Wednesday, October 12, 2016

Hiro Yanagida - 1973 - Hirocosmos

Hiro Yanagida 
1973
Hirocosmos




01. The Sea Of Tempest (5:38)
02. Ode To Taurus (4:18)
03. Breaking Sound-Barrier (5:19)
04. Happy Cruise (6:32)
05. Rockomotion (5:54)
06. Uncertain Trip (6:40)
07. Time For Reverie (4:22)


- Hiro Yanagida / electric piano, piano, synthesizer, mellotron
- Masayoshi Takanaka / guitars
- Robert Rosenstein / drums
- Tsugitoshi Gotoh / bass
- Takeru Muraoka / saxophone
- Masami Kawahara / percussion



The first album I bought from Hiro Yanagida was his excellent Milk Time, which was a fantastic psych album with all kinds of spacey assets put there to rearrange your poor brain. Hirocosmos, on the other hand, is what I would call a jazzy Canterbury album. Yep, I know Canterbury is a town in England where this rather silly and playful style with bands like The Wild Flowers and The Soft Machine originated. Even so, some of my favourite albums of the style has things like made in Italy or made in Holland written on the back of them...

Albeit with a hefty dosage of jazz incorporated into the flow of things, Hirocosmos sees Yanagida opening his psychedelic keyboard licks up to a quirkier touch - and somehow it feels like these aspects were always there in his playing. I know I personally had to put on Milk Time again just to make sure, that I wasn´t completely gone fishing, and though part of me always is, - I was absolutely right! On this album he simply decided to let his love of jazz shine through, and let me tell you straight away: this guy is up there with the best of them - be that in the keyboards department, mellotron swamps, moog havens or piano resorts - he masters all of them with exceptional skill and ingenuity. I especially adore his work on the synthesizers on Hirocosmos. He uses them very similarly to the manner in which Caravan simplified the solos and sort of kneaded them into the main melody. Sometimes they sound like a futuristic elevator swooping up to the 32.000nd floor - WUUUUUIIIIIIIHHHHHHH, however still retaining an unparalleled gift of flow and juice. The synths reach for the heavens whilst firmly planted deep within the rest of the music

Underneath these terrific lifts of sound, you are treated to everything from low key and pensive piano leaded grooves to blistering fast paced keyboard runs that fall over each other, only to be stopped by the enormous wall of mellotrons, saying " You´d better slow down boy - smoke a doobie, catch your breath and watch the skies for a minute or so". And you know what? Those instruments really listen to one another. (Good thing too, as I wouldn´t dream of the horrors in store, if poor Hiro by some weird shift of faith, altered his persona every time he changed instrument).

Behind the master wizard lurks one of the greatest backing bands, I ´ve heard in quite a while. Swarfega! The drummer sounds like a fusion mix of Bruford, Wyatt and Palmer - tight and meaty like a venus cave, and still he manages to be wild in all the right places, punching out of the stereotypic jazz mould - punishing his kit with some well placed rhythmic karate hits. He´s always a minuscule beat in front of the remaining band, which adds a charismatic and original feel to the music. The only other drummer I can think of who does this, is actually Charlie Watts.

Several times during Hirocosmos a saxophone drops in to say hello. It tells us, that it is about time we headed over to England and Canterbury for a cup of tea. It shares a lot of facets with its brethren from these parts, and just like the other instruments here, it never outstays its welcome. It pops up, sings its tune, and zips away in a hurry. It´s much the same story with the small breaks of flute whistling, though they are far softer and effervescent in nature. Both wind instruments are kind to the different tunes on here and intervene purposefully, when these are in need of something lofty, quirky or comfy.

Keeping it real - pushing the music back towards the early psychedelic lands of Yanagida´s earlier albums, is guitarist Masayoshi Takanaka, who strikes me as one hell of a guy. I mean, if the guy can cuddle with his instrument like that, how is he like at a bar-desk with peanuts and ale? Journeying ferociously in between 2 completely different worlds of sound, he both masters the clean picking jazzy rides that sprinkle some of the more laid back sections of Hirocosmos, but when the time calls for it, he eats a dinner-plate full of habañeros and lava and sweeps the listener of of his feet, and takes him deep within a realm of ethereal beauty and soulful lingering sounds. He is truly a captivating musician, who apparently always knows which way the wind blows - and acts accordingly to boot. You want glistening stars conveyed in tones, then have some.

People who enjoy the eccentricities of National Health, Egg, Matching Mole, Quiet Sun, Soft Heap, and then could imagine these dipped in some spicy wasabi - served up with a side dish of raw tuna and sake - by all means: Go get the next best thing to right arms!

Hiro Yanagida - 1972 - The World Of Hiro Yanagida

Hiro Yanagida 
1972 
The World Of Hiro Yanagida





01. Top Of The World
02. You've Got A Friend
03. Morning Has Broken
04. Baby I'm A Want You
05. It's Too Late
06. I Need You
07. Your Song
08. Hurting Each Other
09. Alone Again
10. Sweet Caloline
11. Love
12. Bridge Over Troubled Water


Some rock and folk classics butchered and turned into insipid and uninspiring elevator music. But still sort of like it... guilty pleasure it is!


