Fantastic funkiness! Although Les Baxter's best known for his easy
listening work in the late 50s/early 60's, this 1969 biker flick
soundtrack is a motherlode of funky funky tracks, and a veritable
cornucopia of breakbeats! Highlights include the classics "Hogin'
Machine" and "Hot Wind", but there's lots of other nice ones like "Soul
Groove" and "Scoobee Doo". The drums are nice and hard, and there's
plenty of fuzzy fuzzy guitar to go around nicely! A few tracks have
vocals, but the instrumentals more than make up for any weak spots.
Essential.
Big Crown Records is proud to present the reissue of this uber rare
underground cult classic Running The Mardi Gras by Boco. Those lucky
enough to find an original copy are paying upwards of $1000.00 for this
truly unique psych rock / funk gem on 45.
From the title to the sound to the cryptic lyrics “Running the Mardi
Gras” seems to confirm all the mystique that surrounds the southern
Louisiana Bayous and Cajun culture. This record is a family affair. It
started one morning when one Mr. Latour, the father of the group, was
shaving in the mirror and a song struck him. It was to be about Mardi
Gras, not the beaded revelry of New Orleans familiar to most, but the
traditions of rural Louisiana, where one would “run the Mardi Gras,”
going house to house getting home cooking from the neighbors. He would
sing the song every day in the car and the children of the family soaked
up the spirit of the song.
Playing and performing was just part of life for the family. Mr.
Latour had bought studio equipment for his children to record on, which
he kept in their house. Growing up in the shadow of New Orleans, the
Latour children listened to the sounds of Funk and R&B that came in
on the radio, which was the biggest influence on the family projects’
sound. Together the four Latour children, with the eponymous Boco Latour
on lead vocals, and a couple of local musicians recorded “Running the
Mardi Gras” in the Latour home. Feeling that they really had something,
the makeshift band decided to record a b-side. The guitarist had a song
he had been working on and they recorded what would become “Smile” as
well. The two songs were pressed under the Laughing Eye label, nothing
more than the heading under which the Latour family released their
music, and mostly sold the 45 at gigs around southern Louisiana. The
recorded output under Laughing Eye was understandably limited, but
locals still remember well Boco’s powerful voice from her shows in clubs
around the bayous. Boco and George Latour still live around Baton Rouge
and continue to make music and play in the area.By David Haffner
Beautiful grooves from the Italian scene of the late 60s – definitely
one of the lesser-known soundtracks of the time, but work we'd rank
right up there with the best by Piero Piccioni or Armando Trovajoli!
There's a fair bit of trippy sounds on the record – from fuzzy guitar to
weirdly watery keyboards – and tunes move between funky "jerk" and
"shake" numbers that almost have a sound library funk feel, to mellower,
moodier ones that sometimes feature wordless vocals from the great Edda
Dell'Orso!
Hare Rama Hare Krishna is a 1971 Indian film directed by Dev Anand starring himself, Mumtaz and Zeenat Aman. The film was a hit and a star-making vehicle for Zeenat Aman, who played a westernized hippie, and won the Filmfare Best Supporting Actress Award, as well as the BFJA Award for Best Actress. The movie dealt with the decadence of the Hippie culture. It aimed to have an anti-drug message and also depicts some problems associated with Westernization such as divorce. It is loosely based on the 1968 movie Psych-Out. The story for Hare Rama Hare Krishna actually came to Dev Anand's mind when he saw hippies and their fallen values in Kathmandu, Nepal where he was on a visit after protests against his previous film Prem Pujari in Calcutta.
If any singular exponent of the powerful Turkish Anadolu Pop scene
could be described as eclectic it would have to be Ersen. His chameleon
image in Turkey has teetered on the edge of versatile and schizophrenic
over his 40-year sporadic career and his versatile talents as a vocalist
have served as a refreshing alternative to his contemporaries in one of
the most progressive musical micro-cultures in the history of rock
music. Catapulted into prominence by the first ferocious wave of the Anadolu
Pop scene alongside the true cognoscenti of the fledgling phenomenon,
Ersen would go-on to record a smash hit single and a string of
stylistically disparate records which entertained, inspired, confused,
rejuvenated and offend his divided audience in equal parts. By today’s
standards Ersen’s erratic creative tendencies makes him one of the
strongest Turkish rock contenders to transcend changing musical trends
and geographic territories. As a singer he has one of the most unique
softly spoken vocal deliveries on the Anatolian Rock scene and as a
composer his use of long heavy rhythmical passages punctuated by his
signature ‘panting’ vocalisations and throbbing basslines are
unmistakable. To fans of early Eastern psychedelic music it will make
sense that, although at times in his career Dinleten may have been
regarded as an outsider, many attributes of his unique sound are
accountable to his open armed acceptance by the originators of the
Anadolu Pop scene – primarily, and namely Mogollar and 3 Hurel.
