Goblin – Suspiria (1977) and Zombi aka Dawn Of The Dead (1978)

Goblin – Suspiria
Released 1977 Cinevox MDF 33.108

Reissued in the box set  The Awakening (2012) – Bella Casa
1 – Suspiria 6:00
2 – Witch 3:11
3 – Opening The Sighs 0:32
4 – Sighs 5:16
5 – Markos 4:05
6 – Black Forest / Blind Concert (Original Edit) 12:33
7 – Death Valzer1:51
8 – Suspiria (Celesta And Bells) 1:34
9 –  Suspiria (Narration)1:48
10 –  Suspiria (Intro)0:32
11  – Markos (Alternate Version) 4:09
12 –  Markos (Alternate Take) 3:50



Goblin
Zombi (Colonna Sonora Originale Del Film)

aka Dawn of the Dead
1978 Cinevox MDF 33.121

Reissued in the box set  The Awakening (2012) – Bella Casa

1     L’alba Dei Morti Viventi     6:02
2     Zombi     4:21
3     Safari     2:08
4     Torte In Faccia     1:54
5     Ai Margini Della Follia     1:20
6     Zaratozom     3:34
7     La Caccia     3:36
8     Tirassegno     2:48
9     Oblio     5:10
10     Risveglio     1:03
11     L’alba Dei Morti Viventi (Alternate Take)     5:14
12     Ai Margini Della Follia (Alternate Take)     1:40
13     Zombi (Sexy)     2:22
14     Ai Margini Della Follia (Alternate Take)     3:40
15     Zombi (Supermarket)     3:17
16     L’alba Dei Morti Viventi (Intro-Alternate Take)     0

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It’s a Halloween DOUBLE FEATURE at Flabbergasted Vibes!
It seems as if, at some point, Goblin became the Game of Thrones of progressive rock: it’s cool to like them even if you’re generally dismissive of the genre.  A revival of interest in this Italian group includes a burst of recent activity, including a few books about their music, a box set collecting six of their albums, and a concurrent (or was it subsequent?) reunion and tour.  They are undoubtedly most famous for providing soundtracks for director Dario Argento, who worked extremely closely with them.  As my friends can tell you, I’m much more of a music head than a cinephile, with yawning gaps in my cultural literacy when it comes to film.  As such, I was familiar with these Goblin records without being familiar with the films.  This includes even the hugely famous Dawn Of The Dead from George Romero, which I only saw last year for the first time.  And just for this post, I got hold of a gorgeous Blu-Ray of Suspiria and watched it last night.  The overall foreboding has not yet worn off.

The music that Goblin produced for these films is central to their entire aesthetic, the score is almost present as it were a separate character, having an impact on the plot more than providing a setting or acting as a reflection.  This feeling of urgency isn’t all in my head, apparently, because according to the liner notes the music for Suspiria was actually recorded before they began shooting, and was at times blasted through PA speakers on the set to provide the proper ambiance.  
Both Suspiria and Zombi are pretty nightmarish records.  The sense of brooding unease never lets up.  As on all their record, the group blends organic sounds (percussion and stringed instruments like lutes or zithers or dulcimers) with analog electronics (synthesizers, oscillators), whispers and shrieks and other creepiness.  They’ll swing from the soundscapes called up from terrifying bad-trip psychedelia, then switch suddenly to a galloping jazz-funk jam that offers a way out of the dream, or a jaunty prog workout in an off-kilter time signature, anthems of chase or pursuit depending on your luck or misfortune, or perhaps some gentle acoustic guitar or mellow saxophone to lull you into a temporary state of relaxation.  Some sort of throat-singing type chant provides the bedrock for another track’s dissonant organ chords and yammering, hallucinatory voices.  Considering how cliché-laden the twin genres of horror and prog rock can be, it is kind of amazing how these soundtracks retain a sense of fresh unpredictability throughout them.  There is a questionably “tribal” passage on Zombi seemingly meant to invoke white peoples’ fear of Afro-Caribbean percussion, or more precisely the ritual uses to which it often lends itself, but even that somehow manages not to cross over into tackiness territory.  Overwhelmingly instrumental (there are obligatory wordless choral bits here and there, in accordance with the 1974 International Agreement on Horror Film Soundtracks), these two soundtracks work well as self-contained records, but when I finally saw the films they belonged to, they seem more fully realized and deliberate.    Suspiria was actually the band’s second soundtrack for Argento, the first being “Rosso Profundo”, which is included in the box set on the Bella Casa label, as is the later collaboration for the film Tenebre.  Two albums not related to films are also in the box – Roller (1976) and Il Fantastico Viaggio Del Bargarozzo Mark (1978).  


