Plastic Bertrand was the alias of new wave prankster Roger Jouret, a native of Belgium who appropriated the sound and style of the new wave movement in order to give it a gently satirical poke in the ribs, while scoring several European hits in the process. Jouret began his musical career as a drummer for the Belgian punk trio Hubble Bubble, which recorded one unsuccessful album. When Jouret met producer/songwriter Lou Deprijck, the two struck up a recording partnership; Jouret emphasized his pretty-boy looks and punkish fashion sense. Their first effort, "Ça Plane Pour Moi" ("This Life's for Me"), is widely regarded as a New Wave classic for its gleefully deranged stupidity, with Jouret singing French nonsense lyrics in a cartoonish voice over basic three-chord rock & roll complete with saxophones and a falsetto vocal hook straight out of the Beach Boys or Four Seasons. The song was a smash in Europe and became a cult favorite in America; Plastic Bertrand continued to release records in Europe, including a U.K. hit remake of the Small Faces' "Sha-La-La-La-Lee." Bertrand experimented with seemingly every new wave fashion, including spacy electronics, disco, bubblegum pop, reggae, and spoken word raps, all with the same naggingly entertaining stupidity. He remained popular on the European continent and in Canada for several years, where audiences were more attuned to his largely French lyrics, but the novelty eventually wore off, and nothing was heard from Bertrand after 1982. Plastic Bertrand released several albums, all of which are difficult to find; a greatest-hits collection is also floating around.
01 Le Petit Tortillard
03 Naif Song
04 Ca Plane Pour Moi
05 Sha La La La Lee
06 Pognon Pognon
07 Dance Dance
09 Pogo Pogo
10 Wha! Wha!
11 Solo Naif Song
This album from "Second Layer" comes via some members of the Sound - remember 'Who the hell makes those missiles'? - but even better, the music has been worked outside the Sound structure and has turned out to be a very successful 'public' experiment, a characteristic feature is the full use of guitar and synth. Sounds which gel beautifully with the controlled use of a drum machine, for the results that have been successfully achieved here, it is essential that the drum machine be incorporated as a vital unit in the mix and not simply used as a time keeping metronome, 'Definition of Honour' with lines such as 'Dead medals for the dead', opens the album - a very bitter but well documented antiwar song. Further political overtones appear in 'Underneath the glows', which challenges the notion of false security within our society. However, the music is not dominated by political content, but also operates on personalized and 'love' themes, as in 'Save our souls' and 'In Bits' - these pieces seem to reach out and actively involve the listener. 'Fixation' has some dominant and memorable bass playing, while 'Japanese Headset' brings the effects of eastern torture into your living room (and lubricates), however, the outstanding piece is 'Black Flowers' which has been carefully selected to close the album, it is by far the moodiest and slowest of the pieces and lingers on, long after the music has finished.
1. Definition of Honour
2. In Bits
4. Save Our Souls
6. Underneath the Glass
8. Japanese Headset
9. Black Flowers
Fever Ray is the debut solo album from Fever Ray, an alias of Karin Dreijer Andersson of the electronic duo The Knife. The album was released on March 18, 2009. It was named the 24th best album of the decade by Resident Advisor. check website here.
1. If I Had a Heart
2. When I Grow Up
3. Dry and Dusty
5. Triangle Walks
6. Concrete Walls
7. Now's the Only Time I Know
8. I'm Not Done
9. Keep the Streets Empty for Me
Mention The Doors and people tend to overdraw on Jim Morrison without actively attributing at least some credit for the band’s success to his fellow band members. Whereas Morrison had God-given talent in droves, Ray Manzarek was blessed with immense skill, particular in his avant-garde leanings towards utilising the keyboard as a fiery instrument for rock assault. Morrison’s early death ensured that he would forever steal the spotlight from the other Doors. The fact that most music fans would struggle to name the two albums that the remaining band members recorded after his death speaks volumes for the myth that advocates Morrison was The Doors.