As an artist who had started out playing the type of romantic ballads
which wouldn’t sound out place in your local Turkish restaurant, Ersen
had been transformed into a credible ambassador for the much publicised
Anadolu Rock phenomenon and, to some sceptics dismay, he had travelled
via rock ‘n roll, traditional folk and pop trends along the way. In some
senses the Anadolu rock scene mirrored the likes of Brazil’s Tropicalia
movement where social politics could potentially eclipse the music, so
when the likes of Ersen chose to remain apolitical he was often
criticised by the unduly disappointed radicals of young Turkey. Where
the vociferous Selda Bagcan could be compared to Os Mutantes’s Rita Lee,
Ersen took the role as a politically pedestrian Roberto Carlos.
The recent resurgence in Ersen’s music amongst DJs and record
collectors and the recent commercial re-appropriation of his tracks via
advertising and sampling stands is testimony to his misplaced
accessibility. The A-side to Ersen and Dadaslar’s third single ‘Gafil
Gezme Saskin’ (Don’t Wander Heedless, Bewildered)
was recently sampled
by American Hip-Hop producer ‘OH-NO’ as part of Los Angeles based Stones
Throw collective who have embraced the resurgence of Anatolian Pop with
open arms. Recent joint DJ sessions with label boss Eothen Alapatt and
Finder Keepers have witnessed packed dancefloors rocking-out to dozens
of rare and unknown Turkish 45s while auction site eBay plays host to
hoards of frenzied bidders hoping to secure original copies of Turkish
LPs at inconsistent and regularly inflated prices. In 2007 traditional
English footwear brand Clarks went to great cross-continental lengths to
license the track ‘Gunese Don Cicegim’ for a national TV advertisement
which prompted heavy debates on internet forums amongst hungry vinyl
junkies trying to identify the mystery track.
"26 Turkish Beat, Psych & Garage Delights: rarities from beyond the Sea of Mamara" (also called Turkish Delights)is
a compilation of Turkish rock groups from the 1960s and 70s. The album
highlights the early and classic 1966-77 rock periods in Turkey,
including giants such as Mavi Işiklar, Erkin Koray, and Moğollar.
Informed by the music coming out of Britain and the United States, the
fourteen bands in this collection run the gamut from early beat sounds
of garage bands to mid-seventies psychedelic explorations,
simultaniously infusing the music with a distinctively Turkish sound.
In the mid-1960s, the British invasion's led by generals John, Paul, George, and Ringo and supported by units such as the Who, the Kinks, the Rolling Stones and the Yardbirds swept across the United States and Europe, forever altering the static-dusted sounds coming from the radio. It wasn't long before young people all over the world were plugging in amps, setting up drums, cracking cases of beer and crunching out imitations of their favorite rock 45s. Most of these groups were, perhaps fortunately, lost to time, never amounting to anything more than a handful of misspent afternoons and adolescent laughs. Even so, there are countless examples of recordings available to the scholarly, curious, or just plain demented. The United States and Europe boast an impressive number of specialty stores, magazines, and conventions devoted to the quest for finding that one obscure gem, the recording that time forgot. Over the last decade the seemingly bottomless well of obscure U.S. and British bands began to dry up, forcing the now junkie-like record collectors to turn elsewhere for their fix.
If it were mapped on a globe, the widely accepted history of rock and roll would appear to bounce back and forth between Britain and the U.S. Contrary to conventional wisdom, however, varieties of rock spilled over into any region that had transistor radios and sullen youth with too much time on their hands. Starting with the release of the now infamous Cambodian Rocks album over a decade ago, European and American collectors have plumbed the relatively uncharted depths of garage and psychedelic rock from around the world. The curious can listen, among countless others, to rave-ups by Japanese, Greek, Indian, Korean, Italian, French, Peruvian, or Brazilian bands. Turkish Delights is just one installment in a long line of 1960s re-releases from around the globe. One of the greatest impediments to the total global domination of rock and roll was language. The young and curious in non-anglophone regions were often put off by their inability to decipher the frequently slurred and confusing lyrics of rock and roll. Such was the case in Turkey, which, although it had a small rock contingent in the 1950s, did not truly jump on the bandwagon until a decade later. Early on, the interest in Euro-American popular music was fuelled in Turkey primarily by instrumental bands such as the Ventures or the Shadows. Then the Beatles broke and, as happened in many popular music scenes around the world, everything changed.By Gabriel Skoog
Even if they chose the 16 best tracks from the Lp version, the remaining cuts would still make it worth it.
