Cardboard sleeve [mini LP] reissue from Takeshi Terauchi featuring 24 bit remastering
check the last half of this track :)
'A completely ass-kicking reissue of Japanese guitar maestro Takeshi Terauchi and his band Blue Jeans' 1965 LP Let's Go Eleki-Bushi! For the uninitiated, Terauchi is pretty much Japan's first guitar hero, and the "eleki" style -- a dizzying hybrid of post-Ventures surf guitar mixed with touches of Japanese enka & minyo music and even a bit of flamenco -- was the primarily instrumental precursor to the more rock/pop-oriented Group Sounds movement which would follow the first appearance of the Beatles at Budokan in 1966. The Blue Jeans consisted of three guitarists, a bassist, and two drummers, with the overall sound here reminiscent of a group of jacked-up electric shamisen players throwing down more whammy action than an episode of Press Your Luck. A few of the cuts add the odd vocal chant or the sounds of crying children, and the energy level on display is satisfyingly high throughout. This is the sort of record that plays as a satisfying whole but also serves up plenty of mixtape fodder; put one of these cuts on a mix for someone and you're most likely handing them a copy of the entire record next time you see them. Lock your apartment doors, tune up your air guitar, and start that Secret Apartment Dance Party! Highest recommendation!'' ~ other music
aye reckon that sums it pretty well. ventures-esque surf sounds collide with traditional japanese folk strains, featuring an army of guitars & plenty of woozy organ. some trad vocals even turn up on 'saitaro' [tr: 6]. another playfully exotic reish from king records, 320 er FLACK. evenfurtherstill
01. Fado em Lá Maior 2:39 02. Fado Peniche 2:11 03. Fado Alexandrino 2:32 04. Fado Armandinho 2:59 05. Fado Estoril 2:48 06. Fado en Mi Menor 2:39 07. Fado Magioli 2:30 08. Fado Conde de Anadia 2:37 09. Fado Bacalhau 2:51 10. Marcha em Ré Maior 2:22 11. Marcha em Ré Menor 3:14 12. Fado Fernandinha 2:33 13. Variações en Lá Menor 2:50 14. Variações en Mi Menor 3:02 15. Fado de Sintra 2:39 16. Variações em Lá Maior 2:31 17. Variações em Ré Maior 3:04 18. Fado das Berlangas 3:10 19. Fado Fontalvo 2:53 20. Olhos Bonitos 2:37
'At a time when the Portuguese guitar was not as technically developed as it is nowadays, there appeared a man who was responsible for introducing important innovations in playing style and technique, thereby bringing the instrument into modernity. A true pioneer, Armando Augusto Freire, nicknamed Armandinho, will always be remembered as one of the best Portuguese guitar performers in fado history. His style is very lyrical and inventive, and his uncanny ability to improvise amazed audiences wherever he performed.
Born in Lisbon in 1891, Armandinho was drawn to the Portuguese guitar from an early age due to the possibilities that it offered him in his longing for expressing his characteristic sentimentality. A self-taught musician, Armandinho was deeply influenced by his admired Petrolino, an obscure and extravagant guitarist that is said to have performed as far afield as Czarist Russia. His first public appearance took place when he was fourteen at the Teatro das Trinas, and even back then, his style was already becoming very polished, setting him apart from most of his contemporaries. Armandinho soon became one of the most sought-after accompanists in Lisbon, and he was an integral part of many overseas tours that took him to Brazil, Argentina, and Uruguay. In the early 1930s, he toured Madeira and the Azores Islands with Martinho d’Assunção, João da Mata, and singer Ercília Costa, and he also performed in Angola and Mozambique with singers Berta Cardoso and Madalena de Melo. Throughout his career, he accompanied many great fadistas, including Amália Rodrigues in her early years as a singer.
Armandinho was not only an extraordinarily gifted musician, but he was also a very accomplished composer. Some of the tunes that he wrote, such as “Fado Armandinho,” “Ciganita,” “Fado São Miguel,” and “Fado Mayer,” have acquired the status of standards and are still widely performed today. Although his recording career was not very prolific, he did cut some sides for HMV that are now collector’s items and that allow us to appreciate his unparalleled artistry and the magic sounds that he could produce with a Portuguese guitar in his hands.
