Prince and The Revolution – Mountains & Alexa de Paris (1986 12″ extended remix)


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Prince and The Revolution
Mountains 12″ extended remix
1986 Warner Brothers 0-20465

45 RPM 12-inch single

Side 1
Mountains (9:56)
Side 2
Alexa de Paris (4:56)

Vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed with Click Repair (manually auditioned) and individually with Adobe Audition 3.0; resampled using iZotope RX 2 Advanced SRC and dithered with MBIT+ for 16-bit. Converted to FLAC in either Trader’s Little Helper or dBPoweramp.  Tags done with Foobar 2000 and Tag and Rename.


In Matt Taibi’s eulogy for Rolling Stone magazine, he mused that maybe the world had grown too angry of a place for Prince.  After waking up to today’s news headlines from Orlando, and having done some work on this post over the last few days, I keep thinking about that and wondering if maybe he’s right.  Who is going to write celestial tunes like this one, when we need them most?

Love will conquer if u just believe


I think I can measure how important the “Parade” album was to me by the fact that it was the last of Prince’s classic back catalog hat I listened to after his death.  It’s like I had to work myself up to it.  For one thing, it ended up being a swan song for this phase of Prince’s creative arc, as he dissolved The Revolution afterwards and lost a little (but not all) of the dreamy gauze of psychedelized folk-funk that took place in that unique musical alembic.  As great as the music still to come would be, I recall being distinctly bummed out when I heard that he’d fired nearly everyone.  “Parade” also marks the introduction of more pronounced jazz influences into Prince’s music, helped along by the presence and influence of Eric Leeds and Sheila E. There’s an art-house aesthetic going on too, with the monochromatic cover art (and film, which I didn’t see for years until after the record came out)… But let me save some of this energy for a full post on the Parade album (is that a promise? Sort of, I’m notoriously bad about keeping my promises here..) and get to talking about this single.

Mountains (extended mix)

Co-written with Revolutionaries Wendy Melvoin & Lisa Coleman, the  song “Mountains” encapsulates a lot of what I find so enchanting about the record.  For whatever reason, after the news of April 21 broke, it’s the song I wanted to hear.  “Sometimes It Snows In April” occurred to me instantly,  but it seemed almost too obvious, and anyway I wasn’t ready to hear it yet.  “Mountains” for me always embodied the warmth and transcendence that Prince & The Revolution were capable of at their best.  It’s truly one for the purple hippies out there.  Propelled by a Mu-Tron modulated bass riff and chugging rhythm guitar, it has an implied drone through it, which emerges fully with a tamboura-type sound at the three and 1/2 minute mark, after the bebop-inflected instrumental bridge.  On live bootlegs from 86, you can hear that they would often precede the song by an extended faux-Indian drone using this synth patch.  Prince plays finger cymbals on the tune.  The lyrics, which can be a little hard to make out as his falsetto gets enveloped by the sonic mountains, are cryptically mystical ‘love conquers all’ stuff.  In the music video he is seated cross-legged on a carpet in the middle of the band with a pair of maracas, wearing his bolero hat.  At this point Prince was a master of mid-tempo funk, and this tune lopes along like some sort of troop formation marching through the valleys of Neptune for an assault on the Holy Mountain or something else suitably epic.  The single immediately preceding this one from Parade was the number one smash Kiss,  and the lush soundscape here contrasts sharply with that tune’s austere minimalism.  In comparison this song did poorly on the charts, only reaching 23 on the Billboard Hot 100, and some fans blame that for an even worse chart performance of the next single,  Anotherloverholenyohead, with some arguing that the latter is a better song and should have come first.  I can see their point.  From one perspective, “Anotherlover” is perhaps a more immediately engaging song, a bit more melodically and rhythmically complex than “Mountains,” and it definitely has more dynamic tension.  In fact I always thought “Mountains” was the last single released from the record, maybe because it has a ‘coda’ kind of feel to it, like it should be at the end of a cycle (hell, it plays during the final credits of Under the Cherry Moon, so apparently they felt it worked as a coda too).