Incredibly great – and one of the best of the late 60s trippy jazz
albums on Impulse! Bill Plummer plays electric sitar with the "Cosmic
Brotherood", a group that includes Tom Scott on saxes and electronics,
Carol Kaye on Fender bass, Milt Holland on tabla, and Mike Craden on a
heck of a lot of weird percussion. The tunes are groovy, "eastern"
sounding, and have a modal jazzy approach that's similar to some of
Scott's work, that of Chico Hamilton, Gabor Szabo, or some of the other
groundbreaking, genre-crossing Impulse artists.
Taste :
Bill Plummer and the Cosmic Brotherhood - Song Plum
Bill Plummer and the Cosmic Brotherhood - The Look Of Love
One of the greatest albums ever by one of the most compelling figures in
Indian music! Ananda Shankar's been chronicled elsewhere and often on
these pages – so by this point, you probably already know that he's a
renegade pioneer who combined funky grooves with sitars and tablas,
forging a whole new sound in Indian music that's still having quite a
bit of influence today. This 1975 album is a stunner – way more
open-minded than his other album for Reprise, with tracks that push the
funky groove a lot farther than you'd expect, swirling percussion,
organ, guitar, tablas, moog, and sitar all together into an unbelievable
sound that will leave you breathless!
Little is known about this band.This group from Rome is relevant for the presence of Fabio Pignatelli
(later with Flea, Cherry Five, Goblin) and Gianfranco Coletta (ex Chetro
& Co. and Banco del Mutuo Soccorso), and though still in a beat
style they released a single in 1969 and played at Caracalla festival in
1970. The line-up later included the guitarist Nicola Di Staso (then
with Reale Accademia di Musica, Logan Dwight and Libra). It was the
same group that recorded an all-instrumental psych-beat album on Help,
under the name The Revelations, with some tracks written by the composer
Gianni dell'Orso under the nickname Proluton.
P.s 1 “Soul 111” is a long journey through cinematic atmospheres where a rock guitar, a dreamy vibraphone and a steady groove will take you way.
P.s 2 “Drops" is an easygoing track that leads us straight in the Italian cinemas of the 70s - the sound is fresh and it's perfect for these last days of summer heat...
Γιοι
του ντράμερ Hugh και της τραγουδίστριας
Barbara, οι τρεις αδερφοί Gibb πραγματοποίησαν
την πρώτη τους επαγγελματική εμφάνιση
το 1955, όταν ο Barry ήταν εννέα ετών και οι
δίδυμοι Robin και Maurice επτά. Ως Bee Gees (από
τα αρχικά του Brothers Gibb) κυκλοφόρησαν το
ντεμπούτο άλμπουμ τους το
1967 και μέχρι τα τέλη της δεκαετίας του
'60 δημιούργησαν μια σειρά από ιδιαίτεραενδιαφέροντα pop τραγούδια, που εντυπωσίαζαν κυρίως για τις
ενορχηστρώσεις των εγχόρδων και τη soul μελαγχολία τους (εκείνη ακριβώς που κάπου δέκα χρόνια αργότερα θα εξαντλούσε τα όρια της μελιστάλαχτης υπερβολής). Η καριέρα των αδερφών Gibb ως κύριο χαράκτηριοτικό της ανέκαθεν είχε το φωνητικό τους μείγμα τις περίπλοκες -αλλά πάντα απόλυτα φυσικές- τριμερείς τους αρμονίες. Από εμπορική άποψη, οι Bee Gees είναι αναντίρρητα ένα από τα πιο επιτυχημένα μουσικά σύνολα στην ιστορία της δισκογραφίας: Μόνο οι John Lennon και Paul McCartney έχουν γράφει περισσότερα No 1 σινγκλ των αμερικανικών τσαρτ απ οτι Barry Gibb. Οι πωλήσεις των δίσκων τους άλλωστε (πάνω από 100 εκατομμύρια αντίτυπα παγκοσμίως) μιλούν από μόνες τους.
Ως
τραγουδοποιοί, οι Bee Gees έγραψαν δεκάδες
επιτυχίες για τους ίδιους αλλά και για
πολλούς άλλους καλλιτέχνες, από τον
Elvis Presley ως τον Αl Green και από τη Nina Simone ως
την Janis Joplin. Έχουν κερδίσει πέντε φορές
το βραβείο Grammy και το 1997 εκλέχτηκαν μέλη
του Rock n Roll Hall Of Fame. Μετά το θάνατο του
Maurice από καρδιακή προσβολή τον Ιανουάριο
του 2003» οι Robin και Barry αποφάσισαν να
διαλύσουν οριστικά το συγκρότημα.
