Friday, May 30, 2008

Brother Ahh - "Sound Awareness"

Brother Ahh - "Sound Awareness"
USA 1972 Strata-East Records

A very trippy album from the enigmatic Brother Ah -- aka Robert Northern, former member of Sun Ra's Arkestra, and also a lecturer on the east coast. This album's his first, originally issued on the Strata East label -- and a space mixture of other-worldly sounds. The first long track on the album is entitled "Beyond Yourself (The Midnight Confession)", and features a group with Ah on flutes and "natural" sounds, plus cello by Pat Dixon, percussion by Barbara Burton, and soprano voice by Barbara Grant. The track's a "sound journey in 7 parts" -- floating across space with a mystical feel that slowly unfurls. The other long track on the set is "Love Piece", a tune in which Ah plays flute along with percussion by Max Roach and the M'Boom percussion ensemble -- plus a 90-voice chorus, and a short rap by Roach. Very spiritual stuff!

Side A: Beyond Yourself (The Midnight Confession) (22:04)
Cello - Pat Dixon
Flutes, French Horns - Brother Ahh
Percussion - Barbara Burton
Soprano Voice - Barbara Grant
Note: Beyond Yourself is a sound journey in 7 parts:
Introduction, Rap, Midnight Confession, Fear, Demons, Morning Song, Dawn

Side B: Love Piece (16:20)
Featuring - 90 Voice Sound Awareness Ensemble, The
Flutes, French Horns - Brother Ahh
Percussion - M'Boom Re:percussion Ensemble
Rap - Max Roach
Tuba - Howard Johnson

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Brother Ahh

Anthony Moore - Pieces from the Cloudland Ballroom (1971)

Anthony Moore
Pieces from the Cloudland Ballroom
UK 1971

Moore is best known as a founder of the progressive rock band Slapp Happy but has also written lyrics for Pink Floyd. These albums are part of a theoretical trilogy written in Germany in the early 1970's (the third part, Reeds, Whistle And Sticks was unissued until a 1998 CD release on Blueprint). Although Anthony is of British origin, these can be viewed as essential Krautrock peripherals and are Historically Significant no matter how you look at it.

Pieces features: Anthony Moore (comp/cond), with: Ulf Kenklies (vocals), Glyn Davenport (vocals), Gieske Hof-Helmers (vocals) & Werner 'Zappa' Diermeier of Faust (hi-hat).

From Alan Licht's "Minimalism: The Next Ten", originally published in Halana #3: "Two great missing links in the incredible history of Uwe Nettlebeck's productions at Wümme, Germany. Slapp Happy founder Moore recorded Pieces From The Cloudland Ballroom a month after Faust cut their debut LP (fall 1971) and Secrets Of The Blue Bag a month before their second (with Slapp Happy's debut Sort Of following in May '72 and Tony Conrad/Faust's Outside The Dream Syndicate in October). Indeed, Faust's Werner 'Zappa' Diermaier and Gunther Wusthoff both contribute to Pieces, which is not a Krautrock or artrock LP but a bona fide minimal classic. Side one is 'Jam Jern Jim Jom Jum,' which has three singers chanting that mantra while Moore plays these odd, luminous repeating chords underneath. The first piece on side 2, 'mu na h-vile ni a shaoileas iad,' sounds uncannily like Richard Youngs' Advent with its quiet piano and piercing bowed sounds, while 'A.B.C.D. Gol'flsh' could almost pass for the trance rock classic that Moondog never got around to recording."

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Anthony Moore

Thursday, May 29, 2008

Ave Sangria aka Bleeding Bird (Brazil 1974)

Ave Sangria - S/T
Brazil 1974

This is one of my favorite Brazilian Albums. Ave Sangria where from the Northeast Brazilian scene of the early 70s sharing the stage with other legends like Lula Cortez and Ronnie Von. I couldn't find much english information but below is slightly understandable translation of a Portuguese article on the group,

