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11 Nov 2017

Various“Roots of Chicha Psychedelic Cumbias From Peru” Compilation 2 LP`s Latin Cumbia,Surf,Salsa

Various“Roots of Chicha  Psychedelic Cumbias From Peru” Compilation 2 LP`s Latin Cumbia,Surf,Salsa.....recommended....
full vk  many songs don’t plays ..copyright..
or full youtube

Wow, I was just jamming to vol.1 of this great series the other day and wondering why the hell this never made it to vinyl. Well it seems the vinyl gods have heard my prayers because Barbes has just released a massive 2Lp set compiling the best of the two volumes. This is an amazing collection feat. some of the creme of crop of Peruvian cumbia. To celebrate the release the folks at Barbes have made a short mixtape which includes songs from the album as well as a couple of gems such as Los Destellos’ “Marijuana No” and “Chinito Bailarin” by Maximiliano Chavez’s Los Orientales de Paramonga. All radio announcements are by the legendary Ranil and are still being used on his radio station – Iquitos’ own RF. Viva el Tropi-power.......

File under : World / Peru. In 2007, Barbès released a first compilation, The Roots of Chicha it was the first time the music was ever anthologized outside of Peru and the record quickly became a cult in both South and North America and gained fans as diverse as Alex Kapranos, of Franz Ferndinand, Elijah Wood, Howe Gelb, of Giant Sand or Pedro Almodovar who used one of the tracks for the credits of his movie 'I'm so Excited'. At the end of the 1960's, in the Amazonian cities of Pucallpa and Iquitos as well as in Lima, Peruvian musicians discovered electricity and Ayahuasca.. Armed with Farfisas, electric guitars, fuzztone and wah pedals, they started mixing cumbia, psychedelic rock, Surf, Huayno - from the highlands, Carimbó from the Brazilian Amazon, Classical music, guaracha, boogaloo and other exotic sounds mostly gleaned from radio broadcasts. Chicha was born: a new hybrid that owed its name to the Inca's favorite brew and had become a symbol of pre-colombian pride among poor migrants who made it their music of choice even though it remained totally ignored by official Peruvian institutions and the privileged Peruvians who control them. The Roots of Chicha Vol. 1 gathers some of the most defining chicha pioneers: Los Destellos, Los Mirlos, Juaneco y su Combo, Los Diablos Rojos, los Hijos del Sol. Tracklisting 1. Sonido Amazonico 2. Linda Nena 3. Cariñito 4. A Patricia 5. Sacalo Sacalo 6. Ya Se Ha Muerto mi Abuelo 7. El Milagro Verde 8. Para Elisa 9. Linda Muñequita 10. Muchachita del Oriente 11. Elsa 12. Vacilando Con Ayahuesca 13. El Guapo 14. Mi Morena Rebelde 15. Si Me Quieres 16. Me Robaron Mi Runa Mula 17. La Danza de Los Mirlos.......

This is a really great compilation. Great for parties! Don't know what the other review on Amazon is on about this is fantastic. The guitars are great. I DJ as a bit of a hobby for friends, and trust me, I've had people dancing around to these tunes to abandon, great stuff. If you like the Panama compilations, Disco Fuentes stuff or latin music in general I suggest you give it a whirl. 
Some of my favourite tracks on this are Carinito, El Milagro Verde, and of course Para Elisa, Beethoven's For Elise latined up, Bee

I heard this music on myspace and instantly fell in love with it. When I read the review below, it quite saddened me and I felt this music needed to be spoken well off. It is often a shame when people believe that their opinions are the only ones that matter and everyone else may as not exist, to the level that they have to dehumanise the efforts and artistic expressions of other human beings....(artistic fascism.) There is nothing more inhumane than this view. To me, this music IS "angelic" and I'm not ashamed to admit it. I admit that it might not be for everyone. (Bob Marley's my favourite and yet a couple of my really close friends just can't get into him.)Everyone's different, get over it. However, only a fool will find himself ripped off after buying this CD. Why? Because there are samples of it all over the inernet. I listened to all 17 of them and decided I liked it before buying. If you don't like the samples, don't buy the CD. Pretty common sense, if you ask me. One note I will make, though, is that just as with all pop culture buzz words, everyone has their own interpretation of what psychedelic means. If your version is the typical psych cliche of this: 1.One day, boy or girl decides they need to experience more, 2.They encounter some drug, particularly LSD 3. They decide to take it 4. Now the universe will never be the same and they can never go back and they've seen the sham of our existence and they could only figure out what thousands have figured out without drugs by the use of LSD and there's only one thing left to do 5. write a 20 minute rock opus with fuzz and wah and flanging and all the effects that everyone else is using at the time and tell the world what a strange trip it's been, only to burn out after that...well you won't find this cliche here. To me I'd say it had a more tropical and surf feel, like I'm stepping into the rainforest. But like I said, listen to the samples and judge for yourself, and go to the myspace site where there are four songs in full. My favourite is Carinito by Los Hijos del Sol. If that song doesn't sell you, then this CD isn't for you. In my personal taste, this is some of my favourite Latin music, but that's for you to decide. Do yourself a favour, and avoid insulting other's expressions like the plague. After all, what goes around comes around.

