lockdown : vinyl find #42.

I've just listened to the album Procol Harum recorded with the Edmonton Symphonic Orchestra. And I followed with a real Finnish sweet. Almost a perfect mix.  

I've already mentioned the quality of the record stores in Helsinki on this blog. The digging session I had there was the occasion to get acquainted with the impressive Love Records catalog. From this bottomless pit, Wigwam stands out. They represented the best of progressive rock in Finland in the 1970's. Honestly, I had no idea before visiting the stores in Helsinki. Chatting with the record dealers was key, it always is. 

Opening on a couple of prog rock kinda conventional anthems, the album also contains some strange bits of experimentation on synthetizers and background vocals, jazzy moments, also heavy guitar solos to impress the ladies. Organs are there when needed, pianos as well, floating flutes, offering a wide range of sounds, though remaining in the usual prog rock palette. However, don't expect any reference to the Finnish roots of the band : the lyrics are sung in English, one of the band members and main songwriter, Jim Pembroke, was Brit, and the album was produced by American producer Kim Fowley.  

The general atmosphere, soft as a pillow, serves as a time capsule, a travel back into the flower power. 

Wigwam - Tombstone Valentine. 

Here's the full album, as a YouTube playlist.

lockdown : vinyl find #41.

45's aren't my favorite format, but for some short lived bands, that's the only type of recording they could afford. And this category, the short lived band, is a major provider of crazy good music. It is especially true in rock'n'roll, whater the sub-genre, like it is in soul music. 

Here I want to pay homage to a label called Caméléon Records, dedicated to reissuing forgotten records, most of them French and rock but not only. The label started with 45's in 2012, before expanding its activities to LP's.

I first came across their 45's at Gibert Musique, Paris. They came with a piece of paper mentioning the sold out records from the label, the reading of which sometimes can generate a disappointment. However, I took it as a nice move from the label, resurrecting the catalogs from the past in their own way. 

A visit to the website gives an idea of the work the label puts for these reissues to see the light of day ; the research is detailed and turns into history lessons in which it is very entertaining to dive. 

Today's record is a 45rpm by a band called Ankh. The A side is a heavy rock song, sung in French next to an aggressive guitar riff. Can't say the vocals are very nice to listen to, but they gave a candid amateurish feel to it.

The B side is an instrumental piece, in a proggy psych vibe, with again kind of an amateurish touch, with these variations that may lack a bit of transition. 

Both songs were written by Fabrice Baty, who was highly influenced by Nietzsche. He had previously recorded a (now rare) instrumental record titled "Guitares". 

For a private-press record, it benefits from a cool cover. The author, Renaud Thorez, became a graphist afterwards, and played bass in several bands on the side. 

The band emerged from Normandy, France, in the mid-1970's. They released their only 45rpm in 1976, sold at their concerts. The band didn't expand much beyond Normandy, and was dissolved in 1977. End of a short career, with nothing but this single to testify ; and thanks to the efforts of Caméléon, it can reach a wider audience than 40 years ago. 

Ankh - Les maîtres du temps / Iles.

Here's the A side. And the B side.   

  

lockdown : vinyl find #40.

And... 40. 

Today's post is dedicated to Paul Piot, a French composer who specialized in instrumental music. Logically he ended up composing library music and other music for media, and even became one of the "stars" of the genre. But of course, there's no such thing as fame when your name remains unknown by most. 

I discovered Paul Piot thanks to a compilation called "Barry 7's connectors", with a song titled "Amour, vacances et baroque", probably back around 2005. The melody and vibe struck me so much that I embarked on a mission to dig into Piot's work. That's how I came across a "Dance and mood music" volume entirely produced by him. This one, with its orange cover, is pretty well known in the game, and became one of my first personal grails when I started collecting. 

Throughout the years, I found a few other records by Piot, but the amount of albums seems to be quite limited, the Chappell label being home to part of them. 

I found this one, simply called "Paul Piot and co." in the good store Veals&Geeks, in Brussels, Belgium, and instantly jumped on it. Although branded "Paul Piot", the record features two composers, Alice Malakina being the second one.

The opening track, by Mrs. Malakina, sets the mood : welcome to a world of grooves and surprises. And indeed, Alice Malakina stands her ground against Paul Piot, with a couple of groovy tracks, armed with fat basses and hairy riffs.  The record also contains slow to medium-tempo songs, which bring variations to the listening session. 

Paul Piot - Paul Piot and co.

Here are a few tracks.

samples cult.

F* yes.

Samples, the basis of hip hop along with drum machines and turntables, is back at the front row. 

The Library of Congress, the most prominent cultural public institution of the USA, has announced an initiative to allow samples freaks to fish within the deep waters of the audio vaults in order to make new music. The explanations are here.

The project does not run fully yet, but will soon do, hopefully for summer. Check it out on Citizen DJ.  

A similar initiative, although at a much lower scale, was launched by the Library of Paris. The process is explained here, in French. The idea is to sample a pack of 78rpm records (because... free of copyright), which are available here. 

By the way, here's a good read about the history of sampling, in French. 

lockdown : vinyl find #39.

Daydream, I feel asleep amid the flowers

For a couple of hours, on a beautiful day...

As charming these English words sound, they were written by... a Belgian band, Wallace Collection. And more specifically by their violin holder, Raymond Vincent. There are worst ways of starting a career. Indeed, the song was featured on their first LP, as the closing track. 

But wait... a violin in a psychedelic pop outfit ? Well, it wasn't unusual at the time. Lots of musicians of the first pop wave were classically trained, and violin held a place among this background training. In the case of Wallace Collection, the violin almost took the main role, which was unusual. Raymond Vincent being the main composer of the band, the classical flavor of their tracks was a signature sound. 

One would expect Raymond Vincent to surf on the wave of success for decades after that international first hit. Well... maybe he did enjoy his money. But the blunt truth is that he didn't have the career he deserved. His name appeared on a few tracks by Sylvie Vartan, but that's almost it. 

Except for this solo album he released just a couple of years after the "Daydream" storm. 

Success wasn't far in time... Vincent could have signed anywhere, probably. Well, "Metronomics" was released on the Izarra label. Izarra ? Yes, Izarra. It's a liquor from Pays Basque, in France. Izarra had a music label that published records for promotional purposes. The inner sleeve is a giant promotional flyer as well. 

You can't make this up. 

