Atarpop 73 & Le Collectif Le Temps Des Cerises : Attention l’armée
10 December 1974. 200 conscripts exit the casern of Draguignan in order to demonstrate in the streets of the city. They make part of those clandestine soldier committees multiplying themselves all over France with a view to unite the young activists of the extreme left with the anti-militarists. This dispute is a backwash of the student manifestations in spring 1973 against the Debré law reforming the military service.
The "Collectif du Temps des Cerises" founded by François Tusques, one of the pioneers of the French free jazz, decides to support the insubordinates. Denis Levaillant, 22 years old at the time, becomes the driving force of this discographical project. It’s with another big name in jazz, Jef Gilson in his studio Palm, the group records the compositions of Levaillant, appearing under the pseudonym Serge Igor, as well as cover versions of traditional Spanish music, among others the mythic "El paso del Ebro".
The young French jazz avantgarde scene of the early 70s participates in that session which brings together musicians like Jean-Jacques Avenel, Pierre Rigaud, Jean Méreu, Antoine Cuvelier, Gérard Tamestit, Guy Oulchen, Christian Ville, Robert Lucien, Carlos Andréou et Kirjuhel. The graphic designer collective Atarpop 73 creates the sleeve of the album which was released in an edition of 3000 copies and sold during the student manifestations.
This radical report of a rebellious youth raising from the still glowing ashes of May 1968 brings to our ears a jazz as spiritual as revolutionary. Attention, disc is burning !
counted among their ranks some of the best-known and most-respected
Nashville rock musicians. They quickly became a major draw and released
their self-titled debut through John Prine's Oh Boy imprint. With the two-headed talents of guitarists/vocalists/songwriters Tommy Womack and Will Kimbrough, along with bassist Mike Grimes,
the musicianship is top-notch even as the garage aesthetic lends
considerable charm to the outing. Songs like the power pop of "Tommy's
on His Own" and the crisp, playful demeanor of "Anal All Day" are as
joyously silly as the lyrics imply. However, the insightful, clever
songwriting reveals depth on other songs like the smoldering, blues-rock
of "Betty Was Black (Willie Was White)," which deals with an
interracial relationship. They also do a gorgeous version of Richard Thompson's
heartbreaking ballad "Walking on a Wire" (included as a live version).
The emphasis is mostly on creating a gloriously fun racket, though, and a
listener would be hard-pressed to find a song more engaging than the
deft-blend of Handel and Chuck Berry on the inspired "Yo Yo Ma."
Hank III returns to the country music roots in this episode alongside Marty Stuart, Connie Smith, Leroy Troy, and the fabulous Superlatives. A wonderful tribute to your legendary grandfather Hank Williams.
Shelton Hank Williams, known as Hank Williams III and Hank 3 (born December 12, 1972), is an American musician, singer and multi-instrumentalist, known for his alternating musical style, between country, punk rock, and heavy metal. He is the principal member of the punk metal band Assjack, the drummer of hardcore punk band Arson Anthem, and former bassist of Phil Anselmo's band Superjoint Ritual. He has released eleven studio albums, including five for Curb Records. Williams is the grandson of Hank Williams, the son of Hank Williams Jr., the nephew of Jett Williams, and the half-brother of Holly Williams.
From Residents : Dreams are nothing new for The Residents. In the Mole Show, their first tour, they dreamed of being Moles, crawling out from the safety of the underground; while in Shadowland, their most recent tour, they fantasized about being a rock band. Not unlike a guinea pig ingesting its own tail, In Between Dreams finds the group dreaming about dreams. Similar to the Shadowland
show, the performance also includes several short video monologues
featuring John Wayne reflecting on his dream about a ballerina, Mother
Teresa having a nightmare about a train wreck and a clown who dreams
he's a cowboy.
From Allmusic.com :
Le Forte Four were the earliest group in the collective of avant-garde music anarchists known as the Los Angeles Free Music Society (LAFMS). With their music combining loose experimental improvisation on both conventional instruments and household items with stuff taped off television cartoons or taken from records as well as lo-fi electronics, Le Forte Four were pioneers of sampling, even as their D.I.Y. ethic paved the way for the punk movement a few years later. In the summer of 1973, Chip Chapman, along with two brothers, Rick and Joe Potts, formed the Patients and recorded some material in the Potts family living room, which mostly consisted of the group arguing as they rehearsed Zappa's "My Guitar Wants to Kill Your Mama," and the Who's "Boris the Spider." A few months later, much to the chagrin of the other members, Chapman sent an excerpt of this to the Norway Electronic Music Festival under the name East Los Angeles Free Music Society.
In 1974, the group adopted the name Los Angeles Free Music Society as they worked on their first album, but by 1975 they had become Le Forte Four with the addition of another Potts brother, Tom Potts, and LAFMS was used for the name of their label. That first LP, Bikini Tennis Shoes was released later that year. Through the record, Le Forte Four were discovered by another group of avant-garde noise-makers who hung out regularly at the Poo-Bah Record Shop in Pasadena, and soon the whole LAFMS scene took off as the various artists inspired each other. By early 1976, Le Forte Four gigged regularly with other LAFMS artists like the Doo-Dooettes and Ace & Duce. One of those concerts, from July of 1976 at the recital hall of the Brand Library, was released as the LP Live at the Brand later that year. A third record, Spin 'n' Grin, was released in 1981, offering a retrospective of earlier material. By that time Le Forte Four's members had moved on to related LAFMS projects and Le Forte Four were dissolved.