Tracklist:
Raoûl Duguay - Alllô
Aut'chose - Le freak de Montréal
Michel Madore - Bâli
Bernard Bonnier - Métaphores pour un nouveau monde
Claude Péloquin - Mama Vagina
Le vieux show son sale - Le tango des concaves
Pollen - Vieux corps de vie d'ange
Caramel mou - Caramel mou (stéréologue)
Aut'chose - Pousse pas ta luck ok bébé
Claude Péloquin - Il y a juste assez de monde
Intended to celebrate and draw our french's audience attention on the quebecan freak wave from the 70's, this highly subjective podcast purposefully skips many of the progressive classics (Les champignons or L'infonie) as well as the earlier garage / freak / funk ones that were already reissued to focus more on songs that appear sometimes to be more suprising interludes or UFO side-dishes. Excerpts from albums that are not necessarely fantastic all way long, they often drown poetry into lsd, blending cheesy aspects with wild electroacoustic and studio experimentation.
I couldn't resist in including the classic Mama Vagina that quite started it all since the canadian label Mucho Gusto digitally reissued it. Second track by Claude Peloquin comes from the less celebrated l'Ouverture du Paradis, while the one by Michel Madore (taken from le Komuso à cordes) is actually also a product from Jean Sauvageau's studio.
On the more classic chanson side, le Tango des concaves is taken from the cult Le vieux show son sale, written and sang by Plume Latraverse, while the two track by the band Aut'chose (leaded by the poet Lucien Francoeur playing with various session musicians) are from Prends une chance avec moé.
And last but not least, take a bit of your time to visit the reference blog Psyquebelique, from whom I borrowed the fantastic track of Bernard Bonnier.
As this post wouldn't be complete without putting a face on these voices, here comes a selection of the national treasures at their best. Specialists will notice that Raoûl Duguay's glorious appearance at la Nuit de la Poésie was part of an edit in french tv program l'Oeil du cyclone ("Poésie mon amie"): one of the many reasons why I allow myself to conclude on a warm tribute to Claude Gauvreau.
Bocquet isn't exactly what you would call hidden treasure now that he already resurfaced on several blogs, mainly with his double Robot bleu / Robot rose. But I already noticed how much some of our followers occasionally don't mind a subsequent post overviewing or summarizing one of their heroes' course. And the comeback of the mighty Henriette Coulouvrat on stage, thanks to the blatant monastical efforts of Musikmekanikcircus, gives me a good opportunity to talk a bit about the one she describes as her favorite composer.
Starting as a decisive member of the french prog band Catharsis, Bocquet's career firstly follows the band's impressive discography. Keyboardist, he brings a highly specific Farfisa touch that made the band's sound distinctive, as you can notice on that b-side packed under a delicate artwork. Following the Catharsis' cessation of activity, he released the Paradia solo LP, followed by Robot rose (including songs from Paradia) and the brand new Robot bleu on the library label RCA media. His perreyesque Marche des canards as well as songs Le flipper amoureux and Le repondeur automatique rightly titillated the label enough to give him a 7" exposure outside of the library field.
Across the 80's, he cumulated commercial works, layering his arpegiators on a massive amount of highly dispensable french tv anthems (X-or, Mask, les Petites canailles) or soundtracks (La Balance). Even a single for Marie Dauphin (Y'en a qui).
Now get ready and spread the word: the syldavesque madame Henriette, for whom Bocquet composed killer hits, is back. And her last month's live appearance in Paris announces more events to come. We all know how much this kind of comeback on stage is risky and rarely works for people with such a fabled profile: this is why we got struck to almost surprisingly shiver and dance on a performance that brilliantly honoured all together the sound (no shitty remixes but pure vintage backing tracks), the voice and the crazyness. We clapped, she laughed. Ha ha ha hi hi.
Another example of mink-lined 7inch: frustrated by the chamber orchestra main theme ? Turn it to get a surprisingly synthetic B-side that will cuddle your ears. From polish director Walerian Borowczyk, these Immoral Women belong to the list of now classic erotic french oddities.
