Following our first podcast dedicated to the Quebecan freakwave, here comes a second made for and hosted by The Drone, enterely based on taiwanese vinyl and tape material freshly collected in Taipei: expect mandarin disco pop, children songs, easy listening, marimba orchestras or library stock music for bars and night clubs, with a certain amount of cover songs involving western or japanese melodies.
Vintage culture in general being not so offshore in the country, I'd like to especially thank for their adresses, tips and recommendations Yujun Ye, Kishino Yuichi, as well as Sataka Ritsuko and Hideki Yachi.
Detailed tracklist to follow hopefully soon,depending on our translator friend celerity, but we can already briefly mention the presence of the Pi li bu dai shi puppet show's opening theme from the 80's, J.S.Bach adaptation for marimbas by taiwan native orchestrator Wen Loong-Hsing, plus singers Wan Sha-Lang and Yao Su Rong, whose haunted voice for a sensuous beat closes the chapter.
It could have been the unusual entry I was waiting for to talk about composer/songwriter Frédéric Botton. But holidays on hold: we will preserve the light spirit of this disco summer B-side excerpt from his wife's discography and keep the Big One for september. Therefore, to follow very soon: Mr Botton, the elegant husband. Slightly strange string arrangements in this one ? The track is orchestrated by Michel Bernholc.
Bernholc, the man behind Les Bronzés' soundtrack, as well as countless hits by Françoise Hardy, Michel Berger, Claude François & many more also did a noteworthy library opus in the Patchwork serie alongside Vladimir Cosma. Plus, he looked cool.
Another 7" in the infinite serie of obscure french grooves from the seventies, layering its twister beat on epic melodic surf elements: as the title says, quite a tribute in itself to the Space echo effect.
Michel Cenni remains quite a mystery. Was he maybe related to the Pop concerto orchestra ? His second (and only?) solo appearance consists in a great and praised space disco maxi by Optik 5, "official music for the 10th festival of fantastic and science fiction cinema".
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.
While this opus by polish director Andrzej Zulawski is still in the memories (wether to acclaim Kaprisky's naked dances and borderline actor's performances or to bitch on the overall general hysteria), its soundtrack didn't draw the appropriate attention, if you consider the killer qualities of some of its synthetic elements.
As a fundamental disco producer, Wisniak is especially known as Cerrone's sidekick (a collaboration that would later become seriously conflictual due to alleged Cerrone's wish to exclude him from credits). But he's also representative of those ghost producers responsible for countless interesting productions, in his case from Chi-Chi Favelas and the black & white band to Régine's incursions in the genre. His works for soundtracks include l'Année des méduses, the second major success Kaprisky got recognized for. Possibly could we also mention his work on the score of "Joy" (sounding sometimes so much like Quincy Jones is both embarassing and impressive at the same time).
Rest in piece, Rosy Varte, who just passed away while this post was about to be written. None of us will ever be able to get out of his head this Wisniak opening theme for your TV show that grandma used to love so much.
Nothing is better than a little jingle to break an embarassing silence and get off on the right foot.
Would you mention the recent lack of activity obeserved here that we would incriminate various elements: not only that the next Cartilage records release is on its way, but also that we've been asked for a few huge time-eaters written contributions by some french magazines, among various other things. Meanwhile, a few of our guest contributors moved to more specialised realms, but our root team is back on the tracks, with enough fuel in the tank to gently warm up those january days of domestic hibernation.
Although Albatros' discography is full of mellow disco-funk nuggets such as Ha-Ri-Ha or Gran Premio, here comes an especially surprising morodeiconnesque acid disco classic from that italian band involving the million seller Toto Cutugno. Probably one of their most unusual and titilating compositions, alongside the slightly more classic bassline of Santamaria de Portugal...
Singer of L'Italiano, Cutugno is also the kind of man who allowed so many french artists to make a hit by covering one of his melodies that you would barely believe it: from l'Eté indien to Laissez-moi danser, he also composed with Albatros the best thing Ringo probably ever sang, Les oiseaux de Thaïlande (aka Vuelo AZ 504) and its grandiosa synthetic orchestral arrangement.
Mystery remains: as all of these tunes seem to be avalaible only as second hand 7 inches, someone will have to explain to me why the hell is the only "Il meglio" cd fairly avalaible made of awfully sounding cover versions ...
