REVIEWS AR-1001 Lavoisier - Viagem a um Reino Maravilhoso
REVIEWS AR-0003 Duo Ouro Negro - Blackground
This latest excavation from Portugal’s Armoniz label presents this exuberant African-based fusion of early world-tyvpe sound from Angolan collective Duo Ouro Negro. Traces of calypso, highlife and bossa, fused with indigenous folk song culture, ethnic jazz and progressive rock stylings can be heard throughout.
Chief songwriter is Raul Indipwo, assisted by the rich talents of keyboardist Kevin Hoidale, bassist Zé Nabo and drummer Adrien Ransy. Mike Sergeant (an early member of Scottish pre-Marmalade act Dean Ford & The Gaylords), and Terry James Thomas, who played in late 60s UK psych-prog contingent Magic Mixture, provide the guitars. Originally issued on the Portugal division of EMI Columbia in 1972, with nature and the growth of civilisation as its main themes, the music conjures up visions of struggle, lament, and endurance, yet the overall feeling is one of triumph; also victory, hope and celebration. The playing is enthusiastic, and the boundless energy strikes a chord – especially on the opening title track, also “Venho de Longe” and the homely, melodic “Napangula”. Bright sing-along closer “Yemanjá” is also deserving of Praise.
Armoniz are becoming renowned for reintroducing these legendary Portuguese recordings into the world and bringing us the very best in authentic record and sleeve reproduction. Miguel Augusto Silva’s extensive essay takes in the group’s history, philosophy and ideals, generously told within the gorgeous booklet which, unfortunately, is printed in Portuguese only. However, there's also a wealth of imagery to be found within the gatefold and insert which is a perfect accompaniment to these invigorating sounds.
Lenny Helsing (Ugly Things Magazine, Spring 2019, #50)
Chief songwriter is Raul Indipwo, assisted by the rich talents of keyboardist Kevin Hoidale, bassist Zé Nabo and drummer Adrien Ransy. Mike Sergeant (an early member of Scottish pre-Marmalade act Dean Ford & The Gaylords), and Terry James Thomas, who played in late 60s UK psych-prog contingent Magic Mixture, provide the guitars. Originally issued on the Portugal division of EMI Columbia in 1972, with nature and the growth of civilisation as its main themes, the music conjures up visions of struggle, lament, and endurance, yet the overall feeling is one of triumph; also victory, hope and celebration. The playing is enthusiastic, and the boundless energy strikes a chord – especially on the opening title track, also “Venho de Longe” and the homely, melodic “Napangula”. Bright sing-along closer “Yemanjá” is also deserving of Praise.
Armoniz are becoming renowned for reintroducing these legendary Portuguese recordings into the world and bringing us the very best in authentic record and sleeve reproduction. Miguel Augusto Silva’s extensive essay takes in the group’s history, philosophy and ideals, generously told within the gorgeous booklet which, unfortunately, is printed in Portuguese only. However, there's also a wealth of imagery to be found within the gatefold and insert which is a perfect accompaniment to these invigorating sounds.
Lenny Helsing (Ugly Things Magazine, Spring 2019, #50)
RARE ANGOLAN FOLK REISSUED
Duo Ouro Negro was a duo of Raul Indipwo and Milo MacMahon, whose debut album, Mulowa Afrika, was released in 1967. Blackground (1972) was their third outing. The opening narration makes you wonder if this is going to be a dud before the title track, a slab of unforgettable prog-folk dominated by a wonderful organ prowl, kicks in. The jazzy Napangula and the wondrous Georgina vocally sound like The Beach Boys channelling African folk and, at times, Blackground drops anchor in similar territory to Don Cherry's Organic Music Society, which, young cats, is a recommendation.
The quality of this reissue is astounding: a 180g slab of wax and artwork that slavishly recreates the textured gatefold sleeve and insert of the original, adding a new insert in Portuguese.
