Destroy All Monsters – November 22, 1963 (1989)

FrontCover1.jpgDestroy All Monsters were an influential Detroit band existing from 1973 to 1985, with sporadic performances since. Their music touched on elements of punk rock, psychedelic rock, heavy metal and noise rock with a heavy dose of performance art. They described their music as “anti-rock.”

Destroy All Monsters never found mainstream success, but earned some notoriety due to members of notable rock groups The Stooges and MC5 who joined the group.

Although Destroy All Monsters never recorded a proper album, Sonic Youth singer/guitarist Thurston Moore released a three compact disc compilation of the group’s music in 1994.

Formed in 1973, the first edition of Destroy All Monsters was formed by University of Michigan art students Mike Kelley, Jim Shaw, Niagara (Lynn Rovner) and filmmaker Cary Loren. They performed in the Ann Arbor area from 1973–1976, and their only release was a one-hour cassette of their recordings available only through Lightworks magazine. Their early music was influenced by Sun Ra, Velvet Underground, ESP-Disk, monster movies, beat culture and futurism. Their sound was experimental, psychedelic, darkly humorous and droning.

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On New Year’s Eve of 1973, the first Destroy All Monsters concert was held at a comic book convention in Ann Arbor, Michigan. At the time the instruments were a violin, a sax, a vacuum cleaner and a coffee can. They performed a demented version of Black Sabbath’s “Iron Man” and were asked to leave after ten minutes. The group performed “guerilla style”, setting up free at parties and playing for food along Ann Arbor’s frat row. They used modified instruments, a drum box, tape loops, hot-wired toys, cheap keyboards and broken electronic devices. Aside from the comic convention, the group’s only formal gig in this era was at the Halloween Ball at the University of Michigan art school in 1976.

Kelley and Shaw left the band during the summer of 1976 to attend graduate school at CalArts in Los Angeles, California. Both have gone on to lead successful solo careers in the art world. Their work is held in major collections around the world.

Niagara, Ron Asheton and unidentified drummer, Ann Arbor, Michigan, USA, Spring of 1982

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In 1977, Niagara and Loren recruited guitarist Laurence B. (Larry) Miller and saxophonist Benjamin (Ben) Miller; both had been in the short-lived Sproton Layer with their brother Roger Miller (who later went on to found Mission of Burma). They invited Mike (Jett) Powers on bass but he soon left for Harvard University. Not long after, members of two important Detroit-based groups signed on: guitarist Ron Asheton, earlier of The Stooges, and bass guitarist Michael Davis of the MC5. Their presence garnered the group more attention than ever before. Shortly thereafter, Ron asked drummer Rob King to join the band.

In 1978, Destroy All Monsters were preparing to release “Bored”, their first official recording, when the group began to fall apart. Niagara ended her romance with Loren in favor of a new relationship with Asheton; Loren quit the group, with the Miller brothers leaving after the band’s Halloween gig at EMU, in 1978. The “Bored”/”You’re Gonna Die” single earned some attention in the UK music press, and the band was able to capitalize on the notoriety.

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Niagara, Ron Asheton and unidentified drummer,
Ann Arbor, Michigan, USA, Spring of 1982

In late 1978, Loren issued a live DAM EP known as “Days of Diamonds” on his Black Hole label. Another EP followed in 1979, “Blackout in the City” under the name XANADU with the Miller Brothers, Loren and Rob King. Niagara and Ron Asheton carried on with various personnel releasing a total of three 7″ singles on the IDBI label. Between 1982 and 1984, Destroy All Monsters played in bars and nightclubs in Ann Arbor and Detroit. Personnel: Bill Frank on drums, Mike Davis on bass, Ron Asheton on guitar, and Niagara on vocals. In May 1983, the band recorded and videotaped the song called “Make Mine Japanese.” Released in December 1983, this video can now be seen on-line. The Monsters broke up in 1985. The Asheton singles were released by Cherry Red Records on CD.

In 1994, Mike Kelley, Cary Loren, Byron Coley and Thurston Moore compiled a three-CD boxed set of music, artwork and extensive liner notes as Destroy All Monsters: 1974-1976 on Moore’s Ecstatic Peace! label.

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Single “Bored” bw “You´re Gonna Die” (1978)

The original lineup (Kelley, Loren, Niagara and Shaw) reformed for reunion shows in 1995. Loren republished the six issues of the Destroy All Monsters Magazine (1976–1979) with added DAM student artwork, flexi disc and history in the book DESTROY ALL MONSTERS:GEISHA THIS — four VHS tapes of DAM films were also issued. An exhibition of their artwork followed at the Book Beat Gallery as well as live performances in Detroit, Los Angeles and San Diego. A live CD, “Silver Wedding Anniversary”, resulted from these concerts and was released in 1996 on the Sympathy for the Record Industry label.