Highly recommended (natch, by me!). Good representation of bands and styles. Very listenable with good selections of sub-modes e.g amazon surf music, altiplano cumbias, psychadelic urban beach music. Use it as a take off point to explore more great music from a unique era in Peruvian's long musical tradition.....
At first The Roots of Chicha: Psychedelic Cumbias from Peru seemed psychedelic only in the mild way that an exposed nipple in the middle of an otherwise blameless movie can be called pornographic. In other words, not very. 

The chicha of the title is a Peruvian variation on the usual Colombian cumbia; the genre is an invention of rural Amerindians who moved to the towns and cities, and, trying to find work as musicians, adapted the popular foreign style to suit themselves and their 1960s audience. It's the snappy cumbia trot that gives this album its character, not so much the dreaminess of the psychedelics. "Their job was to make people dance," as the compiler points out. Not to gaze mushroom-eyed at their navels. The songs hustle along to the scrit-scratch of the güiro and the regular clonk of the cumbia cowbell. 

The first time I listened to the album, that beat was all I heard. After a second and third listen, however, I began to realise just how well the Anglo psyche instruments had been integrated into the basic South American drive of the music, and I had a new respect for the bands. Los Mirlos lead into "El Milagro Verde" with stealthy jellied surf guitars, then cleverly flood the song with cumbia without losing that initial guitar sound. One of the singers hoots, "Woup woup woup woup". It sounds like a weird new language, half-acidhead, half-jellyfish. The cumbia comes up at us through the buried wangle of the guitars. "Muchachita del Oriente" is something like a fast ballad with psyche wind effects and a spiky electric organ in the background. 

There are different organs on other songs, and similar guitars played in different ways. Los Hijos Del Sol make use of the woups, tho' their music leans lightly on the buried wangling -- compared to Los Mirlos, they're almost straight cumbia, with only some subtle echo effects and a slight air of mystery to uphold their reputation as psychedelic fusionists. Esubio Y Su Banjo don't even have that much. In fact, if psychedelic innovation were the only consideration for inclusion in this album then they wouldn't be here at all. Their very Colombian-sounding "Mi Morena Rebelde" scintillates remorselessly as if it doesn't know whether it wants to make you dance your legs off or just glitter until your eyes rot out. 

In Juaneco Y Su Combo's "Vacilando Con Ayahuesca" the guitar is higher and leaner than it was in the Los Mirlos numbers. It has the lonesome echo that haunts the soundtracks to spaghetti westerns. A woman comes into the song, gasping and groaning and saying words that sound like, "Oh, Juaneco!" The one-sidedness of this sexual come-on gives it overtones of extreme creepiness -- is Juaneco just not enjoying himself as much as his girlfriend, or has the shock of fornication stricken him mute? 

Los Diablos Rojos' "Sacalo Sacalo" starts with slow, dramatic twangs that seem to have come from one of those mid-last-century US pop songs about boyfriends who die in car crashes. It turns into something closer to a salsa. There's a lightness in Roots of Chicha's music, a soupçon more falsetto in the vocals, perhaps, than there are in Colombian cumbias, an airiness that might owe something to the Andean origins of some of the musicians. Upon hearing the chorus of men carolling together in Los Hijos Del Sol's "Cariñito", my mind leaped to the remembered sight of panpipe-and-poncho buskers out in Bourke Street Mall at lunchtime, trying to drum up an audience near the Pancake Parlour and the doors of HMV. 