Hiro Yanagida - 1971 - Nanasai no Rojin Tengoku

Hiro Yanagida 
1971 
Nanasai no Rojin Tengoku




01. The Butcher
02. The Murder In The Midnight
03. Fantasia
04. Good Morning People
05. Always
06. The Skyscraper 42nd F
07. My Dear Mary
08. Melancholy


- Hiro Yanagida / organ, piano, harpsichord, voices
- Kimio Mizutani / guitars
- Seiji Tanaka / drums
- Kyosuke Tokano / drums
- Hiroto Kawamura / cello
- Ichiro Mimori / saxophone
- Joey Smith / voices
- Keiju Ishikawa / bass
- Nozomi Nakatani / flute


Second album of Hiro Yanagida is almost equally good as the debut one. "7sai no Rojin Tengoku" (which means "Elderly Person Heaven Of Seven Years". This album is also known under simple title: "Hiro Yanagida") doesn't bring any significant development compared to "Milk Time", but I liked previous record so much that any change in artistic direction wasn't necessary for me. We can find here lots of psychedelic organ and fuzzed electric guitar solos, jazzy drums, some spaced-out experiments (but almost never unlistenable noodling or quirky tape effects like in some other Japanese albums from early days prog...). Poor enjoyment of playing for musicians and listening for prog/psych fans. The only major difference compared to "Milk Time" is lack of violin, however Yanagida and Mizutani (along with with flute, cello & sax players) filled the disk space with enough instrumental virtuosity to keep everybody happy.
1. "The Butcher" - album begin with pulsating Hammond organ which after awhile provides a bit circus-like theme. After 50 seconds Kimio Mizutani joins with very fuzzed guitar and together with noisy-sounding flute creates merry-go-round crazy motif. After several seconds Hiro presents another organ solo, followed by great guitar one. About 2nd minute flutist blows his head off to play some mad whistles...and in the end we can listen to another Hammond solo. Only these guys know how to put so many different ideas to less than 3 minutes composition and make it good enough to not sound like total mess. Splendid beginning!

2. "The Murder In The Midnight" - if you liked "Running Shirts Long" from the previous album you'll also love this one. Maybe it lacks such catchy, main-riff like "Running..." but it's still decent 8-minutes long instrumental with hundreds of extremely fuzzed guitar and inspired organ solos. But the most important is that Seiji Tanaka (or maybe Kyosuke Tokano plays in this one?) all the time keeps the high-dynamic rhythm so you can't be bored even for a minutes. This is truly magnificent, hard as steel psychedelic jam with powerful instrumentals showcase. It can be easily compared to the best moments of Food Brain's sole album. The only complaint I have is about it's sudden ending, which sounds like somebody just cut the tape off and that's it.

3. "Fantasia" - one of the most beautiful composition starts unusual (but what is "usual" for these guys, heh??) with soft flute melody based on harpsichord & cello background. Really gorgous fragment. In 2nd minute Mizutani starts one of his best, passionate electric guitar solo in the vain of Jimi Hendrix (in his most peaceful moments) or Andrew Latimer (from band "Camel" which didn't even exist back then...). Solo is 3 minutes long but never becomes boring. I like that Yanagida always leaves lots of space for his fellow musicians so his solos albums aren't simple organ/piano show-offs.

4. "Good Morning People" - I simply love this marvelous tune! It's incredibly uplifting composition with fabulous sparkling piano (or maybe it's harpsichord or vibraphone?? really doesn't matter), discreet background organ and fantastic fuzzed guitar "eruptions". The main melody sounds kinda childish...but man, you will can't stop taping your foot when you listened to this one! Performance is very tight and even during two guitar solos musicians don't lose the main motif at all. (P.S. Take note Keiju Ishikawa's "woo-woo" bass lines!)

5. "Always" - unfortunately with this track Hiro & Co. seems to lack steam a bit. "Always" is only simple ballad based on piano and discreet acoustic guitar licks. The only interesting thing is that Hiro Yanagida sings (good info for non-english lyrics haters: just like in all other Hiro's albums everything is sang in Shakespeare's' language here) this one by himself and his vocal isn't that bad in fact, only near the end a bit too high-pitched.

6. "The Skyscraper 42nd F" - by far this is the weakest track on this album. Almost 4 minutes of psychotic flute motif just drills a hole in your brain and Hiro seems to randomly hit his piano's keys. And the most horrifying is that all this mess is played louder and faster creating roller coaster (anti) atmosphere. When I talk about over-experimented Japanese prog, I just think about staff like this. Skip, skip...

7. "My Dear Mary" - while most of fans of serious music will call this a cheesy crap and unnecessary filler, I have to admit that I like this "outrageous" ditty. This doo-wop/50' rock'n'roll 2-minutes tribute is just hilarious and so out-of place...that immediately I think it's perfectly IN-PLACE on Yanagida's album! Joey Smith sounds like some wanky Elvis Presley imitator and saxophone solo is ultimately corny as much as it could be in 1971 when this album was produced. What they were thinking?! But heh, I somehow like it, sincerely!

8. "Melancholy" - as title suggest this one is melancholic mid-tempo ballad with backing, Baroque-like harpsichord and fantastic organ waves, especially in closing 2 minutes, atmospheric solo. Yanagida sings again in this one and his voice sounds good, somehow in heavenly/angelic sort of way. Only bass guitar is unfortunately strangely mixed to be up-front and creates rather unpleasant rumpling sound. But it's only small complaint and this fault probably exists because of not so good master tapes' condition.

In general "Elderly Person Heaven Of Seven Years" I can recommend to all fans of 70' psychedelic rock with jazzy hints who enjoy good, spaced-out organ and guitar solos presented in dynamic, groovy compositions along with melancholic balladry, always with decent sense of melody. If you like this staff I can also recommend you other projects featuring Hiro Yanagida: Food Brain, Apryl Fool, Shinki Chen & Friends and - if you can endure very experimental approach - also Love Live Life+ and Masahiko Satoh ("Amalgamation" album). To some extent you can be also interested in more hard rockish but equally good in guitar/organ soling bands Strawberry Path and Flied Egg (both led by Shigeru Narumo).

