Saturday, 5 August 2017

Head East “Flat As A Pancake” 1975 US rare Private Rock debut album

Head East “Flat As A Pancake” 1975 US rare Private Rock debut album
official web site…

People from Southern Illinois trying to play southern rock—like Lynyrd Skynyrd meets AC/DC. The kind of thing that’s been reincarnated by the likes of the Drive-By Truckers and Blitzen Trapper.

Head East hails from South Central Illinois and played its first show in Carbondale. St. Louis, however, is often cited as their hometown (there’s a shout out to their “St. Louis Road Crew” on the liner notes to this record). Head East recorded and released Flat As A Pancake itself (on its own label, called Pyramid) while attending the University of Illinois-Champaign in 1974.

The record did well enough to earn them a contract with A&M Records, which re-released it in 1975. It ended up going gold, with the singles “Never Been Any Reason” and “Love Me Tonight” both charting in the Billboard top 100.

It was all downhill from there. Head East released nine more albums, none as successful as the first. Its self-titled album from 1978 and live album from 1979 were the last gasps at notoriety, peaking at 78 and 96 on the Billboard pop album charts.

In 1979 lead singer and founding member John Schlitt was booted for the band for drug and alcohol dependency (he was later born again and fronted the contemporary Christian group Petra). Head East went through a number of line up changes, continuing to release records all the way up to 1988’s Choice of Weapons.

Head East still performs today, but only keyboardist Roger Boyd remains from the original line-up..

Head East is one of those mid-Western bands that had plenty of talent and actually became extremely popular throughout the center of the country, but for all their touring and hard work, simply couldn't get arrested on the east or west coasts. Shame, since they were as talented as some of their competitors who managed to become '70s megastars. 

The band initially came together in 1969, featuring the talents of bassist Larry Boyd, keyboardist Roger Boyd, drummer Steve Hutson, guitarist Danny Piper, and singer John Schlitt . The Boyd brothers and Schlitt had been students at the University of Illinois, while Hutson was going to nearby Easter Illinois University and Piper was out of school. Originally known as The TimeAtions, they quickly accepted a roadie's suggestion to go with Head East. Over the next five years the band became a fixture on the mid-Western club and touring scene, playing hundreds of dates. By the time they recorded their debut album the band had coalesced around a line up featuring bassist Dan Birney, keyboardist Roger Boyd, drummer Hutson, singer Schlitt, and lead guitarist Larry Sommerville. 

Unable to interest a major label in signing them, the band pooled their resources to record and release an album on their own Pyramid label. Released in early 1975, the Roger Boyd produced "Flat As a Pancake" saw 5,000 copies (and an additional 800 8-tracks) pressed with the intent of selling them at the group's live shows. With such limited distribution the group wasn't exactly poised for a massive commercial breakthrough, however mid-western radio stations began to play the song 'Never Been Any Reason' which brought A&M Records to their door. Signed by the label, the album was quickly repacked with new artwork and a revamped running order (for some odd reason A&M marketing elected to flip the sides), before being re-released on a national basis. 

With Hutson, Schlitt, and Sommerville all contributing to the writing chores, creatively the album wasn't exactly ground-breaking. Anyone looking for Pulitzer Prize winning lyrics wasn't going to find them buried in the midst of tunes like 'Love Me Tonight' or 'Flight By Night Lady' That said, these guys were quite talented with the band showing an ability to easily straddle the line between mindless bar band boogie ('Lovin' Me Along') and a more polished commercial pop sound ('Never Been Any Reason'). Having a talented singer in Schlitt (who occasionally sounded a bit like Geddy Lee), an under-recognized guitarist in Sommerville, and a tight rhythm section in Birney and Hutson certainly didn't hurt the band. Personally I've always felt keyboardist Boyd was the band's secret weapon. His cheesy synthesizer fills always brought a smile to my face. Released as a single, 'Never Been Any Reason' is the tune most folks know, but there were actually a couple of tunes that were just as strong - 'Fly By Night Lady' tapped into the same commercial vein, while 'Love Me Tonight' was an even more commercially successful single.

Rock and roll. Nice and solid. Great opening act music. Great for driving on two lane roads in the Midwest or the Central Valley of CA, or anywhere there’s wide open agricultural spaces. Heading north on SR41 from Kettleman City to Stratford, or heading east (!) on Avenue 144 From Blanco to Plano, it’s nice driving music. 

But ... not driving through ranchland, tho. Not ranchland, Monument Valley, desert, or Route 66 east of the Rockies. Or the Rockies. Or urban areas. Or the Northeast Corridor. Or the Capital Beltway. Not even Canada, or Mexico or England or Austrailia. And France ... completely out of the question. Serge Gainsbourg or April March for France, not Head East. 

This is drive-alongside-the-fields-of-corn-or-alfalfa music. The Marshall Tucker Band meets Styx. 

Interesting what keyboards can do, and the variety of keyboards makes this album straddle the Hammond organ-supported 60s-era rock and the 80s synth-driven new wave, although its soul is strictly 70s looking back to the 60s. The Moog drives the hit “Never Been Any Reason” and shows up again for a bridge toward the end of “Lovin’ Me Along” after 80% of the song was supported by the organ; the change catches the ear, but not necessarily in a “Hey, I belong in this song!” kind of way. 

Aside from simple lyrics, there’s nothing objectionable about this album. While some albums are lyric-driven (think singer-songwriter bands), this is more music-driven in a way that the melody and rhythm tell the story more so than the lyrics. “Ticket Back to Georgia” is a nice ballad, and I don’t like ballads. 

(They do try a story-song [good vs. evil] with “Brother Jacob,” but despite the nice harmonies The Marshall Tucker Band would’ve given “Brother Jacob” the drama and soul and immediacy a song with the devil inside requires.) 