In 1996, the group (sans Niagara) performed in Tokyo and Osaka, Japan. A display of DAM artwork was held at the Deep Gallery in Tokyo. At the invitation of Ben Schot and Ronald Cornelissen for the “I Rip You, You Rip Me” festival and seminar at the Boijman’s Museum in Rotterdam, DAM began work on the installation and film known as Strange Früt: Rock Apochrypha, an investigation of Detroit culture. This exhibition was shown and completed in 2000 at COCA (Center on Contemporary Art) in Seattle, WA., and in 2001 at the DAM Collective: Artists Take On Detroit at the Detroit Institute of Arts. This work was also selected for inclusion in the 2002 Whitney Biennial of Art in NYC.

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Single “Nov. 22” bw “Meet The Creeper” (1979)

In 2006, the “Strange Früt” exhibition and the bands archives traveled to the Magasin Center for Contemporary Art in Grenoble, France. DAM performed at the “All Tomorrow’s Parties” festivals in Los Angeles as guest artists of Sonic Youth, and in London, UK as guest artists selected by Dino and Jake Chapman. A selection of the band’s archives was on exhibition as part of the “Theater Without Theater” show at MACBA in Barcelona, Spain opening May 25, 2007. The exhibit traveled to Lisbon, Portugal in the fall of that year.

Since 1995, the band has released five full-length CDs on their own label(s) [The End is Here]: Radio Teardrop 1996, Backyard Monster Tube and Pig 1998, Swamp Gas 2001, and on [Compound Annex]: Detroit Oratorio 2003, DAM: Live in Tokyo 2003.

DAM04A reprint of the first six issues of DAM Magazine with added band artwork, history, poster and a flexi disc was published by Book Beat in 1995 as Destroy All Monsters: Geisha This, and reprinted in three different editions. A DVD of selected DAM films was released in 2007 by MVD video as: “Grow Live Monsters” featuring early 8mm & 16mm films taken in 1971-1976.

Ron Asheton died on January 1, 2009, aged 60, of an apparent heart attack.

In 2009 the Printed Matter bookstore in NYC mounted the Destroy All Monsters exhibit Hungry for Death curated by James Hoff and Cary Loren featuring the group’s collected work.[2] The exhibition toured to White Flag Projects in St Louis, 0047 in Oslo, SPACE Gallery in London, The American Academy in Rome, Italy, Galerie 1m3 in Lausanne, Switzerland, AMP Gallery in Athens, Greece (2010), galerie du jour agnès b in Paris, France (2011) and the Boston University Art Gallery (2011). To coincide with the Hungry for Death exhibition Printed Matter released a 1975 recording Double Sextet as a vinyl album. The band also re-released the Destroy All Monsters: 1974 – 1976 compilation, without booklet, in a limited edition of 1000. In 2011, the Boston University Art Gallery released “Hungry for Death: Destroy All Monsters”, with essays by Byron Coley and Branden Joseph. This catalog included a detailed discography and a CD titled “Get Out of My Bedroom” of unreleased DAM music spanning over thirty years of band history.[3]

A facsimile reprint of the Destroy All Monsters Magazine 1976-1979 was published by Primary Information in the May 2011.

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An exhibition curated by Mike Kelley and Dan Nadel titled “Return of the Repressed: Destroy All Monsters 1973-1977” showing work by Mike Kelley, Jim Shaw, Cary Loren and Niagara opened at PRISM in Los Angeles on November 19, 2011 and ran through January 7, 2012. Accompanying the exhibition was a catalog published by PRISM and PictureBox, edited by Mike Kelley and Dan Nadel with an essay by Nicole Rudick.

Mike Kelley was found dead in South Pasadena, California, on February 1, 2012, aged 57, having committed suicide. Sixteen days later, on February 17, 2012, Michael Davis died of liver failure, aged 68. (by wikipedia)

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When it comes to Detroit-area, proto-punk supergroups, I like Destroy All Monsters more than Sonic’s Rendezvous Band. The energy, the passion, the fire; it’s all just booming in this band. On the other hand, Sonic’s Rendezvous Band got a little dad-rock sounding at times, and it was pretty formulaic throughout. Destroy All Monsters were anti-rock, meaning they just did what they wanted pretty much, and in doing so, they came up with some fantastic riffs, and some fantastic melodies.

I listened to this, and it finally struck me – Sonic Youth is a complete rip-off of Destroy All Monsters. They both have that crazy, manic type sound, and Kim Gordon is a dead ringer for Niagra; vocally that is. In fact, Thurston Moore actually released everything Destroy All Monsters had ever done on a box set, so you know the influence was definitely there.