The extended version features Eric Leeds playing some saxophone solos worthy of the Parker Brothers (Charlie and Maceo), and some choice trumpet breaks by Atlanta Bliss.  A brief, fat-tone-with-the-treble-rolled-off jazz guitar solo bubbles up out of nowhere and quickly disappears.  There is some kind of wood flute piping out riffs that sound like some lost Traffic jam.  Dr. Fink gets to drop a few squalls of synth leads.  In all, this is one of the more interesting extended mixes in Prince’s catalog.  In fact,  it’s not just extended but fully remixed.  Compared to the album version, this mix is a lot more robust and dynamic.  (edit: Actually the vocals are a lot clearer on the album version, while this mix has more of everything else…)

From an unfinished book by Prince fan “madhouseman”:

After the original session on Saturday, November 30, 1985 at the Washington Avenue Warehouse in Minneapolis, some additional work was done on the track in Minneapolis and it was shelved until Friday, March 28, 1986, when it was edited for the 7-inch and 12-inch mixes for release (the 2nd released from PARADE). “Mountains, a song on the Parade album that I always loved which was Wendy and Lisa’s song, the horn parts on the album version are pretty sparse,’ remembered Eric Leeds. “There’s a couple of lines, but we did a 12-inch version of that which is my favorite 12-inch that Prince ever did. I think it’s a great, great performance, just the whole idea of the 12-inch. There’s nothing particularly heavy about the horns on that, but I just really like some very simple stuff. I just remember the whole thing, and just being a part of that was just really nice. I guess the horn parts in themselves don’t really stand out as being anything special, but it was just cool.“

The additional horns were overdubbed for the song on April 1, and more mixing and editing followed on April 6, 22, and 27th.

It was eventually released on May 7 1986 (single release) and the 12 inch was released on May 21.

On the flip side of this single is the instrumental Alexa de Paris which was not included on the album.  For anyone who lamented the absence of any extended guitar workouts on Parade, well then here’s a tune for you.   Although conditioned to expect the unexpected, I wonder how many fans anticipated an unabashed progressive rock -influenced track that sounds like it could have comfortably fit on a late-70s Genesis or Camel record.  The drumming is pretty unmistakably Sheila E., with her proto-metal kick and snare fills that are, again, a little unexpected from somebody who got their start playing jazz, jazz-funk, and salsa with Herbie Hancock, George Duke, and her dad Pete Escovedo.  Clare Fischer, whose understated string arrangements play a prominent role on the LP, apparently wrote charts for this entire song, but it sounds like they were only used for one brief section, settling in well like an extension of the band.  There’s a flashy drum solo near the end, but sorry – no break beats in this one.

Alexa de Paris

Although Alexa de Paris is a cult favorite among fans, rarely performed live,  and is great fun to listen to, I’m glad it wasn’t included on the album proper.  One of the things I really love about “Parade” is that, perhaps more than any other record in his back catalog, it sounds like it could have been recorded at any time in the last 30 years.  In 1986, it sounded to me like the kind of thing they could have put on the Voyager satellite to introduce Earth’s civilization to our extraterrestrial neighbors.  It’s an almost seamless patchwork of the past and future.  I am still unsure how Prince and his engineer Susan Rogers achieved some of the sounds on the record.  “Traditional” instruments often sound abstracted and processed, “synthetic” instruments sound organic and warm, and they achieve a real density to the sonic palette worthy of any of today’s avant-knob-twiddlers. And remember this was still being done on analog tape, before the days of non-destructive digital editing.   Okay, I guess the Linn drums are unmistakable 80s trademarks, but they are retro-cool again so that doesn’t count.  Anyway my point is that Alexa de Paris just screams mid-1980s in its aesthetic and doesn’t date as well as the Parade material.


On to more mundane things.  The impetus that prompted me to finally leave Blogger was  discovering a blog that a friend tipped me off to, Fun With Vinyl.  My friend, like many an unfortunate soul who either ran out of space or swallowed the industry propaganda of the time, sold or gave away all of his records at some point in the 1990s.  He’s been going back and finding all the extended 12″ Prince singles that he used to own.  I have a handful, but truth be told, although I’m plenty OCD about music in other ways, I have never been a completest collector of any single artist (that way, there is always more to discover!).  So, there is stuff on the Fun With Vinyl site that I don’t have and even things I’d never heard.  I was impressed by the clean look and easy functionality of the place, struck up a new online friendship with DJ Ritchie who runs the blog, and started planning my escape from the shackles of Blogger.