After this album Hiro recorded another 2 solo albums: simple called "Hiro"(1972) and "Hirocosmos"(1973). While I've never listened to the first one (seems to be very obscure), "Hirocosmos" is a completely different album than its predecessors. Psychedelic rock is almost completely gone in his last effort and jazz tendencies are the most evident.

Hiro Yanagida - 1970 - Milk Time

Hiro Yanagida 
1970 
Milk Time





01. Love St. (0:54)
02. Running Shirts Long (8:43)
03. When She Didn't Agree (1:14)
04. Happy, Sorry (5:55)
05. Yum (3:50)
06. Love T (1:37)
07. Fish Sea Milk (2:24)
08. Fingers Of A Red Typewriter (8:29)
09. Milk Time (0:28)
10. Me And Milk Tea And Others (2:47)



- Hiro Yanagida / organ, harpsichord
- Kimio Mizutani / guitars
- Hiro Tsunoda / drums
- Hiroki Tamaki / electric violin
- Keiju Ishikawa / bass
- Nozomi Nakatani / flute




 Hiro Yanagida's debut album called "Milk Time" is a really special recording for me. Along with Food Brain and Cosmos Factory it was one of my first 70s Japanese artists I was listening to. It really rocks hard...& intelligent! Hiro together with bunch of 1st class musicians like Kimio Mizutani and Hiroki Tamaki created truly fantastic psychedelic piece of art. It's incredible how many ideas were included on this relatively short (36 minutes) LP. "Milk Time" is full of different music styles which perfectly fit to each other here. It's also very important that Yanagida didn't completely dominated this record with his organ playin' but left lots of space for his colleagues who can shine equally to Master of Keys. Especially violin and guitar are often pushed in front of the "wall of sound".
Let's check the tracks one by one:

1. "Love St." - less than one minute, very soft harpsichord performance. Sounds like far east Medieval music. Simply beautiful.

2. "Running Shirts Long" - this a real thing! Almost 9 minutes of outstanding psych/jazz jamming without self indulgence dragging. The main Hammond organ riff from the beginning hits you in your face and presses your body into armchair! Sounds like marching army of giants just behind your back. After that Mizutani kicks in with fuzzed guitar solo which is obviously Hendrix-inspired. His solo is followed by dynamic violin showcase where Hiroki Tamaki proves that this instrument surely belongs to prog rock! When violinist starts to lose steam, Yanagida take over the main "weight" of leading the jam and plays long as hell organ solo. It's probably the best musical moment of this guy in his career. His Hammond sounds violent, swirling, distorted & truly inspired, like from the best The Nice/ELP times, with all of these required noises, hits, roars and slide effects we like so much. Then Keiju Ishikawa takes control with frantic bass solo, followed by drum show off...which is of course the weakest spot of "Running Shirts Long". During most time of the composition solo performances particular musicians are supported by the other creating high-tempo rhythm & background. Unfortunately during drum solo all the other instrumentalist calm down and leave Tsunoda alone so track lose it's dynamism. Thankfully this solo spot isn't so long and everybody comes back in the end with main, groovy motif.

3. "When She Didn't Agree" - in the previous track only Nozomi Nakatani didn't have "his moment". But in this short interlude-like composition his flute is the main actor. Together with Hiro's harpsichord it creates gorgeous Japanese folk-like atmosphere.

4. "Happy, Sorry" - another ingenious composition. This time the leading theme is very jazzy, somehow lightweight and very catchy. Similar like in "Good Morning People" from his second album this one sounds very uplifting and a bit childish. Guitar & violin solos are good as ever, but Hammond solo is a real classic, it's played with a great sense of melody. No atonal noises this time, only pure beauty. Rhythm section is also fantastic, drummer plays some untypical signatures all time, while bassist shines throughout with happy-sounding.

5. "Yum" - very melancholic instrumental only with heavenly-sounding flute and harpsichord which sound like falling raindrops. Beautiful, classical-sounding piece of true art. It's a real miracle that these guys can equally good play long, psychedelic jams and such soft compositions. I guess what kind of modern rock musician would include such peaceful and relatively long (almost 4 minutes) track? Probably no-one... Sad.

6. "Love T" - another atmospheric composition, this time arranged for violin, harpsichord and (most of the time) discreet organ. For me sounds like mix of traditional Japanese music and Baroque classical one. Simply outstanding.

7. "Fish Sea Milk" - and here comes the monster which simply has to be included on almost every early 70' Japanese psych/prog record. Thanks God Yanagida put only one such sh**ty-ditty. Two and half minutes of nonsense noise-making without any direction. Experiment for its own sake. Skip this one before it will drill a hole in your brain. Really, better listen to my advice....

8. "Fingers Of A Red Typewriter" - fortunately after previous disaster Hiro & His Friends are coming back to form with this 8+ minutes jazz-rock epic. First part of "Fingers..." seems to be entirely dedicated to Kimio's guitar pyrotechnics where he can present wide range of technical tricks and mind blowing effects (wah-wah, fuzz, distortion etc.). Before 4th minute Hiroki takes "central stage" and demonstrate as long electric violin soloing. However I have to admit that some of these violin "noodling" in this particular track sometimes become tiresome and slightly not focused. However Hiro all the time keeps as interested with backing organ performance which is - as usual - marvelous. It's only a pity that he didn't decide to join his fellows with his own solo and it would be even better.

9. "Milk Time" - titles composition is violin-only half-minute ditty with clearly Western classical music inspiration. Good but too short.

10. "Me And Milk Tea And Others" - along with "Love T" this is another melancholic, weep-inducting composition with leading role of violin which sounds somehow Jewish for me (instead of Japanese or Western classical). Jazzy percussion and slow, eternal organ waves fulfill the track very nice. Good closing number.