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Musically, this thing is way chaotic, and it even rocks more than The Stooges at points. It’s loaded with fuzzy guitar, and crazy free saxophone going off in each and every direction. I really like it. Especially the song “Bored”; boy does that rock. Other highlights are “Nobody Knows”, “What Do I Get”, and “Anyone Can Fuck Her”. This is crazy, testosterone-pumping rock with a female vocal lead, and it’s probably the sexiest thing ever conceived by mankind.

A sweating recommendation goes out to you rock lovers! Wooooooeeeeee!!!! (Seattle_Junkie_Queen)

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Personnel:
Ron Asheton (guitar, background vocals, bass on 09. – 11.)
Michael Davis (bass)
Rob King (drums)
Lynn “Niagara” Rovner (vocals)
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Bill Franck (drums on 09. – 11.)
Ben Miller (saxophone on 01. – 04.)
Larry Miller (guitar on 01. – 04.)
Charlie Tyfklind (saxophone on 10.)

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Tracklist:
01 Bored (Asheton/Rovner) 3.56
02. You’re Gonna Die (Loren/Asheton/Rovner) 2.49
03. Meet The Creeper (Davis) 4.57
04. November 22, 1963 (Asheton/Rovner) 4.24
05. Jesus Is A Shotgun (King/Asheton/Rovner) 2.56
06. Nobody Knows (Davis/Rovner) 3.27
07. What Do I Get (Asheton/Rovner) 4.16
08. These Boots Are Made For Walking (Hazlewood) 5.40
09. Anybody Can (Fuck Her) Asheton/Rovner)  3.33
10. Party Girl Asheton/Rovner) 3.43
11. A/D (Angel In The Daytime, Devil At Night) (Franck/Asheton/Rovner) 2.38

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Niagara in 1974

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ZZ Top – One Foot In The Blues (1994)

FrontCover1One Foot in the Blues is a compilation album by the American blues rock band ZZ Top, released in 1994 (see 1994 in music). The album contains a selection of the band’s songs which fall into the blues genre. With the exception of the songs taken from the Degüello, El Loco, Eliminator and Recycler albums, the 1987 digital remixes were used. (by wikipedia)

Before they sweated their image down to beards, babes and hot rods, ZZ Top were a down ‘n’ dirty blues-rock trio with a bonafide hot guitar player in Billy Gibbons. On this 14-track offering, Warner goes back through the back ZZ catalog and cobbles together an interesting collection of the Texas trio’s bluesier sides that originally appeared on their earliest albums. Highlights include “Brown Sugar,” “A Fool for Your Stockings,” “My Head’s in Mississippi,” “Apologies to Pearly” and Gibbons’ storming stringwork on “Bar-B-Q.” (by Cub Koda)

Wow, where do I start with this compilation of Texas’s greatest Little Ole Band from Texas ! I love this album. Alot of these songs didnt get alot of airplay , but they are some of my favorite ZZTOP song’s of all time .These songs are the reason I love ZZTOP , Oldman, Hot,Blue and Righteous,Sure got cold after the rain fell, Bron Sugar,I need you tonight, 2000 blues ! All these songs on one album. ya gotta get it. (by Judy Kopeck)

And “Hot, Blue and Righteous” and “Sure Got Cold After The Rain Fell” are one of the finest rock ballads ever written.

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Personnel:
Frank Beard (drums, percussion)
Billy Gibbons (guitar, vocals)
Dusty Hill (bass, keyboards, background vocals, lead vocal on 06.)

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Tracklist:
01. Brown Sugar (Gibbons) 5.20 Originally from ZZ Top’s First Album (1971)
02. Just Got Back From Baby’s (Gibbons/Ham) 4.09 Originally from ZZ Top’s First Album (1971)
03. A Fool for Your Stockings (Gibbons/Hill/Beard) 4.16 Originally from Degüello (1979)
04. I Need You Tonight (Gibbons/Hill/Beard) 6.15 Originally from Eliminator (1983)
05. She Loves My Automobile (Gibbons/Hill/Beard) 2.23 Originally from Degüello (1979)
06. Hi Fi Mama (Gibbons/Hill/Beard) 2,24 Originally from Degüello (1979)
07. Hot, Blue and Righteous (Gibbons) 3.17 Originally from Tres Hombres (1973)
08. My Head’s In Mississippi (Gibbons/Hill/Beard) 4.20 Originally from Recycler (1990)
09. Lowdown In The Street (Gibbons/Hill/Beard) 2.49 Originally from Degüello (1979)
10. If I Could Only Flag Her Down (Gibbons/Hill/Beard) 3.39 Originally from Eliminator (1983)
11. Apologies To Pearly (Gibbons/Hill/Beard/Ham) 2.44 Originally from Rio Grande Mud (1972)
12. Sure Got Cold After The Rain Fell (Gibbons) 6.47 Originally from Rio Grande Mud (1972)
13. Bar-B-Q (Gibbons/Ham) 3.21 Originally from Rio Grande Mud (1972)
14. Old Man (Gibbons/Hill/Beard) 3.32 Originally from ZZ Top’s First Album (1971)
15. Certified Blues (Gibbons/Beard/Ham) 3.25 Originally from ZZ Top’s First Album (1971)
16. 2000 Blues (Gibbons/Hill/Beard) 4.42 Originally from Recycler (1990)
17. Heaven, Hell Or Houston (Gibbons/Hill/Beard) 2.32 Originally from El Loco (1981)