Apparently every June at Fun With Vinyl has been a Paisley June for years now, with special Prince-related posts, in honor of his June 7 birthday.  This year is obviously poignant, as he would have turned 58.  DJ Ritchie has decided to highlight the treasure trove of 12″ singles, which include many remixes and non-album cuts, by inviting guest bloggers to post their write-ups on individual releases.  It’s a great and fun idea, and there are lots of personal reminiscence and anecdotes from these bloggers – the kind of stuff I like.  I highly recommend you all check it out if you’re interested.

Today I’ve opted to share my own needledrop here, because it is something I enjoy doing and I have a near minty-fresh copy of this one.   I’ll probably post more of these singles from my stash, though not necessarily in the month of June, so head on over there to continue the celebration.

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Roy Ayers Ubiquity – He's Coming (1972) Verve 2009

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Roy Ayers Ubiquity
HE’S COMING
Released 1972 (Polydor PD 5022)
This REISSUE, DATE UNKNOWN

1 He’s A Superstar 5:35
2 He Ain’t Heavy He’s My Brother 4:04
3 Ain’t Got Time 2:53
4 I Don’t Know How To Love Him 4:02
5 He’s Coming 6:20
6 We Live In Brooklyn Baby 3:43
7 Sweet Butterfly Of Love / Sweet Tears 5:20
9 Fire Weaver 3:40

Arranged By – Harry Whitaker, Roy Ayers
Backing Vocals – Carol Smiley, Gloria Jones, Victoria Hospedale
Bass – John Williams (8) (tracks: 1 to 5, 7 to 9), Ron Carter (tracks: 6)
Congas – Jumma Santos
Drums – David Lee, Jr.
Drums, Percussion – Billy Cobham
Electric Piano, Organ, Vocals – Harry Whitaker
Guitar – Bob Fusco (tracks: 6), Sam Brown (2) (tracks: 1 to 5, 7 to 9)
Soprano Saxophone, Flute – Sonny Fortune
Strings – Selwart Clarke
Vibraphone, Organ, Vocals – Roy Ayers

Producer – Ed Kolis (tracks: 6), Myrnaleah Williams
Engineer – Rudy Van Gelder
——————————-

This is probably the least ubiquitous of the Roy Ayers Ubiquity albums. Much raw than later efforts, and pretty trippy with a Jesus-freak vibe saturating a lot of the tunes It’s not really a concept album, though, but almost. It includes a cover of a tune from Jesus Christ Superstar (“I Don’t Know How To Love Him”) and the famous Hollies tune “He’s Ain’t Heavy, He’s My Brother,” which has been covered by seemingly everyone since it was first recorded, including Cher the year before Ayers. But Donny Hathaway also recorded in 1971, and I’d like to think Roy and Co. were listening to Donny and not Cher when they thought of this arrangement. Keyboardist Harry Whitaker also arranges two songs, including his own “We Live In Brooklyn Baby” which is the strongest, leanest, and song on the album.

And oh yeah, Billy Cobham is pounding the skins on this album. He is playing in stealth mode, however, almost hard to believe he had just joined up with the bombastic Mahavishnu Orchestra or that his own over-the-top ‘Spectrum’ was in the works. Here, he behaves himself. The whole records alternating frantic-mellow dynamic is a welcome holiday-season elixir, and the title track features dueling-keyboard work from Whitaker and Ayers that is undelicately precious.



