Jean-Bernard Raiteux “Les Demons” 1973 France Soundrack,Psych,Avant Garde,Folk,Pop

Jean-Bernard Raiteux “Les Demons” 1973 France Soundrack,Psych,Avant Garde,Folk,Pop

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In 1973, legendary Spanish independent filmmaker Jess Franco made an X-rated version of The Devils meets The Witchfinder General, spawning this as-yet-unreleased masterpiece of funked up, wah-driven pornadelica. Ominous piano chords and funereal organs (The Inquisition) give way to wig-out jazz funk of the title and then it’s into the fluid groove of Kathleen Writhing. Taking in psychedelia, folk and pop on the way, Les Demons is the motherlode of vintage Euro-porn soundtracks. ….~

If that creepy cover image alone isn’t more than enough to make you want this record, the magical music within will certainly tip the balance! Jean-Bernard Raiteux may be best known for his French funk sounds in the Harlem Pop Trotters, but he’s even more weird and wonderful here – turning in a wickedly groovy score for Jess Franco’s film Les Demons (aka The Devils), with trippy sounds that are every bat as great as the music used in Franco’s classic Vampyros Lesbos! The music has currents of jazz, funk, and psych – often all operating at once, with cool keyboards, fuzzy guitar, and lots of these fluttering flute lines that almost sound like Harold McNair or Roland Kirk on acid – blowing their minds, as they blow their minds out through their reed instruments too….Dusty Groove…~

The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronised by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos/De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere (Sinner/Harlem Pop Trotters) and presented here in full soundtrack form for the first time. 

Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. 

Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. 

Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. 

Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art. 

Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of De Sade (FKR069) this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. 

UNDERground, OVERambitious, RIGHT on, LEFTfield, BELOW the radar but ABOVE criticism. INdulgent and OUTrageous, but never middle of the road, Jess Franco was many things but he wasn’t pretentious and never delivered art for art’s sake and I feel honoured to have spent time with him. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal……~

Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of ‘De Sade’, this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. 
“Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. 
Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art.”

Tracklist 
A1 The Inquisition
A2 Les Démons
A3 Kathleen Writhing “Kathleen”
A4 The Weakness Of Rosalinda “Melodious Modulation”
A5 The Visit / Margaret’s Hallucination
A6 Three Serpents To Karen’s Dwelling
B1 The Second Inquisition
B2 A Witch’s Daughter?
B3 The Seduction Of Winter “The Last Frolic”
B4 Kathleen & The Horses
B5 The Stake
B6 Kathleen & The Serpents 

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Tim Maia “Tim Maia” 1973 Brazil Soul Funk MPB

Tim Maia “Tim Maia” 1973 Brazil Soul Funk MPB

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A great step forward for the legendary Tim Maia – working here in a style that’s even tighter and more sophisticated than before – yet still equally filled with funk and soul! The arrangements are a bit bigger than before, and the production a bit more professional – but that change only brings Tim into even more heavenly soul territory – with a mix of grooves and strings that lays somewhere between the best early 70s work on labels like Curtom or Motown! Tim’s got a new sense of majesty on the album – and also sings in English in a few spots – at a level that makes us wonder why he was never able to crack the American soul market at the time. An essential record from the man who brought American soul music to Brazil – with tracks that include “Over Again”, “New Love”, “Balanco”, “Reu Confesso”, “Preciso Ser Amado”, “Amores”, and “Do Your Thing Behave Yourself”…..~

The fourth studio album from legendary singer and composer Tim Maia is a masterpiece of soulful pop and contemporary Brazilian styles, exemplified by the hit “Gostavo Tanto De Você” and the gorgeous English-language “Over Again,” a gem of sunshine soul. The influence of Memphis is evident in the Booker T-esque instrumental “Amores” and the swamp funk of “Do Your Thing, Behave Yourself” and “Balanço,” while the timeless classic “Réu Confesso” showcases Maia’s songwriting skills in a samba-soul standard….~

In 1973, 4TH album where Seoul color became stronger. It is also famous for including the classic of Brazilian · soul such as Classical “REU CONFESSO” and “GOSTAVA TANTO DE VOCE” at the beginning. “PRECISO SER AMADO” singing with a guitar, musical songs such as mid funk “COMPADRE”, “OVER AGAIN”, “NEW LOVE”, “DO YOUR THING, BEHAVE YOURSELF” with bass drums, “Psych · Funk Instrument Until "AMORES” …. His fans know that he devoted himself to a cult religion and founded his own label “SEROMA”, but this work is a piece at the height of his creation just before that. It is a masterpiece in masterpiece that there is a direction that makes this work his best masterpiece…..~

One of the greatest singers in the history of Brazilian music, Tim Maia launched his fourth studio album in 1973. With some of the greatest successes of the career of the Rio hitmaker, such as “I Confess” and “I Fond of You”, the album returns this year to the shelves in vinyl of 180 grams, by the “Clássicos em Vinil” collection of Polysom. 
The album, recorded in Rio de Janeiro, was produced by Tim Maia, who also signs the arrangements with Waldir A. Barros. The 12 tracks are written by the singer, with the exception of “Peace in My World Are You” (Mita) and “I Like You So Much” (Edson Andrade). The album features Tim Maia’s unmistakable style and voice from start to finish!…..~