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Still alive and well … ZZ TOP in 2017

Various Artists – FM (OST) (1978)

FrontCover1FM is the original AOR soundtrack to the 1978 film FM. In the United States, the album reached the Top Five of Billboard’s album chart and quickly earned a Platinum-certified disc. It reached 37 in the UK charts. The soundtrack also won the 1979 Grammy Award for Best Engineered Album, Non-Classical.

QSKY radio station manager/program director Jeff Dugan (Michael Brandon) builds a large fan base by assembling a group of charismatic DJ personalities playing popular rock and roll. He soon finds that corporate management expects Jeff to use the station’s position atop the ratings to sell more advertising time. (Jeff Dugan is based loosely on Mike Herrington, the program director of Los Angeles radio station KMET while writer Sacks was working there.)

The conflict grows until sales manager Regis Lamar (Tom Tarpey) presents him with the chance to advertise for the U.S. Army using a series of cheesy radio ads. When Jeff refuses to endorse the contract, Regis takes the issue to upper management. Jeff is then ordered to run the ads as provided by the Army and on the schedule specified in the advertising contract. Rather than comply, Jeff quits his job.

All of the remaining DJs decide to take control of the station in a sort of lock-in/sit-in/protest. They get listeners to gather in the street outside the station as a sort of protest while the DJs play music without any commercials.

MoviePosterJeff Dugan wakes up to hear the DJs take control of the station. The crowd is already present when he arrives at the station. The DJs lift him up to the second story with a fire hose as they have already barricaded the front doors.

The lock-in lasts only until the police get an injunction to remove the staff. A tow truck rips off the front doors and the police enter the building. The DJs battle back using a fire hose and throwing tapes and other office objects at the police.

The battle is resolved when Jeff Dugan finds himself fighting a policeman outside on an overhang. Jeff saves the policeman from falling off and decides that fighting is the wrong thing to do. He calms the crowd and announces that the DJs are coming out.

Unknown to him, the company owner, Carl Billings (Norman Lloyd), has watched from the crowd as the events unfolded. He insists that the DJs stay in the station, fires his management staff responsible for the advertising conflict, and then joins the DJs inside the station.

The story unfolds across a background of concerts, broadcast music, appearances by various rock stars, and public appearances by the station DJs. A minor subtheme to the film is the competition between QSKY and another area radio station. The major event of that subtheme occurs when Jeff arranges to broadcast a live concert by Linda Ronstadt that is being sponsored by the competitor’s radio station.

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Another minor subtheme is the ongoing task of massaging egos of the various DJs to keep them happy and on the air.

Martin Mull appears in his feature film debut as a zoned-out record spinner. He plays Eric Swan, a libidinous disc jockey with eyes for everyone female. The character is self-centered, smarmy, quick tempered, and overbearingly insincere. During the course of the film, Swan beds a supposed girlfriend, encounters a female fan with a peculiar physical “gift”, and barricades himself in owing to a severe emotional breakdown due to his agent’s dropping him and his girlfriend’s leaving him, all within the confines of QSKY’s studio.

Also rounding out the cast are Cleavon Little, who plays the Prince of Darkness, QSKY’s overnight host (Little had previously played a disc jockey in the 1971 film, Vanishing Point); Eileen Brennan as ” Mother”, the 40-something nighttime DJ; Alex Karras as “Doc Holiday”, the midday DJ with the lowest ratings on the station who is eventually let go from the station; and Tom Tarpey as new sales manager Regis Lamar, the bane of the disk jockeys’ existence.

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In addition, the film includes live appearances by Tom Petty & REO Speedwagon and live performances by Linda Ronstadt & Jimmy Buffett. Steely Dan performed the title theme, which became a sizable hit. The Eagles, James Taylor, Bob Seger, Dan Fogelberg, Billy Joel, and Queen were featured on the Platinum-plus soundtrack album.