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But you can see the original write up HERE

Andy Bey – Experience and Judgment (1974)

ANDY BEY
EXPERIENCE AND JUDGMENT
Released 1974 on Atlantic (LP 1654)
This pressing 1998 Koch Jazz (KOC CD-8520)
This pressing is HDCD encoded

1 Celestial Blues 3:24
2 Experience 2:57
3 Judgment 2:58
4 I Know This Love Can’t Be Wrong 4:22
5 Hibiscus 4:39
6 You Should’ve Seen The Way 2:31
7 Tune Up 4:11
8 Rosemary Blue 3:24
9 Being Uptight 3:05
10 A Place Where Love Is 4:38
11 Trust Us To Find The Way 2:39
12 The Power Of My Mind 2:55

Recorded at Regent Studios, NY

Andy Bey – Vocals, Acoustic Piano
Buddy Williams, Jimmy Young – drums
Wilbur Bascomb – Bass
William Fischer – Electric Piano, Organ, Harpsichord, Synthesizer, Percussion
Electric Bass – Wilbur Bascomb
George Davis – guitar (Track 2 only)
Richard Resnicoff – guitar
Engineer – Bob Liftin
Guitar – George Davis (2) , Richard Resnicoff (tracks: 2, 3, 8, 9)
Selwart Clarke – Violen, viola

Produced by by William Fischer

———————-

Yes, this is one ugly album cover. But what’s inside is as beautiful a record as you’re likely to come across.

A long long time ago I promised a flood of music from Gary Bartz. I didn’t deliver on that promise. What can I say, my life is a morass of unfulfilled potential and broken promises. At least, that’s how it seems some of the time.

Until I put on this and then everything is suddenly fine. Andy Bey is easily one of the most underrated figures in music. His work with Horace Silver and Gary Bartz especially is phenomenal. And this album is, well, eternal. It’s largely a laid-back affair, brimming with the echoes of cosmic soul in ways that aren’t too different from a lot of other contemporary albums, but this one has a certain fire and heart that just isn’t very common. It begins with a slowed down take on his ‘Celestial Blues’ that he had already recorded with Bartz’ NTU Troop. First time I heard this version I didn’t know how to react. I felt like a fly suspended in sweet funky amber. Followed by ‘Experience’, the most frantic and uptempo tune on the record, full of lyrics that would be difficult for anybody but Andy to sing and make sound this cool in elongated melodic gospel shouts from the lotus seat. “Judgment”, the other side of the coin, is slowly and heavier on the funk with some wickedly-recorded wah-guitar sounding like the microphone was in the hallway during the session. Andy deserves more credit as a pianist than he usually gets but it must be said that keys man Bill Fischer steals the show here. Acting as producer and also composer on some of the tunes, he definitely has a ‘mark’ of production here – but with his exquisite taste in analog synth tones and the absolutely perfect mix, you won’t hear me complaining about his production. His synth work and electric piano weave in and out of the music faster than an arcade old-school centipede, there and gone halfway before your awareness has caught up. In trying to find some more info on this album on the All-Knowing Interwebs, I have seen this album compared to Gil Scott-Heron in a few places. Which really makes no sense in terms of Gil’s vision and gestalt.. Where there IS a similarity is between this album and Brian Jackson, Gil’s co-conspirator. Now, THAT makes sense to me.

Really really I mean it, not a bad song here. The scaled-down funk poetry of ‘Hibiscus’ hits all my buttons in the right place, perfect in every way of composition, lyric, execution, tonalities, textures, production. A heavily spiritual mind-expanding vibration just billows forth from your stereo speakers (or, um, iPod earbuds, I guess) to envelop you. “You Should’ve Have Seen The Way” is easily the funniest song about meditation I’ve ever come across. Granted, that makes it kind of a big fish in a small pool, but still… Story of guy taking a friend’s advice by trying to clear his mind and find his way through meditation, but he just can’t stop thinking about making love to a woman. Deep, metaphysical, sensual as hell. For all the buddhist vibe on this album it’s good to know Bey and company can keep it real. “Tune Up” is a more serious tune on a similar wavelength, one of my friend TY’s favorite tracks on this. More lyrics that would sound weird from anyone but Andy Bey, “like hypnotizing yourself up to a certain point,” it just kind of works on you and achieves in the listener an analog of what he’s singing about.

So far there is nothing remotely commercial about whats been presented here (jazz purists be damned, this stuff is too obscure and deep to be selling out to anyone). Then we should be all the more surprised by the next tune, a ballad lifted from Neil Sedaka. That’s right – Neil fucking Sedaka! And he just kills us with it. It becomes a love sonnet sung from across the veil of mortality, sung from a dead man to his widow. Granted all that was already in the lyrics but goddamn if Andy Bey doesn’t make it all come together and work on this album. By now we are 3/4 through the album and the remainder is pretty low-key and mellow. Nothing to grab you like what’s already come before but just enough going on to keep you engaged, going out on a wonderfully optimistic and sensual mindsex epic of “The Power of My Mind”.

