Sunday, 22 April 2018

Le Systeme Crapoutchik (with Jean-Pierre Alarcen- Eden Rose,Sandrose) "Aussi Loin Que Je Me Souvienne" 1969 France Prog,Pop, Psych Pop debut album


Le Systeme Crapoutchik (with Jean-Pierre Alarcen- Eden Rose,Sandrose)  "Aussi Loin Que Je Me Souvienne" 1969 France Prog,Pop, Psych Pop debut album
Le Systeme Crapoutchik"L'enfant De Choeur"1970 single on dailymotion
full vk
https://vk.com/wall-112611966_5815

full spotify

https://open.spotify.com/album/5YUd8JT8XWHfqIaNQzEkab

discography

http://pressibus.free.fr/zuzudisco/puterflam/putcrapou.htm

full discography on discogs

https://www.discogs.com/artist/1612329-Le-Syst%C3%A8me-Crapoutchik


For the umpteenth time, a group of the hexagon does not obtain the recognition to which it can legitimately claim. This is common in the 70s when our French groups are most often undervalued, or even ignored by the musical criticism. In Europe, they prefer the Anglo-Saxons. The Teutons also have the favors of the press, but skin of ball for our formations. Rock spoke and sang in English and we had only Aznavour to propose as an artist handling the language of Shakespeare without accent. As groups such as Ilous & Decuyper, Zoo, Alice, Angel, Dynasty Crisis, Magma, Triangle and the early Martin Circus have revealed, there was room for our artists in this international musical concert. The Crapoutchik System (which contributed to the opera-rock, The French Revolution), for example, in the name came from the difficulty of Jacques Dutronc (in whose service they were) to pronounce the surname Gerard Kawczinski and who for short and simple, calls him Crapuchik. After two EPs and a single for Vogue, the Crapoutchik System signs for Flamophone, newcomer among the publishing houses and created by Claude Puterflam, who becomes, at the same time, the singer of the Crapoutchik System. Accompanying Jean-Pierre Alarcen, famous guitarist, bassist Christian Padovan, Gerard “Crapoutchik” Kawczynski (guitar), Michel Pelay (drums), a certain Alain Legovic (Alain Chamfort) keyboards and André Sitbon (drums). This pioneer of the hexagonal pop publishes, in 1969, a first disc listenable on Deezer: As far as I remember, which turns out to be the first album-concept in France. Very accomplished and coherent, despite texts sometimes a little foolish, he weaves a beautiful French pop, based on neat melodies, beautiful harmonies and interesting studio effects. Musically, the album, whose concept is about life, is beautifully structured and deserves attention. When I’m Big and the Elves (on childhood), First Love (Adolescence), Heartache and Times Changed (adulthood), It’s Winter (end of life) are the indisputable translation of the talent that inhabited our artists of the late 60s and that the history of rock has neglected…by…jean-claude …~


There is more … obvious as a group name. All because Jacques Dutronc could not pronounce (and remember!) The name of his musician Gérard Kawczynski, that he ended up calling it Crapoutchik. Because before founding the group, the whole gang was at the service of the cigar man. Excellent musicians who decide to found their band to compete with the British pop bands of the time. Rude stain, but real talent for our Parisians. Unfortunately, like almost all the groups of the time, no collective recognition came to reward their efforts. Their network nevertheless allows them to publish two EP and a 45t at Vogue before signing an album on the young Flamophone label created by Claude Puterflam. The same Claude Puterflam becoming at the same time the singer of the group. In the absence of success, the album will remain forever the first concept-album to appear in France! The result is hardly brilliant despite the edition of three SP. System Crapoutchik separates in 1970. But, not without humor, Flamophone comes out a year later a double album called “Flop” regrouping unpublished and 45t of the group. In 1975, Claude Puterflam tries in vain to revive the machine if not a last album of the same name published the same year….~


The debut LP of the band was released on Flamophone in 1969. It shows our friends delivering a very cool pop sound which pays tributes to the more McCartney-esque side of the Beatles, but mixtured in a very personal way with the pop/psych/prog air of its era. Saving the distance, since Le Système Crapoutchik have a unique sound of their own that makes it hard to compare to anything else - and even not having such a baroque production - this LP could be the French equivalent to Billy Nichols ‘Would You Believe’. 
First time ever reissued on vinyl, from the original master tapes and reproducing the original gatefold cover, plus an insert with liner notes by Jean-Emmanuel Dubois & Marc Argenter In a limited edition of only 500 copies….~

Why ride around? One is what it is and reaches as far as it reaches. To summarize, I will say that scaffolding is much less firm than I would like and with a structure that suffers from certain problems when it comes to accurate description. Who speaks to them usually starts almost everything with a single. That’s how simple I am. I do not say it as a distinctive sign - although not necessarily as a tare - but simply as verifying a reality. These artifacts are a kind of brief missive as a gregueria from which I reflect and inquire as far as I can, I learn despite my obvious limitations and imagine with the freedom that is possible. Even, sometimes, I idealize and digress. 