Listen to The Golden Scarab, and you will agree that Ray Manzarek could offer musical work that was just as interesting as Morrison’s, even if the level of charisma on offer was lacking. Where Morrison had dangerous instinct, Manzarek had calculated brains, and yet The Golden Scarab offers a hint that maybe it wasn’t just Morrison who was hung up on preaching whatever pretentious spiritual rambling took his fancy at the time. On first glance, the album is your typical latter-period Doors record – regular motifs such as spoken word introductions feature throughout, along with an overwhelming lyrical fascination for the mystical. Most importantly, however, a strong collection of rock songs is contained, albeit buried amidst off-the-wall production values and indulgent musings. Despite this, repeated lessons to The Golden Scarab will teach you that beneath the mumbo-jumbo aesthetic lies a worthier album than most Doors / Morrison fans will admit to.
Hopelessly naïve in places in its dated mysticism, you’d have strong reason to claim, in an ironic way, that Manzarek’s spiritual vision on the album was tainted purely by the fact that his musicianship was too strong. It’s as if the melodic hooks and killer-choruses somehow made their way into the song structures and that this wasn’t the original Manzarek master-plan. Another major factor corroborating the notion that The Golden Scarab is musically strong is the quality-driven session musicians Manzarek enlisted as his new ‘recording band’. Forever Changes-producer Bruce Botnick oversaw the album’s production with assured confidence, helped by impeccable guitar-work from Larry Carlton and slick drumming from Tony Williams.
Somehow, the album survives despite overt pandering to fourth-dimension conscious-thought. The introduction to second song has Manzarek’s spoken-vocal delivering “And myself said to me ‘Why are you waiting? I’ve always been at your side, can’t you see me? No? Well, then come with it’s time you lean to see!’“ When Morrison spouted nonsense such as this we forgave him because he always danced on the dark side; his unpredictability lead to a sense of incoming alarm at any moment. Manzarek doesn’t earn as much forgiveness with this assumed-narrator persona, and yet we quickly forget the leftfield cosmic framings the minute we hear stand-out song The Solar Boat. This second song off the album begins stark and intense, and then casually slips into a strong chorus, which even pays lyrical homage to doors with its “Let’s take a Moonlight Drive” lyric. It’s a strong follow-up to opener He Can’t Come Today, Maybe Tomorrow, which takes a space rocket through many unrelated musical genres before settling on a blues-rock chorus; the lyrical call for a religious leader seems lost amongst a song this melodic.
Soaring through Chuck Berry cover Downbound Train and even glam-rock synthesiser instrumental The Moorish Idol, it’s clear Ray Manzarek desperately wants to deliver a concept album that people will crave. Funnily enough, it’s the music on offer, as opposed to the concept, that will continue to attract Doors fans back to The Golden Scarab. It’s scary how similar Manzarek’s singing voice sounds to LA Woman-era Morrison, even though it becomes quite apparentManzarek lacks a strong voice on record. Even so, The Golden Scarab is a fine continuation of The Doors’ legacy after the death of Morrison, and should be regarded as an important work in the band’s universe. Review taken from The Music Fix
1. He Can't Come Today
2. Solar Boat
3. Downbound Train
4. Golden Scarab
5. Purpose of Existence Is?
6. Moorish Idle
7. Choose Up and Choose Off
8. O Thou Precious Nectar Filled Form (A Little Fart)
Posted by Amelia Swhizzagers On 5:00 AM 0 comments
Cuby is a Dutch band from the town of Grolloo. The band was originally formed by Harry Muskee and other players included:Eelco Gelling, Nico Schröder and Hans Kinds.
The cover shoot for the album caused a small riot. The band invited some farmers over to a pub and ate and drank with them. At some time a stripper was brought in and the farmers went crazy. The whole thing was filmed, but the farmers, learning later (when sobered up) that the whole thing was filmed for a tv special and a cover shoot resisted. The mayor of the town Zweelo had to step in and prevent the footage from ever being released...
1. Appleknockers Flophouse (2:31)
2.Unknown Boy (6:46)
3.Help Me (5:36)
4.Go Down Sunshine (7:03)
5.Disappointed Blues (3:22)
6.Midnight Mover (2:38)
7.Black Snake (4:20)
After the Major Success of the "Turning Point" LP and the FM airplay of "Room To Move", John Mayall had achieved Stardom in the USA at long last. Whilst Touring to Promote "Turning Point" John was planning his next move, that being a Studio LP of New Songs Featuring the Great Musicians: Johnny Almond,Jon Mark and Steve Thompson.