*****
The Old Cat (Record Collector Magazine, March 2019, #490)
Duo Ouro Negro was a duo of Raul Indipwo and Milo MacMahon, whose debut album, Mulowa Afrika, was released in 1967. Blackground (1972) was their third outing. The opening narration makes you wonder if this is going to be a dud before the title track, a slab of unforgettable prog-folk dominated by a wonderful organ prowl, kicks in. The jazzy Napangula and the wondrous Georgina vocally sound like The Beach Boys channelling African folk and, at times, Blackground drops anchor in similar territory to Don Cherry's Organic Music Society, which, young cats, is a recommendation.
The quality of this reissue is astounding: a 180g slab of wax and artwork that slavishly recreates the textured gatefold sleeve and insert of the original, adding a new insert in Portuguese.
*****
The Old Cat (Record Collector Magazine, March 2019, #490)
A OBRA-PRIMA BLACKGROUND AGORA E POR FIM
"É um rio, um rio muito grande que se desenvolve até chegar ao mar. Quando atravessa o mar, transforma-se, é jazz”. Foi assim que Raul Indipwo, poético e conciso, explicou Blackground. Editado em 1972, é a obra--prima do Duo Ouro Negro. É uma obra de miscigenação, de superação. Mas é um álbum esquecido, mais citado do que ouvido. E não corresponde à imagem que a memória colectiva guardou do grupo. Podemos recuperá-lo agora com uma edição de coleccionador. (...)
*****
Mário Lopes (Jornal Público - Ípsilon, 23 Março 2018) [read more]
"É um rio, um rio muito grande que se desenvolve até chegar ao mar. Quando atravessa o mar, transforma-se, é jazz”. Foi assim que Raul Indipwo, poético e conciso, explicou Blackground. Editado em 1972, é a obra--prima do Duo Ouro Negro. É uma obra de miscigenação, de superação. Mas é um álbum esquecido, mais citado do que ouvido. E não corresponde à imagem que a memória colectiva guardou do grupo. Podemos recuperá-lo agora com uma edição de coleccionador. (...)
*****
Mário Lopes (Jornal Público - Ípsilon, 23 Março 2018) [read more]
REVIEWS AR-0002 Quarteto 1111 - Quarteto 1111
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A lavishly accurate remake of the EMI Columbia / Valentim de Carvalho issue, complete with original artwork, inserts and a massively insightful, passionately-told essay, in Portuguese and English, this is the, now rescued, doomed debut by Portugal’s psychedelic era activists, Quarteto 1111. After barely a month of being in the shops, and due to the group’s aggressive stance against their country’s regime, the album was withdrawn from public sale; all copies found were destroyed. This unjust move only helped grow the group’s status as musical, and political fugitives. While rehearsing these songs during the summer of ’69 they held a late-night party in their garage where they jammed with Brasil’s just-exiled music hero Gil Gilberto.
Softly progressive in tone, Quarteto 1111 is suffused with rich, sometimes jazzy textures, and other, more ethnic-sounding elements. Centred around the songs of José Cid, the acoustic guitar, Hammond and woodwind dominated cohort delivers heartfelt, forlorn-sounding messages, occasionally pouring forth with a slightly heavier deployment; at times experimental though never raucous, and without needing to blow heads off with overwhelming fuzz, treated vocals or other head-punishing effects. Quarteto 1111 lets the raw emotion of each piece speak out instead! The production sounds trickily elaborate, sophisticated and forward-thinking, giving both vocals and instruments an exquisite finish. Some titles offer more melodic appeal than others with ‘Domingo em Bidonville’ and ‘Uma Estrada Para a Minha Aldeia’ leading the way. ‘Pigmentação’ contains, we’re told, powerfully controversial lyrics that led to the original LP being siezed. ‘Maria Negra’ is another stand-out: atmospheric and melancholy. Persistence is rewarding for this beautifully presented, limited release – only 500 copies pressed as per the original. Lenny Helsing (Ugly Things Mag, Summer 2016, #42) ESTE DISCO (AINDA) É UM PAíSQuarteto 1111 é, resposta simples, um disco essencial na história da música portuguesa. Firmemente implantado no seu tempo e aparentemente esquecido no tempo que o gerou. Aparentemente.