To sum up: "Milk Time" along with Food Brain project is the best thing ever recorded by Hiro Yanagida. And compared to to Food Brain, we don't have to suffer many boring minutes of complete mess which is "song" called "Hole in the sausage"... The only low point of the record is "Fish Sea Milk", but it's quite short and you can always skip it. As I already said in Hiro's second album review I can recommend this recording to fans of good, old Japanese (and not only Japanese of course!) psychedelic prog. Other artists/bands with similar approach to music are as follow: Food Brain, Apryl Fool, Shinki Chen & Friends, Love Live Life+, Masahiko Satoh ("Amalgamation" album) (all of them with Hiro Yanagida), but also Strawberry Path & Flied Egg (both with Shigeru Narumo on keys and guitar) or solo album of Kimio Mizutani "A Path Through Haze". And in general Hammond organ fans should be also satisfied with this record, however don't expect only keys-based sound here because you'll find much in Yanagida's offering.

Food Brain - 1970 - Bansan (晩餐 - Social Gathering)

Food Brain 
1970 
Bansan (Social Gathering)





01. That Will Do
02. Naked Mountain
03. Waltz For M.P.B.
04. Liver Juice Vending Machine
05. The Conflict Of The Hippo And The Pig
06. Clock
07. One-Sided Love
08. The Hole In A Sausage
09. Dedicated To Bach


- Shinki Chen - guitar, producer
- Hiro Yanagida - keyboards, producer
- Masayoshi Kabe - bass
- Hiro Tsunoda - drums
+
- Ikuzo Orita - producer
- Michihiro Kimura - bass clarinet (08)




FOOD BRAIN was named by Shinki Chen - a charismatic Japanese guitarist - and is known as a novel rock project by Polydor Japan (according to rumour the project was originally to be named Brain Food - but Shinki made a mistake).

Ikuzo Orita, a director of Polydor, had pictured some projects of Japanese progressive rock in his mind. To realize one of them, he persuaded Shinki to be the front man, and gathered some renowned Japanese musicians - Hiro Tsunoda (drums & percussion), Hiro Yanagida (keyboard & organ), Masayoshi Kabe (bass) - around him.

As this was in the early 70's and the dawn of Japanese rock, a topic that can't be overlooked is the DRUG culture...The group with these four talented men - some serious session musicians and others junkie travelers - might be lacking in unity but they had no problem in dropping a breaking-Japanese-pop-dream bomb. Their only one piece Bansan was the sunrise of Japanese psychedelic rock and paved way for the younger generation.

Sadly their remarkable flexibility and technique couoldn't prevent the project from breaking up after the short blooming period, in spite of Ikuzo's dream.

From the first track this album is awesome! That Will Do is exactly a shining star. Hiro Tsunoda's jazzy drummings, Masayoshi Kabe's striking and loudly noisy bass sounds, and Hiro Yanagida's round-and-round-waved keyboard solo...all are terrific for listeners. Sorry that Shinki Chen's guitar, having mad, funky and freaky flavour in another work, sounds even steady and quiet. What a funny accident! Next an interude Hageyama (Naked Mountain) with spacey bass solo, electric keyboard sound and jazzy rhythm section are very impressing in Mpb No Waltz (Waltz For M.P.B.) Basically Hiro Tsunoda's spacey, strict and speedy drums and percussions are the framework and the foundation of this song. Okay, he should be a serious and skilled drummer (and currently known as a pop singer :-D). What's a Liver Juice No Jido-Hanbaiki (Liver Juice Vending Machine)? Supplement of iron or stamina? I'm sure I can get some stamina (not iron :-P) with listening to this song. Not kidding! The reason can be obvious...Shinki's guitar has lately been exploded with growling, and of course rigidly-framed rhythm sections have not turned at all. What an amazing dunk shot! Kaba To Buta No Tatakai (The Conflict Of The Hippo And The Pig) is not conflict but confusion with unusual zamba style in such a rock supper (Bansan). Wake wake up up!! Swingin' & Smart Sounds Should Start Soon!! Mezamashi Dokei (Clock) has absolutely swing & jazz flavour mimicking an alarm clock. Psychedelic keyboard sounds can remind us the bell of a clock ringing loudly near our ears and let us wake up to ourselves completely, then heavy bass and drum sounds should hit and kick our back out. Kataomoi (One-Sided Love), calm and gentle interlude by keyboard solo, can get us relaxed but suddenly by avantgarde Ana No Aita Sausage (The Hole In A Sausage) we go mad. What does Michihiro Kimura's clarinet sound mean? Hmm...I feel it mean emptiness of their future, but is it correct? Well, God (and some of Food Brain members) only knows. Indeed Food Brain was unstable as a group with serious talents and junkie travelers...this badly organized sections might let their forebodings come true I suppose... Even a funeral march comes here. As everybody has thought, is it natural they would soon be broken out? The last song Bach Ni Sasagu (Dedicated To Bach) sounds like their mischief for me. From beginning to finish, I can't breathe enough...completely knocked away by FOOD BRAIN not BRAIN FOOD.  

A wonderful dawn of Japanese psychedelic rock. And the two Hiro's are on fire! Listen!

The Folklords - 1968 - Release The Sunshine

The Folklords 
1968 
Release The Sunshine





01. Jennifer Lee - 3:20
02. Don't Hide Your Love From Me - 2:56
03. Child - 3:42
04. Unspoken Love - 2:08
05. Windows - 4:17
06. Forty Second River - 3:18
07. Pardon Me Judas - 3:10
08. Thank Your for Your Kindness - 3:)5
09. We'll Love Like Before - 2:20
10. Suzanne Marie - 4:00
11. Don't Look Back - 2:50
12. The Slave - 3:10


Craig Boswell (drums)
Martha Johnson (vocals, autoharp)
Tom Martin [aka Tom Waschkowski] (vocals, bass)
Paul Seip (vocals, guitar)




The first time I heard this collection I thought I was listening to a mid-1960s release from some unknown Southern California band.  Turns out I was wrong on both counts - the album was released in 1969 and these guys were from Toronto ...