In a country where comedy artists & satyrical bands seems more inclinded for popular success than any others; comes a selection for what sound best to my hears. I've never been actually to Finland and once again came across for those via various cd's friends brought me back & forums.
Finnish superstar and top selling artist, Jope Ruonansuu deserved to be first to be introduced there. He began early in the 80's as a stand-up actor, then go on relasing records. I've only managed to get few of his albums blended with phone jokes and cheap parody songs. Giorgio Moroder meets Harry Merry meets Russian Army Choir (more or less).
Claiming to be hugely influenced by the whole US pop, Hullujussi (fronted by the excentric Viktor Kalborrekin) gained notoriety with running shows on finnish pirate radios back in the early 70's. The "Rope Ja Kake" song comes from a 7inch single as released in 1975 & also appears on their very first eponym LP...
For this radio mixtape made on demand for both french magazine Telerama radio and french blog Le Musicassette, Gangpol & Mit took the opportunity to pay tribute to music and people who were influential in the making of their new record, subjectively united here under the temporary banneer of international music exchanges, mutant folkloric reappropriations, western/eastern connexions and carefully traded exoticisms in what I imagine as an old-time open international noisy harbour.
For such a legal podcast, I allowed myself to include or quote more classically celebrated bands than usual, that maybe will sound quite obvious to you. Howere, I hope that the thread will make sense, from mambo electronics to dangdut upgrades, blended traditionnal sources, and an occasional anglo-saxon tiny spoon of lyrics.
First I'd especialy like to thank Eric D. Johnson, who soon after reading for the first "Boogie post" pointed me on the freshly released compilation "Brand New Wayo" as compiled by Uchenna Ikonne from "With Comb & Razor" and released on the eponym's label.
Think for some forgotten Shina Williams hypnotic disco cut recorded at Wilfilms Studios and you got what's in my opinion the compilations's highlight moment.
I know this could sounds ridiculous as I've only came accross three songs only; but actually I have to recognize I'm a huge Tony Okoroji fan! I know for two records but they might be some more. Is this "typical" boogie stuff, I'm not so sure but as the man was involved producing many boogie artists including Dizzy K. Fafola (as mentionned in the previous post) i thought i had to include one song i do love especially (I'm insisting)
Very special thanks to Naija Kendo for providing a clean mp3.
Who Kingsley Bucknor was, I have no clue & the sleevery art don't help me much. By the way, this is the only song filled with "Moroderesque" synhtie sound from the record...
Successful both as a composer and music producer, Christian Bruhn did not only score the music for films he's often known for in his long career, but also wrote 2000 nearly songs for stars such as Johnny Mathis, Roy Black, Freddy Quinn, Peter Alexander, Katja Ebstein and french singer like Mireille Mathieu, France gall etc...
In the 70 and 80, he worked primarily on televisin series for which he created various distinctive soundtracks: remember his work on the series "Wickie"(72), "Capitain Future"(74), "Sinbad"(76), "The Red Zora and his gang"(79), "Timm Thaler"(79), "Silas life"(81), "Jack Holborn"(85) or "The door Wichert next"(86). Through these works was developped a good mix of synthetic German disco and funky contemporary music.
Fans for the "Lucifer's Dream" Lp beware, despite the fact "Minx" pseudonym hides german flutist Ralf Nowy... This is no orchestral spacey rock in here! Could be compared to his other and later efforts...think Methusalem but in a far cheesier way.
"My Dear Fans, Now that we are back in contact, As a gift from me to you, please check below for 3 free music downloads from my new album, "Lost Opera... Found," which will be released in 2010. Kimera, with love"
Know it and spread the word: the four-octave range grandiosa diva is generously back in full force. Since she decided to retire from the public lights of show business after the (luckily solved) kidnapping affair of her daughter Melodie in 1987, she never lost her love for music, though. And if it sounds more or less quite the same, it also sounds definitely as good as it used to.
The man behind the sound of the original 1984 million-selling album was John Fiddy, producer and major figure of library music with his Sonoton catalogue.
Blamed and almost criminalized at the time by most of classical music lovers, although it was recorded by the London Symphony Orchestra, the product of his laboratory may now appear in many ways as stunning as the woman's make-up creations and sense of costume or scenography: epic, colourfull, extatic. As an eighties upgrade of Walter Murphy's disco king work, it is of course also close to the fields of Rondo Venezziano (although Gian Piero Reverberi was composing and not covering). From whom, in case you didn't notice, Daft Punk copied as usual everything.