Does, I do not know, ten, twelve, fifteen years ?, I got my first album of Le Systéme Crapoutchik . It was the single with “Les sans amour / L'enfant de choeur”(Flamophone, 1970). I stumbled upon him - how he has happened to me with so many other French records - in one of my raids on Fleas. Not the slightest idea at the time who they were, much less the slightest intention to let it go. I rescued him from the drawer where he was abandoned with others, a little instinct and a bit out of curiosity. You know, the cover, the unknown label (at least for me), the year, the price … what do I know? The fact is that once I heard I discovered two songs of a different beauty and elegance, although not less than one of the other. It also happened that in the beginning, because I was at what I was - and to understand even less about life and myself than I do today - their continued listening could incite rejection. How, from those pints on the cover, could it be so big?delicatessen , fragile and elevated, that ran the fine thread that goes from the excessively sweetened to the pang in the heart, and yet, be almost perfect ?. Yes, I admit it, I fear that once again the disgusting prejudices, the preconceived ideas, the daring ignorance, were at ease. 

I let the time go by and as often happens, given my inconstancy, I forgot the matter. I resorted to him on rare occasions. And yes, as the notes of future reissues would say later, “SF Sorrow” was there, waiting, crouching. Just as dreamy, just as strange. Equally hypnotic and addictive. Also, I think, I sensed other things. To the Ia & Batiste of “A great day” , to the “Telaraña” of José and Manuel with Nuevos Horizontes , if I wanted to sweep home. Also the Beach Boys of the “Surf’s up” or the Colin Blunstoneof his first two albums. Ductile, polyhedral, with an obsessive detail in the melody that sometimes exasperated given its excessive perfection, but which, surprisingly, attracted gravitationally. 

Years later, in 2011, light was made. The Barcelona label Wah wah reissued his three albums. Reading then the notes and after a first and hasty listening, the laudatory tone of the text could come to seem exaggerated. False. The thing reached, in a luminous way, a just vindication and putting in value that made me navigate between waves of gratitude due to the discovery of three superb disks. His first Lp chronologically speaking ( “Aussi loin que je me souvienne” , Flamophone / Vogue, 1969) already put us on guard with his adaptation to the French of the most dreamy and less insular Pretty Things . Songs like “Un jour dans ma vie” ( Hard Rock of Zeppelinian airs) without the blemishes of that one, that is to say, the transcendence and the lack of humor erased) or “Les temps ont changé” (a piece of descriptive psychedelia with eminent pop substratum , debtor of the Kinks both in the stylistic and in the literary) were a brilliant cover letter. His third, the namesake, although generally described as minor, thinks one is the perfect swan song. Fixed by Jean Claude Vannierand reminiscent of the American West Coast was not the album little thing; delicate goldsmith, small and delicately carved, a whole succession of musical layers and beautiful vocal harmonies, one after the other. Songs from which emanated an elegance as careless as meticulous, conscientious in the description of what was left of the idealized fire that it once was. Take as an example, a feather fly, the pseudo bossa “Pauv 'Muezzin” or the song that closes it, “Le mutant” , a whole statement of ethical and aesthetic principles: “I am the mutant of time, of roses and stars, I am the future of banal existences . ” 

But it would be - for whom this subscribed - his second Lp, titled clairvoyantly and simply “Flop” where everything would fit with millimeter perfection. Interestingly, it is not an official record itself. After the failure of the first decide to release a double disc as a farewell with some of his first songs recorded for the Vogue label in 1968 (a 7 “and two Eps) along with revisions-variations might be more appropriate-of those same songs and new ones. They do not have many expectations, in fact they have thrown in the towel and are in the process of decomposition. So much so that this last tour de force does not pretend to be more than the epitaph of an adventure that could not be and that therefore will not be either. In their discs one jewel after another follows; The McCartney of "Ram” with its melodic ease and fireworks mixed with the brilliance and pop immediacy of Billy Nichols in “la vie set belle” . Echoes of Colin Blunstone more melancholic ( “Monsieur sans joie” , so similar for me to “Tramway 7B” by Bernard Chabert ). The Beach Boys would be directed by Henry Mancini more pop in “Gamelle trouee” or the wilsionana purity evocative in “C'est l'hiver” or “Il neige” . The Zombies in"L'enchanteur" and the Procol Harum in “Monsieur sans joie”, Bacharach in “Le mutant” and Bach in “L'enfant decrocheur” … 