So, when in Belgium, get Belgium records. This one was easy to choose. I knew roughly the story of Wallace Collection, although the name Raymond Vincent didn't ring a bell at first sight. The liner notes on the back cover of this record made it easy : it says it all of Vincent's life up to this album. It even includes a short bio of the artist who painted the front cover. Gentle. The idea of owning a piece from the genius who did "Daydream" sounded nice. I went for it, despite the fact that I was unable to listen to the record on the spot. 

On this record, Vincent perfectly manage to blend his classical approach with pop, in a psychedelic way, which involves kind of a delirium on drums, a bit of saturation at times, the right amount of flute bits. Most vocals sound distant and leave enough space to the harmonies provided by the instruments. The strings, of course, hold a particular role, violin, guitars, cello... One can't be a virtuoso and not pay tribute to his first love...

The perfect balance, which dresses up the moment beautifully.

Raymond Vincent - Metronomics.

Here's the album, in full : YouTube.

What more can you ask for for just one euro ?

lockdown : vinyl find #38.

Music made by expatriates is always interesting : either because it contains a genuine melancoly and goes deep into the identity of the author, either because it combines elements from the motherland with elements from the land of residence. 

Hence, when I read about the history of this record, considered a must-have among records from the French West Indies, it got me interested. The band was comprised of seven young guys from Martinique, who were living in Paris at the time ; this recording from 1975 is their only one as Gaoulé 75 that we know of. 

Mostly written by two of the band members, Charles Hilaricus and Jean-Marc Monnerville, the album is of course, a gem of music from the West Indies but with an uncommon funk for this type of records. The grooves of the percussions and drums, combined with a cool use of the organ (Jean-Claude Naimro, the keyboardist, then joined Kassav' and worked with heavyweights like Manu Dibango and Peter Gabriel) and guitars, clearly link the album to the mid-1970's it belongs to. Sung in creole (except for one song, sung in French), it mixes afro, caribbean, funk, soul and European influences ; definitely hard to categorized, let's say it's a modern form of biguine. 

At the time I searched about this record, I hadn't made an essential connection : Jean-Marc Monnerville is actually Kali, a singer that I know from his 1990's fame in the West Indies for his reggae/calypso-infused spiritual songs. To say the least, his pre-rasta era was as interesting as the rest of his career. 

Gaoulé 75 - Gaoulé 75.

Bummer, couldn't find any audio...

lockdown : vinyl find #37.

Vadim (whom I already talked about earlier on this blog), in Tallinn, Estonia, strongly advised this purchase during a long chat about Soviet music. 

Like they say, don't judge a book by its cover. Same thing with records, although I would have bought this one according to its cover : appealing, colourful, a bit cheezy. Surprising. 

And surprising it is. I don't get to listen an Uzbek record everyday. And if I would, I would expect a folk record. Well, it isn't. It's pop, with some experimental adventures. Indeed the songs contain unusual sounds, like guitars under effects or synths. Spooky sounds open on exuberant vocals and messy drums. A solo piano gets a time to shine, but synths (and female vocals) are the star of the album. Not the most experimental album, very far from it, but still some interesting bits here and there. I was surprised to know that the record is from the mid 1980's, as it sounds... much older. Its mix of folk melodies and weird sounds would advocate for a recording from the 1970's. It does not sound as modern as what the European countries of the communist countries were able to deliver at the same time. 

But overall, it has a candid charm ; it's a catchy album.

"Sado" Ensemble - Tashkent legend.

Here's the full album : YouTube.

Really, if you need advices on music from the Soviet Union, get in touch with Vadim.  

lockdown : vinyl find #36.

As a young collector, I taught myself thanks to the internet. For a few years, I lived in places where getting records was not the easiest endeavour. Having conversations with experienced diggers was out of the question. I had to rely on unfrequent visits to record stores and on the digital resources. 

It was great nonetheless, as I got to learn the traps of buying online, the dangers of eBay auctions, and the opportunities on which not to pass. 

By setting the accurate alerts eBay, I was receiving daily lessons on genres that were almost new to me. Psychedelic rock for example. The association of psychedelic rock and France made the name Joël Daydé appear on my radar. A few listens on internet and a look at the cover (by Alain Josset) had me hooked. So I purchased his first album, simply titled "Daydé" (or "J'Aime" according to some). A purchase I fully enjoy to this day.

Mostly sung in (a very convincing) English, with a few parts in French, the album is a blend of blues rock and psychedelism. Hypnotic parts filled with flutes and congas anchors it in the 1960-1070's, while hard guitar riffs refer to the great Hendrix. Daydé's rough voice reminds of Joe Cocker's, giving the album a bluesy touch, with some helpful keys and drums.

In the staff responsible for the production of the album, you'll notice a few important names : Jean-Pierre Lembert (Magma) as arranger, Igor Wakhévitch (responsible for not one, not two, but three or more essential experimental/avantgarde albums) at the direction of the projet, Claude Engel (Magma) on guitar. 

Daydé - Daydé.

Here's the full album, as a YouTube playlist.

By far, the best work from Joël Daydé. An essential piece of French rock.

Rza vs. DJ Premier.

The global lockdown gave light to fan dreams or forever-postponed projects. Beat battles between heavyweight producers/beatmakers were one of those. Swizz Beatz & Timbaland ignited it and ever since, those battles happen regularly. 

The one between Rza, the legendary wizard behind the Wu-Tang sound, and DJ Premier, the iconic beatsmith who designed the NY boom-bap sound, was a dream come true for a lot of hip-hop fans. 

To be honest, it had its disappointments : no exclusive beat, and a poor sound quality (strange that they haven't found anything better yet) were bad points. 

But overall, as Rza said it in an interview with Talib Kweli, it was more a celebration than a contest. Truthfully, the mutual respect between these two giants, who recently toured together as acts of the "Gods of rap Tour" was obvious. 

Watch it (again) here : YouTube. 

The cool guy behind Producto Ilicito put together a compilation of all the tracks played by the Rzarector and Primo. 

lockdown : vinyl find #35.

Vienna, Austria, happened to be a surprisingly good digging spot. And because of that, I skipped a few work sessions. Not feeling guilty at all. The record stores are flooded with quality records. Of course, krautrock (and rock in general) reigns supreme, but those stores also have nuggets in other styles. 

So I allowed myself to be surprised. When I bought this record, I didn't know what to expect. I suspected a band comprised of black and white dudes. And I always remember reading an interview in Wax Poetics where the guest was saying something like "if you see a mixed band, it has to be dope". Think Booker T. and the MG's, for example. 

