Believe Me!

It seems that over the past year Dara Puspita has become a familiar sound in hip circles, perhaps a mostly as a name to drop, but to be honest, not even this cynic sees it that way. That being said, I am a little late on this, but I should throw in my two cents as well, and perhaps as in such "dire economic times" two cents has more value than we have thought. Either way, I just want everyone to know they heard it here too, plus it's been a while since I've posted one of those girl groups we love so much.

So, Dara Puspita or, in English "The Flower Girls" were an all-singing, all-playing girl group from Java who in my opinion represented everything great about sixties rock. This well-coiffed quartet had the sass and presentation of America's finest negro girl groups, the songwriting of the British invasion, the energy and low fidelity of garage/proto-punk, and all with a delightful psychedelic tinge. Obviously it's a ton of fun. This is as pure as it gets as the forward-thinking West had yet to see such a perfectly self-contained X-chromosome unit and this pre-dates even the Kim Fowley-dictated Runaways by nearly a decade. Like much of the music I have posted it is catchy and memorable even when largely in a foreign tongue, so don't let that bother you on pop gems like "Bhaktiku" and the fantastic title track which demonstrates the finest lo-fi production prior to GbV's Propeller, and maybe even beyond. For those intimadated by the language barrier you may want to start with their beautiful cover of the BeeGee's "To Love Somebody," or their own work in "Believe Me." Regardless this aptly-titled album is a real pleasure from beginning to end.

In some ways, I feel like Dara Puspita will be to 2009 what Os Mutantes was to 2004, so get hip to them before liking them too much makes you seem a bit behind the curve. On the other hand, David Byrne has yet to champion them and their cohorts, so you may be fine. Either way, if you love fun pure, rock 'n' roll, especially from girls this is essential.


Dara Puspita - A Go Go (1968)

Now I'm So Happy I Have To Let My Song Outside

so I have been wrapped up lately with attempts at professional stuff and personal struggles and I am forced to do what I try so hard to avoid... re-post what I have found from the internet's best music blog - ZAMBONI Soundtracks.

So, here is Todd. A high school nerd who put together a whole album of music that could only, and most definitively be called "heartfelt." It comes from 1979 like it could come from no time else, but where, I am not totally sure. I would think somewhere in the suburbs of New York: Jersey, Long Island, Staten Island... something like that. It is clear that Todd put is all into this. He had to hire or beg the services of other and record in in a rush as the talent of his backers is arguable and their best defense is that they are playing with no familiarity with Todd's vision and their best attempt to follow it on the spot. The bass player is clearly the most lost and it seems like the drummer may just lack talent. Todd's piano is strong, and his vocals are weak - it is evident that here was a kid with the vision and the passion and hey, he did what he could, so let's give it some credit!

Regardless, you can feel what Todd is going for even if it comes from the superficial standpoint of Me = Good, Jock = Bad. Bottom line, it's like emo of the late 70s... back when that kind of thing was unacceptable. Either way, it's interesting to hear that kind of thing without the influence of the likes of hardcore and the Replacements. Rather the influences are more along the lines of show tunes and Hermit of Mink Hollow-era Todd Rundgren. Yet, still there are the topics of suicide and a-bit-too-unrequited love. There is nothing else like this. Give it a chance, as I am sure anyone who actually reads this kind of thing can relate to it. "Alone" and the title track can resonate the most while "Miracle Whip" is pure Vince Guraldi fun, and "Christ's Love Song" eliminates all the nice Jewish boy context I would assume. "Before It's Too Late," though while not one of the best songs is significant for the "believe it or not" factor of this. So, here is...

Todd - With Love... From Me To You (1979)

They Weren't Kidding When They Called It "Obsession"

...and that is because all the featured artists have gotten bigger and bigger over the past year and a half. While not all of them have gotten proper re-issues, their names are out there and their music is on the blogosphere. I will continue this with the Quarteto Nova Era EP. There is not much more I can add to it - Brazilian, stands up to their contemporaries, shame there wasn't more from them despite making it into the 70s. Every song is good. A friend of mine bought a copy of this extremely rare find on eBay. The rest of us can get it here.


The Quarteto Nova Era EP (1968)

Party In The Pines - Big Sur

Thanks to my friend (whose more-professional-than-mine review is available here) I was able to attend this great event.

We arrived as Wooden Ships were playing. They were pretty cool - heavy instrumental psych-rock with the years there to do it quite well. Next there was Vietnam and Farmer Dave. Neither of them did it for me, personally, but with some good, but expensive New Orleans barbecue and some good, and modestly priced local beer who cares? Then, at last there was Ariel Pink's Haunted Graffiti. His set consisted mainly of new stuff and the obscure. Some of these highlights were "Bevery Kills (Freaks with the Golden Heirs)" and "Psychodrama City." The new stuff is fantastic and I really can't wait for the next LP, which if released on time could rank as one of the best of this decade. He also gave an obvious(ly great) rendition of "Among Dreams" and my wish from the last time I saw him of hearing "Higher and Higher" was granted.

Following Pink was Gang Gang dance. I had never heard them before, but they put on a really cool show, which even more than the other sets I wished had been in a different setting. I would not listen to their records, but when they play LA next I will attend that show, especially if it is at the Echo, where their sound would fit perfectly.

Dungen was the star of the show in my eyes, and while they played mostly cuts from he last two albums, it was everything I could have asked for. Gustav Ejstes' genius was in plain view as he demonstrated his skills on mainly piano, plus vocals, flute, guitar... and tambourine. Also on display was his amazing ability to find talented musicians who can play just like him. The band also matched the forest setting best and their sound on classics like "Festival" and "Panda" was more subdued, yet no less powerful than on Ta Det Lugnt. Never miss the chance to see Dungen.

Another star of the show was the DJ who gave us music during the painfully long transitions. Her set consisted heavily of Anatolian rock, even with a cut from Benimle Oynar Mısın - the awesome "Sen Varsin". Gustav Ejstes was enjoying it a whole lot and why not because many of those artists are a clear influence on him.

And of course, who could discuss Anatolian rock without Erkin Koray...

Starting as early as the late 50s, Erkin Koray was the definitive voice of the Anatolian Rock movement, which while less famous was as unique and strong as similar prog/psych rock movements of the time in West Germany and Japan.

Since I have been so unreliable lately, here are his first two solo albums, which despite the increasing availability of Anatolian Rock since the successful Obsession compilation are really not "widely" available. Both of them are very strong and solid and serve as a great introduction to the style which melded Western psych rock with traditional sounds from the crossroads of the Old World. The self-titled is the one that is most in tune with that side, while Elektronik Türküler, much cleaner, is a little but more on par with the West, despite the exotic language. Okay, enough words.


Erkin Koray - Erkin Koray (1973)


Erkin Koray - Elektronik Türküler (1974)