Like almost any other cumbia compilation, The Roots of Chicha jogs along on a wave of good humour, jaunty male singing, and an overall vibe of pride and pleasure. The jellied guitars are a fillip. The real surprise is not the psychedelica, it's the fact that these modified cumbias come from Peru, not Colombia. In the popular imagination, Peruvian music, insofar as it is known at all outside South America, takes the shape of Andean buskers warbling down their panpipes like the ones I've seen on Bourke Street, or the august, Afro-Peruvian, crop-haired form of Susana Baca, a woman who falls into the same soulful-crooner category as Cesaria Evora. Nothing psychedelic about her, nothing to suggest that she comes from the same country as these happy pioneering chichas. There are chicha websites out there, but The Rough Guide to World Music, usually so full of recommendations, only lists a single chicha album. (It is called simply Chicha, and comes from Grupo de Belén de Tarma, a band not represented on Roots of Chicha, possibly because they're not the right vintage.) This album, then, is something Sole...pop matters...

Gotta acknowledge this comp is an all-time classic, essential holy grail and all that good stuff, deserving every 5 star rating it gets, but for my taste it's never been my "psychedelic rock meets non-Anglo music" hybrid of choice when I can rock out or groove so much harder to the Turkish stuff or get my mind blown by the vocals in the Cambodian stuff. It's not even fair to make those comparisons, especially when this is approximately 0% rock music and just happens to have a little bit of fuzz stirred in the old-school cumbia pot. Despite the lack of really heavyweight grooves, I have used a few of these cuts in dance mixes over the years. Just for normal listening, everything about this music is awesome and it never disappoints me when I make a return visit. Some of the songs are catchy as hell too, so I'm not surprised that some people have got totally pulled into this orbit. To be honest, I just don't have a strong attraction to Peruvian music in ..

Let's forget that word "psychedelic" shall we? Too much baggage associated with it, and most people's interpretations of the word are very personal. I mean, if you want a parallel to this music, this is more Nuggets or 13th Floor Elevators - styled garage band stuff, not heavily processed, acid-drenched shit like Parable of Arable Land or Electric Ladyland. It's raw, influenced by the "now" (meaning "then") sound that breathed life into a million bands about the world, each working their regional variation on the music that was in the air. So from '68 to '78, these Peruvian bands made songs for dancing, devoid of the intellectual or class-conscious aims (or pretensions) of, say, the San Francisco scene or the Tropicalistas - closer in spirit to Malaysian Yeh-Yeh or, well, the we-just-wanna-have-some-fun Nuggets stuff. Songs don't catch as well as the best of Nuggets though - partly a function of my mono-lingual limits, partly a function of so many of them taking off from roughly the same rhythmic base and building a Latin dance tune flavored with rock and roll on top of that. I do enjoy listening to this and periodically sounds do jump out - a curious Moog moment, a nice Farfisa riff, a vocal flourish - that make me take a momentary notice, but it all ultimately fades back into the flow. Any tune here would liven up your party, your mixtape, your playlist, but taken 17 in a row for an hour and change, it gets tough to distinguish one from the next, even if you can live in the moment and dig them there. Oh yeah, except for the time when one of the groups adapts "Fur Elise" to Chicha form. Maybe not the best song here, but it does stick

On the edge of the Amazon in the ’60s, a sound emerged that united Peru’s indigenous melodies with Colombia’s highly-danceable cumbia rhythm, surf rock wah-wah pedals, and rock and roll’s organ-playing. These cumbias amazonicas migrated to Lima and became chicha, the soundtrack of empowerment for the era’s newly urbanized indigenous population. The Roots of Chicha: Psychedelic Cumbias from Peru on Barbès Records features six of the most compelling bands from the scene, before the sound became watered down with pop aesthetics and cheesy synthesizers. 

Chicha emerged around the time of Peru’s big oil boom and the associated rural-urban migration (and dislocation) of the time period. This happened to be the same period that guitar effects and compact electric organs became available, and worldwide local styles became electrified. Rural populations moved into the city—similarly to what was happening globally in places like Kingston, Lagos, and Kinshasa—oftentimes living in poor conditions while adopting Western and urban musical elements to create new hybrids. As the music gained popularity, it became a great source of cultural (and even class) pride. In Peru this emerging style assumed the label chicha, the name of a fermented corn drink associated with pre-Columbian indigenous people in the region. 