They did not have bad godparents. They had been discovered by Jacques Dutronc (then guitarist of Eddy Mitchell’s band , acting on a television show by Albert Reisner ). The meeting coincides with the takeoff of Dutronc as a star and from that moment they become his accompaniment band; Gérard Kawczinski (Called Crapou by Dutronc given the difficulty of the pronunciation of his surname and from this nickname baptized the band -remember , Le Systeme Crapoutchik ), Jean Pierre Alarcen (former guitarist of Les Mods, garage group with a unique and very rare ep published and by Eden Rose and Sandrose ), Christian Padovan on bass ( Kawczinski’s partner in Les Challengers ) and Alain Legovic on organ (later, already a famous singer, known by all as Alain Chamfort ) who had been the organist of the Nicolas Nils band , who has a UFO-ep with two great French versions of the Seeds . Later, replacing him, would enter Jean Pierre Sabar (collaborator of Gainsbourg , arranger of Dutronc ,Huges Aufray , the new beautiful child of French music, after the success of the French version of “Hair”, by the hirsute Julien Clerc ) taking care of the drums and keyboards. 
Mot de passe ; Claude Puterflam . An adventurous sniper of the many who populated the French scene then. This one had published material with the name of Peter Flam for Vogue . Basically chanson freakbeatizada to the wake of that lighthouse that was Dutronc , his friend and mentor. Snatched pseudo garage anthems with -see how I explain it- indelible marchamo chansonnier ( “C'est la vie” , half with Michael Pelay , future collaborator of Le Systéme Crapoutchik or “Il ne faut pas pleurer” , half-signed with Dutronc ). Puterflamhad launched a new label, named Flamophone , after having convinced the people of Vogue of its viability and immediately signed Le Système Crapoutchik as a flagship group, of which he would become the author of his texts. 
Despite all the obvious influences, Kawczinski , Alarcen and company managed to get a personal and unique potion. Resident Musicians of the Puterflam Palace , those still under construction at the Gang studios . His pretension was to become a congregation of musicians who interacted in their different projects; Bernard Ilous (whose two singles have already been reviewed here and whose LP half with Decuyper has also reissued Wah Wah I can not recommend more strongly), Nino Ferrer (in whose superb “Le sud”, also commented previously in the blog, would collaborate), with the same Jacques Dutronc … 
After this adventure Kawczinski would not abandon the world of music, quite the opposite. He would dedicate himself to the music of bookstore with commercial uses composing from jingles to soundtracks, would turn like guitarist for salary and serious engineer of sound in the studies Gang of Claude Puterflam , today still open. Jean Pierre Alarcen, for his part, would continue as a sought-after studio musician (apart from collaborations with others, Janko Nilovic , François Béranger , Dick Rivers …), while Christian Padovan will be a required bassist and will collaborate, among others, with Cerrone, Nilovic, Nino Ferreror France Gall . Regarding Legovic / Chamfort , he would be the only one who would have a long career as an interpreter, with more than a fortnight of Lps behind him. 
Pd All the data and quotation marks have been borrowed from the internal notes of the reissue of “Flop” (Wah Wah, Barcelona, ​​2011) signed by Jean Emmanuel Deluxe and Fréderic Fauré …..~




Plays

Claude Puterflam (vocals) Michel Pelay (drums) 
Christian Padovan (bass) 
Jean-Pierre Alercen (guitar) 
Gérard Kawczynski (guitar)

Tracklist 
A1 Aussi Loin Que Je Me Souvienne 2:00 
A2 Quand Je Serai Grand 2:35 
A3 Les Lutins 2:45 
A4 La Chanson Des Amis 2:15 
A5 L'Amour Avec Un Grand A 3:35 
A6 Un Jour Dans Ma Vie 3:55 
A7 Une Vie 2:35 
B1 Premier Amour 2:40 
B2 Vingt Ans 2:20 
B3 Chagrin D'Amour 2:20 
B4 Les Temps Ont Changé 3:00 
B5 Quand J'étais Gosse 2:50 
B6 C'est L'hiver 2:50 

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