Polysom is reissuing some of the most valuable treasures of Brazilian music, most of which are virtually untraceable to date at reasonable prices in their original format. Only available in vinyl, we will find here artists including Jorge Ben, Verocai Arthur, Gal Costa, Tim Maia and many others……~

Brazilian Soul Legend. The fourth studio album from legendary singer and composer Tim Maia is a masterpiece of soulful pop and contemporary Brazilian styles, exemplified by the hit ‰ÛÏGostavo Tanto De Voc̻‰۝ and the gorgeous English-language ‰ÛÏOver Again,‰۝ a gem of sunshine soul. The influence of Memphis is evident in the Booker T-esque instrumental ‰ÛÏAmores‰۝ and the swamp funk of ‰ÛÏDo Your Thing, Behave Yourself‰۝ and ‰ÛÏBalan̤o,‰۝ while the timeless classic ‰ÛÏR̩u Confesso‰۝ showcases Maia‰۪s songwriting skills in a samba-soul standard……~

Amazing 1973 album from the legendary Brazilian singer and composer Tim Maia. ….~

Born in Rio 42 in the mid-1960s, he went to America to study music, after returning to the country, he became active in the Brazilian scene and established the soul scene of Brazil, the biggest contributor: Tim Maia. 
Tim Maia’s masterpiece album of 72 years, which also performs songs from songwriting, songs, guitar and percussion instruments and many other instruments……~

The two titles of this album that attracted me most are the first, “Réu Confesso”, and the last one, “Amores”, a pretty nice Blues Rock. I admit that the remaining 10 tracks were quite boring (except maybe “Balanço” and his guitar Folk-Blues). This Tim Maia (1973) is a continuation of his previous works, Tim Maia (1971) and Tim Maia (1972), but he is sorely lacking in variety. Tim Maia (1972) was quite varied and rather interesting. The register of Tim Maia is still Soul but with less Funk than before. The compositions are generally of average quality, quite consistent with the cool soul of North America. Strangely, the songs sung in English are a little better than those sung in Portuguese. Tim Maia (1973) is a rather disappointing album and rather minor in the work of Tim Maia….~

Maia has at least - at LEAST - five albums on Polydor, all self-titled, all featuring his big bear visage on the cover. Seriously, what’s up with that? Would it kill Maia to have actually NAMED his albums? Maybe help the rest of us poor saps figure out what’s what? Of the five Polydor LPs I’ve heard, this is the only one that I felt like really had some solid heat, namely “O Balanco”, one of the funkier cuts Maia rolls with. Snappy rhythm, funky cow bells ana vocals that don’t sound like Maia is trying to be the Brazilian Tom Jones. Just as back-up, he also includes a decent soul cut in “Do Your Thing, Behave Yourself” and another funky slice on “Amores”. Just remember, it’s the Polydor cover with “Tim Maia” written in red and he’s standing up in a blue shirt and…oh…you’ll probably have to get all of them and sort it out from there. Good luck…..~

Considered one of the greatest voices in Brazilian music history, Tim in 1973 released his fourth LP in studio and again taking his own name as a title. The album was recorded in Rio de Janeiro and produced by Tim Maia himself, carrying hits such as “I Like You So Much”, “Peace in My World Are You” and “I Confess.” 
The lp is back on the shelves of the stores by Polysom’s “Clássicos em Vinil” collection, in a 180 gram premium reissue from the original analog tapes. 
The re-launch of the Tim Maia lps meets the desire of its fans who were disputing the high prices of their rare lps in the Brazilian market. It is one of those albums that can not miss in a collection of Lps of Brazilian music. Viva Tim!……~

One of the greatest singers in the history of Brazilian music, Tim Maia launched his fourth studio album in 1973. With some of the greatest successes of the career of the Rio hitmaker, such as “I Confess” and “I Fond of You”, the album returns this year to the shelves in vinyl of 180 grams, by the “Clássicos em Vinil” collection of Polysom. 
The album, recorded in Rio de Janeiro, was produced by Tim Maia, who also signs the arrangements with Waldir A. Barros. The 12 tracks are written by the singer, with the exception of “Peace in My World Are You” (Mita) and “I Like You So Much” (Edson Andrade). The album features Tim Maia’s unmistakable style and voice from beginning to end…..~

Credits 
Acoustic Guitar, Arranged By, Mixed By, Producer, Vocals – Tim* 
Backing Vocals – Edinho*, Genival (2), Gracinha*, Amaro*, Paulo Smith, Sheila Smith (3) 
Baritone Saxophone – Maurilho Faria 
Bass – Barbosa (2) 
Congas, Percussion – Ronaldo* 
Cowbell – Mita* 
Drums – Myro 
Lead Guitar – Paulinho (7) 
Organ – Pedrinho (5) 
Piano – Cidinho* 
Tenor Saxophone – Aurélio Marcos 
Trombone – Edmundo Maciel 
Trumpet – José G. Amorim 
Trumpet, Arranged By [Strings] – Waldir De Barros 
Tuba – Carlos Gomes, Zdenek Swab* 
Twelve-String Guitar – Neco