Like REO Speedwagon, Midwestern rockers Head East commanded a solid following in the heartland (aka the flat land) of America, during the turbulent '70s. Although the group never managed to break-out beyond fly-over country in a major way, Head East delivered straight-on rock 'n' roll from the off with their debut album Flat as a Pancake. The tasty platter features two stacked cuts, "Never Been Any Reason" and the life-on-the-road "Love Me Tonight", that garnered a degree of chart success, and ample radio airplay for the Illinois based group. 

The other notable tracks from this 1975 A&M Records release include the hot summer night romp of "Jefftown Creek", which opens with Jon Lord inspired keyboard work from Roger Boyd, plus "One Against the Other", the infectious "City of Gold" and the red-light flashin' "Fly By Night Lady". The transition from "City of Gold" into the spirited "Fly By Night Lady" is well conceived. Vocalist John Schlitt stands out on the tightly-wound "Fly By Night Lady". The group get mellow on the laid back "Ticket Back to Georgia", while album closer "Brother Jacob" is merely three-minutes of filler. 

The solid set of songs from Flat as a Pancake provided the foundation for the groups support slot for major acts on the arena rockin' tour scene into the late ...

Head East recorded their first album, Flat As A Pancake, in 1974 at Golden Voice Recording Studio in South Pekin, Illinois. Released on their own record label, (Pyramid Records), all 5,000 records and 500 eight-tracks produced were sold. Several midwest album rock radio stations, chief among them K-SHE 95, St. Louis and KY-102 in Kansas City and others, began airing songs from the album as well. With those sales, and the song "Never Been Any Reason" on radio, A&M was impressed enough to sign the band and re-release [without re-recording] the album in 1975. A&M also flip-flopped Side 2 on the Pyramid version to Side 1 and vise versa.

Flat as a Pancake was the first album that Head East recorded. Originally released on their own record label “Pyramid Records” label around 1974 or 75. Soon after Never Been Any Reason started to get radio play A & M Records signed them and then re-released it in 1975. 

Although Head East is still putting out records and touring today (mostly the Midwest) they never had a hit song again unless you would like to count their 1978 remake of the Russ Ballard song Since You Been Gone. But lets face it when a guitarist like Ritchie Blackmore has a top ten hit with it in 1979, Head East’s version that only reached number 46 on the charts doesn’t have a chance. 

Original keyboard player and the only remaining original member Roger Boyd’s double tracked Minimoog and drummer Steve Huston playing are the highlights for me. Steve’s drumming never does overpower the song but is still strong enough to keep the song going. Then you have the well timed double tracked Minimoog by Boyd pieced in at certain points that made people really dig the tune back then. Add in the great guitar work of Mike Somerville, the bass playing of Dan Birney and alternating vocals of Huston and John Schlitt and you got a big hit. The multi-part vocal harmonies sung by all the members didn’t hurt the song much either. 
Never Been Any Reason is one of those songs that just picks you up whenever you hear it..

Head East 
Roger Boyd - Piano, organ, moog, mellotron, vocals 
John Schlitt - Lead vocals 
Steve Huston - Drums, percussion, vocals 
Mike Somerville - Guitar, vocals 
Dan Birney - Bass guitar, vocals

1. Never Been Any Reason 05:11 
2. One Against the Other 03:47 
3. Love Me Tonight 04:27 
4. City of Gold 03:41 
5. Fly by Night Lady 02:47 
6. Jefftown Creek 06:41 
7. Lovin' Me Along 05:27 
8. Ticket Back to Georgia 04:05 
9. Brother Jacob 03:10 
Total playing time 39:16 

1974 Flat as a Pancake 
1976 Get Yourself Up 
1977 Gettin’ Lucky 
1978 Head East 
1979 Head East Live! 
1980 U.S. #1 
1982 Onward & Upward 
1988 Choice of Weapons 
1999 Concert Classics 
2000 Live on Stage 
2008 Head East Live 2008

John Buck Wilkin ‎"In Search Of Food Clothing Shelter And Sex" 1970 US Psych Folk Rock

John Buck Wilkin ‎"In Search Of Food Clothing Shelter And Sex" 1970 US  Psych Folk Rock


John "Bucky" Wilkin, the son of Marijohn Wilkin (author of the country classic "Long Black Veil"), is most noted as a session guitarist on numerous country and rock records of the 1970s, particularly outlaw country releases by Waylon Jennings, Kris Kristofferson, Kinky Friedman, and Jessi Colter. 
He was also a songwriter and put out a little-known solo LP, In Search of Food, Clothing, Shelter & Sex, on Liberty. The record was easygoing, though sometimes moodily eccentric, country-folk-rock with frequent orchestration. Prior to his solo album, Wilkin had been in Ronny & the Daytonas, famous for their 1964 hot rod hit "Little GTO." Wilkin was also in the American Eagles (not to be confused with the much more famous Eagles), who also included keyboardist Chuck Leavell, and put out a single in 1969. ....................

Wilkin's obscure solo album is a rather strange, and not always comfortable, interface of singer/songwriter, MOR pop, folk-rock, and country influences. At times he sounds like early James Taylor with Glen Campbell-ish orchestration; "My God and I" doesn't sound far from early Elton John. 
Although his songs are a little odder and moodier than those of the young Taylor, they're not as good or memorable either. Sometimes there are suite-like structures reflecting the ambitions of much late-'60s music, as in "Mary Jackson," "Nashville Sun," and "Apocalypse 1969." "Boy of the Country," for its dark edginess, is a standout, though even so the orchestration somewhat dilutes the overall effect.

Kris Kristofferson fans might find this an interesting collector's item due to the presence of an early, pre-Janis Joplin version of "Me and Bobby McGee" as well as "Apocalypse 1969" (one of the better and harder-rocking cuts, though not as interesting as its title indicates), which is co-written by Wilkin and Kristofferson...... by Richie Unterberger...................