Rolling Stone magazine considered the music heavily biased towards musicians who had been managed by Irving Azoff, who was head of MCA Records at the time. Some reference books claim that the TV sitcom WKRP in Cincinnati was based on FM. The physical resemblance between Michael Brandon and WKRP lead actor Gary Sandy and the fact that their respective characters were both based upon KMET programming director Mikel Hunter may have contributed to this speculation. However, WKRP series creator Hugh Wilson asserts that the sitcom was already in development when the film came out. He also states that he was “scared to death” when the film came out, afraid that it would eclipse the CBS show, which made its debut in September 1978. Wilson was relieved when FM came and went from theaters quickly. (by wikipedia)

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Appropriately, the soundtrack for the 1978 movie FM feels like a radio play list of the era, collecting songs from Joe Walsh, Randy Meisner, Boz Scaggs, and other ’70s radio staples. Steely Dan’s title track, Queen’s “We Will Rock You,” Bob Seger & the Silver Bullet Band’s “Night Moves,” Billy Joel’s “Just The Way You Are,” and Boston’s “More Than a Feeling” are some of the highlights from this double-disc set, which also includes tracks from Tom Petty & the Heartbreakers, Foreigner, and Linda Ronstadt, all of whom also appeared in the film. Though FM itself wasn’t exactly a box-office smash, its soundtrack is a surprisingly durable and entertaining collection of classic rock that is arguably better than many of the ’70s rock compilations available today. (by Heather Phares)

In other words: If you like to celebrate a Seventies party … use this soundtrack and you can´t do wrong !

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Tracklist:
01. Steely Dan: FM (Becker/Fagen)  4:52
02.  Bob Seger: Night Moves (Seger) 3:27
03. Steve Miller Band: Fly Like an Eagle (Miller) 3:04
04. Foreigner:  Cold As Ice (Gramm/Jones) 3:20
05. Tom Petty & The Heartbreakers: Breakdown (Petty)  2:44
06. Randy Meisner: Bad Man (Frey /Souther)  2:38
07. Eagles: Life in the Fast Lane (Frey/Henley/Walsh) 4:46
08. Steely Dan: Do It Again (Becker/Fagen) 5:54
09. Boz Scaggs: Lido Shuffle (Paich/Scaggs) 3:42
10. Boston: More Than a Feeling (Scholz) 4:45
11. Linda Ronstadt: Tumbling Dice (Jagger/Richards  4:51
12. Linda Ronstadt: Poor, Poor Pitiful Me (Zevon/Ronstadt) 4:15
13. Jimmy Buffett: Livingston Saturday Night (Buffett)  3:10
14. Dan Fogelberg: There’s A Place In The World For A Gambler (Fogelberg) 5:41
15. Billy Joel: Just the Way You Are (Joel) 4:49
16. The Doobie Brothers: It Keeps You Runnin’ (McDonald)  4:13
17- James Taylor:  Your Smiling Face (Taylor) 2:43
18. Joe Walsh: Life’s Been Good (Walsh) 8:05
19. Queen: We Will Rock You (May) 2:04
20. Steely Dan: FM (Reprise) (Becker/Fagen) 2:54

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This is another item from the great greygoose collection !
Thanks a lot !

Guido Toffoletti´s Blues Society – Ways Back (1987)

FrontCover1Unfortunatly I can´t speak or read the Italian language, and because I found only information about in Italian Website … I can´t give you many informations about Guido Toffoletti.
He was born in 1951 Venice and 15 years later he “run away from his Venice home in search of a tumultuous myth: The music world.

In Milan, he got to know Kim Brown from England and his group “The Renegades”. managed to get taken on as their Roadie ans was thus able to pass hours and hours admiring guitarist Mick Webley´s playing.

After various musically formative experiences, determined to make his career take a decisive turn, in 1975 he went to London where he worked as a dishwasher to make Ends meet and played in his free time.

In London het met his spiritual “father”, Alexis Korner, and thanks to him managed to find his feet in what was at the time Europe´s top blues circuit.

Toffoletti came back toItaly in 1976 with the precise aim of forming the “Blues Society”, an “open” Group of some of Italy´s top blues-men.

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As well as bearing testimony to a period from 1979 to the present day with unreleased songs, covers and alternative tracks, “Ways Back” ideally gathers round Guido all his English and Italian friends; those who helped him, loved him and in some cases let him down.” (taken from the liner notes by Guiseppe Barbieri)

And you´ll hear finest Britsh blues, recorded with musicians like Paul Jones, Dick Heckstall-Smith, Zoot Money, Mel Collins, Ian Stewart and Mick Taylor.

A forgotten jewel of the British blues music, recorded by a great guy from Italy !