Tracklist 
A1 Réu Confesso
A2 Compadre
A3 Over Again
A4 Até Que Enfim Encontrei Você
A5 O Balanço
A6 New Love
B1 Do Your Things Behave Yourself
B2 Gostava Tanto De Você
B3 Música No Ar
B4 A Paz Do Meu Mundo É Você
B5 Preciso Ser Amado
B6 Amores

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Tim Maia "Tim Maia" 1977 Brazil Soul,Funk,MPB 

https://johnkatsmc5.blogspot.gr/2018/05/tim-maia-tim-maia-1977-brazil.html

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Tim Maia "Racional Vol 1" 1974 + ‎"Racional Vol. 2" 1975  Brazil Latin Psych Soul Funk Rock

https://johnkatsmc5.blogspot.gr/2017/05/tim-maia-racional-vol-2-1975-mega-rare.html

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Tim Maia “Nobody Can Live Forever: The Existential Soul of Tim Maia" 70`s Brazil Psych,Gospel,Funk,Soul

https://johnkatsmc5.blogspot.gr/2016/10/tim-maia-nobody-can-live-forever.html

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Pacific Express "Black Fire" 1976 South Africa Jazz Funk,Latin, R&B, Soul, Pop Fusion

Pacific Express  "Black Fire"  1976 South Africa Jazz Funk,Latin, R&B, Soul, Pop Fusion

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Matsuli Music re-issue ‘Black Fire’, the 1976 debut album of legendary Cape Town jazz funk band Pacific Express. This album is hard evidence of that 1976 musical moment in which Pacific Express forged an entirely new South African sound and musical identity out of what was ‘Cape Town Jazz’, Latin, R&B, soul, pop and fusion…..~

Pacific Express come roaring back from 1976 South Africa with the reissue of their debut Black Fire. They created a fiery, pioneering sound which cooked together a potent stew of Latin, R&B, soul, pop, rock and jazz. The blend was irresistibly funky with a militant swing; the mood was defiantly upbeat and optimistic in the face of the troubles of the time. Remastered LP on Matsuli….~

This album is hard evidence of that 1976 musical moment in which Pacific Express forged an entirely new South African sound and musical identity out of what was ‘Cape Town Jazz’, Latin, R&B, soul, pop and fusion. 
From the political heat of 1976 come the militant, upbeat and irresistible funk tracks Black Fire and Brother - where singer Zayn Adam calls out for hope and optimism in spite of present difficulties. The pace moves down a gear for heart-felt ballads and Latin-tinged jazz instrumentals. Group leader Chris Schilder, after his deep jazz beginnings with Winston Mankunku Ngozi and the cream of Cape Town’s jazz crop had already spent some time with seminal black fusion group The Drive in the early seventies. Black Fire lays down a fusion of jazz funk and soul that was later picked up on and developed by Spirits Rejoice and others. 

Black Fire presents the core repertoire that made Pacific Express the resident band sensation they became at the Sherwood Lounge in Manenberg, Cape Town in the mid-seventies. The ‘coloured’ township of Manenberg – about 20km away from Cape Town’s city centre, and cut off from the black settlements of Gugulethu and Nyanga by a railway track – had been officially established in 1966, based on the apartheid regime’s belief that what they defined as different “racial groups” could not live harmoniously together. Residents had been forcibly removed from and ‘relocated’ from the various suburbs now being allocated to ‘white’ people. Manenberg and surrounds were “quite a rough place” reflects Chris Schilder (now Ebhrahim Kalil Shihab). “But the Sherwood Lounge was located close to the highway, so people could come in without getting mixed up in whatever was a happening on the streets. And once we opened – people flocked.” 

Matsuli Music is proud to add the debut album of this Cape Town ‘supergroup’ among our growing catalogue of high-quality re-issues of classic South African afro-jazz on vinyl. New liner notes from acclaimed jazz historian Gwen Ansel claim this album as the first successful confluence of multiple styles delivering a uniquely South African but also globally accessible new musical expression. …~

Credits 
Arranged By [Horns] – Robbie Jansen 
Bass Guitar, Vocals – Paul Abrahams 
Drums – Jack Momple 
Guitar, Vocals – Issy Ariefdien 
Lead Vocals, Percussion – Zany Adams* 
Tenor Saxophone, Flute – Basil Mannenberg Coetzee* 
Trumpet, Alto Saxophone, Flute, Lead Vocals – Robbie Jansen (tracks: A1, A2, A4, B2, B3)

Tracklist 
A1 Brother 5:00 
A2 Feelings (Deep In Your Heart) 5:15 
A3 Sky Ride II 5:40 
A4 Heaven (I’ve Found In You) 5:10 
B1 Black Fire 3:35 
B2 You’re Everything 3:30 
B3 Love Your Baby Right 4:10 
B4 Wind Song 5:35 

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