A few names from the casting might sound more or less familiar to you: on the woman's side Gaëlle Legrand and Pascale Christophe, on the men's one Jean-Claude "What a flash" Dreyfus or the institutionnal Henri Piegay (a name we met a few days ago here regarding another 7")
Real life being sometimes more crazily creative and unexpectable than fiction, you'll find as co-composer the now right-wing deputee, air pilot, photograph and musician Olivier Dassault: a surrealistic profile that makes him the most unexpectable member of a Dassault lineage I will let to your appreciation ... You might also note that he's actually responsible for a countless amount of sonic signatures he composed across the years for clients such as Le Futuroscope, Institut du Monde Arabe, Tati or Vulcania, among many others ...
Besides, the movie also involves some people related to Jean Rollin, like actress Marina Pierro (La Morte Vivante) and soundtrack composer Philippe D'Aram, in charge of the score for Les deux orphelines vampires, Fascination, La Morte Vivante and Perdues dans New York, all recently reissued by Crippled Dick Hot Wax and Lucertola media.
Back to our movie director, Borowczyk in his early years also acquired recognition with his experimental animation movies: here an interesting example alongside Chris Marker, which soundtrack by polish contemporary composer Andrzej Markowski challenges many experiments of the french GRM at the time.
Kodiak Bachine is an organic and electronic progressive one-man band from the great country of Amazon river, Iguazu falls and kings toucans.
He played during the 80's an electronic avant-garde music with some productions references to the incredible extravagance of brazilian vegetation and the mystic of life, instead of mechanicals thematics and electronics first semblances. A kind of mix bettween A. Jodorowsky, Kraftwerk and François de Roubaix. Before his solo carreer, he played solicitating in a band called Agentss, in the same axis, but with a bit less of flamboyance (for me).
His great hit is called "Electicidade" 1982, and the video won lots of awards :
Following the post on the horror movie Hausu soundtrack composer Kobayashi Asei, I'd like to briefly focus on another musical item related to one of the film's actress Haruko Wanibuchi (playing the role of the mother): in the wake of her appearance in the 1977 Toei movie drama Rashamen, a delicate LP was released. Produced by Kazuhiko Karo, from the mighty Sadistic Mika band, and Folk crusaders, it happily got reissued in 2006 by Vivid records, with a few copies are still avalaible for foreigners.
I admit it's a bit of an obvious celebrated deviant horror soundtrack classic, already posted on various other blogs, a score influenced by Goblin in the same way that the movie echoes the Argento's maestria, but I'd like to take the opportunity to mention an amazing serie of rare screenings at the Paris' MCJP, that give us a rare opportunity to overview more than 40 years of ghost-related japanese movies in every details.
Recommended gossips regarding Hausu's production story and its soundtrack maybe be read here.
Also, this lead me to partly track down the traces of one of the co-composers, Asei Kobayashi (who worked alongside Mickie Yoshino and his band Godiego): acting in the movie as the farmer selling watermelons (!), his name may be found in a huge variety of productions, from commercial songs (Suntory whiskey) to 1969 funk bombs like soundtrack for the Toei's Flower Action 009 1, reissued by Solid records.
In the world of anime, he composed for Mahou Tsukai Sally (known in France as Mini-fée), being especially credited for the Mahou no mambo tune, sang by Yoko Maekawa: a fantastic ending theme that was kindly brought to my attention by the encyclopedical Kishino Yuichi, before I include it in a recent podcast here.
I finally also found Kobayashi credited for the composition of that Pin Pon Pan Pajama Man 7", related to a 50s and early 60s Fuji TV children tv program introducing the lovely wild character Deberon that makes the cover artwork so instantly compelling.
As far as I can remember, I came across E.E. music nearly 3/4 years ago. At that time there was a myspace account linked with the whole Dick El Demasiado, Sonido Martines or Los Siquicos Litoraleños. "I wanted to believe" but also find out who was hiding behind El Entraterrestre. I tried to get in touch & had for only answer: "thanks for the hospitality" !!??!!
