Issue #31 Extra!: Archives & Reissues
Figueroa, Jesus – “Jesus Figueroa”
Release Music Orchestra – “Bremen 1978”
Tasavallan Presidentti – “Tasavallan Presidentti”
Tasavallan Presidentti – “Lambert Land”
Tasavallan Presidentti – “Milky Way Moses”
Thee Majesty – “Thee Fractured Garden”
Thee Majesty – “A Hollow Cost”
The Yellow Balloon – “The Yellow Balloon”
Tasavallan Presidentti – “Tasavallan Presidentti”
(Love Records, LRCD7, 1969/2003, CD)
Tasavallan Presidentti – “Lambert Land”
(Love Records, LRCD60, 1972/1990 CD)
Tasavallan Presidentti – “Milky Way Moses”
(Love Records LRCD102, 1974/Siboney 1996 CD)
The first eponymous album Finnish band Tasavallan Presidentii recorded was a cross between folk, blues and jazz-rock with pop influences. A really diverse album with an immaculate rendition of the “Ancient Mariner” from Colridge. They excel in fast, raw guitar or sax improvised pieces as well as almost dreamlike excursions a la Procol Harum which feel like a stroll through the countryside thanks too the flute. On Lambert Land the band plays pure complex jazz-rock with lesser folk, full of improvisations on peeping sax and wah-wah guitar. Gone is the blues side. Special mention deserves “Dance” which has the most emotional wah-wah riffs I have ever heard. “Milky Way Moses, their last, is their improvisational tour de force with duelling guitar and Turkish sounding sax (title track) and freaky electric piano and organ (“Caught from the air”) to name just two highlights. The jazz-rock sometimes is more sophisticated, bearing off to Canterbury. Jukka Tolonen is the nucleus of talents here, beside the incredible sax hooks from Pekka Pöyry that is, his guitar playing is sometimes stunning, only surpassed, I think by his chops and melodies on his solo albums. These albums all come recommended. – Roel Steverink
Release Music Orchestra – “Bremen 1978”
(Garden of Delights CD-097, 1978/2004, CD)
Judging by the number of excellent recent releases, Radio Bremen must have been quite a treasure for European music lovers back in the 70s. This CD is a prime example. I’m not familiar with the band other than by reputation, but if this live show is any indication, they were one of the better European jazz-rock fusion bands going in the mid to late 70s, with a sound reminiscent of Weather Report around the time of Mysterious Traveler. Since Zawinul, Shorter and company had moved on to other sounds by 1978, it’s welcome to discover another band exploring the possibilities of this area. The elements of the sound are keyboards (Rhodes and monophonic synthesizer, mostly), saxophone, bass, drums and percussion. Lead lines are established on the sax, sometimes with a keyboard instrument doubling or harmonizing, and the rhythms range from moderately spacey to driving and energetic, and aren’t overly funky. Only on scattered occasions are there tightly arranged unison parts. The material comes mostly from their 1978 album Beyond the Limit, which shares personnel for this gig. Manfred Rürup’s playing on the electric piano sometimes brings Zawinul to mind, the way he lets open voicings ring or doubles the bass line, but his synthesizer sounds original, not bringing to mind any of the giants of the era. Günther Reger’s sax playing is also original enough to avoid sounding derivative, going from sweetly melodic to Middle Eastern trills, quick runs, and agitated squeals, but never over the top. – Jon Davis
[www.diregarden.com]
The Yellow Balloon – “The Yellow Balloon”
(Sundazed SC 11069, 1967/2002, CD)
The Yellow Balloon is basically the story of one producer & songwriter Gary Zekley who, disappointed with the results after having Jan and Dean record one of his songs, decided to record it again himself. Then, with an unexpected smash hit song on his hands, quickly recorded a full album of material with studio musicians, then contacted his friend, multi-instrumentalist & singer Don Grady (better known as Robbie Douglas from the TV show My Three Sons) to assemble a “real” five-piece band to work up a live set and make a bunch of TV appearances in the wake of the hit. Beginning with album opener “How Can I Be Down?” the material has an unapologetically positive and uplifting vibe, heavily influenced by the “Good Vibrations”-era Beach Boys sound and the sunshine pop of the period (think Millenium, The Association, Sunshine Company, etc.) full of melody, simple happy-go-lucky rhythms, fun lyrics that intentionally eschew the social consciousness of the times, and meticulously arranged elaborate multi-part vocal harmonies. The twelve songs are all short, no-nonsense pieces that concisely showcase and support the songwriting, and although musicianship is top notch throughout, there’s not a lot of room here for solos. Songs like “Follow The Sunshine”, “Stained Glass Window”, “Baby Baby It’s You” and “Springtime Girl” are all as strong as the better known title track. Eight bonus tracks include singles, demos, and four cuts by Don Grady and his pre-YB Windupwatchband. All taken, an important, if somewhat obscure slice of 60s pop history. – Peter Thelen