To 1st είναι ένα ψυχεδελικό pop album το τρίτο στούντιο άλμπουμ των Bee Gees.Κυκλοφόρησε 14 Ιουλίου 1967 στο Ηνωμένο Βασίλειο, και 9 Αυγούστου 1967 στις Ηνωμένες Πολιτείες. Παρά τον τίτλο του άλμπουμ δεν ήταν η πρώτη δισκογραφικη δουλεια τους. Η πρώτη ήταν το 1965 και ήταν διαθέσιμο μόνο στην Αυστραλία και τη Νέα Ζηλανδία.Ήταν όμως το πρώτο τους άλμπουμ που θα κυκλοφορήσει «διεθνώς» κατω απ τηνετικέτα της Polydor.
Το εξώφυλλο του άλμπουμ έχει σχεδιαστεί από τον Klaus Voormann ο οποίος είχε προηγουμένως κάνει το εξώφυλλο για το Revolver των Beatles.
Οι Los Angeles Negro σχηματίζονται
το 1968 στο San Carlos της Χιλής. Η αρχική
σύνθεση της μπάντας ήταν οι Germaín de
la Fuente τραγούδι, Mario Gutiérrez κιθάρα ,
Jorge González πλήκτρα, Miguel Ángel "Nano"
Concha μπάσο και Luis Ortiz ντραμς.
Η μουσική τους είναι
ένα μείγμα από ψυχεδελική funk,bolero και
pop, γνωστό στη Χιλή όλο αυτό το μείγμα
ως Balada rockmántica.
Τον Ιούνιο του 1968 μετά
από έναν τοπικό διαγωνισμό συγκροτημάτων
κερδίζουν το πρώτο βραβείο και ηχογραφούν
το πρώτο τους 45's "Porque Te Quiero",αυτό
κέρδισε την προσοχή των εκπροσώπων της
Odeon Records Χιλής, προτρέποντας όμως τα δύο
από τα τέσσερα μέλη του συγκροτήματος
να γράψουν ένα άλμπουμ.
Τελικά τα
δύο από τα τέσσερα μέλη με ακόμα
τρεις studio μουσικούς κυκλοφορούν το 1969
το "Porque Te Quiero" και σαρώνει όλοι
την λατινική Αμερική.
Οι Los Angeles Negros έχουν
αρκετά μεγάλη δισκογραφία που ξεκινάει
από το 1969 ως και το 2003!! Φυσικά όπως
συμβαίνει πάντα η αρχική σύνθεση της
μπάντας έχει αλλάξει πάρα πολλές φορές.
Σημαντικό όμως
είναι πως απ την δισκογραφία 1969-70
σημερινοί μουσικοί, παραγωγοί , dj's έχουν
χρησιμοποιήσει samples απ τα τραγούδια
τους όπως οι Funkdoobiest,
Damian
Marley, Beastie
Boys, Jay-Z
και άλλοι.
Εδω ο τριτος δίσκος τους με τίτλο “Y Volvere” 1970
στην Χιλιανή “Parnaso” με πιο πρόσφατο
τα samples απ τα “Como Quisiera Decirte” και “Tanto
Adios” που δανειστηκε το 2013 ο Monetrik για το Latin Beauty.
Ενα από τα αγαπημένα συγκροτήματα του John PeeI ήταν και Edgar Broughton Band, που σχηματηκαν στο Γουάρικ το 1968 από τους αδερφούς Edgar και Steve. Το ντεμπούτο τους "Wasa Wasa' (1969) έδειξε το δρόμο για το Λονδίνο και απεφερε συμβόλαιο με τη Harvest, αφού το hippie metal και progressive κράμα της μουσικής τους με τα jazz κρουστά, που στεκόταν επάξια δίπλα στους Hawkwind, ήταν κομμένο και ραμμένο στα μέτρα των σημαντικών για την εποχή κυκλοφοριών της συγκεκριμένης εταιρείας.
Κλειδί για την επιτυχία ήταν και τα φωνητικά του Edgar, που είχαν ενέργεια ανάλογη με του Captain Beefheart, είτε απαγγέλοντας τους στίχους είτε τραγουδώντας τους. Το κοινό λάτρεψε πολύ το σινγκλ "Out Demons Out" και το απέδειξε στη μεγάλη συναυλία με τους Blind Faith στο Hyde Park. Καλύτερος δίσκος τους θεωρείται ο φερώνυμος του 1971, παρά το γεγονός ότι έμεινε στην εικοστή όγδοη θέση των τσαρτ, δηλαδή δέκα θέσεις κάτω από το "Sing Brother Sing" (1970). Η εμμονή του Edgar να παίζουν χωρίς αμοιβή σε όλα τα ελεύθερα για το κοινό φεστιβάλ, ο εθισμός του στα ναρκωτικά, αλλά και οι διόλου αρμονικές σχέσεις του με τους αστυνομικούς (τους αποκαλούσε διαρκώς "γουρούνια" από το μικρόφωνο) συνέτειναν στη διάλυση της μπάντας το 1976. Οι Broughtons επανασυνδέθηκαν ανεπιτυχώς δύο ακόμα φορές πριν πάρουν οριστικά την απόφαση να αποσυρθούν.