Following DJ Arc de Triomphe's introduction of Erick Cosaque here, the mysterious ways of second hands' fate lead my hands to another LP by Guadeloupean legend Erick Cosaque, here in company of the mysterious "X7 nouvelle dimension" unit: a progressive electric and percussive jazz nugget, which harmony could show some similarities with Lalo Schifrin or even François de Roubaix harmonies. Note that the first theme, Cliché, is composed by another guadeloupean composer Harold Abraham, while the other one is by Cosaque himself.
I have to say that this blog could dangerously dive into various electric jazz and mondo lounge excesses, a thrill that is worth begging the haitian Leon Dimanche to come and save us. Besides, his strangeness could also be our best support in these times of Christmas celebrations: beyond the lyrics, reminding us how we should take care of poor people in these times of excesses, this is so far the best bontempi chorus and charley mix you could ever dream of. Listen & buy the FULL MASTERPIECE HERE ! Gloria in Excelcis.
Believe me when I'm telling you that joining up the Consortium team is not an easy task - I've battled up for three weeks to come out with something that could fit in the "oddball" policy of the house (the fear over at the Bureau was that I would try and subvert their exacting, psyched-out editorial policy with deep house tracks or early IDM nuggets - something which I must confess I otherwise crave for) But I'm not of the terrorist type, rather of the compliant one, and I do want to fit in (I'm a social creature). And when the people at the Bureau asked me to focus on all things Brazilian as a way to start up our cooperation, I'm telling you, nothing could make me happier.
Now, one obvious understatement in their demand was that I couldn't bore you all with super classic misknown Bossa Nova or 1930s Nordeste Frevo shit (but trust me, I will when I'm more integrated). In the meantime, I've sifted through the swampiest territories of the Brazilian music part of my discotheque in search for something valid enough that wouldn't play the "you're not expecting this from Brazil" game in a too much obvious way (but super weird gems by industrial pop unit Harry and electroacoustic composer Jorge Antunes are piling up). So here are a few exploitation tinted tracks that could make Quincy go nuts like he's just had too many shots of cachaça (and I promise I'll keep the shut up next time).
First and foremost, Iet's take a fusion ride. I'm pretty sure all you prog-rock, electric jazz heads already know the super famous band Azymüth. Even their name was (still is, actually) terrible and a lot of their tracks could end up on a very ugly German lounge hip-hop compilations (for that matter, I just found out the international version of their first album was reissued by Far Out in 2007 with the unavoidable remix bonus cd). But they had grandiose moments, on their own or collaborating with Ana Mazzotti or ex-Bossa nova sweet-heart, later reborn as a bearded purveyor of funky, moog-y pop tunes Marcos Valle; and honestly, who cares about good taste when you can hear cuica playing the ominous part over trippy Moog escalations and Arp Solina pads in a gritty electric jazz tune?
Hidden deep down inside the fabric of their all-too-listenable first eponymous album, you can also find a funky, poppy tune sung in Marcos Valle style by a guy called Marcio Lott (a regular presence in the legendary Radio MEC studios in Rio, where the supergenius Edu Lobo - scroll further down for details - crafted some of his craziest pieces). It's called "Esperando Minha Vez" and don't tell me you wouldn't go crazy for it if it came from a super obscure library music LP.