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I was too lazy, to type all these informations down …

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Italian bluesman Guido Toffoletti
Born 1951 – † 22 August 1999 (Car accident injuries)

 

 

Various Artists – Songs Of Israel (1971)

FrontCover1This rare Album is a giveaway from El Al, the Airline Company of Israel:

El Al Israel Airlines Ltd. is the flag carrier of Israel. Since its inaugural flight from Geneva to Tel Aviv in September 1948, the airline has grown to serve over 50 destinations, operating scheduled domestic and international services and cargo flights within Israel and to Europe, Middle East, Americas, Africa and the Far East from its main base in Ben Gurion Airport.

El Al in principle offers only kosher in-flight meals and does not fly passengers on the Jewish Sabbath or religious holidays. El Al is the only commercial airline to equip its planes with missile defense systems, and is considered one of the world’s most secure airlines, thanks to its stringent security procedures, both on the ground and on board its aircraft. Although it has been the target of many attempted hijackings and terror attacks, only one El Al flight has ever been hijacked.[8][9] As Israel’s national airline, El Al has played an important role in humanitarian rescue efforts, airlifting Jews from other countries to Israel, setting the world record for the most passengers on a commercial aircraft (single plane record of 1,122 passengers) by Operation Solomon when 14,500 Jewish refugees were transported from Ethiopia in 1991.

In 2012, El Al operated an all-Boeing fleet of 38 aircraft, flying over 4 million passengers, and employed a staff of 6,056 globally. The company’s revenues for 2011 grew to $2.4 billion, totalling losses of $49.4 million compared to a profit of $57 million in 2010. (by wikipedia)

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“This selection of Songs draws on many traditions and like very old wines the vintage suits the pattern and ryhthm of the seventies.We hope that you will find in this record some of the excitmentyou have experienced in Israel today” (taken from the original liner notes).

The music of Israel is a combination of Jewish and non-Jewish music traditions that have come together over the course of a century to create a distinctive musical culture. For almost 150 years, musicians have sought original stylistic elements that would define the emerging national spirit. In addition to creating an Israeli style and sound, Israel’s musicians have made significant contributions to classical, jazz, pop rock and other international music genres. Since the 1970s, there has been a flowering of musical diversity, with Israeli rock, folk and jazz musicians creating and performing extensively, both locally and abroad. Many of the world’s top classical musicians are Israelis or Israeli expatriates. The works of Israeli classical composers have been performed by leading orchestras worldwide.

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Music in Israel is an integral part of national identity. Beginning in the days of the pioneers, Hebrew songs and public singalongs (Shira beTsibur) were encouraged and supported by the establishment. “Public singalongs were a common pastime [of the early settlers], and were for them a force in defining their identity”, wrote Nathan Shahar.[2] This view of music as nation-building continues to this day. “We are in the midst of creating a culture”, says Nahum Heyman, one of Israel’s leading music composers and music historians. Jewish immigrants from Europe, Asia, the Middle East and elsewhere brought with them their musical traditions, melding and molding them into a new Israeli sound. (ny Wikipedia)

And I was deeply impressed by this beautiful songs … and ir you like world music, than you should listen to this record !

And I guess, I would like to collect more records with music from Israel …

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Tracklist:

01. Ilan & Ilanit: Bashana Haba’ah (Manor/Hirsh) 2.49
02. The Navy Troupe: Ma Avarech (Shapira/Rosenblum) 3.59
03. Shiru Shir Ensemble: Hevenu Shalom Alechem (Traditional) 1.14
04. Southern Command Troupe:  Shivchey Maoz (Shemer) 2.58
05. Ilana Rovina: Yevarechecha (Weinkranz/Traditional) 2.51
06. Shuly Nathan: Jerusalem Of Gold (Shemer) 4.55
07. Sh. Nitzan & N. Rabinovitz: Chassidic Song (Traditional) 1.48
08. Igal Bashan: Osse Shalom (Hirsh/Traditional) 3.42
09. Ran & Nama: Hava Nagila (Traditional) 2.00
10. Effi Netzer Singers: Tsur Mishelo Achalnu (Traditional) 3.07
11. Shlomo Carlebach: Vehaer Enenu (Carlebach/Traditional) 3.36
12. The Nachal Troupe: Haben Yakir Li (Traditional) 4.24
13. Ran Eliran: Lach Yerushalayim (Ettinger/Rubinstein) 2.08
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Shuly Nathan

The Sweet – The Outtakes (1994)

FrontCover1The Sweet (also referred to as Sweet, and originally called Sweetshop) are a British glam rock band that rose to worldwide fame in the 1970s with their most prolific line-up: lead vocalist Brian Connolly, bass player Steve Priest, guitarist Andy Scott, and drummer Mick Tucker.