Turkish rock is weird. Whether it's the psychedelic wanderings of Erkin Koray or the wild-haired boogie of Bunalim, the folks in Istanbul just have their own unique approach to rockin'. Hardal, basically a footnote in Turkish rock history, have now had their debut album reissued by the indefatigable Shadoks label, and it's a worthy nugget of late-'70s prog. Had it been heard in the West at the time of its initial release in 1979, it would likely have seemed a little behind the times; there are plenty of stinging guitar leads and weird Theremin-like synths, and the rhythms are pretty pumping, but it sounds more like a product of the '60s, or early-'70s Krautrock, than the dawn of the '80s. Still, the female vocals on "Unuttum" are quite lovely, and those guitars (by Sukru Yuksel and Cahit Kukul, for those who are curious) do really tear it up. The six-minute title track (which translates to "Where From? Where To?") is a drifting, psychedelic journey with electric piano backing a raw, soulful vocal and some fuzzed-out guitar soloing, plus a long and weird synth interlude in the middle. Other tracks, like "Zor" and "Baska" offer a melodic, poppy take on boogie, with more acid-fried six-string action and oddly smooth vocals. This is decidedly not for everyone, though fans of Turkish rock will doubtless enjoy it.
Edip Akbayram’s a frail guy who spent his childhood unable to walk, but
once he grew up he was on Istanbul TV in a whitey-fro and knee length
colored robes. Akbayram’s voice is big & open, and it took him all
across Turkey at the height of Anatolian psychedelia.By Vea
Esoteric Recordings are pleased to announce a newly re-mastered edition of the classic debut album by Danish Progressive Rock group ACHE. Formed in 1968, with a line-up of TORSTEN OLAFSSON (bass, vocals), FINN OLAFSSON (guitar, vocals), PETER MELLIN (organ, piano) and GLEN FISHER (drums and percussion),
ACHE first came to attention in Denmark with their work DE HOMINE URBANO ("About Urban Man”) which was the first ever Rock ballet, performed by the Royal Danish Ballet Company in Copenhagen in 1969. Influenced by groups such as The Nice, Iron Butterfly and more, ACHE’s music was a powerful Psychedelic Progressive Rock driven by Peter Mellin’s powerful Hammond Organ and the fluid guitar playing of Finn Olafsson. ACHE’s second album,
"GREEN MAN” was released in June 1971 in Europe and was arguably the band’s finest hour, featuring classics such as ‘Equatorial Rain’, ‘The Invasion’ and ‘Shadow of a Gypsy’. Hailed by JULIAN COPE in his on-line DANSKROCKSAMPLER, ACHE’s two albums for Philips are now hailed as Psych / Prog classics.By cherry red
Excellent grooviness – and typical of the mad instrumental LPs that
showed up on Impulse when they weren't cutting high-minded jazz! The
record has a nice mix of easy funky jazz and pop psychedelia – performed
by a range of groovy players conducted by Bob Thiele, and featuring Tom
Scott & The California Dreamers, Bill Plummer, and Gabor Szabo.
Οι ταινίες επιστημονικής
φαντασίας που προέρχονται απ το πρώην
ανατολικό μπλοκ συμβάλλουν σε μια έκρηξη
ταινιών με ορόσημα τα ουτοπικά διηγήματα
του Stanislaw Lem η τις ταινίες του Andrei Tarkowski
" Stalker " και "Solaris". Αυτό που
είναι λιγότερο γνωστό είναι το γεγονός
ότι οι ταινίες του ανατολικού μπλοκ
προσιδιάζουν με αυτές του Hollywood,όσον
αφορά τις παραγωγές ή με τις σειρές
της δυτικογερμανικής τηλεόρασης όπως
τα "Raumpatruille" και "Star Maidens".