Armandinho was a man who devoted his whole life to fado and to the Portuguese guitar. After his passing in December of 1946, when he was only 55, he became a legend, a classic, a performer to whom virtually every Portuguese guitarist is indebted. Some of his many followers include such magnificent musicians as Jaime Santos, Raúl Nery, and José Nunes. In his very nostalgic, autobiographic fado “Belos Tempos” (“Good Times”), Fernando Farinha remembers Armandinho as 'that great commander,' ranking him as one of the most versatile Portuguese guitarists in the history of fado. There is no doubt that the innovations introduced by Armandinho during the first half of the twentieth century changed the Portuguese guitar forever and played a decisive role in shaping the sound of fado as we know it now. Hence, his incomparable talent and his extraordinary legacy will always live on.' ~ Anton Garcia-Fernandez
surprising to find zero recordings from this conjurer available in blawgland, apart from what we previously dropped here. with a bell-like tone, armandinho was grand wizard of the fado, his runs occasionally reminiscent of a sped-up music box or washington phillip's dolceola maybe? i dunno, but what i love about his evocative sound is indeed the sentimentality it provokes, making me misty fer some ineffable quality i can't quite place or a distant dream i can't consciously remember. i get similar goosebumps from several 1920s recordings, many of which are indeed lamentations & certainly there's a sorrow & longing embedded in the melodies, but perhaps the loss that resonates most when i listen to these timeless tunes is a sense of nostalgia fer an age where mastery on this level was even possible
A1. Hugo Spellman A2. The Song of the Wanering Aengus A3. De Debil Take De Blue Tail Fly A4. The River Song
B1. London Blues B2. Her Hair Was Long B3. Young Lust B4. Love
Bonus 1. Dream Bonus 2. Where is My Wild Rose
'Hailing from New Zealand, Chris Thompson arrived on the folk guitar scene in the United Kingdom in 1971 and hung out and gigged with Wizz Jones, Davy Graham, Bert Jansch, John Martyn, Derroll Adams and others. A window into time gone by, evoking both a spatial and temporal quality that contemporary music oft seeks to emulate or revive, but will not come our way again.
Herein lies the complete self-titled 1973 Village Thing label album [recorded 1971 – 73]. Shimmering, hypnotic, flowing, psych-tinged, original acoustic folk guitar and vocal. Backed by various friends include Magic Carpet members Keshav Sathe and Clem Alford (providing and Eastern influence), and one cut with Ed Deane, guitarist from the Woods Band.
Only 101 copies were sold and the other 899 destroyed. The original LP was not promoted by the distributor [Transatlantic Records], but was dumped into a river as part of an insurance scam when Transatlantic’s big album of 1972, Pentangle’s 'Reflection', failed to sell.' ~ mythology
by request, some pirty schweet folky schtuff fer a munday eve. incruded are the only two bonus cuts from the Scenesof re-ish worth sharing. a heavy bert jansch influence is evident throughout but the tanpura drones make it quite listenable. nothing mindblowing, but certainly worth a few spins. he has a pleasant enuff singing voice too. 320 drippy hips
01. Kemayoran ~ Grup Bamba Puang 02. Stambul Naturil ~ Usman Achmad 03. Terang Bulan (excerpt) ~ Sahilin And Siti Rohmah 04. Ludu Pambuhang ~ Yohanes Terpanjang (Haingu) 05. Sungguh Terpaksa ~ La Podding And La Mamma 06. Los Quin Tallu-tallu ~ Grup Bamba Pung 07. Nasib Mak Kualon ~ Usman Achmad 08. Langgam Di Bawah ~ Sinar Bulan Purnama Orkes Kroncong Mutiara 09. Kolo Kot Matani Band ~ Teleu Nekaf 10. Nasib Muara Kuang ~ Sahilin And Siti Rohmah 11. Ludu Parinna ~ Ataratu 12. Fajar Di Atas Awan ~ Suarasama
Recorded in Indonesia by Philip Yampolsky 1990-97
Guitars are everywhere in Indonesia. Most Indonesian guitars are the standard acoustic instrument: a waisted flat body, a wooden soundboard, a long fretted neck, and six strings. Urban popular music may also use electric rock guitars and Hawaiian guitars. In some rural areas of eastern Indonesia, homemade instruments may be of crude construction, without frets and with only four strings, but if they approximate the size and waisted shape of the standard guitar, we consider them guitars for our purposes. Guitars occur in a small number of genres of Indonesian music, but they are prominent nevertheless, since some of the genres in which they figure-pop, dangdut, kroncong-are known throughout the country. They are used only in entertainment music and what we may call religious popular music. Their most common use is to accompany informal singing of popular songs, church songs in Christian communities, and regional or national folksongs (lagu rakyat). These are taught in school or are generally known, but are not perceived as originating in commercial popular music.essential upgrade, now boastin betta bits n' booklet. resonant