They used lipstick, kissed themselves in the mouth in full stage, made a dirty music, with letters speaking of pirates, young women deceased in the rutting. And was very quaint; "chickens", according to ones, and a threat to the young maidens of the city, as others. These "bad elements" they were part of the Ave Sangria, former-Tamarineira Village, whom Recife band of 1974 scandalized, in the same way that Rolling Stone of the London ten years before. With effect, it she was known as the northeast Stones. "This age all part of the legend around the Sangria Bird" - it explains, 25 years later, Rafles, the minister of the information of the group. "The lipstick was mertiolate, that people used to shock. I do not know of where this history of kiss in the mouth appeared, the only thing different in the group was the hair and clothes." Rafles for return of 68, was "pirado" of call of Recife. Between its maluquices it is to send, for the post office, one strengthened established one, in legitimate Colomy paper, for Paul McCartney. Months later, it received the reply from the Beatle: an autographed photo the gratefulness. Who was considered the Rafles name Tamarineira Village, when the group took a definitive form, with the entrance of the singer and songwriter Marco Polo. This happened after the I Experimental Fair of Music of New Farm. Until then, without defined name, Almir Oliveira, Martins Squid, Disraeli, Bira, Aparicio My Love (sic), Rafles, Tadeu, and Ivson Wanderley was only the band of support of Laílson, today cartunista of the DP. Marco Polo, an academic of former-Right, was integrant precocious 45 of recifenses generation of poets. With 16 years, he dared to show himself to its poems and the Aryan Suassuna Cesar Loyal to it. He was approved by the two and he launched its first book in 66. In 69, he initiated himself in the journalism, the reporter of the Daily one of the Night. Soon he gained world. In 70, he worked for some time in the Periodical of the Afternoon, in Sao Paulo, but soon he turned hippie, the craftsman working in the lost temper square General Osório, in Ipanema. The first show as Tamarineira Village was the Rejection of the Landscape, after the festival of New Farm. Two others had come more concerts, Body in Flames and Concert Delinquent. From then on the band hoarded a faithful public. Gypsies The change of the name happened when the group passed to be invited for presentations in other States. The musicians had gotten tired themselves to explain the meaning of Tamarineira Village. The Bird Angria, according to Marco Polo, was the suggestion of amalucada Roma, that had found in the interior of the Paraiba: "It liked our music and made an improvised poem, mentioning it to the birds we bleedings. We find legal. The bleeding, for strong, sanguine, the violent northeast side. The bird, for the poetical side, symbol of the freedom of our work. At the time, the sound of the Violated Quintet was one of the sensations of the MPB. It did not delay recorders to order them to overseers to Recife in search of new quintet. The RCA was one of them. The Ave Sangria was investigated and refused the proposal (the RCA contracted the Wood Band and Rope). The record would come with the indication of the band, for the entrepreneur of the New Bahians, to the Continental one, the first recorder to bet in the future of the national rock. Anticipating the gozação for being northeasterns, the integrant ones of the band had arrived in the Hawaii studio, in the Avenue Brazil, River, all of fossil hunter in the hand: "We say it to have personal care, people came because of the land of Lampeão," recalls Almir Oliveira. He was one of the few moments of relaxation of the band. With exception of Marco Polo, none of the integrant ones knew the River and they had never entered in a writing studio. Of fossil hunter in the hand the aggravation, who produced the record was little the experienced John Antonucci. Former of the Young Guard ( the Vips formed the pair, with the Ronaldo brother), Antonucci was lost with the sound that had in hands, and it put it to lose: "It did not understand nothing of that mixture of rock music and people who northeastern made, and left The sessions to roll. The devil is that people also did not have the experience of lesser studio, "Pablo counts to the guitarist Rafael. Result: the record finished full of acoustic timbres. Bleeding The Bird, involuntarily, turned a species Violated Quintet udigrudi. Adulterated And was not only the sound. The recorder did not topou to pay for the art of the layer and placed in its place a semblance of the original drawing, signed for Laílson. The record, exactly divulged little, obtained relative success in the Southeast, and sold sufficiently in some States northeast. One of musics that had made more success, and controversy, it was samba-Waldir Its cries. "Its Mr. Waldir / Hurt my heart To make this with me, its Waldir / This does not become not… I want to be its favourite toy whistle Its Its satin shirt… "At a time where the androgyny became a source of pop music. There are with it gliter rock of David Bowie, Gary Glitter and Roxy Music with Alice Cooper, here with the one rebolado of Dry & Wet, Its Waldir was considered by the pernambucanos moralists as a vindication to the homosexuality, when it did not pass of the trick of the irreverent of the Ave Sangria. Its Waldir for little does not turn myth. Some said that he was one gentleman who liveed in Olinda, for which the vocalist of the Bird is Bleeding gotten passionate. Others, that if homonym dealt with a journalist. At last, one gave credit such that the Waldir was a personage of meat and bone. Marco Polo clarifies the history of the personage "I made Its Waldir, in the River, before entering in the band. It was ordered by Marília Pear for the track of the part of the Life Escrachada Baby Stomponato, of Bráulio Pedroso, that finished not using music to advantage. "The Department of Censorship of the Federal Policy did not take faith in this version. It forbade the LP and it determined collect in all its domestic territory. The prohibition stirred up, according to Bird integrant of the Bleeding, columnist for the social today one of the Daily one of Pernambuco, Joao Alberto: "It touched music in the TV program that it presented and commented that he found a nonsense, that the music with a letter of those could not touch freely in radios, "Rafles denounces. Almir Oliveira says that it remembers the commentaries of the journalist in the television:" But I do not attribute it directly. If it was not, would have been another person, music was exactly strong for time ", he brightens up. The prohibition, according to commentaries of the time, it had a general, stimulated for the indignation of the wife, who did not simpatizou with the declaration of love its Waldir. The record was relaunched without the cursed band, but the interest of the media for the group already had passed there. The Globe, for example, gave up to propagate the clip made for the Fantastic one, with Georgia music the Carniceira. The group lost the puncture: "People were a flock of poor faces, some already with children, the always short dollar. In the squeeze, we arrive until recording for the TV vignettes Periodical (one of them for the program Jorge Chau), "recalls Marco Polo. In December of 1974, the Ave Sangria seemed to want to Take flight again. The group made one of its better presentations, with the show Perfumes & Baratchos. The public who was to the Saint Elizabeth not wise person, but had the privilege to attend it sings of swan of the Ave Sangria. It was the last show and the end of the band.