So I went with it, knowing nothing of the band. And rightfully so, as they only relased this one album. The original was released in 1969 in the US. Since then, there have been only two reissues. My copy is an Austrian reissue from an undisclosed date, by a label called Breeder Backtrack, which specialized in unofficial pyschedelic rock reissues. They did a pretty good job on this one, spotting it first, then pressing it. Their releases are affordable, kinda like those of Phoenix Records. 

There's not much information about the band, except the names of the guys written on the back cover. The musicians followed on as studio musicians ; the drummer, Andrew Smith, played for soul, funk, jazz, pop acts Sixto Rodriguez, The Undisputed Truth, Dennis Coffey, Bob James, The Temptations, Yoko Ono, Ashford & Simpson, just to name a few of his appearances. The guitar player, Ray Monette, became a member of Rare Earth, and joined Andrew Smith from time to time, like the bassist Bob Kreinar. The singer, Mike Campbell, had an acting career under the Michael Champion moniker. 

Together, these young guys from Detroit delivered a funky style of rock, with touches of garage, a bit of country, hints of psychedelism. All in all, a convincing entrance into the game, and a record that's still enjoyed, despite a very low diffusion, 50 years later. 

Scorpion - Scorpion.

  
Full album, here you go : YouTube.

"Peace be with you".

lockdown : vinyl find #34.

This was not a personal grail. I found it by chance, and tried. The names "Berklee" and "Quincy Jones" are certainly catchy. 

On one side, you have a monster of jazz (and pop) music. 

On the other side, you have a bunch of young guys, studying their art in a top school. 

Logically, I was interested in what Berklee students, possibly the best music students in the USA, could deliver as arrangements and interpretations of Mr. Jones' works.

As anticipated, the expectations are met. These students from all over the world (US, Canada, New Zealand, Africa, Europe) do not disappoint. Despite the big band style, solo performers were also welcome and it's obvious they wanted to show their potential. Isn't it normal then to acknowledge the arrangers (three students) praising their comrades' abilities ?  

Special bravo to the man on the vibes, Gary Burton, for remarkable performances along the album. 

On all the records of the "Jazz in the classroom" series, it is funny to see names of students who would later on become pillars of the jazz scene. These records are a great, if not the only, opportunity to hear what they were able to do in their pre-graduation youth. 

Jazz in the classroom - Volume VI, A tribute to Quincy Jones.

No audio found. Sorry.

lockdown : vinyl find #33.

As a French teenager during the 1990's, listening to IAM was kind of mandatory, especially if in need of rap music in your ears. Back then, they contested for the throne against Suprême NTM, and quite frankly it was a draw. The two groups responded to each other with classic albums and singles. The good ol' days... 

When the members started releasing solo albums, adopting the Wu-Tang Clan strategy, they took the market by storm. It started with Akhenaton, then DJ Kheops, Imhotep, Freeman, and finally Shurik'n, who was perhaps the most anticipated one but took his time. 

However, despite the commercial and artistic aura of the group, Imhotep chose his own road as a solo artist. He chose to explore the northern African sounds and to make beats with them. But more than just beats for rappers, Imhotep assembled geniune instrumental pieces, using samples, field recordings and live instrumentation. 

This CD helped me to understand that any audio material could be used to build hip-hop, and that hip-hop was the ultimate syncretic music genre. I could even have my dad listening to this record. It was unbelievable at the time. And I used it to fall asleep. 

So, as a newbie collector, I had to own it on vinyl. But it was expensive. Few copies were pressed and they were difficult to locate. It took me a while and a lot of disappointments to get one in good condition. Thanks to internet.

When I finally listened to it on black wax, I realized that the tracklist was different from the CD album. Which isn't much of a problem as the atmosphere is the same on both editions. Even, it makes owning the two editions relevant, as there are more tracks (mostly additional field recordings) on the CD. 

It's really a collage of sounds, small pieces to build a record-long puzzle, with a quality of sound that makes my day every time I listen to it. 

A masterpiece that I still love from cover to cover, from first to last track, twenty-ish years later.

Imhotep - Blue print.

 
Here's the album, as a playlist : YouTube.

I'm curious to know if there were any left-over tracks... May be worth doing a "Blue print rejects" project...

lockdown : vinyl find #32.

What a name... Lard Free. That's wordplay. Odd, but so are the titles of their tracks. Back when I found this record, in 2015, the Spanish label Wah Wah Records had been reissuing Lard Free's albums for a few years already. Having a constant eye on the reissue market, I knew the name. This is why I thank the reissues : they allow me to learn. 

I found it filed in my library music section. Which I can explain but which is nonetheless extremely inaccurate. April Orchestra was a series dedicated to library music published by April Music. 

But Lard Free was a experimental/avantgarde band. Meaning strange music. Of course, sometimes library music is challenging for the listener, and rightfully so, as it was used by musicians to explore undiscovered fields. But still, this one sounds like proper tracks, instrumental obviously, but the intent of illustrating motion pictures, TV shows or documentaries sounds highly unlikely.

As I was visiting the good shop Le Laboratoire in Toulouse, France, I engaged into a conversation with the owner, who he told me about a massive collection of library music which had just landed in another store, Bullit. When I got there, the employee was actually sorting out the library music records that they'd just received. There were beauties among them, rarities from Themes, April, KPM... That's what happened when you're connected to a former radio DJ, a library archivist or an ex-TV channel employee I guess. 

My eye caught the generic yet distinctive April Orchestra cover, and quickly connected the name Lard Free with those relatively recent reissues. Plus, despite a steep price, I could afford it. I was allowed to listen to it, actually using the loudspeakers of the store so that everyone (there were only the employee and myself) could enjoy it. The listening session was glorious. That was it. 

Among the experimentations, which invite synthetic sounds to the mixing board, this record is also made of soft jazzy organic parts. In the end, it's a lovely blend of organic and electronic sounds. Not an album per se, not a commissioned nor curated work either, this is indeed a compilation of songs from Lard Free's pre-1976 albums. 

Lard Free - April Orchestra Vol. 15.

Here are a few tracks.

lockdown : vinyl find #31.

Madeira, Portugal, was absolutely not a digging destination. It served another purpose. Far from the continent, green, salty, possibly windy, hilly... 

Anyway, I tried my luck while walking through the city of Funchal. It was kind of a challenge, especially around Christmas with possibly a lot of closed shops. 