Chicha is further characterized by the rich guitar tradition of Peru (some say more virtuosic than any other Latin American nation) which was translated to electric guitars. While other styles of music—like Andean folkloric and Afro-Peruvian music—became accepted by the powers that be in Peru, chicha was looked down upon by many as only for the poor and working class. 

The Roots of Chicha album came about when Olivier Conan—owner of Barbès, a small but much-lauded bar in Brooklyn—took a trip to Peru in search of musical inspiration. He was pleasantly surprised to find a diversity of sounds from New York salsa to techno Andean music. He stumbled across early chicha while buying music on the streets. “There are few legal record stores; just bootleg vendors at street markets. The interesting thing is that a lot of those bootleggers are motivated by taste and enthusiasm, just like a real independent record store should be,” explains Conan, whose Barbès Records has also released records by Hazmat Modine, Slavic Soul Party, and Las Rubias del Norte. “A lot of chicha that I like is the ’70s stuff. They call it antigua. There’s not a great sense of history with that music, because it is not considered traditional.” 

As Conan tried to track down the bands he liked, he found out that the Lima label that had put out a lot of this music, Infopesa, went out of business and a lot of the masters disappeared. “I had a hell of a time finding who had the rights to these songs, so I dealt with a lot of the bands directly,” says Conan. “The first guy I contacted was (Angel Rosado) from Los Hijos del Sol and he was very emotional. He passed the phone back and forth with his wife, playing some of his old albums over the phone. The whole sense of recognition is very important.. Even though they did sell a lot of records, they got no respect from mainstream institutions there.” 

The compilation starts off with “Sonico Amazonico” by Los Mirlos. “They have the most surf sounding guitars. This song sounds almost Middle Eastern and has a really cool vibe,” says Conan. Originally from the Amazonian town of Moyobomba, San Martin, band leader Jorge Rodriguez Grandez moved to Lima in 1973 where he formed Los Mirlos with two of his brothers and a cousin. They coined the expression Poder Verde, Green Power, an indigenous take on Black Power. 

Juaneco y Su Combo—also featured on the album—claimed their mostly Shipibo Indian background by dressing in traditional costumes. They never left the Amazon. Their songs poetically address tradition and modernity, and often find humor in the tension between the two.. “Their sound doesn’t seem to owe anything to anyone and hasn’t aged a bit,” says Conan. Most of the members died in a plane crash in 1976 on the way back from a gig. The singer and keyboard player were mixing a record, so they were not on the plane. “They continued the band, but the singer has since died, and his grandson Mao has taken over.Now they are enjoying some sort of comeback. Lima hipsters are starting to claim them.” 

Over in Lima, Los Destellos—who had little connection to the Amazon—were one of the earliest to integrate the Moog and wah-wah pedals, which they did as early as 1968. They also were one of the earliest bands to add Cuban styles and salsa into their sound. (Their quirky take on Beethoven’s “Für Elise” shows up here as “Para Elisa.”) 

“The music was so fresh, so exciting, and its appeal so effortlessly universal that it still seems strange that it never managed to find an international audience,” says Conan. That is starting to change. Conan started his own Brooklyn-based band called Chicha Libre to pay tribute to this under-recognized style. And when he plays at Barbès, stylish young Peruvians who know the latest iteration of Los Hijos del Sol come out to show support alongside Brooklyn hipsters. Chicha Libre’s debut album is expected in January 2008. 

Conan continues to be fascinated by the unexpected combination of influences of the original bands. “The music is a synthesis of borrowed genres: the Latin rhythms they use have almost no Peruvian elements; they are adapted from Colombia and played on percussion codified by Cuban bands,” explains Conan. “The indigenous elements are sung in Spanish, not in Quechua. Other instruments are borrowed from American rock. In a country with such a rich, proud musical heritage, to create a genre almost from scratch with so many borrowed elements, fascinates me.” 

“The oddly post-modern combination of western psychedelia, Cuban and Colombian rhythms, Andean melodies, and idiosyncratic experimentation was close in spirit to the pop syncretism of Brazilian Tropicalia bands such as Os Mutantes.” 