It’s always weird to stop and think about how friends are brought together out of seemingly random occurrences, some drifting apart, some always there, some coming back like cycles of the moon. And when I ask myself why it took me so long to post this record, because it had been on my ‘short list’ for about a year now, I think it must have to do with that elusive ephemeral thing called friendship. I remembered it, suddenly, and sent it to someone who I think may have needed it right then. And a few days later we were having an intense conversation that ostensibly had nothing to do with this album but yet also had everything to do with this album. And that is one of the great qualities of “Experience and Judgment” – although you can call it ‘soul jazz’ or ‘spiritual jazz’, it is of an earthly sort of cosmic consciousness, one imbued with the substance of day to day living and struggle, that keeps its lyrics even at their most abstract from flying untethered into the blinding light of oneness, instead staying in the air for a while to light our way as we listen. I can’t recommend this album enough.

p.s. the HDCD mastering is a nice touch. Several digital players can recognize the coding and provide the up-sampling, leave a note if you want to know more.

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Lonnie Liston Smith and The Cosmic Echoes – Cosmic Funk (1974)

Lonnie Liston Smith & The Cosmic Echoes
“Cosmic Funk”
Released 1974

Flying Dutchman Records (BDL 1-0591)
1 Cosmic Funk Smith 5:39
2 Footprints Shorter 6:11
3 Beautiful Woman Smith 6:58
4 Sais (Egypt) Mtume 8:16
5 Peaceful Ones Smith 5:03
6 Naima Coltrane 4:01Produced by Bob Thiele
Engineered by Bob SimpsonElectric bass – Al Anderson
Congas, Percussion – Lawrence Killian
Drums – Art Gore
Percussion – Andrew Cyrille , Doug Hammond , Ron Bridgewater
Acoustic and electric pianos, percussion – Lonnie Liston Smith
Soprano saxaphone, Flute, Percussion – George Barron
Vocals, Piano, Flute – Donald Smith

You will have to escuse me if I don’t give this album the presentation and descrption it really deserves. I have wanted to post about here for a long, long time. But for anyone else who is celebrating Christmas alone, as I currently am, I feel an urgent impulse to put this album out there. While all of Lonnie Liston Smith’s records with the Cosmic Echoes may have carried more or less the same variations of messages about peace and love, nothing comes close to the eruption of the first cut off this one that gave the album its name, which introduces Lonnie’s brother Donald Smith on vocals

CITIZENS OF THE WORLD
IT’S TIIIIIIIIIIIIIIIME for WORLD PEACE!

followed by a long hair-raising scream to let you know he really means this.

This song is one of the heaviest slabs of spiritual/soul jazz funkiness out there. The track, along with much of the rest of the album, combines creative use of electronics in some seriously psychedelic flourishes along with free and post-bop jazz explorations. While his next album, “Expansions”, may get the lion’s share of attention for this former Pharoah Sanders sideman, I find this album to be every bit its equal and in fact I seem to come back to it more often. Beyond the first cut, the rest of the album is a real treat too, with first-rate original compositions along inspired readings of Wayne Shorter’s “Footprints” and, unafraid of taking the risk, a vocal version of Coltrane’s “Naima.”

 

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Betty Davis – Is It Love or Desire? (1976)


Release Date: Oct 6, 2009
Recording Date: 1976
Label: Light In The Attic

I have been sitting on this one for a while, waiting until I had something “profound” to say about it. Since that day seems to be adrift in the unforeseeable future, I thought it would just post about it and let you, the listener, decide what is or what is not profound about the “lost album” from Betty Davis. Without doubt, it deserved to be released and not confined to a record companies vault for thirty years (there were never even any bootleg copies that made it out). This is the last stand for Betty Davis and her backing band Funk House. Recorded in the middle of a swamp in Louisiana, the wonderful liner notes narrate the whole story about the making of the record. In the eyes of the musicians involved (although not necessarily in Betty’s judgment, for the careful reader) this was the best album they made and the most creative thing they’d ever been involved with. Some of the critics, like the hacks at AMG, have been agreeing with their promo kits, *cough*, I mean independently-thought-out music reviews…