[Availability: Jade Hubertz – barbarousrelics@sbcglobal.net]
Jesus Figueroa – “Jesus Figueroa”
(Record Runner RR 0420, 1972-1974/2004, CD)
This CD reissues both albums of Jesus Figueroa, Con Todos (1972) and Magica Fuente (1974). Figueroa was the lead singer of Uruguay psych band Opus Alfa, which evolved into Dias de Blues (without him). It was an amicable split, however, and the members of Dias de Blues performed on the first album. The music on Con Todos is a fairly run-of-the-mill mixture of rock and blues, with an emphasis on acoustic guitar and singing. As such, while it is presumably an important political and cultural document, from a purely musical standpoint it is less likely to be of interest. There is some tasty organ playing on one cut, though. Magica Fuente is somewhat more musically interesting, with some weird effects and more of a drug vibe, but essentially continues the same style, even over longer tracks such as the eight-minute “Fuego de Dragon”. There is also a track with some harp playing, perhaps foretelling Figueroa’s subsequent search for enlightenment from eastern gurus. The CD concludes with a two minute Opus Alfa bonus track. I think this reissue will be welcomed by South American psych collectors, and will go unnoticed by everyone else. – Sean McFee
Thee Majesty – “Thee Fractured Garden”
(Voiceprint TEMPVPCD031CD, 1995/2004, CD)
Thee Majesty – “A Hollow Cost”
(Voiceprint TEMPVPCD032CD, 1995/2004, CD)
The incarnations of Genesis P-Orridge continues to manifest itself in many different and sometimes compelling ways. Two of the composer’s spoken word series are reissued here by Voiceprint in part to give the poetic raver room to espouse his own view of the world backed by a relentless techno backdrop. Thee Fractured Garden is a bit low-fi, but endearing nevertheless as P-Orridge has much in common with 70s counterculture, Dave Brock and Daevid Allen than one would previously believe. “A Debris of Murder” relates a tentative rant over a subtle bass and drum vibe with congas. “Avatar” is perhaps the trippiest piece on the disc as looped mellotrons give a slight psychedelic feel in a swirl of sampled bird formation. “Freedom is a Sickness” relies on a quiet drone for the poet’s musings on birth and an individual’s human rights for their gothic pursuits of happiness. P-Orridge’s imagery is often bleak and depressing, but there are a few surprises in the mixes as on “Thee Meeting Ship” where rotated glass provides a loop for more of the artist’s seemingly formless ramblings. The last seven tracks are devoted to a segue of monologues that focus on outer worldly perceptions. Watery backdrops are also utilized to great effect with “dreams…” chanted repeatedly that also creates a hypnotic atmosphere. “S/he is Her/e” is the most rhythmic backing track on the disc with also the most ominous delivery from the composer.
In contrast, Larry Thrasher lends a large hand to the artist on the 76 minute track entitled “A Hollow Cost” originally released in 1994. Subtitled “A Spoken Word Revelation” the tone initially created is not far removed from Ummagumma era Pink Floyd. “The Only Joy is Violation” tirades eventually wash away into a water sanctuary section of the track about ten minutes into the piece. It doesn’t take long for the moment to change into something more sinister with Thrasher’s synth layering echoing more seemingly coherent ramblings. The scariest part of the track happens about mid-way through with crystalline scratches dominating a wordless ambiance. The track finally closes on what sounds like an open field where a riot is taken place; one can easily imagine people running, screaming in a frenzy. Overall it’s clear that P-Orridge has created a career for himself alongside peers such as Tom the Poet and Roy Harper’s spacey poetry. Fans of later Hawkwind, Mother Gong, trance, and techno will all have something to champion in the course of these two discs. - Jeff Melton