To my knowledge it is the earliest song recorded by cult italian born comedian: Bud Spencer, king of action-packed potboilers and spaghetti westerns. As taken from the 1978 movie "Lo Chiamavano Bulldozer" aka Uppercut; also don't misunderstand as behind the "Oliver Onions" hides the duo of composer usually attached to our man along with partner Terence Hill: Guido & Maurizio De Angelis.
As usual with most african releases of that period only a little little informations are available around. Seemed Carlos & Miki was some kind of super band comprised of personnalities which were both involved into solo carreers... 1980 released on the Afrodisia records: Decca Nigeriasub label (Joy Nwosu, Bennis Cletin, Leonard Okpala etc)
Collectors holy grail for this one. Might be due to the fact that one was recorded at Wilfilms: William Onyeabor's own studio recordings. What was W.O. exact involvment into the record; i don't have any clue as that second and last N'Draman Blintch single is far from the one previously released on his own private Cosmic Recordings.
> An Onyeabor post will follow soon containing various extracts from his discography.
Ok, enough of this summer slow-motion: it's time to get back to stressfull and regular updates, but the most popular and beloved french weather-man might gently let a taste of été indien resonate in our hearts.
It was a surprise do discover that the fresh and upbeat funny man mysteriously managed to release it on Celluloïd records (Elli et Jacno, Mathématiques modernes ...). Everything from the synths to the bass slaps sounds designed for small cars on highways.
From minimal synth to italo-disco, with avant-garde elements and a specific taste for drum machines, Maurizio Marsico, the man behind Monofonic Orchestra, brilliantly crossed the tumultuous ocean of italian underground through the years, although he remained quite confidential outside of the italo-german axis.
Involved with Luca Majer and Al Aprile between 1979 and 1981 into experimental 'Lectric Art trio, Marsico also was in the neighborhood of the italian avant-garde collective Frigidaire (an extension of the Cannibale crew) alongside Liberatore, Tamburini, or Massimo Mattioli, who published here the stories of Frisk the Frog: a character who became also the protagonist of an early 7" hip hop single produced my Marsico. "I was a DJ with a sound system, a Korg analog synthesizer and various vocal effects. It was in 1981 and I wanted to improvise a bit of vocal rap. We did many damages both to us and other people."
Still active as a contemporary composer, his last album includes contributions from Robert Wyatt et Derek Bailey, while early works have been reissued recently on cd by Alga Marghen. Be sure I pray for more posts on Marzico in the future, if lucky enough to find a copy of the Funk Sumatra now rare italo bomb.
It all starts with an unreal flea market cheap curiosity: following Mister Aubrun's previous attempts to dig unprobable achievements of some famous french figures, here comes a titillating 1977 incursion from the emperor among all our traditionnal singers Guy Béart into the land of science-fiction and futurism. Under cover artwork by Moebius, we have to face a real collision between Beart's ultra emphatic lyricism and fender rhodes, wah-wah or synth pad backgrounds: there, he manages to pack his so often mocked chevaleresque poetry in a rocketship on the way to new moons, however still remaining faithful to his personality.
It is not a surprise to find the name of Roland Romanelli credited on that project: completing his 20 years' role alongside Barbara, he is also famous for being one of the space-synth all-time king, both with a solo carreer and a belonging to the extremely popular and futuristic band Space.
You can also note that Romanelli happened to be responsible of Nicolas Peyrac's Les sept jours de janvier OST that Mister Aubrun already highlighted in our pages, but deserves a second synthy extract here:
In their liner notes for Béart's L'Avenir, the legendary Bogdanoff Brothers insist on the fact that through his lyrics, he was one of the first to write science fiction songs. Béart was indeed an early science-fiction reader and this record is often a musical adaptation of previous visionnary texts he wrote: a statement confirmed by these two 1968 7' containing earlier acoustic versions of the same songs (artwork on the left being realised by Guy Pellaert)
I wouldn't miss the pleasure of quoting the Bogdanoff twice for the metaphysicaly appropriate conclusion this posts requires:
"Fiction of Being: the Man of Béart, this man whom shape gets more precise all along these evelen songs, is affected by an identity discomfort: "What pushes me to these competitions , while the grass is so green ?"
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.