I’d like to thank my friend Cheshire Tom for sharing the box set with me and being okay with this post.  I guess whether or not these two albums end up on your Halloween party playlist tonight largely depends on who you’ve invited over.  See the comments section for more info.   Regardless of how you chose to enjoy them, I advise you to keep some soothing tunes handy to follow them.  I recommend The Best of Bread.

Lalo Schifrin – The Amityville Horror (Music From The Original Motion Picture Soundtrack) (1979)

Lalo Schifrin
 The Amityville Horror / Amityville La Maison Du Diable
Music From The Original Motion Picture Soundtrack
1979 Casablanca Records 571060 (France)


A1     Amityville Frenzy    4:53
A2     Amityville Horror Main Title     1:44
A3     Get Out     2:26
A4     Amityville Love Scene     1:14
A5     The Wind     1:58
A6     5th Concerto For Harpsichord And Strings    3:44
B1     At The Park     1:48
B2     The Ax     3:25
B3     Juke Box     3:00
B4     The Basement     2:22
B5     Bleeding Walls     2:53
B6     Amityville Horror End Credits     2:21


    Composed By, Conductor, Producer – Lalo Schifrin
    Concertmaster – Israel Baker
    Engineer [Recording] – Aaron Rochen*
    Executive Producer – Buddy Epstein
    Mastered By – Brian Gardener*
    Other [Music Coordinator] – Harry Lojewsky

Notes
“Amityville Frenzy” recorded at The Sound Factory, Hollywood.
All other selections recorded at MGM Studios, Culver City.
Mastered at Allen Zentz Studios, Los Angeles.
© 1979 American International Pictures, Inc.
Made in France by Disques Vogue P.I.P.
Distribution Vogue P.I.P.
VG 407  SACEM

Lalo Shifrin is an artist I have wanted to post about here for a long, long time, and as often seems to be the case on this blog, his first appearance here is with a record that I “don’t recommend as the place to start” in his prolific discography.  Not that there is anything really wrong with it – it’s just not a particularly significant thread in the many-colored tapestry of his career, in my opinion.  But Halloween is upon us, and it’s a soundtrack for an iconic (if not particularly great) horror film, so let’s celebrate!

One reason why a Lalo post is long overdue here is because his oeuvre defies easy categorization and snubs its nose at any folks still clinging to notions of ‘high brow’ vs. ‘low brow’ in art.  Born and raised in Buenos Aires, educated there and in Paris, but based in the United States for around half a century, one glance at his credits and accomplishments will quickly demonstrate that this guy does not need to pad out his CV to impress anyone.  How many people can boast that they have worked with both Dizzy Gillespie and Dirty Harry?  Bruce Lee and bossa nova?  Cool Hand Luke and classical concertos? I’ll stop now before I alliterate myself to death, but the message is clear: Lalo Schifrin apparently is not the type to sit around twiddling his thumbs, and seems to stay compulsively busy.  All of this soundtrack work was done while he also wrote, recorded, arranged, and performed on more “serious” records under his own name or with other artists.

