Awesome collection of singles originally released as 12"s in Man Recordings Funk Mundial series. This is chock full of high energy Baile Funk done so totally right! Daniel Haaksman who started this series has a great ear for the best of the bangers, so it's kind of like getting someone to cut the weaker stuff out and hand you sixteen of the most sizzling, grooving thrillers that have come out of the Baile Funk scene over the last few years.
We were only familiar with a few of these artists like Crookers and Chancha Via Circuito but all the new artists to our ears for sure have been making us shake our stuff. Mixing elements of tech, hip-hop, booty bass, rave culture, all with a frenetic energy that's so damn infectious. We love how this scene seems to be mixed equally with fierce females and charismatic males. While still full on crazy fun, these tracks come off a bit more musical and memorable then the tracks on the Rio Baile Funk comps put out by Essay, we still love those comps but right now Funk Mundial is giving us the goods in a way we can't resist!
Two more installments in Sublime Frequencies' ever expanding catalogue of amazing music from around the world. And by now we shouldn't have to tell you that pretty much every single release is a mind blower. But we will if need be. Any obsessive music freak owes it to themselves to check out and most likely own every single one of these. Some are beautiful and mysterious, some are strange and haunting, others are festive and jubilant, and a handful are truly truly strange. Wild and wonderful, perplexing but fantastically fun. And this one definitely falls into that category. Even before we get to the music, it's easy to tell this is gonna be a weird one, the cover is a wild swinging sixties party, with hot girls and guitars, giant dice, bongos, vests, sunglasses, suspended cubes made out of record jackets, the back of the disc features another swinging mod party and inexplicably a huge black and white image of Batman superimposed over the top. Inside it's hula girls in front of the Easter Island statues, a crazy cartoon of a big mouthed lady juggling numbers and a little kid hanging onto her arm, big ol' electric guitars, and on the disc, canaries in a cage, plus, c'mon! It's called Latinamericarpet!?
The music inside perfectly reflects the chaos and craziness on the sleeve. A selection of various lost Latin American psych lps from the sixties, but 'psych' here is VERY loosely defined. This sounds like the best DJ set you'll never hear, spinning awesome garage, fuzzed out psychrock, weird novelty records and everything in between. This is definitely the strangest disc in the series since those Radio discs of randomly captured radio broadcasts. As much as fans of weird world music, and strange found sounds will want this, so will folks who have been digging on all the crazy psych comps of late. This just might trump them all.
Here's a quick rundown of some of the sounds and songs here: super groovy fuzzy sixties garage psych, with slippery reverbed guitars and a killer groove, weird synths and organs playing along with chirping and singing birds, strange spoken word tracks with dark orchestral backing, Joe Meek-ish garage jams, instrumental but with a killer Eastern flair, rapid fire melodies and lots of conga drums, Mozart transformed into a groovy fuzzy jam, lush orchestral pop with crooned vocals, sound effects, sped up voices and spoken word, a yoga instructional record, with a gorgeous extended drone for you to practice along to, some super goofy, jaunty children's music, all playful melodies, wah guitars, and Muppets like vocals, lilting easy listening, all Lawrence Welk strings and lo-fi organs, killer warbly reverbed surfrock, with wailing sax and fuzzy organs, classical piano accompanied by what sounds like a small choir, a full on Bollywood style ballad, total Wipeout worship instrumental garage rock jam, groovy exotica, all marimbas and playful percussion, wild mariachi with accordion upright bass, and amazing vocal harmonies, murky muddy surf rock jam complete with a super long extended bad ass drum solo and it goes on and on and on. Every song a surprise, everyone catchy and wonderful in its own way, all woven into a perfect sonic travelogue through the swinging sixties in Latin America, lots of the songs separated by little snippets from novelty records, voices, and sounds, language instructions, snippets of songs, giving the whole thing a similar vibe as past 'Radio' installments in the Sublime Frequencies series, or like we mentioned before, the greatest, wildest DJ set ever.
Spanning 1969 to 1978, the newest volume of Love, Peace & Poetry brings to light totally rare gems from the Brazilian psychedelic rock movement. While we may all be relatively familiar with the giants of the Tropicalia scene -- Os Mutantes (Windy's favorite band ever), Gilberto Gil, Gal Costa, Caetano Veloso, etc -- this comp features far more obscure groups whose albums are sought-after treasures in the underground psych LP collecting community (you know who you are!). But less obsessive folk now too have the opportunity to enjoy these obscurities! Springing from the creatively fertile ground of an at the time politically oppressive society, this is a fantastic collection of songs ranging from sunny Beatles-esque, Byrds-y jangle pop to other harder stuff more explicitly influenced by the Doors, Hendrix, and other fuzzed out acidheads. Highlights include the latter type of thing from Modulo 1000, a track from Brazilian psych crown jewel Lula Cortes e Ze Ramalho, the Zep-worthy hard rock groove (with a touch of proto-new wave in one guitar break) of Terco, and a track by Spectrum (whose utterly brilliant film soundtrack album "Geracao Bendita" album has been reissued in its entirety, due for review soon in an upcoming New Arrivals list, although you can come buy it now if you want!). Some tracks pay allegiance to Tropicalia, others are straight-up freak rock, and all are pretty cool.