01. Apartment Twenty-One
02. Faces And Places
03. My God And I
04. Boy Of The Country
05. Apocalypse 1969
06. Me And Bobby McGee
07. The Daydream
08 Mary Jackson
09.1 Long Black Veil
09.2 The Nashville Sun
10.1 About Time
10.2 Nashville Sun Reprise

Erkin Koray "Elektronik Türküler" 1974 second album Turkish Psych Rock Anatolian Rock

Erkin Koray  "Elektronik Türküler" 1974 second album Turkish Psych Rock Anatolian Rock
Erkin Koray “Cemalim” 1974

Digitally remastered edition of this rare album from the Turkish Rock legend. Technically his second album after a collection of singles, this benchmark record from 1974 taught Istanbul's musicians and pop fans how to put Turkish folk songs from the 17th century together with meaty, thundering guitar solos. With a crack bass player by his side (Ahmet Güvenç from Bunalim and Baris Manco's Kurtalan Ekspres) and an electrified balama in his hands, Erkin Koray lets his gloomy baritone voice float over wiry double-reed melodies, bulging riffs, and hammer-ons that go on for-friggin-ever. Savagery begins at home people, so make sure you get a physical copy of the best record by the Turkish Hendrix into your house. Also available on 180 Gram Vinyl.......

Erin Koray master piece just wonderful every track. Highly recommend by the Berkestir of kalx radio Berkeley California on the left coast......ByJonathan D. Berke..............

“That day, Erkin Koray was living one of the happiest moments of his life. To sit across from John Lennon, one of the leading celebrities of the most famous Beatles Group was a dream come true for him.
Lennon was quite surprised to learn that the young man with the long hair sitting across from him was a Turkish musician. John Lennon and Erkin Koray were conversing on the magnificent terrace of an exquisite hotel 30 kilometers away from Cannes when Lennon explained that there were two reasons for his having come to Cannes: ‘First, my best friend Mike Jagger’s wedding. Second, some of my own movies are going to be shown in Cannes,’ then he added, ‘By the way, did you see my movie?’ ‘Yes,’ answered Koray.
‘Most people didn’t understand these movies,’ Lennon added. ‘Or, let’s say they didn’t like them.’ He went on to ask, ‘What do you think about them?’
Koray answered, ‘Whether I understand them or like them is of no significance. I think it should suffice to say that I felt them. What counts in Turkey is music.’ (As reported by Arda Uskan in Hürriyet, summer of 1971)
When it comes to rock’n’roll innovators from Turkey, Erkin Koray is second to none. Indeed, his career stretches to the time of rock’n’roll’s very inception. In 1957, he performed what has come to be accepted as Turkey’s first known rock’n’roll concert when he fronted his first amateur band at an Istanbul high school playing covers of hits by Elvis Presley and Fats Domino. He was also one of Turkey’s very first electric guitarists, recording what is generally recognised as being the first significant rock’n’roll record ever released in Turkey -- his first single, “Bir Eylül Akgami” (“A September Evening”)/“It’s So Long” in 1962. Little wonder he is referred to in his homeland as “Baba” or ‘Father’ Erkin, for he truly is the father of Turkish rock’n’roll in every way. To paraphrase Koray’s response to the Lippy One in on that French Riviera terrace, although I don’t understand Turkish I think it should suffice to say that I feel the music of Erkin Koray deep in my bones, head and heart and Rocks mah soul big time.

While non-Turkish sources continually name check Koray as “the Jimi Hendrix of Turkey” to my mind’s eye and ears he’s also the Chuck Berry, the Link Wray, the John Fahey, the Jimmy Page and the T.S. McPhee of Turkey and more all combined: Not only for the early and pioneering foundations he helped lay for Turkish rock’n’roll, how he synthesised multiple music forms together into a brand new thang, or how he delivered it all with such strength and integrity that the exotic Eastern influences he would eventually weave into his rock’n’roll lived and breathed vitality and was not just added for some Hollywooden Casbah décor effect but if there was ever a musician who kicked against the pricks, did it his way -- the hard way -- and by virtue of his undying efforts lit a rock’n’roll fire in Asia Minor that sustained in the most major way possible, then it was Erkin Koray. The manner in which he kicked up squalling fuzztone, stinging sustain, resounding reverb and redoubtable distortion as he wielded his 6-string scimitar into an organised and organic freak-storm like nobody’s business is astonishing. His style is hard to pin down, as it continually unfolded out and beyond the boundaries of rock’n’roll, later incorporating baglama (a Turkish stringed instrument; also known as a ‘saz’) and merging it all together with Turkish music styles that cut into and across elements of surf, psychedelia, proto-metal until it became ALL things beyond at once. To top it off, most of his best records included placing his expressively sonorous vocals centre stage as if to buffer his many axe attacks, which only made for a highly incongruous and intriguing mix of emotional shading oftentimes completely at odds with itself.
Truly, Baba Erkin jerks mah gherkin every time. And incredibly, Koray still continues to record and perform to the present day. But what makes his story so unique is not only his survival as a rock’n’roller, but as a rock’n’roller in Turkey whose records consistently kept pace with contemporary Anglo-American innovations and oftentimes exceeded them in their astute execution as they were refracted through distinctly Turkish rhythms. A quick smattering of historical and geographic background is in order to put Koray’s achievements as an artist in perspective, and after that I promise I’ll hoof it back to the greatness of Koray and orthwith-fay, OK?

We all know East is east and west is west.
But did you know Turkey is both?
And also...neither?
An Orient by any other name would be no Occident.
It’s where the East ends and the West begins. Or is it the other way round? Or both?
Roughly the size of Texas, Turkey is a country whose natural geography defines it as a massive land bridge between two continents. But like Aesop’s fable of the bat (whereby Herr Fledermaus gets resigned to a solitary nighttime existence for being too bird-like for acceptance by mammals and too mammalian to be recognised by other birds of flight as a winged brother) Turkey also shared a similar limbo by being considered too Oriental by the West and yet for all its many defining Eastern traits was perceived as a tad too Western by the standards of its middle eastern peers. So Turkey’s position of cultural otherness remained, despite -- or possibly, because of -- the many cultural traits it shared with its neighbouring milieu that had been accumulated for millennia as they were positioned upon a busy 4-lane East/West crossroads. 