Schifrin’s film and TV scores are known for frequently dropping some heavy jazz, funk, or Latin grooves in the midst of more orchestrated pieces.  Well, we won’t be getting much of that here.  The only groovers on this OST are the disco-tinted opening track, “Amityville Frenzy,” and the light-jazz/funk of “Juke Box.”  They are both pretty horrific.  Another thing Schifrin’s soundtrack work is known for is that you will often find some heavy hitter musicians in the credits.  Well, we won’t be getting much of that here either.  The truth is that I have no idea who plays on these two aforementioned tracks, but the ensemble playing is pretty generic, and in fact the end of “Juke Box” kind of falls apart completely.  The rest of the tracks are orchestral works of the claustrophobic variety that you expect in a horror film, with subtle track titles like “Bleeding Walls,” and occasional creepy wordless female vocals.  Oh and there is a little bit of Bach thrown in for good measure and as an excuse to bring out a harpsichord.

So, obviously, my opinion is that this soundtrack isn’t going to threaten Komeda’s “Rosemary’s Baby,” Penderecki’s work for “The Shining”, or a handful of other horror soundtracks that are works of art in their own right.  But this topical and timely blog post will stand as a public Post-It note for Flabbergast to share some of Lalo’s more intriguing work in the near future.  There is certainly no shortage of it.  Otherwise, The Amityville Horror soundtrack is something of a rarity, never getting an official CD release.  This vinyl rip is not mine, and in fact I can’t say anything at all about the lineage other than it was sourced from a French pressing of the LP (no info on the equipment used, etc.).  But it sounds really nice and gets my thumbs up, and thanks to the mysterious and anonymous person who put the time into digitizing it.

Jose Roberto e Seu Conjunto – Organ Sound, Um Novo Estilo (1970)

Photobucket

  José Roberto e Seu Conjunto
Organ Sound, Um Nôvo Estilo
Released 1970 Polydor
Japanese reissue 2008

01 – Aventura
02 – Smile a Little Smile for Me.
03 – Airport Love Theme
04 – Toboga
05 – Jingle, Jangle
06 – Viagem
07 – Samanta
08 – No Time
09 – Diamante cor de Rosa
10 – The Rapper
11 – Mon Ami
12 – Always Something There to Remind Me

This is pre-Azymuth José Roberto Bertrami.  He was working as a studio musician at the time and was probably on a hundred records you have in your collection, many without being credited.  Before this he was in the band A Turma da Pilantragem.

This is nice organ combo pop-jazz with an occasional bossa flair and spasms of funkiness.  Aside from the tracks “Aventura” and “Mon Ami”, which are his own, everything else here is comprised of other composer’s work.   Kind of easy-listening and loung-y but with just enough instrumental prowess and creative arrangements to keep it interesting.  His playing may not be nearly as inventive as what he would produce with Azymuth only a few years later, but Bertrami still coaxes enough otherworldly sounds out of his keyboards to prove why he was an in-demand session player.  In particular he has a penchant for using a horn patch on his analog synth that doubles the part played by actual brass instruments, which adds a loopy and campy touch.

The majority of the repertoire is taken straight from the Hit Parade of 1969-70 and represent a pretty interesting cross section of psychedelic rock, pop, and even an ‘easy listening’ soundtrack hit.  I’ve taken the trouble to notate the cover songs’ origins:

Smile a Little Smile for Me – The Flying Machine
Airport Love Theme – Vincent Bell, from the soundtrack to the film “Airport”, 1970
Jingle, Jangle – The Archies
No Time -The Guess Who
Diamante cor de Rosa – Roberto Carlos
The Rapper – The Jaggerz
Always Something There to Remind Me  (Bacharach/David tune recorded by Dionne Warwick, Sandie Shaw, and R.B.Greaves at Muscle Shoals.  Hard to say which version Bertrami had in mind but Greaves’ version was the most recent.)

Amusingly enough, the most exciting of these cover tunes is “Jingle Jangle” from the virtual cartoon band The Archies, which is replete with fuzz guitar.