As with all the Love, Peace and Poetry comps, this is highly recommended not only because it's good listening, but also because it's damn hard to find full lengths from most of these groups, not 'til someone reissues 'em! The liner notes are again by our pal Stan Denski, cover art is again a cheesecake blond go go girl courtesy famed photog Bunny Yeager.
For their tenth installment in the Love Peace and Poetry series, Shadoks once again takes us to South America. At first we must admit we were disappointed. This is the fourth volume in the series to cover Latin American psych and so many other regions in the world remain potentially untapped by this series (Italy, Poland, Scandinavia, Indonesia, North Africa, to name but a few). But then we thought better, because we've always known Chile to be an amazing source of some of the best South American psych and sure enough many of the bands on this compilation are amongst our very favorite: Embrujo, Congregacion, Blops, Los Macs, El Congresso, Kissing Spell. Yet there's others here just as good we'd never heard before. In fact this is one of the better volumes in the series, not just because the music is so good, but that much of it was made under hostile political conditions and barely managed to survive, as most records made after 1973 were often contraband, and many master tapes were subsequently destroyed. (Pinochet's CIA-installed military dictatorship ruled until 1990!) It's surprising that given the constantly changing political climate, that bands took so much risk with their music, and album art. Like Aguaturbia, a sort of Latin Brainticket featuring a female vocalist (a rarity on these comps), depicted the singer naked and crucified (a la Salvador Dali) on their second album cover, and even one of the two songs representing them is called "Erotica" feauturing some hot and heavy sounds. Other bands like Congregacion and Sacros take a more mystical and spiritual approach. Some bands are deeply inspired by Hendrix and Deep Purple (Tumulto and Escombros), and others more influenced by the jangle pop of the Byrds and Beatles (Los Macs, Los Beat 4 and Los Vidrios Quebrados). But for all the bands heavily influenced by American and British psych and R&B, it's nice to hear more Andean roots come in to play from bands like Los Jaivas, who mix electric and traditional folk instruments. Another score in this amazing series with hopes for farther flung outings in the future.
Ignore the cheesy pinup girl cover art and instead give thanks that someone finally compiled someof the best tracks from Latin American psych pop groups of the '60s, most of whose original LPs now change hands for hundreds of dollars, and whose cd reissues even seem overpriced. We're talking bands like Traffic Sound, Laghonia, Kissing Spell, and Kaleidoscope, etc. A great intro to this scene, provided you have a very strong stomach for Beatles ripoffs; it sounds very much Of Its Time.
Any disc that opens with Los Dug Dug's doing their super catchy and fuzzed-out "Lost In My World" is all right by us! The rest of the cd is pretty great too. This new installment in the always-cool Love, Peace & Poetry series of comps -- which bring us an international array of wonderous '60s and '70s psych songs you might never otherwise encounter -- proves that things were shaking south of the border way back when, in the realm of rock n' roll. The strength of the Mexican psych rock scene was hinted at by an earlier volume in this series, Latin American Psychedelic Music, which is where we found out about Dug Dug's in the first place.
While the USA had Woodstock (and Altamont), Mexico had 1971's Avandaro Music Festival, and several of the bands featured here performed at that event -- and were then banned from playing regular clubs because of government repression. Bummed out by politics and driven undergound, these bands let loose with tons of fuzz (and some melody). These 17 tracks mostly date from about 1970-72, with a few late '60s entries. You'll experience punky garage numbers, some hippy blues workouts, lots of acid rock dementia, and even some lighter, folk-rock efforts -- all sorts of psychedelic era indulgence indeed. The bands: Dug Dug's, The Kaleidoscope, El Tarro De Mostaza, La Vida, The Flying Karpets, The Spiders, Tocho Pilatos, Three Souls In My Mind, Grupo Ciruela, Los Ovnis, The Survival, Nahuatl, La Fachada De Piedra, La Libre Expreession, Ernan Roch, Renaissnace, and La Revolution De Emiliano Zapata. As with the rest of this series, unrelated-to-the-music beach bunny cover photos by Bunny Yeager, informative-about-the-music liner notes by Stan Denski.
Smokin' collection of Spanish groovers and rockers from the '60s and '70s. The opener from Rudy Ventura could get any disco floor shaking, past or present, while the rest of the record goes more in a catchy pop/rock direction with healthy doses of soul, funk and garage, reminding us a lot of that great Sensacional Soul collection we went crazy for a few years back. Barely any of these artists were familiar to us before except for maybe Los Shakers and Los Rollers, which is fine with us, as it's always exciting to get turned on to all sorts of awesome Spanish sounds we weren't hip to. The price tag might be a bit hefty, but luckily the songs on this collection are well worth the price of admission!
Another round of great sounds out of Panama from the 60's & 70's from the always reliable Sound Way label. Great stuff!
Now available on vinyl!
All June long we've been having a "graycation" here in foggy San Francisco, but yesterday the clouds lifted and it finally feels like summer!! Just in time for weekend barbecues comes this sizzling hottie of a compilation of Cumbia, Salsa and Calypso Funk from the Southern most country of North America, Panama! This is the second volume of sixties and seventies jams from this tiny nation that sees plenty of cross-pollination from many musical forms to the North, South and East. Northern Soul and Salsa influences, Afro-Caribbean calypso, Cubano percussion, Columbian Cumbia and Panama's own Musica Tipica, a black and mestizo rural country form notable for its wide array of rustic percussion as well as its use of multiple violins and accordian-led arrangements. The beauty of these compilations is their flow; traditonal cumbia is followed by sweaty salsa into Latin funk and back like it was tailor made for dance party listening. There's some amazing psychedelic soul funk numbers in here too from The Duncan Brother's "Dreams", The Soul Fantastic's awesome version of Bill Wither's "Ain't No Sunshine", and Lord Cobra's "Love Letters". Summer starts right here!!!