Turkey can be viewed as an oversized peninsula bounded by the Black Sea to the north, the Mediterranean to the south and to the west by the Sea of Marmara, the Aegean Sea, Bulgaria and Greece while Turkey’s easternmost boundaries ran up alongside those of Syria, Iraq, Iran, Armenia, Azerbaijan and Georgia. Stretching from the Mediterranean coastline into the Anatolian plains and the mountainous regions that lay to the east, this land played host for thousands of years of human migration and settlement dating back to the Paleolithic Age on up through a bewildering number of successive cultural layers that ebbed and flowed with Hittites, Persians, Greeks, Romans, Byzantines, Turkomen, Sky Turks, Seljuk Turks, Mongols and finally, Ottoman Turks (to name but a few) each conferring in turn their own individual influences upon the inhabitants of this continually re-conquered region.

After the defeat of the centuries-old dynasty of the Ottoman Empire in 1923, the republic of Turkey was founded by Mustafa Kemal Atatürk. And for the next fifteen years of his rule as first president of Turkey, an incredible amount of sweeping reforms were introduced that would dramatically transform life within the newly formed nation. Determined to bring Turkey forward as a modernised Western country through assiduous redefinitions of national identity, these reforms included adopting Western styles of clothing, the Metric system, the Western calendar and even the Roman alphabet was adopted in place of once-used Arabic script. Activities of religious sects were banned and religious attire of every kind was prohibited in public as a secular system of jurisprudence was set up to replace the former religious laws of the Ottoman Empire. But despite the severity of these measures, progressive steps were also made: amongst them rising literacy rates and the granting of social and political rights to women, as well as their right to run in parliamentary elections.
Forty years on, the embracing of all things Western was still going strong in Turkey. But it was not until the mid sixties that the influence of rock’n’roll would become widespread enough to secure a position in Turkish culture when it well and truly was kick-started into high with the Altin Mikrofon (‘Golden Microphone’) contest. Staged by the major Turkish daily newspaper Hürriyet, when it announced that all awarded finalists would be guaranteed a record release with the profits going solely to the artists themselves, the response was overwhelming. Contestants of an incredibly wide age span entered, matched by an equally varied assortment of talent later characterised as either “reviving the brisk tones of Anatolia” or “playing the music they picked up from Turkish folk repertoires in the rhythms of cha-cha-cha, twist, bossa nova, slow, swing or waltz.” Among the finalists were the ultra-tight beat group Cahit Oben with “Halimem” (‘My Halime’) while Ferdi Ozbegen edged in with his cheeky “Sandigimi Acamadim” (‘I Couldn’t Open My Coffer’). Group Sonya Dores performed “Gemiciler” (‘Sailors’) with a Spanish flavour, and Ilham Gencer wowed the judges with his own composition, “Zamane Kizlar” (‘Modern Day Girls’). Kanat Gur’s bossa nova version of “Karadir Kaslarin Ferman Yazdirir” (‘Your Black Eyebrows Write Ferman’) was an equal gas for the judges while the Shadows-obsessed quintet Siluetler converted a traditional Anatolian folk number “Kasik Havasi” (‘Castanet Style’) into a supersnazz surf instrumental.

Needless to say, it was an enthusiastic and culturally checquered event whose British equivalent would be on par with a mid-sixties NME Poll Winner’s concert featuring Wayne Fontana & The Mindbenders, Mr. Acker Bilk, The Shadows, Rory Storm & The Hurricanes, Yootha Joyce backed by Sounds Incorporated, Cilla Black and the Aberystwyth Men’s Choral Society. 
Although Anadolu (‘Anatolian’) Pop was now officially off and running, it still had a long way to go. But with each successive Altin Mikrofon contest, massive steps were taken forward in establishing a newfound acceptance for rock’n’roll as groups that re-interpreted centuries-old indigenous folk songs with electrified Western instruments steadily came on the scene and began winning more of the top positions. By the time of the fourth and final Golden Microphone competition in 1968, the finalists were almost entirely comprised of rock’n’roll groups. A 17-day tour was scheduled throughout Turkey and this is where we now reconnect to Erkin Koray, for the Erkin Koray Dörtlüsü (‘Quartet’) were at last Altin Mikrofon finalists after an unsuccessful bid the previous year and now they were competing against Haramiler, the recently formed Mogollar, Sis Beslisi & Turgut Okay, and the ludicrously un-Rock-named and -sounding T.P.A.O. Batman Orkestrasi (as Pop Art as it might initially seem, the ‘Batman’ merely referred to the Turkish city of their origin) who somehow aced first place with their “Meselidir Enginde Daglar Meseli” (‘The Mountains Are Stronger Far Away’). However, the psychedelic band Haramiler came in second with “Arpa Bugday Daneler” (‘Pieces of Barley’) in matching Carnaby Street gear while the furry-booted Mogollar followed up in third place “by the luck of their lamb skins” as they wryly noted to the press.

As for Koray and his Dörtlüsü, they squeaked into fourth with their uncontrollable Middle East instro rave-up, “Çiçek Dagi” (‘Mountain of Flowers’) that hung ten like The Great Society sans Grace Slick but at twice the speed and proficiency in their eastern modal raga-sinations and from here, Koray’s Turkish express just kept-a-rollin’. Ever since he had finished his compulsory two-year military service in 1965 (spending it as a guitarist in the Air Force Jazz Band) Koray had grown out his hair, which with each passing year had increased in length to perilous consequence: his outward appearance caused several separate knife attacks on his person on the streets of Istanbul. 
Koray packed a knife for defence, let his stab wounds heal, continued to grow his hair and rocked on.