I am still listening to this album and sizing it up but for me, it is not as good as “They Say I’m Different”, which I think will always reign as Betty at her best for my money. But that isn’t to say this is a disappointment by any means. It just lacks something of the excitement and energy found on her first three albums. I find some of the lyrics a bit dubious, and not in the good way of her first two albums, but I don’t want to piss on anybody’s parade who is rightfully excited to get their hands on an album that has been wondered about for years. And if the wonderful Light In The Attic label had not reissued her earlier albums, sparking a revival of interest in Betty Davis, this one may never have seen the light of day.

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Selda Bagcan – Vurulduk Ey Halkim Unutma Bizi (1976)

selda
selda

Review of the original album:

Vurulduk Ey Halkim Unutma Bizi
(Turkuola 305) 1976

A. 1. Vurulduk Ey Halkim Unutma Bizi 2. Utan Utan 3. Karaoglan 4. Aciyi Bal Eyledik 5. Askerin Turkusu 6. Maden Dagi
B. 1. Maden Iscileri 2. Gardasim Hasso 3. Bundan Sonra 4. Gozden Gezden 5. Arpaciktan 6. Ecoya Donder Beni 8. Zamani Geldi


A very good folk album with some nice folkrock tracks, for progressive music lovers especially is “Utan,Utan” (in a more prog folk way with some fuzz) & “Karaoglan”. “Askerin Türküsü” is also interesting for its “mediaeval” arrangements. “Maden Dagi” is also very beautifully, very emotionally sung. A protest album forbidden at those days, so hard to find. It is however the same as the vol 3 CD (or “Türkülerimiz 3”), with again other order in tracks. Her singing is beautiful. (The photoraph you see here was also included on Türkülerimiz 3).

Bio found on the interwebs:

Selda Bağcan or Selda, was born in Muğla, Turkey in 1948, is a well renowned Turkish folk music singer, composer and politic activist.

She has been one of the most effective names in Turkish Folk and Folk Rock music for years. Her protest style and leftist, socialist political views both in lyrical and activist means brought her a great support from the public yet caused many troubles with the military and governmental authorities. Selda Bağcan’s lyrics demonstrate a political struggle as well as the problems and demands of working class and the public. Her satirical lyrics make critical references to contemporary politicians from both left and right-wings yet mostly criticizes the right-wing governments and imperialism.

She both composed her own songs and covered Turkish Folk songs. Bağcan’s covers involves the usage of western instruments like acoustic guitar as well as traditional ones like saz or bağlama. Her modern and universal style in covering the traditional folk songs, involving a wide variety of musical styles from progressive and psych rock to traditional folk catches the attention of many music lovers who are into different genres of music. And because of her powerful and emotional voice, she is known as (and she calls herself) bitter sound of Turkish people.

Biography

She has started his musical career when she was a student at Ankara University, Faculty of Sciences, Department of Engineering Physics. The first two singles had sold around one million and following this success she somehow had to choose music as a profession. She had gave concerts in many countries including Germany, Netherlands, France, England, Belgium, Denmark, Sweden, Norway, Switzerland, and Australia. Also attended to the Golden Orpheus 1972 representing Turkey with the request of Turkey Ministry of Foreign Affairs. She mainly performed on activities mainly organized by left wing foundations and initiatives. In 1973, for the first time she toured the Western Europe.

After the 1980 Turkish coup d’état, her activities were limited by the military junta and she had been arrested and jailed three times between 1981 and 1984. She couldn’t attend to The WOMAD (Word of Music and Dance) Foundation Festival 1986, which was supported by Peter Gabriel, just because her passport had been seized. But the festival committee decided to add one of her songs to the official record of the festival. This record has helped her to receive many international invitations for festivals around the world. With the hard efforts of the WOMAD Foundation, the government returned Bağcan’s passport in 1987. At the same year, she attended Rotterdam Art Festival (June 13), WOMAD and Glastonbury Festival (June 19), Jubile Gardens (June 20), Eurls Court (June 25), Capital Radio Festival (June 26). After her Western Europe tour in 1988, she gave local public concerts during 1989 and 1990. These concerts were free and hundreds thousands of people were gathered.