Quite simply, this is a collection of bands from around the globe circa 1969, who have done their best to emulate "Sgt. Pepper's Lonely Hearts Club Band" with very pleasing results. Quirky psychedelic pop from We All Together (Peru), Prudy (Czechoslovakia), Quentin E. Klopjaeger (South Africa), The Twilights (Australia), and more. From the same label who produced the "Peace, Love, and Poetry" compilations!
This Red Hot compilation (dedicated to fighting AIDS) features a very well-chosen collection of Today's Hot Young Acts covering Brazilian bossa nova classics. All tracks exclusive and new (we think). With Stereolab & Herbie Mann, Money Mark, EBTG, Mad Professor, PM Dawn, etc. Purists may want to get the companion cd which features the same song lineup, but this time it's the ORIGINAL versions as performed by Brazilian musicians, and the money goes to the same place.
If you love your booty shakin then you probably got the first installment of this totally endearing and bumpin' collection of Baile Funk deep from the heart of Rio. That held us over for a bit but our booty's were in need of a recharge and we got it thanks to this 2nd volume in this collection. A raw, mutant mixture of booty bass, hip-hop, carnival, and mash-up culture at its most contagious. What makes this collection so infectious is that you can't help but hear how these songs were made free of irony, and giving us a little peak into what a colorful and risquÅ kind of party scene is happening in Rio. Throw this on in between some M.I.A and Lady Sovereign and you're sure to get everyone around you shaking their booty like it's meant to be shook. 100 percent F-U-N!
Fuzz and groove from the Andes, mostly circa 1969-1974, uh huh! If there's anything we've learned from all the cool comps and reissues that have come out over the years, is that almost ANYPLACE on Earth you can think of, no matter how out of the way, chances are they had their own happenin' psychedelic garage rock band scene back in the day, chock full of cool bands that we'd never have ever heard of but for the diligent efforts of collectors and compilers. Certainly we already know this to be the case in '60s/'70s Peru, as we're already in love with such great bands from that land as Traffic Sound, We All Together, and Tarkus. Now from the same Lima-based label, Repsychled, that just so happens to be responsible for reissues of albums by all of those, we get this killer compilation devoted to bands from Peru's second largest city, Arequipa, located in the south of the country, high up in the Andes. None of these groups recorded full albums, but they did release rare singles and make live 'party' cassettes and left behind enough cool music that this disc is packed, 21 tracks from five bands: Los Texao, Free Love System, Los Incognitos, Madera Fresca, and Opus.
Los Texao, named after the type of flower associated with Arequipa, have the lion's share of the tracks, ten of 'em, including some covers (Cream, The Guess Who, Steppenwolf). They are also responsible for several of the best originals on here, especially their druggy groovy freakout "Stone", which by itself may justify the purchase of this disc, and exemplifies their own musical style called niebla (= fog in English), we're told "because of the effect produced by the band's rotor amps and reverb and echo effects". But Free Love System don't let us, or Arequipa, down either (with a name like that, you gotta be good!) and their four cuts are also pretty cool and, uh, foggy, including one with driving fuzz guitars and a kind of "You Really Got Me" riff, entitled "Correteando Anoranzas". They (as well as Los Texao and the others) also do some dreamy pop stuff, with melancholic psych guitar solos, so it's not all heavy and rockin', but mellow and moody too.
Meanwhile Los Incognitos have more of a twang, sounding a bit like something out of a Spaghetti Western on their four cuts. And then there's a couple by Madera Fresca. In particular, their track "Anytime" is pretty crazed, though also extremely lo-fi (fortunately it's the exception in that regard amongst the tracks here), and heck even if it wasn't, that'd be ok with us, we'd happily crank a whole album of this sort of distorted worbbly-warbly instrumental jamming. And then Opus, a band formed by Free Love System's former guitarist in '76, wraps up the disc with track #21, the only one on the disc that's not actually from the '69-'74 time frame, though it sounds it, despite being recorded as late as 1982.
Whoo! Along with our recent initiation into the wonderfulness of the "chicha" sound (which combined Andean folk traditions with psych/beat influences), this comp certainly adds to our infatuation with Peruvian music of the psychedelic era. If you dig stuff like the Love, Peace & Poetry: Latin America comp you'll want to hear this. The cd booklet is illustrated with vintage photos and press clippings, and includes informative liner notes in Spanish and (somewhat abridged) English.
Soul influenced tracks from Brazil dating mostly from the mid to late seventies. Laced with funky electric bass, rhodes piano, horn sections, female choruses singing backup, and even the occasional string section, this is a perfect soundtrack for swank retro cocktail parties to get those guests dancing. A must for fans of the saucy soundtrack releases on the Crippled Dick Hot Wax
Last year we freaked out about an awesome reissue of Chicha jams by the legendary Peruvian group Juaneco Y Su Combo. So we were beyond thrilled to discover this collection featuring the best of the sounds of Chicha that came bursting out of Peru from the late '60s to the late '70s. Juaneco Y Su Combo are featured here of course, with a few tracks from that disc we love, but what's amazing is that lots of the other groups are just as good, if not even better, and that's saying a whole lot!