A year prior to his Altin Mikrofon triumph, Koray had signed with Istanbul Records, for whom he would subsequently record fourteen singles between the years of 1967-1973. Singles being the primary format of choice in Turkey at the time, this array of seven inchers displayed Koray’s consistent talents as guitarist, arranger and vocalist and they are primo examples of Turkish Rock as they traced his development from recording the knees-up motherfucker cover of “Land Of A Thousand Dances” (in Turkish!) to the very beginnings of his increasing interest in merging rock with Eastern forms, especially ‘arabesk,’ a Turkish version of Arab popular music which despite official condemnation had continued to thrive. By the fifties, sizeable migrations from rural to urban areas had created a culture of disaffection, and arabesk music was its soundtrack. By the end of the sixties, it had gained widespread popularity in the peripheries of the more prosperous cities of Turkey as it related issues of national identity that Atatürk’s reforms had left unaddressed and inadvertently had amplified in its accelerated drive towards modernising Turkey into a potential Western-styled power. Arabesk was a reaction to this abrupt cultural alignment with the West, and it described a social reality of the migrant folk who felt like outsiders in their own land as nostalgia, fatalism, frustration and resentment all took form in arabesk music alongside recurrent themes of city alienation. This expressionist Turkish reggae/punk/film noir-all-at-once art form would gain its widest recognition during the mid-sixties through the exotic records of Orhan Gencebay. Flying under cover of then-popular sitar vogue on Western pop records, Gencebay’s skilled use of baglama (the Turkish stringed instrument akin to the lute), electric baglama and sitar succeeded in blending non-Occidental elements in an entirely new and popular approach. And although arabesk was still officially off limits, Gencebay’s expertise as a musician as well as an ability to cut a dashing figure in Western clothes subversively offset by his overtly Eastern-styled moustache successfully bridged all gaps of acceptance. And since his records sounded psychedelic anyway, when questioned if they harboured any “hidden arabesk intentions,” Gencebay could only coolly reply that it was merely an attempt “to sound like Pink Floyd.”
Erkin Koray met Gencebay in the early seventies and was immediately struck by his friend’s knowledge of Eastern musical forms, tunings and techniques, finding a potential for further explorations through adaptations of traditional baglama and Eastern influences and re-setting it within the context of psychedelic Rock with Turkish chords and rhythms. And during the years 1969-1971, Koray and his band Yeralti Dörtlüsü (‘Underground Quartet’) set about investigating and synthesising just that in their communal house with spectacular results. Scattered throughout seven singles on the Istanbul imprint, some of the highlights (among nothing but) of Koray’s work with Yeralti Dörtlüsü were: his arrangement of “Kendim Ettim Kendim Buldum” (‘What I Reaped, I Sowed’), the fuzzed-out radio-in-a-kebab-shop-on-acid sonorities of “Nihansin Dideden” (‘You Are Hidden From Sight’), the epic “Istemem” (‘I Don’t Want’) with its ultimate refusenik song title and infinite Dervish guitar soloing and the snarling fuzz guitar that battled Koray’s vocals of regret over sharp handclaps epic that is “Köprüden Geçti Gelin” (‘The Bride Crossed Over the Bridge’). After Koray split up Yeralti Dörtlüsü, he immediately formed his next band, Erkin Koray Süper Grup who through two excellent singles (“Yagmur”/“Aska Inanmiyorum” and “Sen Yoksun Diye”/“Goca Dünya”) continued to blaze trails without a trace of artifice as he overlaid fuzz guitar riffs upon amplified non-linear baglama cycles that cross-referenced Eastern motifs naturally and with purpose into his own interpretations of Anatolian folk ballads or ‘türküler.’ And his increasing incorporation of arabesk in his music would increase its acceptance on a wider scale.
Ever restless, Koray split his trüly Süper Grup in 1972 and formed one that was even more süper. So süper, it bordered on the stüpor. Calling themselves and their noise Erkin Koray & Ter, here Koray fronted a three-piece comprised of refugees from the recently-demised power trio, Bunalimlar. ‘Ter’ is the Turkish word for ‘sweat’ and this was an entirely appropriate a moniker for this group of hairy volume freaks as their “Hor Görme Garibi”/“Züleyha” 45 is without a doubt not only the wildest and heaviest of Koray’s career but probably in all Turkish Rock as well. The blazing intensity of both sides of this single is ridiculously matched with an equal amount of energy and full throttle abandon as successive waves of sonic boomeranging come raging forth in a froth from the speakers as the fuckin’-ayyy!-side, a cover of Orhan Gencebay’s “Hor Görme Garibi” (‘Don’t Underestimate the Poor Guy’) gets shot up into a Stooges-like stratosphere as ex-Bunalimlar guitarist Aydin Cakus let loose with an uninterrupted, unhinged guitar solo that managed to even shoehorn in Mick Ronson’s melody riff from “Moonage Daydream” into a seething pre-punk frenzy that hung behind Koray’s calmly intoned yet Cappadocian cavern sized-reverbed vocals. The insanity spills all over the flipside “Züleyha,” where once more Ter just rip it up in a reprise of their scorched-earth policy style while Koray’s vocals, although more echo-chambered than before, are imbued with an open air triumphant march to victory. It’s a deliriously killer single whose defiance weighs in to match that of the “Raw Power” outtake released in ’77 as Iggy Pop/James Williamson’s one-two punch 45, “I Got A Right”/“Gimme Some Skin.”
However, Istanbul Records were unenthusiastic with this new and unsubtle approach of Koray’s and balked at a second Erkin Koray & Ter release, causing all activities of this group to draw to an abrupt end. Koray attempted to form a group called Stop who never got to the recording stage, but two individual tracks from the time eventually saw release in 1973 as Koray’s magnificent psychedelic single, “Mesafeler” (‘Distances’)/“Silinmeyen Hatiralar.” It would be Koray’s final single for Istanbul, and after seven years of single-only releases, Istanbul finally released the self-titled “Erkin Koray” album, Koray’s first ever long player. And although containing excellent material, excluding both sides of the recent “Mesafeler” single, “Erkin Koray” was drawn together from material dating from as far back as 1967 and was hardly representative of Koray’s current artistic pursuits. Whether issued merely as a contractual release, a weird afterthought or a makeshift compilation to meet the demands of Koray’s sustained popularity in Turkey, “Erkin Koray” would be his final release on Istanbul Records.