“But unlike Brazilian Tropicalia,” continues Conan, “chicha was not an intellectual movement. Its main proponents were working musicians who mostly came from poor backgrounds. Their job was to make people dance. They didn’t travel to London. No discourse was elaborated around the music. It never became popular with the Peruvian middle class. Art students didn’t embrace it. Critics and intellectuals didn’t write about it. As a result, the music was scorned nationally—and largely ignored outside of Peru.” Until now..

If globalization has any virtues, the ability to travel back in audible time and space may be one of the most enlightening. The oil boom that transformed the Peruvian cdroots beginning in the late 1960s generated massive social displacement, horrific work conditions, unbridled ecological damage, and the consumption of plenty of chicha (the indigenous Andean corn liquor). If the musical consequences were predictable, the mash-up sonic results were unique, recalling the cultural history of other regional working-class musics like ska, bachata, and kaiso. 
The transistor radio's spread, labor migration, and the predatory drive for primitive capitalist accumulation also brought Colombian cumbias into a hybrid head-on with Peruvian criollo music, Afro-Cuban rhythms, airy pentatonic Andean tunes, northern psychedelia, Dick Dale surf guitars, tinny portable keyboards, and sundry electronic effects. The Roots Of Chicha presents 17 tropical bastard wonders by six of the era's most prolific cdrootsian chicha bands. Consider Los Destellos' Para Elisa for a mind-bending cumbia-fication of Beethoven's Für Elise, and Los Diablos Rojos' Sácalo, Sácalo, a frenetic guaracha that takes La Bamba through quantum leaps-the latter are still cracking some four decades later. 
Lest the faithful mourn, any word of chicha's passing is happily premature, thanks not least to Barbès Records (the house that brought forth Hazmat Modine) and Chicha Libre, gringo Brooklyn's contemporary shout-out to chicha antigua (roots chicha), purveyed via quirky instrumentation like the Venezuelan cuatro, a vintage Hohner Electravox (whose accordion-like appearance belies its purely electronic organ-like sound), and beaucoup Latin percussion. For good measure, ¡Sonido cdrootsico! begins with the same eponymous Los Mirlos classic that opens Roots of Chicha, tapping the Farfisa-Moog-percussion groove that rocked the Peruvian cdroots way back when (although Los Mirlos, too, remain active today). From there, with Primavera en la selva (spring in the jungle) they launch into a nearly unrecognizable minor-key read of Vivaldi's analogous theme from The Four Seasons, parallel sonic surgery on Ravel's Pavane, and a smoky bolero interpretation of Satie's Gnossienne No. 1. Chicha Libre adds numerous original compositions, extending the chicha spirit to transnational audiences, with a good deal of wry amusement and eccentric revelation along the way. - Michael Stone.....

A1 –Los Mirlos Sonido Amazonico
A2 –Juaneco Y Su Combo Linda Nena
A3 –Los Hijos Del Sol (2) Cariñito
A4 –Los Destellos Patricia
A5 –Los Diablos Rojos Sacalo Sacalo
A6 –Los Ribereños Silbando
B1 –Compay Quinto El Diablo
B2 –Los Destellos Elsa
B3 –Ranil Y Su Conjunto Tropical Mala Mujer
B4 –Manzanita Y Su Conjunto Agua
B5 –Los Destellos Para Elisa
B6 –Juaneco Y Su Combo Ya Se Ha Muerto Mi Abuelo
C1 –Los Ilusionistas Colegiala
C2 –Los Diablos Rojos El Guapo
C3 –Manzanita Y Su Conjunto El Hueleguiso
C4 –Juaneco Y Su Combo Vacilando Con Ayahuasca
C5 –Los Hijos Del Sol (2) Linda Muñequita
D1 –Grupo Celeste Como Un Ave
D2 –Los Destellos Constelación
D3 –Los Wembler's De Iquitos La Danza Del Petrolero
D4 –Chacalón Y La Nueva Crema A Trabajar
D5 –Los Shapis El Aguajal
D6 –Los Mirlos La Danza De Los Mirlos 

Kamijo “Martha” 1971 Private Japan Psych Folk reissued by Shadoks 2005 first album

Kamijo “Martha” 1971 mega rare private Japan Psych Folk  reissued by Shadoks 2005 first album