Then, a true curiosity by a true pop genius, the super famous but largely misunderstood Chico Buarque (we Frenchies have to blame a soda commercial with sepia images of mulatto kids playing football on a beach for the confusion), from his "I'm a serious composer with a big moustache and I'm more politically involved than you are" period. I could have chosen any song from his amazing, amazingly challenging Construção of 1971 but they're probably too serious for the purpose of this post (you should just go and buy the whole LP asap anyway). Apart from the sublime nocturne ballad "Barbara", few people know his Chico Canta album, or rather most people stay away from it, because of its typical 70s fusion arrangements. It's a shame. Despite the fact that most songs were co-written with Brazilian Nouvelle Vague enfant terrible Ruy Barra, it's really the arrangements by Edu Lobo which make it unmissable. The instrumental tracks are cinematique, pure blackspoitation dope:
Chico Buarque "Ana de Amsterdam" And to end on an ominous, grandiose note, I give you the opening track of Edu Lobo's most ambitious work, the christic Missa Breve. Born in 1943, Lobo had the most interesting of careers: a sophisticatingly smudgy singer, a revered composer of the second wave of Bossa-Nova (he composed classic tunes like "Candeias" or "Corrida De Jangada", famously sung by Nara Leão - we'll come back to her - and MPB postergirl Elis Regina) and author of some of the most gorgeous MPB albums of the end of the 60s, he took things to another level after studying orchestral arrangements in Los Angeles (while sleeping on a mattress at the house of his friend Sergio Mendes). Many parts of Missa Breve are instrumental, some of them verging on modern classical, Xenakis-sian moments, but I really needed to stick to the crossover, exploitation thematic of this post and have you hear his voice, too.
Some music artefacts are small by the size, but may concentrate in 7 inches so many elements, that they can easily turn into an iconic crossroads for those who care.
Related in many ways to the world of Tenjosajiki / Terayama Shuji, this EP was reissued in 2004 as a bonus cd to the Baramon LP edition: Baramon, "The Pink Portal", or a provocative gender-troubling poisoned sonic storm run by a group of gay and transgender comedians, with compositions by J.A.Seazer or Kawachi Kuni.
Yamashita Takeo, mighty figure renowed especially for some anime soundtracks such as Lupin III, or Sabu to ichi torimono hikae, scored this Togo Ken EP, built all around the crude yet sensible lyrics and striking singing of this long-time activist in the gay and queer scene: famous for relentlessly challenging the elections and experiencing various troubles with the censorship, it is not a surprise that Togosan crossed the way of Terayama's group, which was a nest at the time for many wild children as much a source of worries and investigation for the police regarding the high degree of social critic generated by its activities, movies, happenings and theater experiences.
I'd like to recommend the lecture of Togo Ken's detailed portrait avalaible for readers here.
Also, take this post as a first opportunity to modestly introduce here the wide world of Tenjosajiki related records: these precious testimonies for adventurous and sincere times you sometimes feel lost are avalaible thanks to the efforts of White Noise records and Belle Antique. Check the haunting Hatsukoi Jigoku Hen, or the collaged Shintokumaru, alongside the countlesses contributions of composer J.A. Seazer to other artists' records such as Carmen Maki: must-have items, burning gems.
Cult SF french vinyl, reissued by Finders Keepers: fantastic sound with a bass line like a real trip of the 70's. This LP is adapted from the book of science fiction Gilbert Deflez, "I am alive, but I'm afraid." Quick, order it here.
Prologue in French, forgive me:
"Au large de la terre, un homme sort lentement d'hibernation. Peu à peu, ses souvenirs lui reviennent. Il revoit les personnages étranges qui ont croisé sa route en cette fin de siècle : un chef de la police aux curieuses notions de charité, un homme-oiseau, une femme particulièrement "prenante", des politiciens aux combines "fracassantes", et les savants d'une Base aux expériences déroutantes... Dans une réminiscence baroque, l'homme revit l'interrogatoire étouffant et les mutations d'une terre malade qui l'amenèrent jusque après l'apocalypse... "
Michel Piccoli is the greatest French actor, well ahead of our National Gégé. He is a superstar, he is capable of anything.
I present a series of very naughty pictures from a very strange movie entitled GRANDEUR NATURE "Live Size"(1974). A story of love doll !
PRIVÉ MAGAZINE - avril 74 N°6 mensuel ---------------------------------------------------------------------
A very sensual adaptation of a poem by Ovide, the great Latin poet. And as B side, a beautiful 45rpm disco bullshit by Pierre Perret and Bernard GERARD.
Despite Maurizio Merli's picture on the front cover this is not the average "polizieschi ost" in here. But a brand new uncompromising, brutal and trancey piece of music, freshly released on Bruit Direct.