Ρίχνοντας μια ματιά
στην ιστορία του κινηματογράφου γίνεται
φανερό ότι το υλικό της επιστημονικής
φαντασίας περιλαμβάνει διάσημους
ηθοποιούς και σκηνοθέτες που προέρχονται
από την DEFA (Deutsche Film Aktiengesellschaft). Είναι
γεγονός ότι την περίοδο εκείνη υπήρχε
αρκετός χώρος για σοσιαλιστικές αλλά
και για καπιταλιστικές κοινωνίες στο
διάστημα. Σύμφωνα με τις τεράστιες
προσπάθειες της Σοβιετικής Ένωσης στον
τομέα της διαστημικές τεχνολογίας, οι
παραγωγές ταινιών της Ανατολικής
Γερμανίας ακολουθούσαν τα χνάρια του
Yuri Gagarin και επικεντρώθηκαν σ´ ένα
γεγονός,την κατάκτηση του
διαστήματος μέσα από επιστήμονες με
σοσιαλιστική εκπαίδευση. Οι ταινίες αυτές διέφεραν
στον ρυθμό την αφήγηση και στον στόχο
σε σχέση με τις ταινίες της δυτικής
κοινωνίας. Οι ταινίες "Der Schwagende Stem
"1960 και η "Im Staud Der Sterne" 1976
χαρακτηρίζονται από μια δυνατή αντί
δυτική στάση βγάζοντας απ έξω τις
αδυναμίες του Σοσιαλισμού και
επικεντρώνοντας στο πως οι σοσιαλιστές
δραστηριοποιούνται στο παρόν και πως
θα πρέπει στο μέλλον. Εννοείται πως όλο
αυτό είναι απόλυτα λογικό,αν αναλογιστουμε
ότι το ίδιο έκαναν και συνεχίζουν να κάνουν και σήμερα όλα τα καπιταλιστικά κράτη.
Και φυσικα πάντα
ο κακός ήταν ενας καλα εκπαιδευμενος Ρωσος πράκτορας ή
τρομοκράτης ή πυγμάχος (Rocky) που ο καλός
Αμερικάνος με την ευλογιά του Προέδρου
τον εξουδετερώνει και ετσι το Αμερικάνικο
όνειρο συνεχίζεται για χάρη του
καπιταλισμού. Τελευταία συνηθίζεται ο
κακός να είναι Αφγανος,Ιρακινός αλλά αυτό είναι
μια άλλη ιστορία.
Παρατηρώντας ταινίες
επιστημονικής φαντασίας της DEFA (Deutsche
Film Aktiengesellschaft) αλλά και άλλων χορών σήμερα
βλέπουμε ότι αποτελούνται από κωμικές
κοινοτοπίες και χαριτωμένα b εφέ. Στις
ταινίες της DEFA υπάρχει μια διακεκομμένη
αφήγηση. Το σημαντικότερο όμως είναι
κάποια επαναλαμβανόμενα χαρακτηριστικά
οπως, η ανθρώπινη κοινότητα που έγινε
κομμουνιστική και τα μέλη της ζούνε
ειρηνικά μεταξύ τους όπου έρχονται
αντιμέτωπα με το αφιλόξενο διάστημα.Σίγουρα οι παραγωγές αυτών των ταινιών αντανακλούν
την πολιτική κατάσταση της εποχής, αλλά είπαμε..
Στην αρχή τον μέλλον
αντιμετωπίζεται αισιόδοξα και δεν
αλαζει ως στο τέλος στη ταινία “Der
Schweigende Stern”. Το “Signale” επηρεάστηκε
εμφανώς από το 2001 του Kubrick αναδεικνύοντας
τη γοητεία και την ομορφιά των αβαρων
κινήσεων στο διάστημα.
Στο "Eolomea" το
διάστημα καταντά ρουτινα για τον Manfred
Krug (εκτος από ηθποιος και φωναρα)
και στο "Im
Staub Der Sterne" η αποικια μετατρεπεται σε εναν συγχρονο ναο της Μπουρζουαζίας,το διάστημα γίνεται
φανερά όλο και περισσότερο δυσκολο αλλα η lounge αισθητικη παραμενει.
Ο δίσκος “Kosmos” είναι
μια συλλογή που περιέχει μουσικά θέματα και διαλογους από τέσσερις ανατολικό γερμανικές
ταινίες.“Der Schweigende Stern (The Silent
Star) 1960” “Signale 1970” “Eolomea 1972” και “Im
Staub Der Sterne (In the Dust of the Stars)1976”.
Σε αυτές τις ταινίες
όπως και σε αρκετές ακόμα την δεκαετία
του 70 τα soundtracks γράφτηκαν από τους δυο
πιο σημαντικούς συνθέτες στην Ανατολική
Γερμανία τον Karl Ernst Sasse και τον Gunther
Fischer. Στο soundtrack “Der Schweigende Stern” κυριαρχούν
οι ηλεκτρονική ήχοι και ήχοι που
προέρχονται από την αβαντ γκαρντ ορχήστρα
του Πολωνού συνθέτη Andrzej Markowski. Αυτοί οι
ηλεκτρονικοί ήχοι έπαιξαν αποφασιστικό
ρόλο και στη διαστημική περιπέτεια
"Signale". Ο Karl Ernst Sasse ηχογράφησε αυτά
τα κομμάτια με subharcord (συνθεσάιζερ
παρόμοιο με το trautonium) το οποίο ανήκε σε
κινηματογραφικά studios της Δρεσδης και
με τη βοήθεια μερικών γεννητριών εφέ
και αναλογικών φίλτρων που δανείστηκε
από το τοπικό πανεπιστήμιο θέλοντας να
πετύχει μια αντίθεση χρησιμοποίησε και
ήχους πιάνου.