Featuring a line-up of drummer Craig Boswell, singer/autoharp player Martha Johnson, singer/bassist Tom Martin (aka Tom Waschkowski), and singer/guitarist Paul Seip, these guys made their debut with the Jack Boswell produced "Release the Sunshine".  Propelled by the group's painfully earnest performances and Johnson's ever present autoharp, musically this is definitely a period piece; though as I mentioned to my ears it sounds more like 1966 Southern California than 1969 Toronto.  On tracks like 'Don't Hide Your Love From Me' and 'Child' the recipe is surprisingly appealing, though stretched across twelve songs their world weary seriousness started to become a downer man ...  To give you a feel for their sound, imagine The Mamas and the Papas with Donovan sitting in.  That comparison is underscored by Martin's likeable voice which occasionally recalled that of the late John Philips.  Certainly not a perfect comparison and I'm sure some folks will object.  While the prime sound is folk-rock, on a couple of tracks including 'Forty Second River' they took a stab at a pseudo-psych sound with impressive results.  Also credit to drummer Boswell who injected enough of a rock feel into the performance so as to keep them from slipping into coffee house league.  A couple of ripping fuzz solos certainly would have helped ...  Oh, before I forget 'Pardon Me Judas' and 'The Slave' offered up a couple of stabs at Dylan.  By the way there are no writing credits.  Also, I'm not sure if it came before the LP, but there's also a single: 'Jennifer Lee'  b/w 'Pardon Me, Judas' (Allied catalog number 6358)  included with the download.

Fille Qui Mousse - 1971 - Trixie Stapleton 291 Se Taire Pour Une Femme Trop Belle

Fille Qui Mousse 
1971 
Trixie Stapleton 291 Se Taire Pour Une Femme Trop Belle



01. Cantate Disparate (5:44)
02. Transcription Interrompue (0:55)
03. Fraîcheur Et Amalgame (2:00)
04. Esplanade (8:10)
05. Résistance Instinctive (2:32)
06. Quatrième Épisode (1:02)
07. Transplantation (3:05)
08. Antinomique (3:04)
09. L'eau Était Vitale (8:27)

- Henri-Jean Enu / guitar, voice
- Barbara Lowengreen / voice
- Benjamin Legrand / piano, voice & effects
- Denis Gheerbrandt / voice & effects
- Sylvie Péristéris / effects
- Daniel Hoffmann / guitars
- Jean-Pierre Lentin / bass guitar
- Dominique Lentin / percussions

Guest musicians
- Léo Sab / violin
- François Guildon / guitar

Trixie Stapleton 291 Se Taire Pour Une Femme Trop Belle (Part 1-9) 35'40"
Composition by Henry-Jean Enu
Recorded during spring/summer 1972 [8 July 1971 according to Futura]
Printed as a limited edition of 200 copies



One of the most mysterious groups from the French experimental underground of the early '70s, Fille Qui Mousse was as radical as the German band Faust, and utilized similar studio trickery. Their one album never got properly released, and they might have been forgotten if not for being included on the influential Nurse With Wound list of influences in the early '80s. Fille Qui Mousse was a leftist political collective led by journalist/musician Henri-Jean Enu in the very early '70s in Paris. In 1971 they obtained a record deal with the legendary Futura label, which had mostly released avant-jazz at that time but were expanding into more experimental rock. The record was recorded in the summer of 1971, most likely in one day, and then mixed in December of that same year. Over a year passed before about a dozen test pressings of the record were made in early 1973.
Unfortunately, Futura was having financial problems at the time and these 10 or 12 copies were all that existed, becoming one of the most rare,sought, and yet virtually unobtainable LPs of French avant-rock. Finally, in the mid- to late '90s, several CD versions of the record were released, under the titles Trixie Stapelton and Se Taire Pour une Femme Trop Belle, often without song titles or the names of performers or composers (which weren't listed on the test pressing), until the Fractal release of Se Taire in 2002.

Often referred to as the French Faust, FQM's album mixed collage, psychedelic rock, surreal poetry, and organically tapped noise purity with the absolute best of experimental 70s rock-andbeyond. "Straight off, we plunge into that Faust structure...riffing with a psychedelic bent, hints of Gong too...we move into bizarrely constructed patterns of percussive sound and chopped-up rock music, and just as a musical focus takes shape it disappears. A poem, recited by a girl, over an urban landscape populated by numerous barking dogs then gives way to an intensely strange mangled web of sound that's almost brain numbing. And, yet more in the way of strangeness is a piano based piece that recalls some of Roger Doyle's early experiments. The only actual song has the most bizarre lyrics (in English) and is followed by an excursion in distorted and processed guitar. Next is where the folk music comes in, but even with gypsy violin FQM's interpretation of folk is strange and twisted. Finally, we return to the psychedelic jamming that opened the album, but with a jazzier edge, ending the album perfectly.

Fernando Grillo - 1976 - Fluvine

Fernando Grillo 
1976 
Fluvine




01. Fluvine Uno 5:20
02. Fluvine Due 9:06
03. Fluvine Tre 9:00
04. Fluvine Quattro 22:37

Double Bass: Fernando Grillo



Fernando Grillo performed these four pieces, varying in length between five and 22 minutes, solo on double bass. For the most part they were done live with a panoramic microphone; an additional contact microphone was used in "Fluvine Tre." These are mostly ambient sounds that sometimes dip below the threshold of audibility, sometimes create a serene mood with caressed tones, and occasionally emulate violent storms; at one point he manages to recreate the sound of an onrushing car with accuracy.