The band was formed in London in 1968 and achieved their first hit, “Funny Funny”, in 1971 after teaming up with songwriters Nicky Chinn and Mike Chapman and record producer Phil Wainman. During 1971 and 1972, their musical style followed a marked progression from the Archies-like bubblegum style of “Funny Funny” to a Who-influenced hard rock style supplemented by a striking use of high-pitched backing vocals.
The band achieved notable success in the UK charts, with thirteen Top 20 hits during the 1970s alone, with “Block Buster!” (1973) topping the chart, followed by three consecutive number two hits in “Hell Raiser” (1973), “The Ballroom Blitz” (1973) and “Teenage Rampage” (1974). The band turned to a more hard rock style with their mid-career singles, like 1974’s “Turn It Down”. “Fox on the Run” (1975) also reached number two on the UK charts. These results were topped in West Germany and other countries on the European mainland. They also achieved success and popularity in the US with the top ten hits “Little Willy”, “The Ballroom Blitz” and “Fox on the Run”.

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The Sweet had their last Top 10 hit in 1978 with “Love Is Like Oxygen”. Connolly left the group in 1979 to start a solo career and the remaining members continued as a trio until disbanding in 1981. From the mid-1980s, Scott, Connolly and Priest each played with their own versions of Sweet at different times. Connolly died in 1997 and Tucker in 2002. The two surviving members are still active in their respective versions of the band; Scott’s is based in England and Priest’s in Los Angeles. (by Wikipedia)
And here´s a rare bootleg from their most sucesssful years …

If you are a Sweet fan, there’s really nothing more to say except “Too bad” if you’re into the bubblegum phase of the group [Co-Co, Funny Funny, Poppa Joe] – these are from the glam/rock side of Sweet.

Excellent audio recordings !

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Personnel:
Brian Connolly (vocals)
Steve Priest (bass, background vocals)
Andy Scott (guitar, Keyboards, Background vocals)
Mick Tucker (drums, Percussion, Background vocals)

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Tracklist:
01. Teenage Rampage (previously unreleased outtake from 1973) (Chinn/Chapman) 3.19
02. She Gimme Lovin’ (outtake version) (Connolly/Priest/Scott/Tucker) 4.04
03. Hell Raiser (previously unreleased outtake from 1972) (Chinn/Chapman) 3.10
04. Hard Times (outtake version) (Connolly/Priest/Scott/Tucker) 4.36
05. Block-Buster! (previously unreleased outtake from 1972) (Chinn/Chapman) 3.13
06. Laura Lee (previously unreleased ‘Off The Road’ version from 1977) (Connolly/Priest/Scott/Tucker) 6.42
07. Be With You Soon (previously unreleased track recorded 1972) (Connolly/Priest/Scott/Tucker) 3.31
08. Done Me Wrong Alright (previously unreleased BBC session from 1971) (Connolly/Priest/Scott/Tucker) 2.41
09. Ballroom Blitz (previously unreleased outtake from 1973) (Chinn/Chapman) 3.58
10. Rebel Rouser (previously unreleased ‘Funny Adams’ outtake from 1974) (Connolly/Priest/Scott/Tucker) 3.32
11. 4th Of July (previously unreleased ‘Give Us A Wink’ version) (Connolly/Priest/Scott/Tucker) 3.46
12. Need A Lot Of Lovin’ (previously unreleased BBC session from 1973) (Connolly/Priest/Scott/Tucker) 2.58
13. Action (previously unreleased ‘Give Us A Wink’ version from 1977) (Connolly/Priest/Scott/Tucker) 3.25
14. Love Is Like Oxygen (extended instrumental version) (Scott/Griffin) 6.58

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Orchestre Sassoun – Folklore Armenien (70´s)

frontcover1Armenia, officially the Republic of Armenia , is a sovereign state in the South Caucasus region of Eurasia. Located in Western Asia,[20][21] on the Armenian Highland, it is bordered by Turkey to the west, Georgia to the north, the de facto independent Nagorno-Karabakh Republic and Azerbaijan to the east, and Iran and Azerbaijan’s exclave of Nakhchivan to the south. The Republic of Armenia constitutes only one-tenth of historical Armenia.

Armenia is a unitary, multi-party, democratic nation-state with an ancient cultural heritage. Urartu was established in 860 BC and by the 6th century BC it was replaced by the Satrapy of Armenia which was one of Satrapies of Persian Empire . In the 1st century BC the Kingdom of Armenia reached its height under Tigranes the Great. Armenia became the first state in the world to adopt Christianity as its official religion.[23] In between the late 3rd century to early years of the 4th century, the state became the first Christian nation.[24][25][26] The official date of state adoption of Christianity is 301 AD.[27] The ancient Armenian kingdom was split between the Byzantine and Sasanian Empires around the early 5th century. Under the Bagratuni dynasty, the Bagratid Kingdom of Armenia was restored in the 9th century. Declining due to the wars against the Byzantines, the kingdom fell in 1045 and Armenia was soon after invaded by the Seljuk Turks. An Armenian principality and later a kingdom Cilician Armenia was located on the coast of the Mediterranean Sea between the 11th and 14th centuries.