Ο Gunther
Fischer για το μουσικό background στη ταινία
“Eolomea” χρησιμοποίησε ρομαντικά βαλς
και jazz ήχους σε αντίθεση με το ”Im Straub
der Sterne” όπου προσφέρει μια μεγαλύτερη
ποικιλία από μουσικά είδη ακόμα και
ψυχεδελικά κομμάτια με στίχους γραμμένους
από τον Gottfried Kolditz (ανατολικογερμανος
ηθοποιός και σκηνοθέτης) το φοβερό “Das
Licht (part 1)”. Μεσα στα 17 tracks του δίσκου
υπάρχουν και κάποιοι αξιομνημόνευτοι
διάλογοι και κάποια bonus tracks και από μια αλλη
συλλογη με τιτλο “Die Erde Dieht Sich Linksherum”
Amiga 1978.
Im Staub Der Sterne
Το ομότιτλο “Kosmos”
εμφανίζεται για πρώτη φορά και ανοίγει
τη πρώτη πλευρά του δίσκου συνεχίζοντας
με το κοσμικό swing “Signale – b-alarm” το
ψυχεδελικό πανέμορφο “Das licht (part 1) το
επιβλητικό “Sklaven-ballet” το “Orbit Swing” που
θα ζήλευε και ο Bob Crewe (Barbarella) το μελαγχολικό
“Χατζιδακικο θα έλεγα” “Eolomea”
ολοκληρώνοντας με το “Luna 3 ruft Kosmokrator”.
Ολα αυτά σε συνδυασμό με διαλόγους και
μικρά μουσικά θέματα.
Signale
Το “Party TEM 4 (part3)” ανοίγει
τη δεύτερη πλευρά του δίσκου. Πρόκειται
για ένα κομμάτι με ωραία μπασογραμμη
και wah wah κιθάρες όπου παρουσιάζεται και
αυτό για πρώτη φορά και συνεχίζει με τα
αλλά Morriconne “Blues” “Schluss” το εξαιρετικο
αστρικό jazz “Finale” και άλλους διαλόγους
και άλλα μικρά μουσικά θέματα φτάνοντας
σε disco αλλά Giorgio Moroder “In Den Kosmos” “Hoch Im
All” ολοκληρώνοντας με το kraut
“Kosmoslied” του Hansi Klemm.
Eνα εκπληκτικό potpouri
διαλόγων και Ανατολικό Γερμανικής
rock,jazz,psych,disco,experimental electronica μουσικής.Το ιδιο ομως συμβαινει και στη συλλογη "Die Erde Dreht Sich Linksherum" με
θέμα το κοσμικό ταξίδι του Sigmund Jahn (1978) το οποίο έθεσε όλο το έθνος σε μια
εφορικη διάθεση ή στο “Severino”του Claus Dobberke σε μουσικη του Gunther Fischer (επισης κατάλληλο για διαστημική ταινία)
όπου χρησιμοποιηθηκε για μια πομπωδη
προπαγανδα. Αλλά όπως είπα και παραπάνω προσωπικά αυτά τα θεωρώ απολύτως
λογικά για την εποχή εκείνη.Και σήμερα
το ιδιο δεν γινεται ;
Ο δίσκος “Kosmos - Soundtracks
Of Eastern Germany's Adventures In Space ” κυκλοφόρησε
το 2001 και σίγουρα αποτελεί ένα ακομα
ντοκουμέντο στις ταινίες επιστημονικής
φαντασίας της DEFA αναδεικνύοντας μέσα
από το ηχητικό υλικό την ποπ σοσιαλιστική
κουλτούρα την περίοδο του ψυχρού πολέμου. Εεεεε Κοσμοναύτες
.....; η γη σας χαιρετά.