In 1974, Koray signed with Dogan Records and it was here where he was able to finally present his artistic statement in a form that was contemporary, under his control and unrestricted by the abbreviated length of singles. And what he delivered is considered by many to be his masterwork: the full length “Elektronik Türküler” (“Electronic Ballads”) album. 
 The longhaired Koray now also sported a beard and with a voice as sonorous and robust as ever, worked into the texture of the album’s eight tracks a layer of swirling and droning e-guitar and e-baglama interplay decorated with repercussions, bongos and tambourines. Koray recorded three of his own original Rock instrumentals alongside five remaining tracks that were all versions of Anatolian folk songs ranging in vintage from years to centuries. Koray did the arrangements and was able to unify all eight songs into a seamless trip where past and present, east and west, acoustic and electric all merged together effortlessly. Joining Koray were Sedat Avci from the old days of Koray’s Dörtlüsü on drums, bassist Ahmet Guvenc while additional players Faruk Tekbilek (baglama) and Eyup Duran (bongos) rounded out the trio. 

“Ahmet made a very funny voice when he was acting as harmony vocalist, we could not resist laughing. He was also laughing when he was discharged as vocalist. He suppressed all of us when we were playing “Türkü”... Sedat was always motivated, successful, full of good intentions and an old friend. Ahmet and I fit very well in the corners of the rhythms that he structured. Once he left by saying, “I’ll be back soon” and came back two hours later. He got confused when he listened to “Korkulu Rüya” for the first time, then he liked it a lot. 
We got into the studio at 18:00 in the evening for “Karli Daglar.” It was 9:00 in the morning when our voice engineer Doruk Onatkut told us, “I didn’t like it. Should we start it all over again?” He would almost pass away... Our lovely girl Meftun prepared our teas, brought our fruit juices, and made every effort for us. She was a blue angel representing all goodness when we tried to lift a 25 kilogram Marshall. Our record producer Hidayet, whom we love so much, came to our place to ask: “What is going on there?” We let him listen to “Inat.” He made no comment. His cheeks were a little bit red... 
When we were recording “Yalnizlar Rihtimi” our tea-maker Baba left the kitchen locked. We suffered from thirst that day... In the meantime, Doruk Onatkut provided us with the required environment, in addition to taking care of the recording in a very delicate and successful manner by giving examples of the modern world. In sum, it was a nice and productive work...” -Erkin Koray (Translated from the original liners notes to “Elektronik Türküler”)
“Elektronik Türküler” begins with the traditional Anatolian ballad “Karli Daglar” (‘Snowy Mountains’) and the sound that first emerges are those of the plucked four strings of the baglama and the sound is both sensuous and languid as hell. With the sound of a telephone ringing to break the previous supinely-inducing spell, another chiftetelli/belly dance undulation rises to the surface with Koray’s instrumental, “Sir” (‘Secret’) his lead baglama book-ending a middle break where he suddenly lets loose with a stinging and entirely psychedelic guitar solo. The mood all changes with the next track, “Hele Yar,” an acoustic re-arrangement of a Turkish ballad from the 17th Century by the Anatolian troubadour, Karacaoglan. The title translates into either ‘Special Lover’ or ‘Let’s Go, Girl!’ and it “sounds” exactly like both -- it’s the most happy-go-lucky moment of the album as twin baglamas construct a dance rhythm behind lilting bass and scant drums. For several cycling verses they court a young lady as all three wander through foothills, place a flower behind her ear and then chase each other down by the seaside, ahhh... This romantic piece sees contributing background vocals by Sedat the drummer and their “blue angel” Meftun, and after endless repetitions of this dance of love and life, they all can’t take it anymore and it all breaks down in laughter. Perfect.
Produced within a few minutes during a break, the brief instrumental “Korkulu Rüya” (‘Nightmare’) runs rampant with sinister organ chords held down as if they sleep’s suffocating pillow itself as backwards electric guitar streaks by laser-like as all the while a steady bass line lurks watches from a distance as though it’s the Türküdelic cousin of “Careful With That Axe, Eugene”. Koray freaks out on the organ in-between yelps and panting in terror until finally and with harried relief jerks awake to find himself back in his Istanbul pad. With its muffled T-Rex/Stones groove, a cover of Kemal Inci’s “Yalnizlar Rihtimi” (‘The Wharf of the Lonely Ones’) is the most Western moment of the album. Taking its title from a 1959 Turkish film, piano and bass buoyantly carry the melody from wharf side out into the open sea and past the promontories of care. By the end, Koray just drops off his vocal and is content to wedge in a glowing guitar solo that tears off and into the remainder of the track. Koray intones a final verse of “aaaaahh”s along with it, but his solo just carries along to the end, permanently anchored to the rhythm.