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Tomoaki Kamijo from the 1971 released three albums. And this one was the first. Don’t think that this is his solo album, No, this is a band with the name Kamijo. Until the previous year this album was a mystery for all fans of old Japanese rock, because it was impossible to find it anywhere. In 2006 reissue was made. 
And what about album? I’ll describe it as West-coast undeground folk-rock…

‘Since this elusive 1971 record appeared in Hans Pokora’s 3001 Record Collector Dreams book, most collectors (including those in Japan) were searching for this album with no luck. So now it’s time to solve another mystery: besides the other unknown albums shown in the same book, 3/3 and Olive, Martha is the one everybody was talking about the most. What is it? Has anybody seen it? It’s so rare, but is it any good? Martha is the first of three albums composed by the Japanese artist, Kamijo. The other two are Tomo (also very rare) and Tomoaki Kamijo KK Band’s Dear My Friend (Pretty Are Too), but Martha is the best of them all. All English vocals, lots of fuzz guitar, percussion, piano and great vocals. An underground-rock album with folky elements and a West Coast touch. Kamijo is the Mick Stevens of Japan. Five musicians, ten great songs.’…

One of the more intriguing obscurities among the vinyl-collecting obsessive world was this 1971 effort, which eventually gained a re-release on CD in 2006. Kamijo, full name Tomoaki Kamijo, recorded and released three albums during that decade, this being the first. The combination of its stark cover, complete with offhand snapshot on the back, along with the direct thematic obsessions throughout the album (Martha is name-checked on at least three songs), immediately calls to mind someone like Jandek, but Ghost is another and perhaps clearer descendant, specifically that band’s lower-key, hazily folk-rock side. Kamijo’s singing is surprisingly deft, having much of the keening edge of the likes of the Incredible String Band but in a lower register, not to mention quieter soul efforts of the time. The understated, acoustic guitar/piano-led music he and his four-piece backing band create, meanwhile, is another gentle surprise; if it had been recorded by a bunch of folks just down the road from where Spirit were living around that time, nobody would have been surprised. It’s not a question of completely lost originality here, more that Kamijo’s ear for the Zeitgeist was so clearly tuned in to distant developments elsewhere. Of all the musicians, pianist Aki Takase deserves a particular nod; his soft-raindrop style on songs like “Start to Go” is a marvelous example of hearing just what a song needs and providing it without showboating. Standout songs are numerous, but “My Martha” is a definite joy, featuring Kamijo and fellow singer/guitarist Tetsuro Watabe’s sweetly Beatles-derived harmonizing. In all, Martha is perhaps that rarest of albums, something whose utter obscurity, far from camouflaging a half-hearted effort, turns out to have been a completely undeserved fate… Ned Raggett [……allmusic…

“You need a bum,” sings Tomoaki Kamijo. “I need a cum.” His pronunciation isn’t perfect, but Martha, his first album, released in 1971 and sung entirely in English, is a sweet-natured precursor to today’s J-pop: an amiable collection of songs that sound as if they’ve been inspired by the American West Coast scene of the day and The Beatles in their Nowhere Man phase. Kamijo is not only borrowing the sound of the overseas bands, but also their way of framing lyrics. “One and one is two / You and I are true.” In the middle of singing about peace, love, and loneliness, he describes the Martha of the title, a girlfriend, possibly imaginary, in words that sum up the entire album. “My Martha. She’s very cute. / She’s very pretty, too.” Martha is not a disc that asks for large adjectives – it’s not gorgeous, nor is it stunning, nor execrable – but it is pretty and cute, an album for mild-mannered people who want to feel reasonably happy. (That’s a bomb and a comb he’s talking about, by the way.)…by…Deanne Sole…pop matters………..
Since this record appeared in Hans Pokora’s 3001 book most collectors (including those in Japan) where searching for this album with no luck. So now it’s the time to solve another mystery. Beside the other unknown album shown in the same book “3/3” and Olive, MARTHA is the one everybody was talking about. What is it, somebody seen it, its must be so rare, is it any good? MARTHA is the first of 3 albums composed by the Japanese artist Kamijo. The Other 2 are TOMO-second album (also very rare) and Tomoaki Kamijo KK Band - dear my friend (pretty are too). But MARTHA is the best of them all. All english vocals, lot’s of fuzz guitar, percussion, piano and great vocals. An underground-rock album with folky elements and a west-coast touch. Kamijo is the Mick Stevens of Japan. …you need a gun…I need a son.. 5 musicians, 10 great songs……………