Written and Recorded during 1969, while the tunes, "California" and "Room To Move" were Staples of FM Radio, this new work became "Empty Rooms". John was missing his new favorite place Los Angeles, Ca. and a new Lady in his Life Nancy T. And that shows up in his Writing here, When I first had a listen to this Album in 1970 a friend of mine commented that this Record was a Bummer. Well, it is a bit of a Downer, but THIS IS THE TURNING POINT BAND and for that Mighty Reason Alone it is Worth a Listen.
Again this is a Good Record, But we were all expecting a Great Record to follow "Turning Point". I can not find Fault in these Musicians, they are Top-Notch, and as with the Previous Record the Saxophones and Flutes of Mr. Johnny Almond, are as Good as any Jazz Players of this era. Also of Worth is the Great Bass Player Steve Thompson (Who left Mayall's Band to Hook up with Donovan before these Recordings were Completed).
This Record was another Success for John Mayall, and "Don't Waste My Time" and "Counting The Days" both recieved lots of Plays on the FM. But this Band was to soon Disolve and Jon Mark & Johnny Almond became the very Successful Group: "Mark Almond".And John Mayall rebuilt his Band once again and on the very next release: "USA Union" with a Stronger Bunch of Tunes and the Talents of Fiddler Sugarcane Harris he had another 'Classic' to give us. by Philips Wolfs
1. Don't Waste My Time
2. Plan Your Revolution
3. Don't Pick a Flower
4. Something New
5. People Cling Together
6. Waiting for the Right Time
7. Thinking of My Woman
8. Counting the Days
9. When I Go
10. Many Miles Apart
11. To a Princess
12. Lying in My Bed
Though often footnoted by Led Zeppelin apologists for "Dazed and Confused," Holmes' long out-of-print debut album for Columbia's Tower imprint contains much more than that pilfered song. It often blurs into the more speedy, acid-drenched songs of the Byrds, the warped balladry of early John Hartford, or the sort of folk orchestrations that would be toned down and delivered with greater refinement on Nick Drake's "Bryter Layter."
Holmes is to be lauded for his daring production risks, mixing Greenwich village folk with fleeting horns, strings, and quick-fingered jazz leads. The electric bass underpinning many of the arrangements is nimble and ever-so unpredictable. The album is indeed a lost psych-folk classic, albeit one the casually aware often slight with "if it's so good why haven't I heard it" dismissal. That said, Holmes does slip into some "poor me" lyrical missteps here and there.
2. Did You Know
3. She Belonged to Me
4. Too Long
5. Genuine Imitation Life
6. Dazed and Confused
8. Hard to Keep My Mind on You
9. Wish I Was Anywhere Else
10. Signs of Age
The Magic City is an album by the American Jazz musician Sun Ra and his Solar Arkestra. Recorded in two sessions in 1965, the record was released on Ra's own Saturn label in 1966. The record was reissued by Impulse! in 1973, and on compact disc by Evidence in 1993.
It is notable especially for the title track, on which "the Arkestra's range of feelings and sound is expressed in a design that's simply unprecedented in jazz". While it begins with use of tape echo recalling the experiments on Art Forms of Dimensions Tomorrow, the key features quickly emerge: Ra's simultaneous piano and clavioline intertwining with Boykins' bass as the underpinning for new long-forms of group music-making which draw on varying sub-ensembles from the Arkestra through the course of the piece.
'The boundaries of Sun Ra's self-proclaimed "space jazz" underwent a transformation in the mid-'60s. The Magic City is an aural snapshot of that metamorphic process. Many enthusiasts and scholars consider this to be among Ra's most definitive studio recordings.' Lindsay Planer
The title Magic City refers to Ra's home town of Birmingham, Alabama, and to a large metal sign with the words 'Birmingham, The Magic City' erected in front of the railway station in 1926. The cover drawing, by Sun Ra, directly references the dome of the station. Ra grew up next to the post office and close to the main station, where, 'as a child, Sonny could look out the window and see the big sign over the railroad tracks that greeted visitors to The Magic City'
01. The Magic City
02. The Shadow World
03. Abstract "eye"
04. Abstract "I"
Numan nearly completely abandoned guitars on the album. This change, coupled with frequent use of synthetic percussion, produced the most purely electronic and robotic sound of his career. In addition to the Minimoog synthesizer employed on his previous album, Numan made liberal use of the Polymoog keyboard, particularly its distinctive "Vox Humana" preset. Other production tricks included copious amounts of flanging, phasing and reverb, plus the unusual move of including solo viola and violin parts in the arrangements. Gary Numan was also influenced by Kraftwerk, and the track Cars has the same musical "glides," and both used the same synthesizers.