It's such an irresistible sound, infused with elements of Andean melodies, Cuban gujiras and plenty of surfy and psychedelic rock tinges. The songs here are filled with so much mood and spirit and will definitely appeal to such a wide range of music lovers, from those who dig weird and wonderful world music a la Sublime Frequencies, to those who dig the more classic psych pop sounds of the Nuggets compilations. These are songs that sizzle and crackle with so much flavor. We could also see rare groove folks getting super excited about some of these sounds and we wouldn't be surprised if samples of them made their way onto some Madlib record in the future.
This actually came out -before- that great Juaneco Su Combo disc so if you loved that one, you gotta make sure to grab this one too, so you can get turned on to other Chicha greats like Los Mirlos, Las Hijos Del Sol, and Los Destellos (who do a Beethoven track in amazing chicha fashion!).
It's always so awesome to blast this in the store, everyone starts tapping their feet and all frowns turn upside down as it's pretty near impossible to be dour or stoic while these songs are playing, and radiating so much colorful fun. So damn good!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Lilith is really on top of the Tropicalia reissues and this time we see back in stock the compilation / collaboration that served as the Brazilian movement's defining manifesto while also highlighting the key musical players: Gil Gilberto, Caetano Veloso, Os Mutantes, Gal Costa and producer Rogerio Duprat (with contributions from Nara Leao, Tom Ze, and Vicente Celestino among others). We were surprised to find we didn't review this ten years ago when we first discovered and raved about Os Mutantes and heard about the Tropicalia movement from the late sixties with all this amazing and creative art, poetry and music. Although it's easy to be blinded by Os Mutantes' genius, as they were definitely the most rocking and performative component of the movement, which was made up of mostly singer-songwriters that came from more traditional musical forms of Samba, Fado and Bossa Nova. So perhaps we were less floored musically with that aspect of this compilation at the time, or just didn't appreciate enough the then-radical concept of mashing all these disparate forms of psychedelic rock, Afro-Caribbean rhythms and Brazilian popular styles together in a country that nationalized its traditional music to such a degree that even electric instruments were considered anathema. We are definitely appreciating it much more now. Especially after becoming more familiar with the solo work of each of the contributors, we're more open this time around to the softer nuances of the song writing and performances. Panis et Circencis (Bread and Circuses) is both a celebration and a political critique, a collaboration of unity and vitality and most of all longevity.
You can always count on Soul Jazz for a beautifully packaged and well thought out compilation. This time out it's a trip to late '60s early '70s Brazil for the suave sounds of the founders of tropicalia. Caetano Veloso, Tom Ze, Gal Costa, Jorgen Ben, Gilberto Gil, and of course ultimate AQ faves Os Mutantes. With a sound that mixes elements of psychedelic rock, samba, funk, soul and avant-garde aesthetics like tape loops and delays. Crazy to think that during the dictatorial political atmosphere in Brazil at the time many of these artists were seen as dangerous because of the revolutionary sounds they were creating. Veloso and Gil were even arrested and deported. What they began was a sound and style that's been picked up by new generations across the globe. Just listen to records by Beck, Olivia Tremor Control (listen to the Veloso sound sample, an OTC dead ringer!), Sam Prekop, David Byrne and many others and you can hear how these sounds have shaped some of the smartest pop music of the last quarter-century.
**MISSISSIPPI RECORDS ALERT** **MISSISSIPPI RECORDS ALERT** **MISSISSIPPI RECORDS ALERT**
It's practically raining Mississippi Records around here these days, no complaints, though sometimes it can be difficult for us to focus on which ones we want to review first! Not too difficult in this case though, as What Remains Of Eden, released in conjunction with Mississippi's Canary imprint and the Change label, focuses on Middle Eastern recordings made in the late 1920s all the way up to the early 1950s, which we are always curious to hear more of, as these sounds are still so incomprehensibly beautiful and exotic to our ears. This album is a great companion piece to Tompkins Square's massive To What Strange Place: The Music Of The Ottoman-American Diaspora 3cd set, though unlike those recordings which were made by immigrants living in New York, the records represented here were imported to America by labels who in the midst of the Great Depression found this method more profitable than having to actually pay musicians working in America. The notes bring up this unique aspect of the compilation, as these songs weren't culled from records found in the Middle East but instead from records sold mainly to Christian and Jewish minorities in the U.S., thereby representing specific market tastes.
The music within came from the regions making up present-day Turkey, Syria, Lebanon, and Egypt, and the Ottoman roots are unmistakable. The deep spiritual nature of this region, home of the historical Garden of Eden, is reflected in each song, and anyone who has enjoyed previous Mississippi / Canary outings like the String Of Pearls compilation, Marika Papagika's The Further The Flame, The Worse It Burns and recent ROTW honoree Ustad Abdul Karim Khan, will find much to love. As always, highly recommended.
