗОДИАК (zodiac) (russian band)
Toc -tom ze -"estudando o samba" 1976
Robot - Plastics (Japan) - "forever plastico"
@37:21-40:40 -Guitar El Chark -Omar Khorshid -"Rhythms from the Orient" OR "Guitar El Chark" compilation ( <- ON THIS BLOG!!)
Jumping balls -klaus Weiss - Colours of Funk (Various artists)
Medley: Transfert I/Hypnos/Transfert II -Libra -The Shock OST (1970's)
Olamam ki -Gyzin ile Baha
The Pleasure - Metal Boys
La Porta Chiusa -Le Orme (first lp)(ON THIS BLOG!!)

Recommended.here