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Between the 16th century and 19th century, the traditional Armenian homeland composed of Eastern Armenia and Western Armenia came under the rule of the Ottoman and Iranian empires, repeatedly ruled by either of the two over the centuries. By the 19th century, Eastern Armenia had been conquered by the Russian Empire, while most of the western parts of the traditional Armenian homeland remained under Ottoman rule. During World War I, Armenians living in their ancestral lands in the Ottoman Empire were systematically exterminated in the Armenian Genocide. In 1918, following the Russian Revolution, all non-Russian countries declared their independence after the Russian Empire ceased to exist, leading to the establishment of the First Republic of Armenia. By 1920, the state was incorporated into the Transcaucasian Socialist Federative Soviet Republic, and in 1922 became a founding member of the Soviet Union. In 1936, the Transcaucasian state was dissolved, transforming its constituent states, including the Armenian Soviet Socialist Republic, into full Union republics. The modern Republic of Armenia became independent in 1991 during the dissolution of the Soviet Union.

Armenians have had a long tradition of folk music from the antiquity. Under Soviet domination, Armenian folk music was taught in state-sponsored conservatoires. Instruments played include qamancha (similar to violin), kanun (dulcimer), dhol (double-headed hand drum, see davul), oud (lute), duduk, zurna, blul (ney), shvi and to a lesser degree saz. Other instruments are often used such as violin and clarinet. The duduk is Armenia’s national instrument, and among its well-known performers are Margar Margarian, Levon Madoyan, Saro Danielian, Vatche Hovsepian, Gevorg Dabaghyan and Yeghish Manoukian, as well as Armenia’s most famous duduk player, Djivan Gasparyan.
Armenian folk musicians

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Earlier in Armenian history, instruments like the kamancha were played by popular, travelling musicians called ashoughs. Sayat Nova, an 18th-century Ashough, is revered in Armenia. Performers such as Armenak Shahmuradian, Vagharshak Sahakian, Norayr Mnatsakanyan, Hovhannes Badalyan, Hayrik Muradyan, Raffi Hovhannisyan, Papin Poghosian, and Hamlet Gevorgyan have been famous in Armenia and are still acclaimed. The most notable female vocalists in the Armenian folk genre have been Araksia Gyulzadyan, Ophelia Hambardzumyan, Varduhi Khachatrian, Valya Samvelyan, Rima Saribekyan, Susanna Safarian, Manik Grigoryan, and Flora Martirosian.

Armenian emigrants from other parts of the Middle East settled in various countries, especially in the California Central Valley, and the second- and third-generation have kept their folk traditions alive, such as Richard Hagopian, a famous oud-player. Another oud player, John Berberian, is noted in particular for his fusions of traditional music with jazz and rock in the 1960s. From Lebanon and Syria, George Tutunjian, Karnig Sarkissian and others performed Armenian Revolutionary Songs which quickly became popular among the Armenian Diaspora, notably ARF supporters. In Tehran Iran the folk music of the Armenian community is characterized by the work of Nikol Galanderian (1881–1946) and the Goghtan choir. (by wikipeda)

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And this is a very rare album with music from Armenia, recorded in France during the  70`s.

It´s maybe a music we never heard before, but it´s an unique piece of music … and you know I call my blog “many fantastic colors” (of music) … so enjoy this beautiful trip to Armenia … it´s a magic trip !

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Personnel:
Samvel Adiarian (guitar)
Michael Boyadjian (tenpouk)
Yervant Harounian (mandoline)
Levon Minassian (mandoline)
Gilbert Kulbastian (guitar)
Jean-Pierre Mazloumian (guitar)
Antranik Minassian (vocals)
Helene Ohanian (vocals)
Nelly Vemian (piano)
Hovcep Yeghiazariab (mandoline)

Orchestra conducted by Philippe Boyadjian

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Tracklist:
01. Tek Daneïn (Traditional) 2.42
02. Odar Amaï (Meserlian/Issahakian) 3.50
03. Ain Kicher (Manassarian)
04. Sirounik et danses des chevaliers (Traditional) 7.33
05. Haïastani Dzov Ginin (Haroutyounian) 3.19
06. Mama (Amirghanian/Ohanian) 3.01
07. Tou Im Hebard Haï Artchik (Porian/Arménian) 2.48
08. Im Anouch Davir (Avedissian/Haroutyounian) 4.26
09. Enzeli (Spendiarian) 2.13

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