Last year was a rich one for some amazing Tropicalia reissues and rediscoveries of long lost classics. Whether it was the first five Os Mutantes records or classics by Gilberto Gil and Caetano Veloso or more obscure gems from Luiz Eca, Som Imaginario, Rubinho E Mauro and maybe our favorite of the bunch the collaboration between Alceu Valenca and Geraldo Azevedo. Valenca's beautiful and mystifying vocal delivery and songwriting had us so hooked as that record became one of our most listened to treasures of last year. So of course we've been doing everything in our power to get our hands on more primo Valenca recordings and this one, recorded in 1974 is definitely another solid gold gem. A little more rocking and charged then the record with Azevedo, Mollhado De Suor shows a more extroverted side to Valenca, but still exploring a nice wide range of sounds, which is one of the things we love so much about Valenca. One song he is rocking and all you want to do is jump around in the grass and follow him wherever he decides to go, while the next song might be dreamier and more pastoral, painting him as an artist as comfortable with introspection as he is with bold and upfront fire. That might sound sort of like a modern day songwriter we love lots as well, Devendra Banhart. In fact last time Devendra was in the store he bought a copy of the Valenca & Azevedo cd and we have a feeling that he's been listening to lots of Alceu's recordings lately as a sneak peak listen to his forthcoming record made abundantly clear.
On Mollhado De Suor, Valenca is backed by some of the greats in the Brazilian scene of that time, Geraldo Azevedo actually appears on this record too, playing craviola and Brazilian acoustic guitar and AQ fave Lula Cortes is also in the mix playing dulcimer on most of the record. Another 70's gem from Brazil that demands your ears' attention!
One of the best reissues we've stumbled across recently, of a record we haad never heard of. Alceu Valenca & Geraldo Azevedo were Brazilian musicians and composers from the Pernambuco region of Brazil who created a distinct style that mixed elements of psychedelic folk/rock with native northeast rhythms of freco, maracatu, xote, etc. There is something so totally sensual and sexy about this record. It's in their voices and playing and the glimmering recording. With mixing and arrangements in the talented hands of Rogerio Duprat (Gal Costa, Gilberto Gil, Os Mutantes) this has some trademark elements of some of the best and most creative elements of Tropicalia but for sure with their own unique and varied stylings. Totally not a one trick pony at all. What we love so much about this record is that it takes lots of twists and turns but everywhere it goes we more than willingly go right along with it. When it's sweet and sultry it succeeds by not being too polished and by subtly seducing you into its sounds. Almost like what Serge Gainsbourg would sound like at his prime if he was living in Brazil. We also can't stop thinking about how the folks in Blonde Redhead may borrowed a bit from this record as their sensual and compelling melodies seem to have their roots in this recording. Maybe. Just in time for summer, this has proven to be the perfect soundtrack for days filled with sun, romance and adventure. Highly recommended!
(from the liner notes:)
"Marcos Valle is a composer, arranger and singer from Rio, Brasil. This compilation covers his Samba 68 work, right up to his early 80s material. He was responsible for popularising bossa in the US, and struck gold with the Samba 68 LP... In the 60s Valle brought bossa to the masses, with protest songs talking about democracy ... and poverty in the language of the North."
This is certainly an unexpected surprise! Caetano Veloso's misunderstood experimental outing from 1972 (the same year he returned to Brazil following a three year exile in London, and recorded the mostly English album, Transa) prompted massive refund requests from his diehard fanbase when it was released, but has remarkably withstood the test of time. Saying that he wanted to record an album without thinking, Araca Azul is marked by exuberance as well as a kinetic sense of urgency. Wordless vocals, concrete sound effects, strange serpentine song forms that appear and dissipate, bits of orchestra, and percussive passages followed by psych-tinged rockers and sublime ballads. It's all over the map but always exciting and interesting. It may not be the best album to start with for those new to Veloso's discography, but it's becoming one of our favorites. We think perhaps Devendra Banhart listened to this a lot while recording his latest record. So Awesome!!
Last year was a pretty great year for Tropicalia. With a reunited Os Mutantes touring all over the world, a killer Soul Jazz compilation that helped more ears fall in love with the thrilling sounds coming from Brazil in the oh so turbulent late '60s / early '70s. So it makes so much cosmic sense that one of the founders of Tropicalia, Caetano Veloso, starts off this year releasing one of his best and most rocking records in years. While his last few outings have veered towards the easy listening schmaltz side of the sonic spectrum with far too many ballads, Ce finds him all stripped down and exuding a youthful energy that we haven't seen or heard for years. Such vibrancy and color! It's so hard to believe he's 64 years old, and we'd be hard pressed to think of many other people his age still making music as compelling as the sounds on Ce, as this blows away anything folks like Bowie, McCartney or Young have made in recent years. Worth it alone for the opening track "Outro", a scorching almost indie-rock sounding anthem, which has our vote for one of the best songs of the year. The album as a whole is so solid and listen after listen we keep falling in love again and again with Veloso's song writing prowess. Recommended!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Caetano Veloso is the Brazilian genius, who with Gilberto Gil and Os Mutantes, started the psychedelic pop movement known as "Tropicalia". This is a great rare album from 1972 which shows Caetano at his most rock! Rare, sought after, and highly recommended.
A Little More Blue is an understatement. This is some heavy sadness. Beautiful but really sad. Recorded in London while in government imposed exile, this record, mostly sung in English except for the final track, finds Veloso trying to cope with being a stranger in a strange land. Of course abject times can be deep sources of inspiration as two of his most popular songs, "London, London" and "Maria Bethania", are found here. The latter song, a tribute to his sister, a popular singer in her own right (and who by the way, has been grossly under-appreciated in the whole Tropicalia / MPB revival), has the most moving lyrics: "Maria Bethania, send me a letter / I want to hear that things are getting better."
