TEENBEAT !

After the success of their Emerson, Lake & Palmer bootleg boxes, Sanctuary Records approached Tangerine Dream in hopes of releasing similar sets, starting with the band’s early years. Problem was the Dream didn’t have many tapes of their early years, so they had to turn to their fans. The result, The Bootleg Box Set, Vol. 1, is sourced from the Tangerine Tree, a series of radio and audience recordings that had previously been distributed freely among fans — with the band’s consent — through the Internet and snail mail. If you’re a fan who’s hardcore enough to lay down the cash for a seven-disc set where the sound quality varies greatly, chances are you have this in its original Tangerine Tree version, plus the three extra shows that aren’t included here. (Tree owners at least get some new artwork that mimics the old logo for bootleg label Swinging Pig, plus the satisfaction of knowing some money has reached the artist.) For fans who are not Internet-savvy and can’t tell a B&P from an FTP, the commercially released version makes for an easy way to bliss out to what many consider the band’s golden age. The tracks here feature the band at their improvisational best, with each member feeding off one another and the unwieldy nature of early synths adding some extra unpredictable energy. The 20-minute-or-so jams offer more of a surreal landscape than the sterile futurism of later years and the occasional dissonance will be surprising to newcomers, especially when Edgar Froese reaches for his screaming guitar. You also get to hear Ricochet without the overdubs (the Croydon gig) and a rare show with Michael Hoenig on keyboards (the London gig). Great stuff, but tolerating subpar sound quality on about half the set will be the deciding factor for most. Gigantic thuds of bass turn muddy and fuzzy, tapes get garbled and bumpy, and a fan who claps rhythmically during a beatless improvisation is especially annoying (put the headphones on and you can hear someone telling him to “shut up”). Until Froese is willing and able to dig up some source tapes for these years (not likely), this will have to do. (David Jeffries, Allmusic)

Originally composed in 1978, the ultra classic synthesizer-disco-pop album “Pacific” by Frederic Mercier is finally being given its due credit. Appearing on many DJ playlists and even more collector’s wishlists, it has not been easy to find copies of his work. This debut album from Mercier not only shows his true talent, diversity but also why his music so sought after to this day. From the slo-mo cosmic classic “Spirit” to the french electronic pop sound of “Station 713”, Mercier plays a beautifully orchestrated album of Moog filled space anthems. These selected songs will take you back on a journey to France in ‘78 with a smile on your face the entire time. Recommended for DJs and fans and of the french cosmic sound, library disco, and outerspace instramentals. (Mellophonia)

Chrisma (and later Krisma) were a kind of early Italian incarnation of Moloko. Both are boy/girl combinations making slightly wacky albums, where the focus is more on style and a certain weird cool image rather than being musically very interesting. The band-name is constructed from the first names of Christina Moser and Maurizio Arcieri, who also claim a punk-influence when starting out with the band in 1976. Well, maybe…we’ll have to take their word for it, as it certainly doesn’t show up in their music, which is more like synth-pop. Which brings us to the Vangelis connection, the nature of which has been a hot topic in Vangelis-related discussions for years. Apparently, Polydor’s Italian branch signed the group after which they were contacted by Niko Papathanassiou (Vangelis’ older brother, who was employed by Polydor at the time) who proceeded to be involved in their first two projects “Chinese Restaurant” and “Hibernation” as arranger, producer and multi-instrumentalist. Niko persuaded Vangelis to lend them his Nemo studio during the 1977 summer holiday period to record what would become the “Chinese Restaurant” album (although the finishing touches were applied in a Milan studio). Vangelis’ regular engineer at the time, Keith Spencer-Allen, helped out technically and computer-narrated the final “Thank You” track, his then girl-friend Veronique Skawinska took the large number of photographs featured on the gatefold-sleeve and Niko was allowed to use his brother’s synthesizer set-up. That, in all likelihood, is the whole story, because if indeed Vangelis played some of the music himself, it is inaudible. The only real candidate for this anyway is the track called “Lycee” which at least obviously uses his instruments (slight echoes of “Beaubourg” here). But the actual, rather hesitant-sounding playing on it doesn’t bear Vangelis’ signature unless, extremely unlikely, he really didn’t put his mind to it or something. The other tracks don’t sound like they even used the Nemo instruments, or at best only occasionally. Vangelis switched to Polydor himself the next year (continuing the “China” theme for his first project there) and asked Christina and Maurizio to return the favour on his 1980 “See You Later” album, where apparently they provided the Italian lyrics and voices at the end of “Suffocation”. Interestingly, that album is almost Chrisma-like in its wackiness, so it could well be a fair guess that, over the course of all those Chinese dinners, they might have talked Vangelis into doing something different on the rather odd “See You Later”. At least on that album there’s some decent music, which can’t really be claimed for “Chinese Restaurant”. The whole affair sounds rather bland, neither Christina nor Maurizio (who obviously took a leaf out of the book of Fleetwood Mac’s Lindsay Buckingham) are great vocalists, and the song-material is average at best. “Lola” is a decent song, the mere usage of Vangelis-sounds is enough to inject a bit of atmosphere in “Lycee” and poor Keith Spencer-Allen must have been bribed (“2 Chinese meals for free !”) into parodying his contribution to “Albedo 0.39” on the final “Thank You”. But this band was always more to do with style than content, and probably succeeded there. (Ivar de Vries)