I didn't find much but I found something. A clothes stores that also sold a few vinyl records, both new and used. I had a pretty good chat with the employee there, who, because of the lack of a turntable, offered to make me listen to the records as much as possible through internet. It helped. To satisfy my curiosity and to reward his kindness (though, I learned after I paid that he was actually selling his friend's records) I ended up with a few new releases in undefined genres, navigating between rock and ambient. And I bought what seemed to be a local relative rarity. Indeed Sergio Borges e Conjunto Joao Paulo were a band from Funchal, who gained, just fresh out of high school, some fame during the 1960-1970's with their local pop style. 

Despite the price, I decided to go for it, as it would probably be one of the only second-hand vintage record I would find this time. 

Expect pop songs with this typical Portuguese melancoly, saudade, and obvious dominant vocals. The singer, Sergio Borges, even tries foreign languages, like French (it wasn't unusual for Portuguese bands to sing in French from to time back then) and English. It's pretty clean, almost too clean, but it sounds like a travel back to those shores...

Sérgio Borges e o Conjunto João Paulo - Sérgio Borges e o Conjunto João Paulo.

A few tracks for your listening pleasure.

lockdown : vinyl find #30.

And we hit number 30. 

This one was found in Brussels, and comes from Brazil. Not that I'm a huge specialist of Brazilian music, but from time to time, I'll buy a Brazilian album. And I'm not often disappointed. There's always a gem or two to discover, and if not a whole tune, a piece to sample. I think since Jay Dee sampled a Brazilian song for The Pharcyde, every beatmaker has been on the hunt for something to extract from a MPB (for Musica Popular Brasileira) record. 

This one is a jazz album, Wagner Tiso being a jazz pianist. From the beginning, the keys swing over a typical Brazilian rhythm. But don't get fooled, because it's not the only flavour on this record. There are more classic jazz parts, like sweet and mellow. Others are on a jazz-fusion fashion. We're talking about an album that was released in the middle 1980's. A sitar gives it a psychedelic touch here. Some vocals bring joy to it there. A bit of folk music floats in the air. A sax makes it smooth...

With the help of fellow great musicians, Wagner Tiso delivers a very enjoyable album, with diverse moods. 

Wagner Tiso - Branco e preto.

Here's the full album : YouTube.

I think this one flies under the radar of many, but it's a great addition to any collection, and especially to a collection of Brazilian music.

lockdown : vinyl find #29.

Unusual writings (meaning non-latin letters) always raise my interest. First of all, there's an aesthetic interest. But also, it's the promise of unusual sounds, different ways of playing music, and of course, of another language. 

From time to time, I come across an Israeli record and every single time, I wan't to know more. Which is highly difficult, as very often, there's not a single latin sign to relate to. It's like holding a Thai record in your hands. You'll have no clue... In the best cases, a turntable nearby will help you making your mind on whether or not you would buy it. If not, well... the inability to type Hebrew letters will let you helpless in front of your Discogs or YouTube apps. In the case of this record by Lehakat Tzililey Ha'oud, the name of the band is translated into latin letters, so it helped. 

Inherited from the Jewish diaspora, the Jewish-Yemenite music is very popular in Israel, and was blended with other genres, like Greek, Lebanese, and Mizrahi (Eastern) music. This point is already interesting enough to raise one's curiosity. 

What I liked about this record, first, was... the cover. It's already a blend, mixing traditional and modern elements : nargilehs, a traditional instrument, an electric guitar, guys snapping their fingers, gangster-looking sunglasses and 1970's haircuts. The cover alone is already an invitation to a journey... 

Listening to the record, all promises are fulfilled. Vocals are dope, and although I'm completely unable to understand a word of what they sing, I can enjoy the dynamics, melodies and bold arrangements. 

Fast strings, 

Lehakat Tzliley Ha'oud - Record n° 2.

Couldn't find an audio clip, so you'll have to trust me on this one...

lockdown : vinyl find #28.

The first krautrock album I've had must have been an album by Tangerine Dream. Soon enough, I got hyped into the genre. I started looking in every directions, only to realize that the genre is so vast. I had to learn, about the bands, about the labels. And of course, I started collecting, with my limited ressources. I jumped from Tangerine Dream to Grobschnitt, I went from Eroc to Can, from Neu! to Jane, Embryo, Agitation Free, Siloah, etc. There's clearly too many records to listen to when you start digging in this bottomless pit. As soon as I got in touch with a few records from the label Brain, it became a beacon in the night... 

So, when I came across a Brain compilation, I knew it was meant to be mine. It features major bands like Jane, Neu!, Embryo, Guru Guru, and so many more, splitted on three records. 

The songs covers many styles : very experimental/ambient with some key players of the genre, such as Harmonia and Cluster, meditative rock with Yatha Sidhra, psychedelic rock, prog rock, electronic, hard rock, jazz-rock, ethnic etc.

To dig into krautrock, the record fairs have been very helpful. Lots of record dealers are true passionate of the genre, and have collected a lot across the decades. Also, the reissue market have treated the genre well during the last years, revealing a lot of private press or confidential records from the past. And obviously, trips to Germany are a must to dig, and especially to Hanover, which, to this day, displays the signs of its alternative spirit. Also, a few record stores have a dedicated space for krautrock ; when in Brussels, Belgium, go to Veals&Geeks, they have a pretty good selection of kraut. 

Various - Kraut rock (German rock scene).

Hey, it's a compilation, so it does not have the cohesiveness of a proper album. Just look for krautrock on YouTube, and make up your mind...
Well, ok, just a few then...

copyrighting all possible melodies...

I remember having an argument with friends about sampling. It happened twenty years ago. I was trying to explain that it was a relevant creative way of making music. A friend was strongly against it as a valid musical process. To my surprise, another friend came to my rescue, stating that "everything has been done already". It was as simple as that. 

Although it didn't end the conversation, the argument still resonates today. And indeed, in the world of melodies (I know, sampling is not only about melodies), the possibilities are finite, limited. 

A few days ago, I stumbled upon this very interesting article by Vice, about those two guys who, thanks to an algorhythm (sign of the times...), created and saved all possible melodies within one octave. They stopped there but the possibilities could be extended. By doing so, they automatically copyrighted those melodies. Sounds wrong... but it's not. They actually did what I have been waiting for for twenty years : they virtually made it impossible for anyone to claim that a melody preexisted, because, of course a lot of melodies have already been found. Found... that's the word. They are there to be captured, but the mathematical possibilities are finite. 

Now, for a judge to validate this proceedings when facing a case to arbitrate, it's another story. 

I can't wrap up the debate here, but the TED video is an accurate summary of what you should know. 

Brilliant and inspiring.

lockdown : vinyl find #27.