Highly recommended!
It is with no small significance that we end this year highlighting one of our very favorite artists of all time, Caetano Veloso. If we were anything like Time Magazine, we could definitely see ourselves making him Man of the Year, because indeed, it has been a stellar year for Veloso. Not only have some of the many highlights of his extensive back-catalog been made available once again, but he also began the year, at age sixty, releasing one of the best rock albums of the year (Ce) that has made many of our top ten lists. If you were lucky enough to catch his performance at this year's San Francisco Jazz Festival, he shocked and delighted the audience by performing with just a stripped-down rock band, three young men on electric guitar, bass and drums, barely over a third of Veloso's age, his voice in amazing form, running from one side of the stage to another working the audience into a frenzy, causing a seemingly endless string of female (and one male) fans to jump on the stage for a quick kiss. Here was someone who could of easily just sat on his laurels and played his popular hits with the kind of over-orchestrated band you see in concerts on PBS, but instead embraced his forward-thinking musicality playing mostly new songs with a tight killer band and still managed to sway his oldest fans to cheer along. One of the best shows of 2007 for sure!
Years ago, when we first discovered the sounds of Tropicalia, it was through the more blatant psychedelic spectacle of Os Mutantes and their first three well-beloved records. But while we were aware of Caetano Veloso and Gilberto Gil being the main songwriters and architects of the movement, most of their songs, until recently, we got to know through compilations and cover versions rather than through their full length records. While we have seen in the past couple of years so much amazing music being dug out of the far reaches of that fertile period and the post Tropicalia boom from Alceu Valenca, Jorge Ben, and Lula Cortes, as well as the amazing Soul Jazz comp, Brazil '70, it's been nice to see some of the best full length albums from Gilberto Gil and Veloso becoming available again. Earlier this year, Lilith reissued Veloso's first solo record from 1967 and his post-exile experimental jaunt from 1972, Araca Azul. So for a year that began with a return to musical form from this beloved Brazilian musical master, it's even more fitting that by years end we see the reissue of arguably the most important and most essential album of his vast discography, the second self-titled solo album from 1969.
Notice the blank cover with just a signature? Much different from most of Veloso's records which almost always feature his picture. That's because when he recorded this album, Veloso and Gilberto Gil were in captivity by the Brazilian Government for violating recently imposed orders against artists performing non-nationalistic music or expressing any statements that could be perceived as antigovernment. While confined, their long hair was shaved off, hence the decision to not display a picture. Allowed to play acoustic guitar and record songs through a masterful use of the media to keep a connection with the public for fear of being "disappeared" or tortured, both Gil and Veloso recorded albums (Gil recorded his masterful 1969 album as well at this time) using just voice and guitar and then sending the tapes to Rogerio Duprat, who added all the arrangements: electric guitars, strings, flutes and rhythm tracks. For such a strange and backwards production process, what results is a fervently articulate statement of politics and personal freedoms, with some of his first songs sung in English, namely the very pointed, "The Empty Boat".
Of course with time, it may be difficult to understand how radical the situation was, especially with the language barrier. Album opener "Irene" may seem like a pastoral groover with its opening flutes and guitars, but when he sings in Portuguese, "I want to see Irene laughing", it's rumored that the "Irene", he was referring to was the name of the machine gun of Tenario Calvacanti, a robber famously celebrated in leftist circles. While "Os Argonautas" is based on the belief that all oppressive dictatorships are fated to be temporary (Let's hold on tight to that belief!). The penultimate track "Acrilirico" is Veloso's response to the Beatles' "Revolution #9", a track very fitting to be on Veloso's own white album.
Like most Tropicalia albums, the urgently emotional song writing is tempered by a need to unite multiple populist musical forms together. So there are bits of Fado, Tango, Carnival music, psychedelic rock, with lyrics sung in English, Spanish as well as Portuguese. Veloso through the Tropicalia movement understood that the politics of freedom are best communicated through the musical language of the people. This record is more prescient than ever!
Now on vinyl! Here's what we said about the cd when we listed it before:
Summer's here and what better way to celebrate than to put on this gorgeous reissue of the very first Tropicalia record, the stunning 1968 debut of Caetano Veloso. As big in Brazil as Sgt. Peppers was in England and America, its fusion of Brazilian popular music with pop, psychedelia and politically pointed lyrics gave birth to the Tropicalia movement and earned Veloso a brief stint in jail for "anti-government activities". Today, even without understanding its political subtext, the celebratory freedom that is conveyed in these vivacious and effervescent songs couldn't resonate more. Leave it to the Brazilians to make the radically political a party as well. Fuck Yeah!
We reviewed a super limited tape a while back by Ben Wildenhaus, former guitarist from Northwestern garage rockers Federation X, and an occasional collaborator with members of the Reeks And The Wrecks, and as we mentioned in the review of that tape, Wildenhaus has since transformed into a bit of an avant guitarist, now living on the east coast, and managing the Instrumental Quaalude blog, on which he weekly posts new recordings, always instrumental, always under 5 minutes. That tape, Great Melodies From Around, has now been reissued both on cd (and yeah, a real cd, not a cd-r), and vinyl, with a download coupon, and while there is new artwork and the curious addition of 'Von' to Wildenhaus' name, Great Melodies From Around is presented in these new formats, sonically identical to it's early cassette tape iteration...