As if the sound is breaking through your speakers, Alpha Centauri begins its journey. Crackling and swirling synthesizers seize control of your stereo. Like a call to psychedelic arms, the first track “Sunrise in the Third System” marches on with its organ. The mixing of the three tracks found on Alpha Centauri leaves something to be desired, in that the tracks are not mixed the way they would be today with each track endlessly flowing into the next like a stream. Nonetheless, when one is not paying too close attention to such details, the album seems to flow quite smoothly. The sound is not of the highest standards either, as should be expected, this being a 1971 release of “space music.” Tangerine Dream’s style of “space music” had not yet been refined and revolutionized as it was a couple of releases later with Phaedra and Rubycon. Regardless, for those interested in a wilder and more reckless ride on the “space music” autobahn, Alpha Centauri should satisfy the need. (Allmusic)

INVISIBLE GIRL, is a great Cd about a beautiful,powerful girl going places,and flying wherever she wants, without any limits. It’s a great song, with fantastic lyrics and melody. It’s got a lot of humour. Singer Songwriter Entertainer ICY SPICY LEONCIE will make your temperature rise in more ways than one. The funniest song on this cd is the Pink House. It was really hilarious that this “pink house” changed it’s colour overnight from Pink to Yellow, when the radio stations began playing this comedy hit. Some people just can never mind their own business,and had to poke their noses into Leoncie’s music business. So….this song Pink House was created and such a great laughter it is. There are many great hits on Invisible Girl including SEX CRAZY COP …Now that’s a great Hit with almost everyone who listens to it. Leoncie laughs when asked about SEX CRAZY COP. “He’s Cool is the reply”. He’s Goodlooking, Danish and very very randy. This cd was recorded and mixed in several different countries. Leoncie says that she chooses very carefully who she works with, and has not time for Racists, Junkies, drunks or satanists. Leoncie’s Powerpacked, Fun filled music is for everyone, young and old alike and for the very wise. (writeup on CD Baby)

Disco Club by Black Devil is a sinister electro-disco artifact that was issued on vinyl in at least two countries — Italy (Out), France (RCA) — during the late ’70s. Since then, it has become such a prized truffle that people have been willing to part with over 150 dollars in exchange for an original copy. Metro Area’s Morgan Geist wanted to make the release available again on his Environ label, which has been reissuing long-forgotten singles through its Unclassics series. Rephlex beat Geist to the punch. Making matters curious: around the same time, Rephlex released Kerrier District, a project from Luke Vibert that’s heavily indebted to labels like Environ and Balihu, not to mention this particular 12”. Each of this 12“‘s like-themed tracks are credited to Joachim Sherylee and Junior Claristidge, two unknown producers who were at least a couple years ahead of the disco-morphing-into-house game. None of the six tracks — with plump rhythmic elements, dense construction, and shadowy vocals as common traits — would be out of place on the Strut label’s Disco Not Disco compilations, though we are most definitely talking about disco here. As indicated by the namesake, a dark spirit is present at all times. Even if it weren’t conveyed in the ominous chords and pitch-black fallout-shelter atmosphere created by the production values, the vocals contribute plenty of unease on their own. Most of the time, they make a wordless scat (“Deedit, doodee dee deedit”), or they’re unintelligible, sounding as if the vocalists were cloaked by a thick blanket while in the recording booth. The tracks aren’t terribly different from one another; they’re more like variations of one original mix, but the entire thing remains very susceptible to full play-throughs. Anyone with a remote interest in electro-disco, whether it’s through elders Klein + M.B.O. or younger goofs like Legowelt, should find some time for this.