Notable tracks included "Airlane", the lead-off instrumental; "Metal", sung from the perspective of an android longing to be human (covered by Nine Inch Nails on Things Falling Apart, Afrika Bambaataa on Dark Matter Moving at the Speed of Light and used as backing for Planet Funk's "Who Said"); "Films", acknowledged by Bambaataa as an important influence on the U.S. hip hop scene; "M.E.", told by the last machine on Earth (later used as backing for Basement Jaxx’s "Where’s Your Head At?"; the electronic ballad "Complex", a UK number 6 single; and "Cars", a worldwide synthpop hit recently covered by Fear Factory and sampled for Armand Van Helden’s "Koochy". "Cars" reached number 9 in the U.S., helping make The Pleasure Principle Numan's strongest Stateside showing, but lack of a strong commercial follow up meant he was tagged a one-hit wonder there.
A conceptual album? Maybe. Anyway this self title album is all about the II world war and its denunciation. This album is an electrified and original kraut improvisation with many weird, strange atmospheres injected into it. "Airalert " is an illustration of a military march. The electric organ stresses the tempo on it. "Down In The Bunker" can be seen as a funeral hymn related to chaos and the tragic consequences of war. A dark, creepy ambient atmosphere prevails, sustained by rolling drum parts, heavy, crying guitar lines and some frantic repetitive bass lines. Imagine something somewhere between TD's "electronic meditation" and Kluster but with more emphasis on the "dark" side. "Raid Over Düsseldorf" is an impressive, catchy "psych" heavy rock tune with lot of wha wha guitar effects and an outstanding contrast between a moody ambiance and a bluesy rock instrumentation. The rhythm is perpetual, systematic and guides the listener into an "acid" rock avalanche. "1945 - Out Of The Ashes" is a similar theme than the first track, based on a plaintive electric organ with an obsessional rhythmic.
During the summer of 1972, best remembered for the blood-shed of the Munich Olympics, the 5-man Dusseldorf instrumental group German Oak entered the Luftschutzbunker (air raid shelter) studio to record their first, eponymous album. The purpose of recording in a bunker was to recreate the feelings experienced by German soldiers during the Allied invasion of 1944. The strange acoustic conditions in the bunker made the music, which was a period of long, spacious guitar jams, sound distant and filled with echo.
1. Airalert (1:55)
2. Down In The Bunker (17:57)
3. Raid Over Duesseldorf (15:42)
4. 1945 - Out Of The Ashes (2:13)
"Toad" is a rather unusual Swiss hard-rock outfit, established in 1971 on the ashes of short-lived "Brainticket". The debut album (Toadfeatures founding members: Werner Froelich (bass), Cosimo Lampis (drums) and Vic Vergeant (ex-Hawkwind, but for a while only) on guitar, and a certain Jagger (but Benjamin) - as a session vocalist (who left straight after for better pastures, but dissapeared completely - to my knowledge at least). "Tomorrow Blue" (1972) is more mature album, which shows a serious move towards blues and progressive. It was produced by Martin Birch (the recording engineer of Deep Purple and its side projects, Sabbath etc) - which is enough to give you an idea of the music and its quality - very high. The same year the band issued the live recording of their gig in Basel, and in 1975 - "Dreams" (a drifter towards much weaker commercial mainstream). This particular album is exceptional.
2. Tomorrow Blue
3. Blind Chapman's Tales
5. No Need
6. Change in Time
7. Three O' Clock in the Morning
9. I Saw Her Standing There
10. Green Ham
Brave New World is the third album by American rock band The Steve Miller Band, released in 1969. The tracks "Celebration Song" and "My Dark Hour" featured Paul McCartney on backing vocals, drums and bass guitar credited as Paul Ramon.