Released in 1971, the debut album by Japanese artist Kamijo. For the first time about this mega-book album was heard by Hans Pokory '3001’. The album contains delicate, folk-rock, at times psychedelic, quite melodic material (with percussion) reminiscent of the little West Coast States - acoustic guitars, piano, fierce moments, fibrillated giatra, English vocals. The whole thing is more like 1968-1969 than 1971 ……
Tomoaki Kamijo, a Japanese musician influenced by Western music and recorded a total of three albums during the '70s, is extremely rare due to his own production and because of his lack of renown, his life Creative little known 

In 1971, he formed a band with his own stage name, members there 
Guitar / Bass / Lead singer Tomoaki Kamijo, Tetsuro Watabe 
Piano Aki Takase 
Dr Saburo Goto, Masatuki Hirose 

Kamijo was created in English, which was quite rare in Japan in the 70s. This Martha album was his first album released in 1971. Although recorded on Hans Pokora’s 3001 record label, it was He produced his own record 

The musical style is a psychedelic folk style, like the folk rock singled by Bob Dylan of the United States, with a large number of vague guitar sounds, accompanied by percussion and piano accompaniment, to create a gentle and refined atmosphere, Kamijo excellent music, make him Honored by Japan’s Mick Stevens 

This piece of folk songs left in the history of the album, for a long time not to mention the future generations, when in Japan there are only a few stores selling, and low prices, but now has become a very collection and precious record, rather difficult See 

Germany’s Shadoks record company in 2007, the album will be republished, so that this precious remains of the world once again reinvent the wheel………….
01 Set Me Free
02 My Martha
03 Start To Go
04 Home
05 One And One Is Two
06 Turn Off The Lights
07 You Need A Gun
08 Martha You’ve Changed
09 Cry Like A Baby
10 I Love You 

Cinderella "Udkoksning I Tre Satser" CD 2006 Danish Prog Psych

Cinderella  "Udkoksning I Tre Satser" CD 2006 Danish Prog Psych
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Tracks 3 and 6 originally released as a single by Spectator in 1970 (MES 110). 
Tracks 1, 2, 4, 5, 7, 8 and 9 recorded at the Spectator studio, Hasseris in 1970. 
Tracks 10 to 14 recorded live at Studenterforeningen, Copenhagen in 1972. 

Includes 8 page booklet with band biography in Danish and photos.

The booklet insert is strangely only written in Danish, as if there were no foreigners interested in this band. 

They were greatly influenced by Rory Gallager, VANILLA FUDGE, Hendrix and CREAM, and second by LED ZEPPELIN and THE DOORS. 

Although stamped on the cover, this Danish trio has nothing progressive, a term that became generic for the most wacky bands of the early 70's. The sound here is full pause, acidified blues in the saturated whistle of the valves of the amplifiers. The whole group is very good musically, but guitarist Henning Pedersen stands out with his cutting solos, Jimi Hendrix style half Jimi Hendrix style and a magnificent guitar bell. This record leads me to believe that it is a live in studio, with some overlaps of guitar solos. There are some rockabilly touches and swing in the kitchen, making it a deliciously hot and stirring sound. 

I am actually presenting here a compilation released by Karma Music in 2006: which features tracks released in their only album released in 1970 and others recorded live..

Wrongfully categorized into progressive rock by the Disney like font on the front cover of this album is Cinderella, a Danish power trio playing psychedelic inspired blues rock. The band consisted of Henning Kragh Pedersen (guitar & vocals), Søren Hillingsøe (bass & vocals) and Allan Vokstrup (drums). Cinderella never actually released any albums in the 1970's, the band were scheduled to be released in 1972 through Spectator Records, however this was just after Spectator Records burnt down and thus they only got to release a single 7" entitled "Kong Galars Sang" with b-side "Udkoksning I Tre Satser" in the 70's, but in 1990 the album that had been scheduled originally for 1972 was released, and in 2006, this compilation was released. All the recordings on this compilation is material recorded by the band between 1970-1972. Little known information about the group and its members' origins, it is as mystical as it is rare. 