Music blogs surely had an impact in my interest for music from all over the world, but it wasn't the only factor. When it comes to Cambodian music, the pop kind I mean, a friend of mine had a role ; he's a journalist who wrote several pieces about how was music in Cambodia before the dark reign of the Khmer Rouge. To summarize, there was a vibrant yéyé-like scene, particularly represented by stars like Sinn Sisamouth and Ros Sereysothea. 

Very early in my collecting, my interest for this era grew and I became quickly the proud owner of two compilations released by Lion Productions (a label with an impressive catalog in terms of quality) titled "Groove Club Vol. 2 : Cambodia Rock Spectacular !" and "Groove Club Vol. 3 : Cambodia Rock Intensified !".

Later on, I learned that through the Cambodian diaspora, several bands were trying to revive this type of Cambodian music. I heard about Dengue Fever, then about the Cambodian Space Project. 

The band was built around two main characters : Srey Kak Channthy, the singer, and Julien Poulson, the guitarist. From 2010 to 2017, they did what no other band had done since the Khmer Rouge era : they released vinyl records in Cambodia. Sadly, the adventure stopped in 2018 with the accidental death of Kak Channthy. Still remains the beautiful songs she crafted with her band.

"Not easy rock & roll" is the second album of the band, released in 2012 through an Australian/HongKonger label, which I was lucky to find in Paris, at Gibert Musique, which used to have an excellent selection of "global grooves". 

Due to the unusual sounds it contains, some would say it would fall, at least for part of it, in the psychedelic category. I wouldn't take that road... it sounds like a proper revival of the music that was done in Cambodia in the 1970's, though modernized. It's definitely more rock than pop (yes, even their cover of "Bang bang", which is blazing by the way) ; the sound is indie, garage. 

I guess we'll miss Kak Channthy's vocals in the next years. We can only hope that the other albums of the band will have a vinyl reissue in the future. 

The Cambodian Space Project - Not easy rock & roll.

Here are a few tracks from this tasty album.

Totally makes me want to go to Asia...

lockdown : vinyl find #26.

For the first months and years of record collecting, I wanted to buy all the Quincy Jones records I could find. Of course, I knew it would be impossible to own all the records ever released by Mr. Jones. But I could have the essentials. 

What could be more about the essentials than a compilation ? 

When I saw this record, I didn't know it was a compilation. But the cover was awesome. I bought it in London, but I don't remember where exactly. The city is so full of records that it's impossible to remember the digging sessions that happened there. And it's not a European issue, but the Brazilian one, the only one not having a gatefold sleeve apparently... and the only one on a single LP, which means I only have half of the original compilation. Shit. 

But why Quincy Jones ? Plainly and simply because he's the biggest music producer still alive. Because he has shaped the sound of today's music, starting from the 1950's, first as a musician, then as a band and orchestra leader, then as a producer, then as an entrepreneur. He's done it all. He's the wizard. He's essential, and so is his music. 

The compilation mixes songs written by Quincy Jones with songs written by others (especially Henry Mancini, with whom it's difficult not to compare his career as a soundtrack composer). It is fully instrumental and clearly oriented to relax. 

Quincy Jones - Ndeda.

Here's the first side of the (first record of the) compilation, from YouTube.

Edit : I didn't know that Netflix is currently running a documentary on Quincy Jones. Should be worth it...

lockdown : vinyl find #25.

For a few years, I was coming to Paris regularly ; I wasn't living far from it, but I needed to take the train. Gare du Nord was a regular location. Although it might be difficult to find quality food around it for when you need to wait for your train, you might find a few good record stores around providing that you walk a bit. That's what I did one day. I walked a bit away from the train station and found this record store that I guessed was kind of old, I mean not from the new generation of record stores. The owner was talking to an old customer when I entered. I didn't have any specific goal, so I started browsing through the crates, mostly the funk and soul ones. 

My eyes caught the special green of a spine.

In 2010, Gil Scott-Heron released "I'm new here", his ultimate true album. I've been very intrigued by the man for several years, both the musician and the writer. That's why I bought the CD when it came out. His label, XL Recordings, soon licensed hip electro wizkid Jamie xx to release his own versions of Scott-Heron's songs from the "I'm new here" album. The single-sided 12" "New York is killing me" was one of the first vinyl record I ever bought. I purchased it while on a short stay in Baltimore, USA, and I didn't even owned a turntable at the time... 

A few months later, I was a proud owner of a crappy turntable when Jamie xx released a whole album of remixes, titled "We're new here" (another one, by Makaya McCraven has just been released in 2020, ten years after the original release). Sadly, I missed the first wave of arrivals in the bins. All I knew was that the cover was green. It became a personal quest.

For three years, I searched in vain. Prices on internet were too high, and regular record stores, even online, were out of stock. 

Until I got into this store in Paris. I recognized the spine, smiled and immediately told the store owner that a special quest had just ended for me ; I asked how he got his hands on this record. He answered with a smile : "I bought the whole remaining stock". I was shocked. This, ladies and gentlemen, is basic economics : if something is valuable, by drying out the market, the value just increases... I just didn't know record stores would apply this basic law in the vinyl business. Yes, I was naive. I didn't check the reality of his assertion. Maybe he meant the stock for France. In any case, he did owned several copies, while it was damn near impossible to find this record at this time. So, of course, the price was a bit higher than it would have been when the record first came around, but it was cheaper than on the internet and I was too happy to have it. 

Quality electro music, UK garage to be accurate. "New York is killing me" had a distinctive beat and bassline, which made it an irresistible track to me. The album contains another essential track, which most know through the sampling that was done later by Drake and Rihanna, "I'll take care of you". Overall, it's a comforting album that places the listener in a different zone... 

Gil Scott-Heron & Jamie xx - We're new here.   

Here's the album, as a YouTube playlist.

lockdown : vinyl find #24.

Before going to Munich for a weekend, I thoroughly listed the record stores I could visit. In the end, I didn't buy many records, but I found this one shop where the walls were covered with bags from record stores from all over the world. On the moment, I thought it was cool and even thought I could do this at home. Well, I won't. 

The name Philip Catherine struck me. I knew he is a reference in jazz guitar. The other two musicians however, I didn't know. The back cover informed me about the line-up : Charlie Mariano would be in charge of horns, and Jasper van't Hof of keyboards. My knowledge in jazz is that limited, yes. 

Anyway, there was something interesting about this cover, and the price was affordable. I didn't listen to the record in the store, I followed my intuition. I guess I wanted to be surprised. 