The primary guitar riff on "My Dark Hour" was also used on the title track to Steve Miller's 1976 album Fly Like An Eagle.
"Space Cowboy" uses the same primary guitar riff as the Beatles' song Lady Madonna. It was released as downloadable content for the video game Rock Band on January 20, 2009.
Brave New World, the third offering by the still-new Steve Miller Band, was released in 1969. Can't you tell? References to celebrations and tripping abound, making this one of the sunniest, trippiest album of the psychedelic era. (Even the album cover is sunny yellow!) The opening of the title track (and the album) is a blast - literally, a bomb blast which hearalds the start of both a fresh, enjoyable tune and a bright new beginning for the world at large. Then, great drumming by Tim Davis kickstarts "Celebration Song," another wonderful vision of a world at play. "Got Love 'Cause You Need It" sounds like it's sung by Miller's infamous Gangster of Love character, full of danger and seduction, while "Seasons" is a gorgeous acoustic ballad, as heartfelt a track as Stevie Guitar has ever recorded. Nice! "Space Cowboy," of course, is the albums BIG HIT, complete with Moog synthesizer space sounds, and a rare, excellent guitar solo from Steve M! (The primary focus of Brave New World is on the material, not solos.) Literally too, too far out! "LT's Midnight Dream" is a fantasy feast, with lyrics like "got a bulldog in my learjet, gonna teach him how to fly"! Too much! Paul McCartney of the Beatles contributes drums, bass, and vocals to the blues-rock "My Dark Hour," (he is billed as Paul Ramon; yes, that is where the band The Ramones got their name!), while "Can't You Hear Your Daddy's Heartbeat?" is a love song in double-quick time and "Kow Kow" (also known as "Kow Kow Calqulator" on the anthologies) combines more fantasy lyrics with quotes from Bobby Blue Bland's "Turn on your Love Light". Outasite!! So, if your looking for something of Steve Miller's beyond the usual, well-crafted 70's material, give Brave New World a listen or two. You may want to start your own celebration!!! By Chris Meezy Food Czar.
1. Brave New World
2. Celebration Song
3. Can't You Hear Your Daddy's Heartbeat
4. Got Love 'Cause You Need It
5. Kow Kow
7. Space Cowboy
8. LT's Midnight Dream
9. My Dark Hour
Posted by Amelia Swhizzagers On 1:26 AM 0 comments
"Beginning his career in the Group Sounds act The Happenings Four, keyboard player Kuni Kawachi will nevertheless probably always be best remembered for his writing contributions to Tokyo Kid Brothers version of THROW AWAY THE BOOKS, WE'RE GOING OUT ON THE STREETS, and also for his prescient employment of Flower Travellin' Band members on his first LP KIRIKYOGEN. Indeed, despite the strung out elegance of that solo record having spanned several genres, the appearance on lead vocals of Akira "Joe" Yamanaka has guaranteed KIRIKYOGEN a rightful place in rocknroll history, and a more genuinely listenable Japrock art statement you'd be hard pressed to find. Moreover, Kawachi's early version of Flowers Map is, to some ears, even better than the later "original". For his second LP, 1972's LOVE SUKI DAIKIRAI, Kawachi turned to the ubiquitous Jun "Kimio" Mizutani, former teen raver with garage band Out Cast, whose lead guitar had informed such legendary LPs as People's BUDDHA MEETS ROCK and LOVE WILL MAKE A BETTER YOU by Love Live Life +1. Mizutani's own highly rated solo album A PATH THROUGH HAZE was co-written by Masahiko Satoh along with Kawachi, whose painting is featured across the gatefold inner. In his later years, Kawachi moved north to become a farmer in Hokkaido, keeping his musical hand in writing TV commercials. A couple of years ago, his old Group Sounds band reformed, and are said to have played Kawachi's KIRIKYOGEN in its entirety. -Julian Cope
1. That's Why People Are... (1:02)
2. Like Lovers (3:21)
3. The Cat (2:51)
4. Already No More Secrets (1:04)
5. Where My Voice Can Be Heard (3:55)
6. Where Are You Walking Now (3:36)
7. Like A Concert Of Angels (2:46)
8. Riddle (0:47)
9. A Letter Without A Stamp (2:37)
10. My Key Is In Your Hand (4:28)
11. Playing In Panic (3:22)
12. The Things You've Left (5:31)
13. A Puddle And Purple Vetch (2:24)
14. That's Why Love Is... (0:59)
Posted by Amelia Swhizzagers On 1:18 AM 0 comments
Nikki and the Corvettes, a Detroit punk-pop outfit led by the candy-voiced rocker Nikki Corvette, and Romantics guitarist Peter James, they kinda invented the whole girl sounding rock n roll thing. The group plied their brand of bubblegum punk from 1977 to 1981.