Great Melodies From Around seems, in fact, to be an extension of Wildenhaus' Instrumental Quaalude blog, as it is a moody and sonically surreal collection of similarly dark, gorgeously instrumental excursions, assembled from lush layered drones, Appalachian style steel string guitars, woozy twangy slide guitar, strange murky percussion, bits of vocals (NOT singing) employed as more texture, wheezing organ, sinewaves, minimal drumming, subtle electronics, bits of glitch and hiss, amp buzz, a little noise here and there, the occasional sample... The sound is smokey and dark and ominous, dreamy and hauntingly lovely, a distinctly Lynchian soundtrack vibe for sure, late night, lights low, everything dusty, and dark, and lonely, and lit by the streetlights outside, hazy, gauzy, fuzzy, and totally and fantastically lovely.
2006 was a banner year for amazing Tropicalia reissues. Records by the likes of Som Imaginario, Alceu Valenca & Gerardo Azevedo, Marconi Notaro, Luis Eca, Rubinho e Mauro Assumpcao and Paulo Bagunca kept us feeling warm and fuzzy all year long. Discos Mariposa has become the label to turn to for amazing long lost Tropicalia as as they were the ones responsible for many of our favorite Brazilian reissues from the last year. It looks like 2007 may offer another exciting slew of Tropicalia rediscoveries for us as we began the year getting to know the music of Ronnie Von. A star of song and the small screen in Brazil for the last four decades, Von made his first television appearance in 1965 on the TV show the Brazilian Beatles Club. Von would perform live on various variety shows and cut records that sold quite well. His show The Small World Of Ronnie Von helped give a wider audience and launch careers for folks like Os Mutantes, Martinha and Gal Costa. But beyond just having such good taste, his own music is so so delightful. His vocals are so effortless and breezy. You can't help but wish you were soaking in the sun and daydreaming the afternoon away when you hear the songs on this collection. He's been backed by members of Os Mutantes and even collaborated with Caetano Veloso. Even after being struck by polio he's fought off illness and continues to be a staple of Brazilian television, the big screen and now more of us finally get to hear his great sounds!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Hard to beat this disc if you like Beatlesy psych pop from back in the day! Very recommended to all Lennon/McCartney fans. A few years ago we used to stock cd reissues of the two albums released by this early '70s Peruvian outfit, a band who evolved from '60s psych act Laghonia and who obviously worshipped the Fab Four (and their solo efforts, especially, seeing as how they cover both "Band On The Run" and "Bluebird" by McCartney's Wings). It's a bummer that those two discs have been out of print for a while, but we're happy that the Repsychled label (Tarkus, Traffic Sound, etc.) has teamed up with another fave reissue label of ours, Lion, and put out this singles collection, basically a "best of" We All Together! Of the 13 cuts here, eight seem to be included on the band's two albums, leaving five we hadn't heard before. So even if you DO already have those cds you might want this, and if you don't, it's currently the best way to get acquainted with the magic of We All Together's sweet and sad pop psych music. Pepperisms abound, with studio experimentation and backwards guitar ("Soy Timido"), and as well there's some rousing rockers ("Sally"). The use of piercing ARP synth brings to mind that equally Beatlesy Malaysian band Truck whose reissue we reviewed recently... if you liked Surprise, Surprise you'll dig this for sure! Likewise if you like the Aerovons or Badfinger (also covered here). Not that the Beatles are their only influence...both Roy Orbison and Tchaikovsky are cited in the liner notes as songwriting inspirations! The liner notes by the way, are extensive, in English and Spanish, and the cd booklet also includes lots of vintage photos.
We've previously reviewed a singles collection by these early '70s psych-popsters from Peru, but somehow never reviewed the reissues of either of their two records, despite 'em being longtime aQ faves. But, we just discovered that we could still get copies of their first, self-tltled album, on vinyl, so figured we'd do a little write-up. Basically, We All Together were responsible for some of the world's best ever Beatles/Paul McCartney worship, this side of Wings. In fact, they cover two post-Beatles McCartney tunes here, as well as a song by Beatles proteges Badfinger. But you'd think they'd written 'em, the way their originals are totally in the same style of dreamy pop balladry Peppered (ahem) with psychedelic studio effects. All ten tracks here on their 1972 debut are replete with sad piano melodies, sweet backing vocal harmonies, and oh yeah they bust out some fuzz guitar too on the likes of "Hey Revolution".
Brilliant, affecting stuff, given some extra charm by virtue of being from Peru and not England or the USA. Super recommended, something we'll always love, up there with any Beatles-y thing from anyplace (Emitt Rhodes, Aerovons, Rainbow Ffolly, what have you). It you haven't heard 'em before, you're in for a treat.
This month's cover star: Flying Lotus, doing something weird with his eyes. Also, among other interestin' things: Laurie Spiegel, Pelt, John Butcher, a scene report from Hanoi, and a wonderful 'Epiphanies' essay from William Basinski about an encounter with David Bowie in the '80s. And of course reviews, reviews, reviews... Plus, this issue comes with one of those Wire Tapper cd samplers glued to the front.
BROTZMANN! Peter, that is, on the cover, in black & white, looking intense. Besides an interview with (and a Primer on) the legendary free improvising saxophonist, this issue of our favorite must-read new music magazine gets into the likes of roots producer Niney The Observer, avant blues persons Loren Connors & Suzanne Langille, and "Postwar Optophonic Pioneers", among other things. Plus the usual reviews, news, reviews, charts, reviews, columns, reviews, etc.!