Side two opens with the acoustic guitar-led love ballad, “Cemalim” (‘My Cemal’). Written by the early 20th century folk composer Urguplu Refik Basaran, this well known Anatolian folk number is here strung up by Koray’s stridently strummed acoustic guitar that continues unbendingly throughout against overdubbed electric guitar placed in patches with excellent accenting. The voices of Sedat the drummer and “blue angel” Meftun waft softly in the background, echoing Koray’s hypnotising vocal repetition of the title as he accompanies himself with highly controlled fuzz guitar and shuddering, Cipollina-like filigrees. Halfway through, it continues on with the repeat of a single word for an extended period and just rolls with the tide of Koray’s acoustic rhythm, gradually slowing in tempo to a beautifully (bitter-) sweet conclusion.
The brief instrumental, “Inat” (‘Stubbornness’) opens with an e-guitar BRAAANG-BRAAANG-BRAAANG at top volume gain, and it’s a roomful of Koray-ian fuzz guitars with nowhere to do and nothing to go except to butt heads against themselves and the studio walls in this drum-less dual guitar solo against Koray’s double-tracked bongo backing. This proto-metal taxim/improvisation then falls away without warning and immediately into the nine-minute Eastern mystery odyssey that is “Türkü” (‘Ballad’), a piece co-written by the Turkish poet Nazim Hikmet and the father of modernised “türkü” (‘folk ballads’), Ruhi Su. With an opening flourish of reeds and drums the band then breaks down to allow Koray his sole baglama spot to establish the main theme. Then Ahmet Tekbilek’s kalem, that Turkish double-reed wind instrument of snake charming tendencies riffs and weaves into a truly psychedelic arabesk against a foundation of solid and simple bass and drums that keep the tempo at a hashish-resinated pace (By way of reference, it constantly reminds me of the beginning of Aphrodite’s Child’s “All The Seats Were Occupied” and The Stones’ Eastern tinged freak-out on “Gomper.”) A flourish on the guitar and the voice of Erkin the Great emerges from the shadows with cave-like reverb, slowly reciting words of great import (Although I unhesitatingly state I know not a word of Turkish, the repeated phrase of -- I think-- “bizim nos plak” gets intoned over and over again as if in consecration of a ceremonial rite and I trust its meaning is probably twice as heavy as I think.) The reeds come in and weave once more and the band is propelling itself steadily faster with Dervish-like rotary-ness. Koray’s fingering guitar trembles against weaving woodwind and everything is flying high until a quick drum accent signals an abrupt breakdown where breaking glass shattering the calm. But the high pitched woodwind continues even sweeter than before, picking itself up from the broken glass to charm back the vibe and the band enters at a pace even quicker and more muscular than before. A single baglama returns, needle-pointing back the main theme as Koray’s guitar and his trance-like intonation carries further and further back into time and Koray’s brain with each repeated “Bizim nos plak…” each word gaining further and further into ancestral echo-land where east is west and west is east...

And on this album, Koray successfully synthesised it all into one.

Koray is a steadfast rock’n’roll musician of the highest and most enduring calibre. Although the past sixty years have not been easy on “Baba” Erkin as he endured over four decades in rock’n’roll and faced problems with his music, personal appearance and lifestyle. But the rip-offs, stabbings, illnesses, relocating homes and even the political upheavals during the September 1980 military coup in his native land could not extinguish his rock’n’roll flame. He once said: “I will not leave music until music leaves me.” And this most resolute rock’n’roller has honoured his word and the spirit of music -- as well as rock’n’roll fans in both Turkey and abroad -- many times over with his musical Seth Man....Head Heritage..................

 Erkin KORAY is thought as one of Turkish psychedelic progressive rock legends. His musical style is pretty simple but is filled with ethnicity, tribalism, and fusion of Western and Islamic essence. This Middle East-West mixture is well done and splendidly matured, that should be his originality and mystic, energetic fuel for his career itself. Featuring beautiful sitar sounds, surrealistic percussion, and smooth, melodious, humane voices. I've already listened to the eponymous album by a Turkish suprapsych combo Bunalim launched in 1971, and felt just like I had got drenched in mysterious texture with some definite familiarity ... such a feeling has been popped up around me via his creation. 
His rhythmic part is quite simple and exciting (or danceable) but melody lines are too innovative and impressive for me (a Japanese) to help getting addicted completely. Every tone and musical note should absorb me in another dimensional sense (cannot realize in an apparent manner really though). Turkey is active and aggressive for various cultural issues between Europe and Asia, and their powerful humanity might have produced such an addiction. Suppose this style be popular around Turkey? Maybe yes. 

Electric guitar fuzz from the beginning until the last masterpiece "T'rk'" sounds not declined but musically rich. Pretty fantastic and fanatic is hotchpotched and orientally flooded soundscape with cool wind instrumental bullets in "T'rk'", that might mention all of his elements I imagine. Sorta DamoXt7942

The beginning of the 1970s. The most "sincere" period of the last century, as psychologically perhaps, the most complicated but complex. The "counter-revolution" movement, which started in the United States in the 60s, is now continuing, albeit with some pessimism, and the spreading of the ocean to the opposite shores is complete. As in every decade, the world is in search again and our country is taking more than its share in its share.

A society whose Atatürk revolutions are searching for a national identity that unfortunately can not be described as guiding but deeply unfolds, is buried in the confusion of concept and belonging to a western frontier who advocates being "westerner" rather than being westerner. Whether you have migrated from the village to the city, or have grown up, you have a mass of people who feel like a lost stranger in their own country, Istanbul. And just as it is in every crisis, the only thing that is sought here is a familiar face from the old, a voice that is known.

There are musicians such as Barış Manço, Cem Karaca and Erkin Koray, who started by making music and cover with western interactive rocks in the middle of the 1960s with the music, besides the artists like Orhan Gencebay, like Selda Bağcan, They have not been able to resort to the source that has remained there since centuries: Turkish Folk Music. It is no longer possible to see this hereditary culture of Anatolia from the bosom of the tongue and from the bifurcation.
Let's focus on the main subject before we go deeper and disperse in the technical details, "But Orhan Gencebay arabeskki !!!" "Where are the Mongols?"