The tune “Mon Ami” was featured as a theme to the Globo telenovela “Assim na terra como no céu” in 1970 in a version produced by Paulinho Tapajós.  As I’ve stated before on this blog, the study of telenovela soundtrack music — and it is a subject that deserves series study – is not one I’ve undertaken.  Not yet, anyway.  But I have a hunch that a lot of these Top 40 international hits were associated with contemporary telenovelas that would have made them instantly recognizable to a Brazilian audience even if their originals unknown.  Did ‘The Archies’ air on Brazilian TV?  I have no idea.  For that matter the Roberto Carlos hit was also part of a feature film vehicle for him with the same title.  The two songs credited to ‘Celinho’ are a mystery to me.  There was a Celinho from the state of Ceará who played the accordion and recorded a bunch of tunes in the era of 78s, but I’m fairly certain these aren’t his songs.  Anyone who knows, drop me a line.

This Japanese reissue has typically lovely, round sound.  It’s too bad I can’t read the notes in Japanese though.  It would be nice to know if the musicians are credited.  I suspect Victor Manga is on the drums but I have no confirmation, but he did play in the Turma de Pilantragem.

{edit} As per a comment left below by a reader, I’m updating the post with the following info on the lineup: Jonas Damasceno (Joninhas), Ivan Conti (Mamão), Luiz Carlos Siqueira –
all from “The Youngsters” band – plus the late Gegê on drums and Sergio
Barroso on bass.

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Purandara Dasa and B.V. Karanth – Dasara Padagalu from Sattavana Neralu (2002)

This selection is courtesy of dear friend and connoisseur of good music, Saudadero. He introduced me to this record a while ago and I found myself enjoying it so much I insisted on asking him if we could share it with masses in Flabberland. The description below is all his.

Purandara Dasa and B.V. Karanth – Dasara Padagalu from Sattavana Neralu (2002)

01. jO jO [3:19.30]
02. kuruDu naayi taa [2:47.44]
03. giNiyu pa.njaradoLilla [4:26.84]
04. aadaddella oLite aayitu [2:56.05]
05. naa Do.nkaadarEnu [1:15.22]
06. ibbarhe.nDira [2:05.94]
07. naagana [1:56.45]
08. gOvi.nda viTThala [2:16.80]
09. enaguu aaNe [1:47.33]
10. ninna.ntha svaami [1:12.84]
11. illiralaare [2:18.22]
12. nageyu baruthide [1:53.69]
13. Do.nku baalada naayakare [2:10.02]
14. loLa loTTe [1:44.52]
15. aachaaravillada naalige [2:04.12]
16. muppina ga.nDa [2:46.41]
17. holeya ba.ndane.ndu [1:13.85]

Purandara Dasa (1484 – 1564) (sometimes spelled as a
single word) was one of the most prominent
composers of South Indian classical music–
known as Karnatak (Carnatic) music and is widely
regarded as the “father of Karnatak Music”. He is
part of the Bhakti (devotional) tradition of medieval
India. He signed his compositions with the mudra (pen
name), “Purandara Vitthala” (Vitthala is one of the
incarnations of the Hindu god Vishnu). About 1000 of
his works are extant; they are mostly in Kannada,
while a few are in Sanksrit. They include many that
are standard in South Indian classical concerts.

B.V. Karanth (1928 – 2002) was a major theatre and
film personality from India. Throughout his life he
was director, actor and musician of modern Indian
theatre and one of the pioneers of Kannada and Hindi
new-wave cinema. He uses sound and music very
innovatively in his plays and films. An important
concept originated by him is that of a “soundscript”
for a play or film that parallels the script.

One of the celebrated plays he produced was The Shadow
of the Dead Man (in Kannada: Sattavana Nerlu). In it he
used many works of Purandara Dasa in a highly creative
fashion. Bootlegs of the soundtrack have been
circulating for many years. Just after he passed away,
the record company RPG had the brilliant idea of
releasing the songss as a CD to honor his memory.
The songs are sung by B.V. Karanth himself, with
chorus voices, and were originally used by actors
in their rehearsals.

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