It may seem unlikely but this CD (then as a LP) was my first exposure to music made by double bass solely. Since this "satori" some 25 years ago I have heard a bunch of sometimes outstanding solo outings by bassists. (K.H. Stockhausen once called F.Grillo the "Buddha" of the double bass).
There's a buddhist proverb which goes roughly - "If you meet Buddha kill him" - in this case I would prefer to caress him.

Today it seems he's concentrating on his personal vision of baroque music.
There are not many available recordings with him in a contemporary setting. One exceptional exemple of his skills can be heard on Iancu Dumitrescu's first published CD, where he plays a grandiose interpretation of "Medium III" - strongly recommended.

Ernie Graham - 1971 - Ernie Graham

Ernie Graham 
1971 
Ernie Graham




01. Sebastian - 5:34
02. So Lonely - 3:30
03. Sea Fever - 4:54
04. The Girl That Turned The Lever - 6:16
05. For A Little While 6:36
06. Blues To Snowy - 4:01
07. Don´t Want Me Round You - 4:32
08. Belfast - 5:13

Musicians
*Ernie Graham - Guitar, Vocals
*Bob Andrews - Guitar, Keyboards, Vocals
*Dave Charles - Drums, Vocals
*C. Cunningham - Fiddle, Violin
*J. Eichler - Vocals
*Ian Gomm - Guitar, Vocals
*Nick Lowe - Bass, Vocals
*Malcolm Morley - Guitar, Piano, Vocals
*Billy Rankin - Drums
*Brinsley Schwarz - Guitar
*Richard Treece - Guitar
*Ken Whaley - Bass




Singer Guitarist Ernie Graham was an active part of the British pub rock scene during the first half of the '70s, shuffling between several bands and also recording solo. Graham started out in Belfast during the mid-'60s in professional music when he joined Tony & the Telstars, a local band, as their rhythm guitarist, working as an apprentice auto mechanic during the day. Eventually, Graham and two other members of the band decided to leave Belfast for England, and potentially bigger rewards. It was there that he met guitarist Henry McCullough and the two, on returning to Ireland, began putting together their own band, which was initially known as the People. They saw some serious success in the swinging London music scene of the second half of the 1960s, enough that they were persuaded to change their name to Eire Apparent in a bid for major stardom. That didn't quite happen, but they came close, the psychedelic-flavored band touring with Jimi Hendrix, who also played on their only album, Sunrise (1969).

McCullough left the group -- to form the Grease Band -- and Eire Apparent later dissolved, Graham signed with UA/Liberty as a solo artist, just at the time that the British arm of the label had begun building a new, bold roster of acts representing a new generation of performers. It was all a happy coincidence that brought Graham into the studio backed by no less an act than Brinsley Schwarz, and the result, coupled with Graham's exceptional singing and songs, was one of the finest albums of the entire decade. Ernie Graham failed to sell, however, and soon after, he joined Help Yourself as a guitarist, entering the studio for their second album, Strange Affair, but departing the group before the record was completed.

This is one of the most hauntingly beautiful solo albums to come out of the whole English pub rock scene, and references to Bob Dylan and the Band are appropriate because the rootsy/folk-like intersections with their work are here. It's also a rival to the best work of Brinsley Schwarz, Ducks Deluxe, Eggs Over Easy, et al. (and no surprise -- the Brinsleys played on this album). Opening with the gorgeous, Dylanesque "Sebastian," built on a lyrical acoustic guitar part, Graham reveals himself a songwriter and player of extraordinary sensitivity -- he might easily have been another Alan Hull, or even bigger than that, had he been able to join a band with legs or hold his own career together.

As it is, from that Dylan-like start, he and the Brinsleys deliver a brace of full electric numbers that rival the classic sound of the Band, starting with "So Lonely" -- the roots rock sound here is so authentically American that it will fool lots of listeners about its origins and source. For this album, "The Girl That Turned the Lever" and "For a Little While" are two of the finest working-class/folk-style compositions this side of "The Night They Drove Old Dixie Down," and "Blues to Snowy" takes Graham into Lynyrd Skynyrd territory. "Belfast" finally takes listeners to Graham's real roots, in a bracing, fiddle-driven folk-based piece from that side of the Atlantic.

Debris' - 1975 - Static Disposal

Debris' 
1975 
Static Disposal




01. One Way Spit
02. Female Tracks
03. Witness
04. Tricia
05. Boyfriend
06. Leisurely Waiting
07. New Smooth Lunch
08. Manhattan
09. Flight Taken
10. Tell Me
11. Blue Girls

Bonus Tracks:

12. Zebra Ranch
13. Other Things
14. New Smooth Lunch
15. Boyfriend
16. Real Cool Time
17. One Way Spit
18. Gun
19. Hospital Boys
20. Flight Taken
21. Tell Me

Previously issued LP tracks 1 to 11 are taken from the original 1/4" 15 ips mixdown master tape and were recorded on December 10 and 16, 1975 at Benson Sound Studio, Oklahoma City, Oklahoma, and mixed at Benson's on January 20, 1976.

Tracks 12 to 21 were transferred to DAT from the original source tapes, April 1999.

Mastered at Fantasy Studios, Berkeley (CA), May 1999.

Tracks 12 & 13 are previously unissued mono cassette recordings and were recorded at Static Disposal Subterranean Office in Chickasha, Oklahoma, November 1975.