Erkin Koray, who has been publishing 45s since 1960, makes this strange debut in 1973, but he is not very satisfied with the fact that it is almost always an old work in the album and does not reflect the new trends we mentioned in the upper paragraphs, and there are other plans for the new album. But Istanbul Plak, who has been recording his recordings since 1970, is not very happy with this new way that Erkin Koray wants to keep and after publishing his psychedelic works under various group names (Underground Quartet, Erkin Koray Süpergroup, Erkin Koray & Ter) between 1971 and 1973 Erkin Koray eventually breaks his way to İstanbul Plak and will make new pressures from 1974 to Spain, then from South America to South Korea, from 2000 to America, from Germany to Germany, The album that will become a kvlt for the community is removed from Doğan Plak: "Electronic Türküler ist Krieg" or shortly "Electronic Turkiler".
Of course, with the slogan "Iii-eyy songs, it's in the album!" There are 3 short instrumental songs of Erkin Koray on the album which is not opened and 5 songs re-interpreted with a total of 8 songs. Ahmet Guvenc bass, who will be the first to hit the ear and will not let go of the song during the album, let alone the wonderful arrangement of the songs, certainly but surely in each song, will not hesitate to "duck, duck, duck, bump, dubbuddibi" (all right reserved).
Prodigy or my story-teller, you listen to a "Jamalım" and then come and discuss it here. In fact, it is enough to listen to the last song "Türkü" without trying to explain the album from any point of view, because all those who will talk about the concept of "east-west synthesis" will concentrate on the reinterpretation of this Nazım Hikmet-Ruhi Su collaboration, In the shape of a body, as if it is processed. Omar Faruk Tekbilek's exquisite connection with what he has stolen in his 20s, and what a crazy zurna solo, a guitar that puts Erkin Koray's man into a transa (give that rythm ear that is inserted behind the ney solos that enter at 5:12) It is a pure musical journey, "to give way to the king" as it is today.
If I look a little too culturally, I think such albums, hele, are now more important than ever. In the documentary of Fatih Akin's Crossing the Bridge, if we were not mistaken, Replikas had a saying like "We are here and we are doing the music of this place". At first glance, it seems to me as a "restrictive" or even "nationalist" statement, but in fact a door that can show a necessary point behind it is for me. "Music is universal," making it stereotyped the middle of all the stuff we stay in the back, eyes are running away. Music is universal yes, but first it is born from somewhere, it has to be born. And they carry unique things everywhere they are born. You do not have to do it, you do not have to value it, but the learner, being aware of your existence, will be an important step towards becoming more equipped and "universal" in the future, even if it is an elitist kind. David Gilmour, knowing Dave Lombardo and not knowing Çetin Akdeniz, Ayzer Danga, is more or less unknown, besieged, cultural erosion of imperialism and cultural tragedy reality, but a more tragic reality than writing, Let 's end here in the name of not leaving.
To summarize, it is possible to say that Anatolian Rock, which is labeled as an irrepressible and irreversible track, has been given the equal right of both Anatolian and rock parts, and it still seems to me like (a) that Erkin Koray has disappeared after saying "arabesktiren poptur" Listen to the album. If he is in you, he will take you to the required places.

It's something I do not like at the end of a song, a poem quote, but it does not seem to be a better closure, a promise, because it feels like a forgotten CCC in Liverpool ovens because it feels like Yazar 

Line-up / Musicians 
- Erkin Koray / guitar, bağlama, piano, organ, tambourine, vocals; bongo on "Inat" 
- Sedat Avcı / drums, bongos, and other percussion 
- Ahmet Güvenç / bass 

Guest musicians: 
- Ahmet Tekbilek / zurna (a traditional Turkish reed instrument) on "Türkü" 
- Faruk Tekbilek / bağlama (a traditional Turkish stringed instrument, much like guitar) on "Türkü" 
- Eyüp Duran / bongo on "Türkü" 
- Ayzer Danga / drums on "Cemalim" 
- Sedat (Avcı) and Meftun / vocals on "Hele Yar" and "Cemalim" 

- Doruk Onatkut / sound recording 
- Cüneyt Sarvazlar / sound recording on "Cemalim" and "Inat"

LP 1 
1 - Gönül Salıncağı 
2 - Hayat Bir Teselli 
3 - Dost Acı Söylermiş 
4 - Korkulu Rüya 
5 - Krallar 
6 - Tımbıllı 

LP 2 
1 - Cemalım 
2 - İnat 
3 - Türkü 
4 - Arap Saçı

Erkin Koray Discography (1962-1976) 

Bir Eylül Akgami/It's So Long (Melodi) 1962 
Balla Balla/You've Got To Hide Your Love Away/Watcha Gonna Do About It/It's All Over Now (Sayan) 1966 

(Erkin Koray & Dörtlüsü) 
Kizlari da Alin Askere/Ask Oyunu (Istanbul) 1967 
Anma Arkadas/Anadolu'da Sevdim (Istanbul) 1967 
Meçhul/Çiçek Dagi (Altin Mikrofon) 1968 
Hop Hop Gelsin/Çiçek Dagi (Istanbul) 1968 

(Erkin Koray & Yeralti Dörtlüsü) 
Aska Dönüyorum/Yine Yalnizim (Istanbul) 1969 
Sana Bir Seyler Olmus/Seni Her Gördügümde (Istanbul) 1969 
Belki Bir Gün Anlarsin/Nihansin Dideden (Istanbul) 1970 
Istemem/Köprüden Geçti Gelin (Istanbul) 1970 
Kendim Ettim Kendim Buldum/Askimiz Bitecek (Istanbul) 1970 
Meçhul/Ve… (Diskotür) 1970 
Gel Bak Ne Söylicem/Gün Dogmuyor (Diskotür) 1970 
Senden Ayri/Bu Sana Son Mektubum (Istanbul) 1971 
Kiskanirim/Ilahi Morluk (Istanbul) 1971 

(Erkin Koray Süper Grup) 
Yagmur/Aska Inanmiyorum (Istanbul) 1971 
Sen Yoksun Diye/Goca Dünya (Istanbul) 1972 

(Erkin Koray & Ter) 
Hor Görme Garibi/Züleyha (Istanbul) 1972 

Mesafeler/Silinmeyen Hatiralar (Istanbul) 1973 
Saskin/Eyvah (Dogan 501) 1974 
Krallar/Dost Aci Söyler (Dogan 504) 1974 
Fesupanallah/Komsu Kizi (Dogan 505) 1974 
Estarabim/Sevince (Dogan 509) 1975 
Arap Saçi/Timbilli (Dogan 502) 1976 
Gönül Salincagi/Hayat Bir Teselli (Dogan 516) 1976 

Erkin Koray (Istanbul) 1973 
Elektronik Türküler (Dogan) 1974 
Erkin Koray 2 (Dogan) 1976 

johnkatsmc5, welcome music..







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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958