Here's a insane video from 1975 of Ave Sangria backing up tripped brazilian musician/artist Alceu Valença! Amazing!

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Ave Sangria

Rustic Hinge (English Beefheartian's)

Rustic Hinge - Replicas
UK 1970

If ever there was a missing link in the history and development of British psychedelic music it is Rustic Hinge. 'Replica' belatedly issued by Reckless Records in 1988, displays an abandoned sense of discipline sorely lacking in UK music of the time. Originally recorded as 'T On The Lawn For 3', 'Replica' features the Rustic Hinge tapes before they were re-edited for planned release as a one-sided album for John Peel's Dandelion label. The tape given to Dandelion featured singer Rod Goodway on a couple of cuts and was an edited version of the 'Replica' material.

Essentially the work of Drachen Theaker and guitarist Andy Rickell (also known as Android Funnel), the Rustic Hinge material is undoubtedly an important find. Drachen recalls: "I found a foil in Andy because he could keep up with me. He's the only musician I've ever played with who could watch me and catch the beats. A lot of that Rustic Hinge stuff was me playing gibberish and him cottoning onto it very quickly and solidifying it as a piece. We had a deal with John Peel. It was signed, sealed and delivered as far as I was concerned and I thought, if it breaks, I'll come back. In the meantime, I left for LA." But 'T On The Lawn For 3' took almost 20 years to surface.

Arthur played a series of gigs with the embryonic Rustic Hinge, but audiences were left bewildered. Drachen: "The problem after I rejoined was that we couldn't find another organist so we couldn't go out and play like the Crazy World. We used to play with Android Funnel, Dennis Taylor and this idiot organist called Roy and it was a total shambles. Arthur would start singing 'Fire' and the band would play cacophony behind him. It was atonal gibberish with banal comedy thrown in and the fans hated it."

Finding the work of Rustic Hinge too close to Beefheartian musical wisdom, Brown moved a couple of miles down the road and began to work on forming his next project, Kingdom Come.

Recorded at Jabberwocky Studios, Puddletown, Dorset in 1970.
Released by Reckless Records on vinyl in 1988.

Rustic Hinge,
Android Funnel - Guitars
Pete Pavli - Bass, Cello
Drachen Theaker - Drums, Tablas
with. Bruce Longhorn - Mellotron (Side One Track 4)
Arthur Brown - Vocals (Side 2 track 2)

Side One Track 1 is performed by HIGH TIDE
Tony Hill - Guitar
Simon House - Violin
Android Funnel - Guitar
Pete Pavli - Bass
Charles X - Drums

Download here,

Rustic Hinge

Video from the BBC!