Tracks 14 to 21 are previously unissued stereo quarter-track 3 3/4 ips reel to reel recordings, performed in one session in the spring of 1976 at the Static Disposal Subterranean Office.

Original "Static Disposal" LP released in April 1976 (1000 pressed)
CD reissue on Anopheles, November 1999, (2000 pressed)
CD second pressing on Anopheles, July 2007

In Loving Memory of Oliver Bennett Powers (March 6, 1953 - June 23, 2001)


Debris:
Charles "Chuck Poison" Ivey - Low frequency modulators. synthesizers, detonic guitar  on B3, sequential screams and marvelous moans
Johnny Gregg - Drum, drums, visceral vocals and gorgeous grunts
O. Powers (Rectomo) - Vibraharp, variable multi-stringed electronic exasperator coupled with various  electronic special operations devices, b-flat coronet, vericose verbalizations and                               gruesome groans

Assisted by:
Richard Davis - Sax, organ and 8" circular saw
Dirk E. Rowntree - Percussion and `Lizard King` on B3
deanna `D` - Sensuous mouthings B3



Debris ' Static Disposal is the pivotal mid-70s behemoth to emerge from the American private press underworld, a record which went on to inspire everyone from the Screamers to Nurse With Wound (NWW). A legendary reissue hailed in Ugly Things, The Acid Archives, and Mojo.

Recorded in December 10 and 16, 1975 at Benson Sound Studio, Oklahoma City, Oklahoma, and released on January 20, 1976, before the first Ramones LP, and leading off with a song called One Way Spit", Debris' can now be seen as the most important proto-punk band, too often snubbed by "punk historians" who don't want to admit to having to rewrite their historical templates. The LP sounds almost contemporary today, with its aggression, angst, wild analog synthesizers, guitars and vocal experimentation, and a supercharged, avant-psychedelic recording quality.

Well ... soar a little in the realm of fairy tales now and let's get to Debris American group for the matter of the amount of energy will receive puts the dead on their feet.

The band was formed in the summer of 1975 in Chickasaw, a small, provincial town in the state of Oklahoma. The leader was Charles Ivey, who played earlier in local bands such as the Misfits and airless Regime, who founded The queit. To join Olivier Charles Ivey and Johnny Gregg Powers, creating Debris formation. In this composition, although they played only four shows, but in a spectacular setting, which made even more so than music, a negative impression on the specific, indiscriminate audience with which they were dealing. They have performed such in evening dress, diving suits, the hats with Mickey Mouse ears, ski goggles or only his underwear covered in powdered infant formula. Performances are most often improvised, both in the music and text, had a dark, noisy and chaotic in nature, you can also say that the media has (images displayed on TV screens). One of the performances took place in the local competition "Battle of the Bands" where Debris, although the latter showed up, took the first place among the 50 teams and won a modern sound equipment. In 1975, the team took advantage of a promotional package worth $ 1,590, which includes 10 hours of studio recording and pressing of 1000 copies LPs. It was recorded in two sessions in mid-December in Benson Sound Studios with the help of friends, Richard Davis, Dirk E. Rowntree and Deanna "D". The recording session took part Robb Hayes. That granted release in 1000 copies entered the local market a few months later, in 1976. Recorded in such a short time the album was raw sound, not fully meeting the vision of the musicians, who soon began to seek a new recording contract by sending your material to record labels and music press. In view of the terrible reviews, or the lack of any support or response, and less than a half year of existence, the team has been resolved, but soon there were more good reviews and an invitation to perform in New York's CBGB's.

Kind of the end of an indefinite and somewhat eclectic nature of the music Debris best reflect the diverse stylistic determination - species that may be encountered in a few statements about it. These include a "proto-punk", "psych-punk", "proto-punk psychotic," "psych-avant-punk", "proto-art-punk", "dada-punk-psych" "idiosyncratic marriage of punk and Psychedelia". Debris Music combines the features of these trends in a brutal way, adding to the extraordinary amount of energy from an aggressive form of expression and a new quality. Garage, heavy, dirty, and often accompanied by a multitude of riffs chaotcznym electronic sounds generated from various synthesizers and modulators, high-pitched bursts of saxophone, as well as psychedelic, fuzzy and catching loops cacophonous guitars. All this is background for the screaming voices of all musicians.

DEBRIS': After the first re-edition of "Static Disposal" CD,21 tracks and over 76 minutes of 1975-76 recordings by this legendary trio from Chickasha, Oklahoma This reissue includes a 28 page booklet with liner notes penned by all three members, song lyrics, photos and more. We've used the original LP master tapes and added 10 previously unheard and stunning rehearsal recordings as bonus tracks it turned out that the Debris is a phenomenon unique and quite isolated, "the missing link" in an unusual way ahead of its time, despite complete isolation and separation from the musical ferment of lesions, non-existent in practice, because almost anyone unknown " inspiration "for many future musical projects, a team of" proto-punk ", which ironically came to what much later reached the circle teams of" post-punk ". It's the perfect combination of music of the 70's and 80's. Of the original in his time so that you can compare it properly with only two, the same odkrywczymi what and provincial teams, and even older Simply Saucer Canadian and American MX-80 Sound.
Thank you so much Adam for that effort
gigic2255