Taste :
Im Staub der Sterne- Trailer
Signale - Trailer
Der Schweigende Stern - Trailer
Eolomea (η μουσικη δεν εχει σχεση με τη ταινια)
Karl Ernst Sasse - B Alarm
Günther Fischer - Blues
Ruth Hohmann & Erbe-Chor - Im Staub Der Sterne - Das Licht (Part1)
All the freaky, funky Serge Gainsbourg
you could ever want -- served up in a single set! The package pulls
together some of the grooviest tracks by Serge from a host of late 60s
and early 70s albums -- including some of his super-rare French
soundtrack work -- from movies that include Le Pacha, Anna, Ce Sacre
Grand-Pere, Cannabis, and Manon 70! The double-length set is overflowing
with great grooves -- tracks done with that subtly funky style that
Serge cooked up with arrangers Michel Colombier and Jean-Claude Vannier,
all topped with that breathy, nearly-spoken style that made Gainsbourg
so great back in the day. A few of the most break-heavy cuts are even
presented with special bonus beats". by Dusty Groove
Taste :
Serge Gainsbourg - Je n'avais pas qu'un seul mot a lui dire
Johnny Jones and the King Casuals were a Nashville, Tennessee, rhythm and blues group active in the 1960s. They were regular performers at the North Nashville club district, Printer's Alley clubs, as well as often serving as the house band for the local television program, Night Train. The band, which was originally named 'The King Kasuals', was founded in 1962 by Jimi Hendrix and bassist Billy Cox in Clarksville, Tennessee, United States, after the two were discharged from the adjacent Fort Campbell Army post, and eventually relocated to Nashville. Johnny Jones (born John Albert Jones, August 17, 1936, Eads, Tennessee) moved to Chicago where he practised the blues with Junior Wells and others. He moved back to Nashville in the early 1960s to become a session musician, and eventually assumed leadership of the King Casuals, circa 1964, replacing Hendrix. The band recorded a portfolio of singles in later years. The final recording featuring Jones was his 2001 solo release, Blues Is In the House. "Purple Haze" by Johnny Jones and the King Casuals was a popular R&B single, played in the Northern soul clubs of the Midlands and the North of England during the late 1960s and early 1970s. Johnny Jones died on October 14, 2009, at age 73.
In 1967, a group called Five By Five, from Magnolia, Arkansas, signed with Paula. They were typical of the "cover bands" that played in clubs, doing the R&B dance songs popular at the time. Their first single was "Shake a Tail Feather" [Paula 261], issued in early 1967. They followed that with "Harlem Shuffle" [Paula 283] later that year. Although they were probably able to sell a number of copies to the folks who saw them appear live, there wasn't much interest outside the region. But in the summer of 1968, they covered a song, "Fire," off the Jimi Hendrix album Are You Experienced?. Since Hendrix' record company, Reprise, did not put the song out as a single, Five By Five was in luck. Theirs was the single version that was available when kids went to the store and asked for the song. The single entered the national charts in November, 1968 and made it up to #52.
Jimi Hendrix was scheduled to record with Gil Evans' Orchestra but died
before the session could take place. A few years later, Evans explored
ten of Hendrix's compositions with his unique 19-piece unit, an
orchestra that included two French horns, the tuba of Howard Johnson,
three guitars, two basses, two percussionists and such soloists as
altoist David Sanborn, trumpeter Marvin "Hannibal" Peterson, Billy
Harper on tenor, and guitarists Ryo Kawasaki and John Abercrombie.
Evans' arrangements uplift many of Hendrix's more blues-oriented
compositions and create a memorable set that is rock-oriented but
retains the improvisation and personality of jazz.
There are a lot of people out there, living in the periphery, who make it their lifetime goal to hype mediocre garage-and-psych-era albums. I've heard countless records that have been touted as "mind blowing", "fuzz monsters", or "lost/undiscovered classics", only to discover that in actuality they are nothing more than a third-tier Jefferson Airplane knockoff or some such. It seems psych collectors fall into two categories when it comes to overrating these "legendary" slabs of rare wax; the first is the collector who found a completely unremarkable record that just so happens to be rather rare, so he will hype it up in hopes of jacking up the price among other collectors; and there are those who automatically love anything that is obscure, regardless of any musical merit. The latter I can forgive, because genuine enthusiasm, even in the service of God-awful music, is still genuine. The former, on the other hand, are the scum of the earth, and should have their records confiscated and be forced to listen to the most bombastic Broadway show tunes for the rest of their miserable days.
Rarely, though, the raves turn out to be justified. Index, the 1967
self-titled debut from a group of young Michiganders, is one such album.
Opening with a strange intro about flying over the plaza de toro in a
helicopter, complete with cries of "ole!", the band proceed to ease into
a fantastically dark surf rock rendition of the Byrds' Eight Miles
High. The whole album continues in a similar vein, seething with a sick
desperation, cavernous reverb, snaky guitar lines and sad-sack lyrical
content. It's fantastically minimalist, starkly atmospheric, and
sprinkled with some truly ferocious guitar work (see the storming surf
workout "Shock Wave" and the frenetic closer "Feedback").
I see
similarities between this record and the legendary Gandalf album on
Capitol, in that both contain a bunch of covers that take the originals
and stamp them indelibly with a whole new personality. The lack of
major label resources actually benefits the Index recordings greatly,
giving them a gritty sound that has the feel of being produced in a
dungeon. Anyone interested in garage rock should be forced to listen to
this, as should every skinny-jeans wearing Pitchfork.com devotee out
there. There are a million bands in Brooklyn today that would trade in
their beards to be able to sound like this, which makes it even more
astonishing that this record was recorded over forty years ago.By The Little Black Egg.