So I bought the record, only to face a dilemma when it came to file it at home. My collection is ordered by country ; I know it can sound strange, but it suits me. Here, there are three musicians, from three different countries ; even worse : it was recorded in Denmark and released by a German company. How could it be more international than this ?... Shit. I have a small jazz section, but it's all American. So, for now, the record sits with all the stateless records I have. Hell, I think I'll just file it in jazz... 

Because jazz it seems to be. But really, to me, it's impossible to identify a genre on this one. So we'll go with "fusion". Gosh, what does it even mean ? Anyway, let's settle for this : it's a beautiful record, the combined work of three genius musicians ; they all equally contributed to the music writing, with two pieces each. It really sounds like they had a lot of fun together, with apparently no guest, not even a drummer from here and there. Just them.  

Sit back, relax and enjoy the music. You're probably lockdowned anyway.  

Philip Catherine, Charlie Mariano, Jasper van't Hof - Sleep my love.

Here's the album, as a YouTube playlist.

lockdown : vinyl find #23.

Today's find was purchased around the same time as yesterday's. I think I bought it in a store called Materia Prima, in Porto, which along with other arty stuff, sells records. And considering today's pick, they had (maybe they still have) acquired tastes. 

I mean, I don't think I found this record any place else, or maybe only once. 

I've known the name William Sheller my whole life. His songs were lullabies to my ears while growing up. Pure pop music it was. One of the softest voices, a sad one, I've ever heard. It was only when I started getting interested in record collecting, and especially psychedelic records, that I heard about Sheller's first life as a classical musician. I've always liked scratching the surface, to discover what kind of background or early career musicians have had ; sometimes it's totally surprising, sometimes it's mind-blowing, sometimes it's meaningless. In Sheller's case, it was diificult at first to connect the childhood songs I knew with this work ; there's no sign of Sheller's voice on this record, although his voice is what everyone would recall of him later on in his career. The challenge made it interesting. 

Knowing Sheller's career, "Lux aeterna" falls into the category of weird records. Side A is contemporary classical music. It's religious. Side B is a different kind of mood : more avantgarde, experimental, psychedelic, tormented even ; there's even a track called "Hare Krishna"... sign of the times... it was the 1970's after all.

The cover says it was composed for Sheller's own wedding, while other sources say it was a gift for the wedding of friends. In any case, it's some unconventional music, which made this record cult. 

William Sheller keeps releasing music nowadays, but nothing of the sort. So this record is a unique occasion to dive into his complex character.  

William Sheller - Lux aeterna.

Here's the full album : YouTube.

Original pressings from the 1970's are worth several hundreds euros. The one I bought is a reissue, apparently unofficial, which does the job perfectly.   

lockdown : vinyl find #22.

A long time ago (it seems), I wrote a diggin' guide on the city of Porto, Portugal. It has been the most popular post of this blog. I'm quite glad if it helped anyone, although it must be pretty outdated now. 

In Porto, I went to this store called CD&Go. With such a name, I wasn't expecting much, but I was wrong. They had vinyl. And I scored this one. Why ? I guess because of 3 things : the cover was appealing, it's hard to go wrong with Ennio Morricone, and it was discounted. Plus one thing : the orchestra is directed by Bruno Nicolai. 

Initially published by the label CAM (which I talked about earlier on this blog) in 1968, this soundtrack has been reissued several times since, although not too many times. Discogs counts three vinyl reissues. Mine is from Get Back/Abraxas, which I know nothing about, but it didn't matter. I didn't know what to expect anyway, I went with the name. 

I know that not everything labelled Morricone is excellent, but the legend has been pretty consistent throughout his career anyway. Plus, when it goes to Morricone, I'm trying to get away from his (excellent) spaghetti western compositions, which I love but they can be found everywhere. Thankfully, many labels have embarked on a mission to reissue his more confidential productions, including this "Escalation" soundtrack. 

Good job, I would say. Because the soundtrack is awesome. Very psychedelic, containing Indian sounds, but also experimental, with raw recordings of mouth sounds, Celtic influences, choir and religious vocals, serenading chimes... And a breeze of Morricone's suspenseful groove to get you in his zone. The all album is wrapped up beautifully. To be honest, I don't care about the movie, the soundtrack is enough. A needed addition for any collector or lover of Ennio Morricone's work. 

Ennio Morricone - Escalation.

Here are a few tracks to get you in the mood.

I wonder if any collector owns the whole Morricone catalog...

lockdown : vinyl find #21.

When in Rome, act like a tourist. Wander around. Except, go to places where other tourists won't go. Parks, markets, flea markets... 

As I was walking though the park around the Saint Angelo Castle, I noticed a couple of tables. On these tables, records. Behind the tables, record dealers. The place was kind of odd, the tables were very neat, and as I glimpsed inside the bins, I notices the record selection was of the best quality and didn't look like the usual garage sale. Jazz stuff, library music, soundtracks. 

When in Rome, look for Italian records. Sure, Italian records, and especially soundtracks, are nowadays available everywhere in the world, mostly as reissues. But in Italy, there's a unique opportunity to find records from iconic labels such as CAM. 

Library music... I came accross the concept while surfing the music blogs, back in the beginning of the 2000's. Disregarded by most, qualified as "elevator music", those records were mostly promo copies back in the days, sent to radios and TV channels in order to illustrate TV shows, documentaries, and be used as jingles. Such records often offered total creative freedom to musicians, who were able to experiment and be paid for it. 

I'm realizing there's so much to say about library music, that I should stop here. 

Long story short. I found this CAM record (CAM, as I said, is a lgendary Italian label, which specialized in soundtracks and library music) in this Roman park. The record dealers were actually from an association focusing on the promotion of music. There couldn't be a better dealer... On the plastic sleeve of this record, there was a "P. Sarde" label, for Philippe Sarde. Ok, French composer of movie soundtracks, I had to take a look at the back cover, which on this type of CAM releases lists all the composers featured on the record. I was expecting Philippe Sarde to be the only composer ; he wasn't. And more surprising, he had only one track, the last one. My eye caught the other names, and they were even more interesting  : Michel Magne, François de Roubaix and Paul Misraki. All heavyweights in the league of soundtrack composers. 

The record wasn't cheap, but this list of composers and the condition of the record settled the case.

The title, "Juvenile atmosphere, joy", is exactly what you can hear on both sides. François de Roubaix well-known "Xavier à la maison d'arrêt" and "La scoumoune" are among the highlights of this record ; for those who know, the titles of these tracks are far from being happy, but the pieces have a sense of contre-pied, the de Roubaix's touch. 