From Static Disposal 1976
The town of Chickasa, OK, might seem an unlikely birthplace of a seminal experimental proto-art-punk band set on pushing the boundaries of rock. In the face of indifference, and even redneck hostility, and lasting only a year, Debris' forged a small legacy with its D.I.Y. ethic and improvised playing style. Charles Ivey and Oliver Powers played various instruments in various bands for several years before the summer of 1975, when they approached drummer Johnny Gregg for a new band. Debris' was quickly launched and by September, they had the first of the four live gigs of their short existence. Their chaotic performance style and dark, quirky sound — influenced by the Velvet Underground, the Stooges, Captain Beefheart, as well as English glam rock — did not endear them to their Oklahoma City-area audiences. At one such show, a Battle of the Bands competition where 50 bands vied for a new sound system, Debris' came in dead last while a cover band took home the prize. At the same time, they took advantage of a 1,590-dollar promotional package from a sound studio, which provided ten hours of recording time and a 1,000 LP pressing. With the lofty ambition to "cut the ultimate record of the decade," they recorded material in two sessions in mid-December and the record was pressed several months later (since released on CD as Static Disposal with much bonus material). The band started to mail it out to various record labels and rock magazines as a demo in hopes of getting a record deal and to more fully realize their project. With early negative reviews and no local support, Debris' disbanded, ahead of their time and in the wrong place. Within a year, more favorable press appeared and CBGB even offered them a gig and a chance to cash in on the burgeoning New York punk scene, but it was already too late.
(~ AMG) by YTB

The pre-history of punk rock is usually based around hip, cosmopolitan urban areas.  The Velvet Underground, the New York Dolls, and The Dictators were based out of New York City; the MC5 and The Stooges in Ann Arbor, Michigan (just outside of Detroit); Pere Ubu, Devo, and Rocket from the Tombs out of Cleveland; and The Modern Lovers in Boston.  These groups, who were far from popular during their own time (with the exception of Devo), have subsequently been elevated into the realm of the legendary thanks to a perceptive group of rock historians and cultural critics who were heavily influenced by these vibrant, perceptive, and prophetic artists.  Thanks in part to texts like Lester Bangs' posthumously published anthology Psychotic Reactions and Carburetor Dung (1988) and Legs McNeil and Gillian McCain's Please Kill Me  (1997), these otherwise obscure groups have been unwittingly canonized and are now casually mentioned by some rock n' roll aficionados in the same company as The Beatles, Led Zeppelin, and Black Sabbath.  One group, however, that you will not read about in these histories is Chickasha, Oklahoma's Debris' (yes, there is an intentional apostrophe after the "s" in their name). Their self-titled debut, released in a private pressing of 1,000 copies in 1976, makes the argument that they should.

For those that don't know, Chickasha, Oklahoma is a small city located about forty miles southwest of Oklahoma City.  Prior to the success of The Flaming Lips, the pride of Oklahoma City, in the early 1990s, the city was not exactly known for its punk rock bona fides.  With this in mind, the mere existence of a group like Debris' should seem like some sort of proto-punk rock miracle.  Helping advance this thesis is the relatively high quality of the music and just how many similarities it shares with the more legendary acts of that time period.  Consisting of Charles ("Chuck Poison") Ivey, O. (Oliver) Powers (both assuming various duties on guitar, bass, and synthesizer), and drummer Johnny Gregg, the trio--with help from a session saxophonist, drummer, and female background vocalist--reportedly, as per the boast on the album's back cover, pumped out this well-rehearsed material in "Six hours and 59 minutes."  In this relatively short period of time, spread across two different sessions in December 1975 and January 1976, they incorporate their influences (which the group notes on their myspace page include "The Velvet Underground, The Stooges, Captain Beefheart, and English glam rock") and produce sounds vocal yelps comparable to Richard Hell and the Voidoids, Alan Vega of Suicide (both of whom had yet to release anything), and David Thomas of Pere Ubu.  The stuttering rhythms of their guitar playing, the free jazz textures of session musician Richard Davis's saxophone, and the sharp bursts of noise that emanate from their synthesizers draw immediate comparisons to the aforementioned Pere Ubu, Robert Quine of the Voidoids, early "hardcore" Devo, and The Silver Apples.  Thanks to record collector Karl Ikola, the founder of Anopheles Records, Debris' was re-issued (and re-christened Static Disposal, the name of the group's short-lived record label) for the first time in 1999 on CD (with numerous bonus tracks) and again on vinyl in 2008.

As exciting as this all sounds, let us not confuse the historical importance of this album's anomalous existence with the quality of the material on it.  As an album, it is more often than not good, sometimes great.  It often meanders, especially on the longer tracks.  Similarly, some of the material is just not that strong ("Witness" and "Boy Friend," for instance).  That being said, there is plenty to like here.  The opener, "One Way Spit," begins with Charles Ivey retching into the microphone as he counts off the track.  This is a fitting introduction to the album, foreshadowing the spastic sounds that would follow, insuring their obscurity, especially as an Oklahoman rock act, in 1976.  Another highlight is the sludgy "Tricia," as desperate a love song one is likely to hear, complete with a power tool to create added texture (and long before Eddie Van Halen, it's worth noting!).  Side One ends with another favorite, "Leisurely Waiting," which features a pulsating two chord sequence that is rendered all the more unsettling by Ivey's vocals.  Side Two begins with the most accessible track on the album in "New Smooth Lunch/Manhattan," a fun romp that foreshadows something like "Gut Feeling" from Devo's debut LP, and manages to stay surprisingly catchy despite spazz-skronk guitar runs worthy of inclusion on Captain Beefheart's Trout Mask Replica.  After two decent cuts in "Tell Me" and "Flight Taken," the album unfortunately ends with its weakest number in "Blue Girls," which is also, not surprisingly, the slowest number on the album.  Ultimately, Debris' may come across as a novelty to those listeners with an inflexible conception of proto-punk.  However, it is more than just a curio.  It is an interesting piece of outside-outsider music that is refreshingly relevant, far more so than it was for the Oklahomans who were (un-)lucky enough to hear it back in '76.
(~rateyourmusic) by yerblues