Oh, how we wish sometimes that we had more time to spend with some of the records we review. In some cases, it's an hour or two, maybe 2 or 3 times through an album, sometimes, unfortunately, it's even less than that. With so many records, it's not always possible to totally immerse yourself, and some music requires that sort of immersion, for it to be fully appreciated, for the sounds to open up, the layers to peel back, revealing the music's beating heart. Such is the case with the music of David Eugene Edwards, formerly of 16 Horsepower, now spreading his dark apocalyptic folk gospel via Woven Hand.
The music of Woven Hand, as is evidenced by past aQ reviews (3 of the past 4 WH albums, well, now 4 out of 5, were aQ Records Of The Week, and when we try to figure out why the other one wasn't, for the life of us, we just can't), is the rare music that moves and inspires, sends shivers down our spines, gives us goosebumps, brings us to the edge of tears, a music powerful and personal, and so so intense. The sounds of Woven Hand, while gorgeous, are also ominous and haunting, the message even moreso. Edwards' lyrics deal almost exclusively with death and damnation, sin and salvation. He, more than any modern performer is the rock equivalent of a revivalist preacher, testifying like his life depended on it, and perhaps it does. The music backing up Edwards' passionate vocals, is a dark swirl of backwoods folk, of gothic rock (not to be confused with goth-rock), sweeping cinematic soundscapes, old time blues, lush and almost orchestrated, strings moan, sweet sad melodies are plucked out on old pianos, or unfurled from wheezing harmoniums. Woven Hand is the sound of some old dusty ghost town, or some strange traveling minstrel, set up on the back of a rickety old wagon, playing for coal miners, and forest folk, lit from below by flickering firelight, shadows dancing behind the band like some sort of mysterious back up band of spirits.
Ten Stones remains true to the first few books in the Gospel of the Woven Hand, from the first few notes, this could be nothing else, Edwards' super dramatic rich velvety croon, the tone of the guitars, those melodies, minor key yet shot through with some sort of hopeful warmth, some ineffable otherworldly glow, the one thing that is different, is just how rocking some of this is, almost heavy at points, the guitars thick and growling, the drums pounding and frenzied, strings singing, but all kept in check by Edwards' vocals. This new found heaviness is not a new direction, just another arrow in Edwards' musical quiver, as many of the songs still slither and crawl through those lost backwoods of tarnished souls and wasted lives, the twang left to drift in wide open spaces as often as it's wrapped around the heft of crunch and bluster. The record does manage to move in unexpected directions, the accordion driven filthy blues jam that is "White Knuckle Grip", or the moody torch song shimmer of "Quite Nights Of Quiet Stars", the pounding bluegrass buzz of "Kicking Bird", but even those anomalous excursions, somehow fit perfectly into the long winding musical road of Ten Stones. The last three tracks finish off things about as perfectly as possible, "Kingdom Of Ice" is total apocalyptic drama, the twang of banjo beneath a buzzing drone, Edwards's spitting fire, "His Loyal Love", a swoonsome, murky drift of soft smeared guitar buzz, shuffled percussion, and haunting reverb drenched vocals, the entire song wreathed in a swirling gauzy fog, and finally the untitled closer, a deep whizzing, nearly static drone, long tones slowly shifting, thick distorted guitar rumble and sweet soft tones, shimmering and spread out into a kaleidoscopic soft focus blur.
Another stirring apocalyptic missive, from one of the few, true remaining musical prophets, and even if your soul doesn't need saving, Ten Stones will have you wishing it did.
Musical salvation is at hand!
You know this is gonna be good -- from the same dedicated diggers at B-music/Finders Keepers that brought us the Anatolian Invasion of Selda and Mustafa Ozkent, the freak-folk of Susan Christie, the dreamscape soundtrack for Valerie And Her Week Of Wonders, etc., comes this "best of" collection from beautiful Hungarian singer Sarolta "Cini" Zalatnay, from the late '60s, early '70s. An obscure cult figure elsewhere, in her native country Zalatnay remains famous, a liberated Socialist-era sex symbol known for her scandalous personal life. DJ Andy Votel's extensive liner notes allude to all the shocking details. Fascinating as her story is (at age 54 she posed for Hungarian Playboy, has appeared on a Hungarian hidden-camera "reality TV" show, and was given a three-year prison sentence for fraud!) it's her breaks-friendly music that gets the B-music crowd all turned on. And while the 19 tracks here include some lovely pastoral pop and torchy ballads, it's her specialty of groovy, psychedelic hard rock wherein the best breaks are to be found. And there's plenty of that here. Yep, cow-bell rockin', acid guitar fueled hard rock, the ideal setting for her to let loose with her powerful voice, which draws comparisons to Janis Joplin (an impression reinforced here by one of the English-language bonus tracks, a cover of Joplin's "Move Over"). Plus the funky drumming and wah wah fuzz guitar licks are enough to make DJ-types drool. We're reminded a bit of Funkadelic vocalist Ruth Copeland's solo material, and the more kick-ass Shocking Blue cuts...good stuff!
This anthology brings together tracks from impossible to find LPs and singles, released by Cini as a solo artist as well as when she fronted such bands as Locomotiv GT and Skorpio. As usual the cd booklet is heavily illustrated with full color repros of the cover art from some of these treasures.