Raw & epic 2 tracks single from the vaults of jazz and session virtuoso guitarist: Pierre Cavalli. Released in 1971 & soundtrack to an obscure tv programm from Switzerland.
Typical early 70's maghrebian progressive pop music blend with both berberian, arabic and western elements. (think like Les Abranis, Sophian, Mesreyen Band etc).
Rhys Chatham well known for his harsh and hypnotic guitar playing delivers another fantatsic no-wavey guitar cut. Released on the 1982's "New Music from Antarctica - Volume 1" compilation which was supposed to be some kind of music'companion to an art videocassette (of the same name).
Bernard Estardy ( aka Le Baron de Mehouilles, The Baronet ) is the hidden genius behind many of the biggest hits in 70's French "variété" music. As a fabulous musician and talented organist, Mister Estardy first collaborated with Nino Ferrer in the 60's, and is also the one responsible for most of "our national & tenderly regretted CLOCLO" (Claude Francois) music hits... In the middle of the 60's, along with Georges Chatelain, he created the "experimental sound" STUDIO C.B.E !
Used to be an unfindable one, recently reissued by the VADIM record label (and identically to the original piece). Bravo guys !
Insane break-electro-jerk "extract" of 4mn 24' signed by the " wizard " of the keyboard (excerpt from Carlos' BIG BISOU "Version Discotheque Longue Durée).
The US Graal of hipsters who want to go out and have some good time
Two spacey organ cuts which originally came on Adi's 1982 "Popular Movie Melodies From India" LP (covering Bollywood classics). Unfortunatly I wasn't able to recongnize any of them.
"Adi understands the pain and agony of human life. He soothes his patients and brings happiness to young hearts, through his medical background and his extravagant musical talents." (back cover notes)
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Only a little informations are available on the net about the keyboard maestro. Anyway he seems to be part of a small spiritual group named the Zarathushtri community... Playing and accompanying as some sort of music therapeutist he provides rousing music to keep all involved until late hours for jubilee celebrations etc...
In order to conclude a very french week here, our now institutionnal sunday's second hands lazy post -----------------------------------------------------------------------------
A 1977 disco by workaholic Patrick Jaymes, both singing and producing, espcially including a wise insert of Morricone. -----------------------------------------------------------------------------
French space disco LP related to the cartoon Mighty Mouse Here an instrumental, you can also listen to the original anthem here, depending on your tolerance for pitched voices. -----------------------------------------------------------------------------
Theatrical french disco-prog, from a curious band having some connexions with Jean-Pierre Massiera. Run by keyboardist Freddy Brua, they released various albums that start to reappear more and more around. -------------------------------------------------------------------------------------
This is Jean-Sébastien speaking, resurrected by Eric Charden, and explaining us the secret of his everlasting popularity. Carried away by enthousiasm, he evokes his domestic wife, sunday bunny stew, a scope of fluffy children, and the competition with fellow Vivaldi. This unexpected b side shows very few classical components but a great bass line supporting high visions of mass consumerism from 1972 :
{Refrain, x2} Bach Achetez du J.S. Bach Écoutez du J.S. Bach Consommez du J.S. Bach
Now for your souls, some mighty variations on the Fugue in D minor by british prog band Egg, that will make you go back to groovy church, at least.
JS Bach is also much appreciated by speed metalists, who like to accelerate its scores. Here is a bucolic interpretation of a french bourrée by shredder goddess Yngwie Malmsteen.
See also the headbang performance of The Great Kat, overdriving the Brandenburg Concerto on a six strings guitar. She really does a lot to promote classical repertoire on her website. Knowing that Bach has already been translated into 8beats music, next steps are logically subliminal harp. Classics never say die.
On the more classic chanson side, le Tango des concaves is taken from the cult Le vieux show son sale, written and sang by Plume Latraverse, while the two track by the band Aut'chose (leaded by the poet Lucien Francoeur playing with various session musicians) are from Prends une chance avec moé.