Michel Magne, François de Roubaix, Paul Misraki, Philippe Sarde - Atmosphère juvénile, joyeuse.

Here are a few tracks from the record.

Advice : dive in the wonderful world of library music. 

lockdown : vinyl find #20.

For record collectors interested in psychedelic and progressive rock, Hans Pokora's books are like the gospel. They list records that are worth listening to, and owning as well, as their value is also listed. 

Most of them are way out of my league in terms of price in their original version, so I settle for reissues. That's what happened when I was in my Japanese rock streak ; I even bought unofficial reissues, which fulfilled my needs. 

Of course, I cannot learn by heart all the records recommended by Pokora, and in any case not all of them are interesting. But somehow, when I found this record by Romanian band Phoenix at one of my favorite record dealers in Toulouse, France, I knew it was worth listening. Maybe I had been intrigued by the cover some time while browsing the internet. This wasn't a bargain purchase, but I was willing to pay the 15€ to make up my mind. 

When I think about Romanian music, pan flute immediately comes to mind, thanks to the Zamfirs. But of course, that is not all. Still, this country was on lockdown for decades, so it's difficult to solve the mystery of its musical landscape, especially when it comes to non-folk music.

However, when Phoenix started, the official policy from the authorities to the musicians was to focus on folk music and traditional heritage. Which, obviously, is not what most rock musicians have in mind. But Phoenix adapted to the situation and delivered a sound that blends both worlds. Sometimes, it sounds like some Turkish music, à la Mogols. The policy could explain the obscure cover design, but the listener needs to go further and progress through the album to find some interesting content. 

Another example of politics-influenced music, although it does not seem to be politically oriented (I don't understand Romanian, but it is fair to say singing about politics would not have been a good idea at the time). 

Definitely not psych (except an intense last song), but an intriguing mix of folk and prog. 

Phoenix - Mugur de fluier.

Here's the full album : YouTube.

By the way, the city of Toulouse hosts one of the most vibrant community of record stores that I came accross in France. 

lockdown : vinyl find #19.

A business trip to Poland led me to the city of Bydgoszcz a few years ago. People promised me a boring town. That's not what I found. Immediately upon arrival, I knew I had only a couple of hours before close of business. Of course, I had previously listed the record stores (it was pre-free roaming in Europe) on paper and if I remember correctly, there were only two : one was a department store, the other one was more in tune with what I was looking for. So I ran to it, and had trouble locating it, as it was settled in some kind of basement. 

I quickly spotted the turntable available to customers. Going to Poland, my interest resided in the local music, and mostly vintage jazz, as I'd already owned a few good records of Polish jazz. So I spotted the right crate and started digging, obsessed by time. Soon, I also got obsessed by the quality of the records I was going through. The woman behind the counter turned into a digging assistant, providing advices on what should fit my tastes ; consequently, my pile just got bigger and bigger. Which meant that I wouldn't have enough time to listen. My assistant reassured me, by stating that I could stay a bit after normal close of business time. Which meant that I would potentially spend a big load of money. Everybody would be happy.

The pile wasn't only constituted of Polish records. There seemed to be quite a good network of distribution of records accross the Eastern European countries during the Cold War, so I ended up listening to music from other countries as well, especially from Czechoslovakia. 

This digging session turned out to be one of my favorite ones : I found what I had come for, I could listen before buying, the surroundings were welcoming, and I purchased a lot of good records. 

The record I picked today is from Czechoslovakia, which was easy to identify from the cover. The cover... it looked like a pyschedelic rock cover, with guys sporting big mustaches and long hair, a denim blue sleeve and... a woman. All this made me curious about what I would find inside. 

The liner notes in English made it easy to understand that this album was intended for export. The woman turned out to be called Joan Duggan (not a Eastern European name, indeed she's British), and was in charge of vocals, sung in English and written by herself. 

Branded as jazz-rock, the record starts like a psychedelic track, with a fat bass and bright keys, on which Ms. Duggan jumps with a voice made to sing soul music. Then it's more rock than jazz, but still brilliant. 

The main track on side B ("The wizard", 16-minute long) could easily be a jazz track from the 1990's. Challenging for the musicians, with vocals which could be turned into a house music track... 

Overall, more a prog/psych effort than jazz. Classy.

Jazz Q Prague - Symbiosis.

Here's the full album : YouTube.

lockdown : vinyl find #18.

Fourteen years ago, on my way out of China, I passed by Tokyo, Japan. I wasn't a record collector yet at the time, but I had in mind that one day, I would fall in that category. I was fantasizing it. I was of course already very interested in music, in various genres. The internet had helped me to increase my knowledge of obscure records and distant genres, though the forums, the P2P and the music blogs. What an era... 

As a real dreamer, I went to Shibuya, where the buildings are filled with record stores, from the bottom to the basements to the small apartments. I spent an awful lot of time in those, and I didn't even know what to look for. It was a whole new world for me, the dream. I didn't even owned a turntable ! But the whole experience was great. 

Hip-hop, but not only, was a big focus and I knew that the Jazzy Sport label (which I had discovered through DJ Mitsu The Beats and DJ Muro's mixes) started as a record store in Tokyo. So, when I found it, I started digging, searching for something cheaper than the usual, something that would filled my quest for exclusive stuff. Well, at least I thought I would feel that way... But to be honest, I felt ashamed. For knowing so few. Short version : I didn't fit. But the Japanese are so discreet and nice that they won't make you feel bad. 

Madlib was already a steady name in the alternative rap scene, and I felt that he would be here to stay. His unique approach to sound, and especially to sampling, would inspire lots of beatmakers for the following years, and to this day I was right. 

When I found this EP, it was the perfect find : it wasn't as expensive as the rest (I was damn poor so most LP's were not be considered), it wore Madlib's name, and it was kind of a rough project. The copy I bought was labelled as "sample", so it thought it would be some kind of promo version or bootleg. Only years later, I found out it was a very regular project. 

6 tracks from Madlib's archives, splitted on the two sides of a 45, straight to the point, pure rap served by heavy spitters like Wildchild, Oh No, MED, Declaime, Kazi, plus DJ Romes on the scratches. The early Stones Throw recipe. With a title that would be the name of Madlib's imprint : Madlib Invazion.  

Madlib - Madlib Invazion.

Here's the full EP : YouTube.

I proudly consider this one as the first piece of vinyl I bought with my own money. Could have been worse...

lockdown : vinyl find #17.