Dara Puspita - A Go Go... (Indonesia)

Dara Puspita - A Go Go
El Shinta Records
Jakarta, 1967

Dara Puspita (Flower Girls) was Indonesia’s most successful girl band of the 1960s. While there were many popular female vocalists in Indonesia at that time, they nearly all relied on the services of a backing band. Dara Puspita was one of the few girl groups who actually played all their own music as well.

Dara Puspita hailed from the city of Surabaya in East Java and first formed in 1964 with the line-up of sisters Titiek Adji Rachman (Titiek A.R.) on guitar and Lies Soetisnowati Adji Rachman (Lies A.R.) on bass, along with Susy Nander on drums and Ani Kusuma on rhythm guitar. In April 1965 Lies left the band for a month to finish school and was replaced on bass by Titiek Hamzah. When Lies returned she took the place of Ani on rhythm guitar and Titiek Hamzah stayed on as bass player. It was with this line-up that the band set out to conquer the world.

In 1965 the band relocated to Indonesia’s capital, Jakarta, and soon gained a reputation as a sensational live act, bashing away on their instruments, screaming out their songs and jumping up and down. Even though it was often hard to hear the songs through all the mayhem, audiences thought it was great and often joined the band to dance around on the stage.

The band’s stage act and the songs they played were clearly influenced by contemporary British bands such as the Beatles and the Rolling Stones, whose music at the time was banned in Indonesia. The Jakarta band Koes Bersaudara (Koes Brothers) was actually put in gaol for playing rock and roll, but it seems that Dara Puspita was never seriously troubled by the authorities, although they were warned not to perform Beatles’ songs. Dara Puspita had a number of close connections with Koes Bersaudara: members of KB wrote a number of songs for Dara Puspita, KB’s singer Yon was romantically linked with DP’s drummer Susy, and the two bands sometimes appeared on the same bill. The bands actually appeared together on the night that was to lead to Koes Bersaudara’s arrest and imprisonment.

Why Dara Puspita was never targeted by the authorities is a bit of a mystery, but was probably due to them being still relatively new on the scene in Jakarta and having not yet released a record. In late 1965 the political situation in Indonesia swung 360 degrees and rock and roll could be played again with impunity, so when Dara Pupita’s first album, Jang Pertama (The First), was released in 1966 they had little to fear. There is no mistaking the influence of other bands’ music on many of the songs here, such as the Rolling Stones’ Satisfaction riff in Mari-Mari (Come On, Come Here) or the Dave Clarke Five’s Glad All Over in Tanah Airku (My Homeland). Dara Puspita followed up their first album with the self-titled Dara Puspita later in the year and in 1967 put out two albums, Green Green Grass and A Go Go. The title track from the latter album, and the song Believe Me, are good examples of the band’s beat credentials.

The band was a popular attraction in Indonesia and also in the region, playing to enthusiastic crowds in neighbouring countries, such as Thailand and Malaysia. In 1968 they took the almost unprecedented move for an Indonesian band of trying their luck in Europe and spent the next few years touring in England, Holland, France, Belgium, Spain, Germany and Hungary. They even played in Turkey and Iran. While in England they recorded two singles for CBS and recorded another for Philips in Holland. In late 1971 the band returned to Indonesia and played a number of concerts, but enthusiasm was starting to wane and in April 1972 they played their last show. Susy was keen to keep going and together with Titiek Hamzah recorded a number of albums using the Dara Puspita name, but it was really the end. Today only Titiek Hamzah continues in the Indonesian music industry, where she has had great success as a song-writer, but the music of Dara Puspita lives on and their records now command ridiculous prices with collectors.

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Dara Puspita

Tuesday, May 06, 2008


NIGHTSHADOW - "Square Root Of Two"

This record has really been kicking me in the ass lately. Sometimes you feel shocked that it took this long to hear something so good, and wonder why it isn't being talked about. Originals of this Lp sell for around $3000 these days. Atlanta, GA psychedelic with a very familiar 13th Floor Elevators vibe, but with Psycho strange phazed out production and lots of amazingly warped guitar.

The psychedelic intro actually gave me a flashback!
A gem!

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