“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
Friday, 24 February 2012
Wednesday, 22 February 2012
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
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
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
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
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
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
Sunday, 19 February 2012
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
- Alberto Ledo / all instruments (1)
- Patricio Castillo / quena (4), tarka (5)
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
- Alberto Ledo / charango
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!)
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.
Saturday, 18 February 2012
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.
Friday, 17 February 2012
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.
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.
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
- Geraldo Vandré / vocals
- Monks of Abadia del Viejo Mundo / bells
Thursday, 16 February 2012
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
Tuesday, 14 February 2012
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.
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. 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.
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 (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.
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, 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. 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. This was followed up with Uomo di pezza in 1972, which topped the Italian charts. 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", 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. 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. 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. 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. They were soon persuaded to enter a single, "Dimmi che cos'è", at the 37th annual Sanremo Music Festival, where it finished seventeenth. 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" 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
Tuesday, 7 February 2012
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
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!
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.
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!!)
Sunday, 5 February 2012
Mustafa Özkent "Gençlik İle Elele" 1973
Turkish composer, arranger, and musician Mustafa Ozkent was a lesser-known but significant figure on the Ankara music scene until his music belatedly found a receptive audience in the West more than four decades into his career. Ozkent launched his career as a professional musician in 1960 as the leader of a Turkish pop group called the Teenagers (owing to the fact no one in the group was over the age of 19). A talented guitarist who was known to modify the design of his instruments to create unusual tonal qualities, Ozkent earned a reputation as a gifted maverick and by the dawn of the 1970s was in demand as a session player, arranger, and producer, creating music that fused psychedelic and pop/rock influences with R&B grooves and jazz-influenced improvisations. In 1972, Ozkent partnered with Evren Records, a Turkish label known for its high production standards and audiophile recording techniques; Ozkent booked time at one of Istanbul's finest recording facilities, and with a hand-picked team of musicians he began recording new material dominated by funky vamps, extended percussion jams, hard-grooving organ lines, and wah-wah guitars. The resultant LP, Genclikle Elele (Hand in Hand with Youth), sounded as if it were designed for hip-hop DJs in search of funky breaks, even though it was cut years before the nascent South Bronx scene began to flower (not to mention half a world away). In 2006, the musically omnivorous record collectors at the British Finders Keepers label reissued Ozkent's masterpiece, and it earned rave reviews in the U.K. as well as the United States. Meanwhile, Ozkent (who helped Finders Keepers with the reissue of Genclikle Elele) remains active in Turkey, releasing the album Dijital Guitar in 2005. (Mark Deming)
Andy Votel: (Various artists) "I Wonder if They'd Like Something Foreign with a Bit More Drums and Heavier Fuzz" (Promo)
I Wonder...: mixtape of rare foreign psych. The mix is one file but see tracklist, below:
1 Fusioon - Tocata Y Fug
2 François Wertheimer - L'Automne
3 Noor Jehan - I Am Very Sorry
4 Gábor Presser And Anna Adamis - Ringasd El Magad
5 Nahid Akhtar - Sheeshy Ki Botal
6 Dance With Action - Science Fiction Dance Party
7 Jean-Pierre Massiera - Ivresse Des Profondeurs
8 Wolf People - Tiny Circles
9 Ali Babki* - Your Grey Eyes
10 Liftmen, The - Gas Bag
11 Samandtheplants - Story
12 Jane Weaver - My Soul Was Lost, My Soul Was Lost, And No One Save
13 Bran - Breuddwyd
14 Cromagnum Band, The* - Mouth Of Madness
15 Melodians, The - The Good The Bad And The Ugly
16 Tullio De Piscopo - Fastness
17 Runa Lailia* - Meri Marzi Main Gaoon
18 Vampires Of Dartmoore, The - The Fire-Dragon
19 Samandtheplants - Number Three
20 Tafo Brothers - Dear I Love You
21 Laughing Windows, The - Salak Pazar
22 Brigitte Fontaine - Quand Les Ghettos Bruleront
23 Emma Tricca - Monday Morning Yawning
24 Jesus - Song Mortaire
25 Sevil And Ayla (3) - Bebek
26 Fusioon - Tocata Y Fug Reprise