Comparable to acts such as Jimi Hendrix Experience, Cream, Blue Cheer and Young Flowers as well as label-mates Terje, Jesper & Joachim and Blues Addicts. Cinderella grasps the listener and takes him or her on a journey through smoke-filled psychedelic hippy anthems with lyrics about pollution, drugs and sex, while also taking their time jamming blues classics like Parchman Farm, Red House etc. and filling their self composed material with lots of overdriven guitar improvisation and blues jams. This record doesn't really hold many elements of surprise as it seems you have heard it all before especially a song like "Sexbombe" sounds very close to Young Flowers' "25 Øre" and lots of the aforementioned hippy anthems contain vocals comparable to those of typical Danish hippy groups such as Fujara or De Fortabte Spillemænd. That being said this record is not bad at all, because even though the music might seem recognizable, the musicians playing it, deliver it with such passion and soul that one can not keep from rocking with his or her foot. Especially the inclusion of the live version of the group's "Break Song" with a blues jam (with vocals in Danish) shows the band's good musicianship, so don't miss out on this one...

I return to the path of the Nordic blues, but this time the most robust environment clearly in tune with the hard-blues psych, and for that nothing better than sinking the tooth to another of those discs that I did not lend at the time the due attention and to which just today has come his moment, as it is the album Udkoksning I Tre Satser of the Danish trio Cinderellaand that I've been crushing for a few days. I do not have much information about this band and its trajectory, but what I have been able to know is that it is a 2006 edition containing songs recorded between 70 and 72, with demos recorded in studio in 1970 and others live recorded in Copenhagen in 1972, although the live recordings do not have very good quality, the truth is that the overall tone is quite satisfactory and worth it, with themes in which they are shown, brutal, savage, energetic, precarious in the sound cleaning and in the care of what they offer, little polished, but, I find fascinating. 

When listening to this record, it is inevitable to fall asleep before bluesy orientation topics, like that great treat for the ears that is Parchman Farm, an abrasive revision of the Mose Allison classic that overwhelms you mercilessly, in which the guitar is the meeting point inciting you to turn up the volume and destroy the speakers of your house, a real joy, or that pure guitar fire that is the instrumental Ana-T-Nas . Other devastating moments that move by more blues-psych tones are Sexbombe , with the guitar at full gallop and without brakes, or like the hypnotic Udkoksning I Tre Satser . Of the live themes I would highlight that strong guitar impact of more than twelve minutes that is Break Song Live, a stark jam in which the three members of the group have their space to expand themselves to taste, and then move on to the Red House Hendrixiano, with a good demonstration by the guitarist Henning Kragh Pedersen , which shows good management of the six strings We even have a few revisions that are always good for us to feel comfortable, like Jimi Hendrix's Fire , Traffic's Mr. Fantasy , which makes him a heavy hard-blues, or long-rock rocker Long Tall Sally to finish the tour . 

A record to listen and enjoy, which in general is more than good, surprising in what it proposes and, if it reaches the ears is a finding that does not leave indifferent enjoy the experience !......

Allan Vokstrup (drums), 
Henning Kragh Pedersen (guitar, vocals), 
Søren Hilligsøe (bass, vocals)

01. Carlt (Jens Fenger) - 4:31 
02. Sexbombe (Henning Kragh Pedersen, Erik Knudsen) - 3:27 
03. Udkoksning I Tre Satser (Henning Kragh Pedersen, Allan Vokstrup, Søren Hilligsøe) - 6:06 
04. Break Song (Henning Kragh Pedersen, Allan Vokstrup, Søren Hilligsøe) - 9:18 
05. Parchman Farm (Mose Allison) - 2:24 
06. Kong Galars Sang (Henning Kragh Pedersen, Allan Vokstrup, Søren Hilligsøe) - 4:23 
07. Fire (Jimi Hendrix) - 3:18 
08. Mr. Wild (Allan Vokstrup) - 3:35 
09. Ana-T-Nas (Henning Kragh Pedersen) - 5:02 
10. Forurening (Henning Kragh Pedersen, Allan Vokstrup) - 5:11 
11. Break Song Live (Henning Kragh Pedersen, Jimi Hendrix) - 13:21 
12. Mr. Fantasy (Steve Winwood) - 9:10 
13. Stormen (Henning Kragh Pedersen) - 4:17 
14. Long Tall Sally (Richard Penniman) - 3:01 

johnkatsmc5, welcome music..







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