Classic space disco album from 1977, produced by Sauveur Malla & Pierre Alain.

The Units have their debut album “Digital Stimulation” released by 415 Records. It features new versions of their previously released single sides “Warm Moving Bodies”, “Cannibals”, and “cowboy,” plus the new tracks: “High Pressure Days,” “Go,” “Mission,” “Bugboy,” “Tight Fit,” “Passion Or Patterns,” “Town By The River,” and the title track, “Digital Stimulation.” They’re unusual in San Francisco underground in that they are one of the few synthesizer bands around. While the band plays, an array of found film, slides and projections whirr away to provide a distractingly psychedelic light show. The new album is possibly one of the most cheaply recorded albums in West coast history. The band had a limited budget to work on when they signed with 415 Records. They seemed to think they’d need about a hundred hours of studio time to record the LP and at $75-$200 an hour that adds up fast. By chance that happened to have a friend who was working with a studio that had just installed a 16 track deck they needed to learn to work. The band could use the facility for only $19 an hour! The total recording session took about two months and now the results are in the stores. The germ of the band is Scott Ryser who began playing synth on stage in 1973 when he was part of a glitter band called Ace Jet. Also in the Units you’ll find bass synthesizer player Rachel Webber and drummer Brad Saunders. Saunders actually traveled to Africa to study percussive interests and tries to work in unusual beats and patterns where he can. He told a BAM reporter that, “…when you listen to recordings of African music, you can tell that the people are happy. I think that’s important. The Units have more of a party, folksy attitude. It’s music for the whole person, not just for the brain.” Since this album was recorded, they’ve also been joined by a fourth member, classically trained percussionist Jim Reynolds.

Units - High Pressure Days

After hearing late-’60s rock & roll from his friend Chris Kachulis, Bruce Haack added acid rock to his already diverse sonic palette. The result was 1970s Electric Lucifer, a psychedelic, anti-war song cycle about the battle between heaven and hell. The underlying concept of this concept album is “Powerlove,” a divine force that not only unites humanity but forgives Lucifer his transgressions as well. But though this album extols the healing powers of peace and love, Electric Lucifer uses often menacing music and lyrics to get its point across. “War” depicts the battle royale between good and evil with a martial beat and salvos from dueling synthesizers; a child’s voice murmurs “I don’t want to play anymore, ” and a funereal synth melody replaces the electronic battle march. Haack’s marriage of rock rhythms and his unique electronics creates a sound unlike either his previous work or the era’s psychedelic rock, but songs like “Incantation” and “Word Game,” with their percolating beats, buzzing synths and vocoders, are much trippier than most acid rock. The strangely forlorn “Song of the Death Machine” sounds a bit like a short-circuiting HAL singing “My Darling Clementine,” while “Word Game” features cool, dark electro-rock and brain-teasing lyrics like “Ray of sun/Reason/Knowledge/No legends.” Kachulis sings on both of these tracks, and his deadpan vocals complement the weirdness going on around him nicely. His involvement with Electric Lucifer also includes aiding the album’s release on Columbia Records; though it was Haack’s only major-label release.

Bruce Haack - Program Me

After several graph compositions and early pattern pieces with jazz ensembles in the late ’50s and early ’60s (see “Concert for Two Pianists and Tape Recorders” and “Ear Piece” in La Monte Young’s book An Anthology), Riley invented a whole new music which has since gone under many names (minimal music — a category often applied to sustained pieces as well — pattern music, phase music, etc.) which is set forth in its purest form in the famous “In C” (1964) (for saxophone and ensemble, CBS MK 7178). “Rainbow in Curved Air” demonstrates the straightforward pattern technique but also has Riley improvising with the patterns, making gorgeous timbre changes on the synthesizers and organs, and presenting contrasting sections that has become the basic structuring of his works (“Candenza on the Night Plain” and other pieces). Scored for large orchestra with extra percussion and electronics, some of this work’s seven movements are: “Star Night,” “Blue Lotus,” “The Earth Below,” and “Island of the Rhumba King.”

Terry Riley - A Rainbow In Curved Air