Back in the days, I was going camping from time to time. All I had to do was to choose an area on the map, then drive to it. The only criteria was that it shouldn't imply days and days of driving to get there, and it should be big enough with woods to spend four to seven days exploring the area without getting bored. 

So, one day my finger pointed at the region called Morvan, in France. Very rural, not very populated, with a few noticeable sites for visiting, and a bit of wild. It was the end of spring, maybe the beginning of summer, the weather was perfect to camp and hike. 

But while driving around the area to simply go from one site to another, I stumbled upon a few good surprises : flea markets. It was indeed the best season. Some of them were huge and attracted big crowds from all around. I remember buying a lot of records, sometimes even entire lots when people wanted to get rid of their records as soon as possible. 

Back then, I had another recurring tip : charity shops. They were unloading records for cheap. When I was crossing a bigger town, I saw the sign of one of those charity stores and immediately diverted my course. It was even better than expected. Usually, there was a bit of competition, even very limited, for records. This day, at this place, there was absolutely none, nobody cared. 

I found the first album by Béatrice Tékielsky, not knowing the first thing about her. I didn't own a smartphone back then, applications were almost non existent, so I had to go with my intuition. The cover told me about a serious record, not especially yéyé, but something conceived with rigor. The credits told me it was folk music : guitars, bass (including an electric bass), piano, organ, flutes, drums. Very folky. And it told me vocals would be the main focus. 

So I bought it, and it was exactly what I imagined. Serious lyrics over discreet music, both from Mrs Tékielsky. 

Later on, I learned that Béatrice Tékielsky had a career under the Mama Béa moniker, and enjoyed quite some success in the alternative/avant-garde scene of the late 1970's-1980's. Although not his best effort, "Je cherche un pays..." could have launched a decent career... but it apparently didn't. There's indeed a 5-year hiatus between this album and the following one, which she released under the new name of Mama Béa Tékielsky. 

"Je cherche un pays..." offers a soft sound, a trembling yet powerful voice, while Mama Béa's following albums would display a rage. What happened during those 5 years, I do not know. But if you pay enough attention to the lyrics of this first album, it already indicates which direction Mama Béa would later take and which message she would voice. Deep down she was already a rebel. 

Béatrice Tiékelsky - Je cherche un pays...

Here are a few songs from this album of chanson française... in no particular order.

At the end of my trip, needless to say the trunk of my car was filled with records.

Pi-Pol - R&¶

Every single time, it's a blessing.

Yes, Pi-Pol released another project on his Bandcamp. This time, it is a collection of R&B/Nu-Soul remixes, and please believe it, it is that good : "R&¶".

Expect banging drums and fat basses to optimize the voices of D'Angelo, Alicia Keys, Dwele, Jill Scott, Erykah Badu, etc. 

Silky as the cover.

Travel back into time... now back to the future.  

lockdown : vinyl find #16.

Most people from my parents' generation know Galt McDermot's music without even knowing his name. They know the musical "Hair", but ignore who was the author. 

I heard about McDermot not as the brain and hands behind "Hair", but as the guy who had been sampled by Handsome Boy Modeling School (Prince Paul + Dan The Automator) for the song "The truth" (on the "So... how's your girl" album, which, to be honest, would deserve a post as well), and from the day I heard this track, I had to know more... so it became a quest. 

Perhaps Galt McDermot was smarter than most of his peers, perharps he just felt that need to release his own music without compromise, the fact is his most significant music pieces were released on his own imprint, Kilmarnock, which seems to be still active today (although very quiet), after his death.

The Kilmarnock original pressings are pretty damn impossible to get in a regular European record store, so ten years ago, when I was eager to get my hand on McDermot's records, I had to settle for reissues. Which was fine to me ; at the time, they were very cheap, and still made by Kilmarnock. 

Having spent part of his life in Africa, McDermot's music, although comparable to smooth jazz (before it was called that), adds a different groove to it. Which is probably why it managed to travel through time...

In the 1990's and at the beginning of the 2000's, Galt McDermot was rediscovered by diggers, and beatmakers used his work to craft memorable beats. Madlib and his clique (notably his brother Oh No) even collaborated with him, proving Galt was a very open-minded person. Surfing on that re-fame, Kilmarnock released two volumes of previously unreleased tracks, which contain absolute gems, that everyone should listen, plus other old albums, such as the one I'm blogging about today.

What this album has to offer is a piano-bar feel. Galt is on the keys, accompanied by a guitar player, a bass player and... Bernard "Pretty" Purdie on drums. It contains this absolute beauty that is "Coffee cold", where Purdie provides his magic behind Galt's display of sensitivity. Highly sensual. But it would be a mistake to only listen to this one track... 

Galt MacDermot and his mid Manhattan rhythm section - Shapes of rhythm.

 Here's the album, in full.

Egon (from Rappcats, Stones Throw, Now-Again etc.), who contributed to the rediscovery of Galt McDermot's music with his friends Madlib, J Dilla and Oh No, wrote a fine obituary after McDermot passed in 2018. Definitely worth a read of you want to know about his life and works.   

lockdown : vinyl find #15.

When I started collecting, I gathered a lot of information on the psychedelic record scene, mostly from the past. I quickly realized that a lot of those psychedelic records were expensive. With the info I could get from the internet, I started looking for a few key records, knowing it would be difficult at first. And it had been. 

One day, I happened to visit a huge flea market that was held on the parking lot of a supermarket in Brest, France. My only interest was in records, so I only focused on the people who had records to sell. I went twice to the same couple who had records lined up in crates on the floor. There was a crate of average records. In another one, among the better records, I found "Allée des tilleuls" by Edition Spéciale. That record had been on my list of French psychedelic records, and I knew it could potentially be expensive. I asked if the tag on the plastic sleeve was the price, and it was. So, for 30€, here how one my first real quests ended. The sellers knew how good and rare it was, and we started talking ; I told them I was surprised that it was not more expensive, to which the guy answered that he preferred that it would go for an average price to someone who really knows what it is. I guess I was that someone...

What can I say about the album ? Gosh... magnificient arrangements, in an intermediate way between progressive rock and psychedelism. There's even some funk in the instrumental parts. Some brand it as jazz rock. The vocals are not as pleasant, as they sound more amateurish than the music, but it doesn't ruin the record, as all along, the chemistry between the musicians make it a well-crafted album. 

Edition Spéciale - Allée des tilleuls. 

  

Here's the full album : YouTube.

Originally released by the major United Artists Records, it has since been reissued by Golden Pavilion.