In year 1990, she was invited to Netherland by Rasa Organization (Interkultureel Centrum) and gave public concerts in Utrech, Jmegen, Tilburg cities and later on in Prizren ve Pristina, Yugoslavia. She also traveled to Israel and Denmark for concerts and festivals, at the same year.

In 1992, she recorded the film musics for Kurşun Adres Sormaz.

She lives in İstanbul and runs her own business under the name Majör Müzik Yapım (Majör Music Production)
—————————————
Singles

* Katip Arzuhalim Yaz Yare Böyle/Mapusanede Mermerden Direk, 1971
* Tatlı Dillim Güler Yüzlüm/Mapusanelere Güneş Doğmuyor, 1971
* Çemberimde Gül Oya/Toprak Olunca, 1971
* Adaletin Bu Mu Dünya/Dane Dane Benleri, 1971
* Seher Vakti/Uzun İnce Bir Yoldayım, 1971
* Yalan Dünya/Kalenin Dibinde, 1972
* Eyvah Gönül Sana Eyvah/Zalim Sevgililer Bu Sözüm Size, 1972
* Bölemedim Felek İle Kozumu/Bülbül, 1973
* Gesi Bağları/Altın Kafes, 1973
* Nem Kaldı/Rabbim Neydim Ne Oldum, 1974
* Aşkın Bir Ateş/O Günler, 1974
* Anayasso/Bad-ı Sabah, 1974
* Dostum Dostum/Yuh Yuh, 1975
* Kaldı Kaldı Dünya/İzin İze Benzemiyor, 1975
* Görüş Günü/Şaka Maka, 1976
* Almanya Acı Vatan/Kıymayın Efendiler, 1976
* Aldırma Gönül Aldırma/Suç Bizim, 1976
————————————–
Albums

* Türkülerimiz 1, 1974 (reissued in 1995)
* Türkülerimiz 2, 1975 (reissued in 1996)
o See also: Selda (Album), 2006
* Türkülerimiz 3, 1976 (reissued in 1998)
* Türkülerimiz 4, 1977 (reissued in 1999)
* Türkülerimiz 5, 1978 (reissued in 2001)
* Türkülerimiz 6, 1979 (reissued in 2006)
* Türkülerimiz 7, 1980
* Türkülerimiz 8, 1982
* Türkülerimiz 9, 1983
* Türkülerimiz 10, 1985
* Dost Merhaba, 1986
* Yürüyorum Dikenlerin Üstünde, 1987
* Özgürlük ve Demokrasiyi Çizmek, 1988
* Felek Beni Adım Adım Kovaladı, 1989
* Anadolu Konserleri: Müzikteki 20 Yılım, 1990 (Live)
* Ziller ve İpler – Akdeniz Şarkıları 1, 1992
* Uğur’lar Olsun, 1993
* Koçero, 1994 (With Ahmet Kaya)
* Çifte Çiftetelli – Akdeniz Şarkıları 2, 1997
* Ben Geldim, 2002
* Denizlerin Dalgasıyım Ben, Halkımın Kavgasıyım, Yarınların Sevdasıyım… Ben Ölmedim ki!, 2004
* Güvercinleri de Vururlar, 2008

SELDA on the web:
Progressive Homestead site
Finder’s Keepers page on Selda

This is not nearly as funky as the album from 1975 reissued on Finders Keepers, but its a damn cool slab of psychedelic tinged folk-rock. Plenty of vibe to go around here. Selda has received a bit of attention with a surge of interest in Turkish rock, psychedelia, and funky beats, the “Anatolian invasion” among record collectors. This album, reissued by the sketchy ‘World Psychedelia’ label in Korea deserves a good listen. The liner notes are badly translated and not terribly informative. There is a full set of lyrics, however, for those who can read them. Selda’s songs really make me wish I knew what the hell she was singing about.

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