They had a sound somewhere between the Go-go's and the Ramones with bubblegum teenage libido maxed out with a dose of the Shangri Las. Led by a "new wave Betty Boop," to quote one review, this power group offered sounds and sex appeal. Combining those undeniable elements of energy and enthusiasm.
1. He's a Mover
2. You're the One
4. Just What I Need
5. Boys, Boys, Boys
6. Let's Go
7. Shake It Up
8. Back Seat Love
9. I Wanna Be Your Girlfriend
10. Summertime Fun
11. Gimme Gimme
12. You Make Me Crazy
13. Young and Crazy
14. Criminal Element
15. I Gotta Move
16. Girls Like Me
Posted by Amelia Swhizzagers On 4:15 AM 0 comments
Always somewhat overlooked in the now-mythologised Manchester scene that blossomed around Factory in the late 70's/early 80's, A Certain Ratio originally formed around a love of disco, Wire, the Velvets and (judging by their name) Eno. Reissued and backed up by 5 tracks taken from companion singles, 'I'd Like To See You Again' was first released back in late 1982 and see's ACR filtering NYC disco through their taut, Hacienda honed compositions. With opening salvo 'Touch' particularly relevant again now (it could almost be LCD Soundsystem), the reissue highlights just how much influence the likes of ACR have had on the contemporary music scene through their disciplined, proto-disco post-punk frosted music. Ranging in mood from the propulsive bass of 'Saturn' and dead-pan Grandmaster Flash referencing 'Hot Knights' to the familiar opening break of 'Axis' and 'Knife Slits Water's' spasming electro-pop, 'I'd Like To See You Again' is both an important musical document and intriguing listen that deserves to be reappraised.
3. Hot Knights
4. I'd Like to See You Again
5. Show Case
6. Sesamo Apriti - Corco Vada
8. Guess Who
9. Knife Slits Water [7"]
10. Tumba Rhumba
11. I Need Someone Tonite
12. Guess Who [Remix]
13. Knife Slits Water [12"]
Posted by Amelia Swhizzagers On 2:50 AM 0 comments
A scatterbrained and perhaps drunken recording entity based on the collective
talents of guitarist Joachim Pimento, fuzz guitarist/keyboardist Zoe Zettner, fuzz guitarist/vocalist Lord Sulaco, fuzz guitarist/percussionist Daiquiri J. Wright, fuzz guitarist Franklin Silverheels, and bassist Smoky Alvaro (yes, they apparently liked the sound of a fuzz guitar), the Honolulu Mountain Daffodils gathered occasionally throughout the late '80s and early '90s to patch together records that threw almost anything imaginable into a blender (from Kraftwerk to Tom Waits to the Ramones to Black Sabbath to Neu! and all points between). The ill-rehearsed results were always uneven, but a fun time was guaranteed each time they gathered into a studio. The only true ambition of the Daffodils was to have their records exist in obscurity until developing a cult of fans via a steady slew of dollar bin discoveries. In fact, as legend has it, the artwork for the 1987 album Guitars of the Oceanic Overgrowth was designed to look as if it had spent at least two decades gathering dust in a record shop's sunshine-prone window display. Guitars was their first album and was followed the next year by Tequila Dementia, and then the trilogy was completed three years later by Aloha Sayonara (the Psychic Hit-List Victim EP was released in 1991). Apparently the band split up soon thereafter; lord (or Lord Sulaco) knows why.
01 Hanging On The Crosses (By The Side Of The Road) 4:21
02 Wolverine 4:43
03 Electrified Sons Of Randy Alvey 3:19
04 Guitars Of The Oceanic Undergrowth 5:06
05 Sinners Club 4:32
06 Black Car Drives South 4:29
07 El Muerto 4:06
08 Final Solution