É uma das obras-primas da música pop portuguesa, um portento de criatividade e activismo em tempos de ditadura. Álbum genial, Quarteto 1111 é agora alvo de uma luxuosa reedição em vinil. O presente reencontra-o. Ouvimos o disco reeditado e deslumbramos. Redescobrimos. O 1970 do Quarteto é agora. ***** |
REVIEWS AR-0001 José Cid - José Cid
CID VICIOUS
It’s amazing that, despite his legendary status (in some quarters), Portuguese musician José Cid’s self-titled 1971 debut LP is only just receiving a vinyl reissue. It wasn’t his first appearance on vinyl – his Quarteto 1111 outfit had started recording in 1967 – but it marked the flourishing of his diverse talents as a solo artist.
A startling album that still sounds fresh today, sequencing this LP was key to its cohesion. The likes of 'Olá Vampiro Bom!' and 'Requiem' mine different musical styles (pre-baroque pop and a reflective ballad with Stax horns, respectively) while remaining consistently enchanting. The strings on 'Meu Amor' are draped over a delicious organ, setting the scene for Cid’s prowling vocals; a cover of Gilberto Gil’s 'Volks-Volkswagen Blue' serves to cement his standing as something of a Portuguese counterpart to Brazilian Tropicália.
Limited to 400 copies, original pressings of the album are hideously rare, while the 500 editions of this reissue won’t stick about for long. Armoniz have gone to extreme lengths to replicate the original, from audio restoration to a fantastic cut, facsimile Columbia labels and even sourcing a sleeve card that matches the original stock. Fantastic sleeve notes, photos and an obi strip only add to the lustre. This is how great albums should be repackaged. Hunt it down.
*****
Ian Shirley / Record Collector Magazine (#433, Nov 2014)
It’s amazing that, despite his legendary status (in some quarters), Portuguese musician José Cid’s self-titled 1971 debut LP is only just receiving a vinyl reissue. It wasn’t his first appearance on vinyl – his Quarteto 1111 outfit had started recording in 1967 – but it marked the flourishing of his diverse talents as a solo artist.
A startling album that still sounds fresh today, sequencing this LP was key to its cohesion. The likes of 'Olá Vampiro Bom!' and 'Requiem' mine different musical styles (pre-baroque pop and a reflective ballad with Stax horns, respectively) while remaining consistently enchanting. The strings on 'Meu Amor' are draped over a delicious organ, setting the scene for Cid’s prowling vocals; a cover of Gilberto Gil’s 'Volks-Volkswagen Blue' serves to cement his standing as something of a Portuguese counterpart to Brazilian Tropicália.
Limited to 400 copies, original pressings of the album are hideously rare, while the 500 editions of this reissue won’t stick about for long. Armoniz have gone to extreme lengths to replicate the original, from audio restoration to a fantastic cut, facsimile Columbia labels and even sourcing a sleeve card that matches the original stock. Fantastic sleeve notes, photos and an obi strip only add to the lustre. This is how great albums should be repackaged. Hunt it down.
*****
Ian Shirley / Record Collector Magazine (#433, Nov 2014)
A limited vinyl re-press of the very scarce 1971 solo debut by a key member of Portugal’s late ‘60s psych-prog activists, Quarteto 1111. A true solo effort, Cid sings and plays everything: Hammond, piano, flute, drums, guitar. His desire to get what was inside his head down on tape means he’s also producer and musical director, aided by Pedro Osório’s orchestral arrangements.
It’s a fascinating listen with many influences floating through – Portugal’s folk-pop ancestry, jazzy, progressive interludes, singer-songwriter ambiance – the whole encased in dense, deeply resonating rhythms. Imagining Kevin Ayers and various Canterbury pals in sweet, sonic conversation with members of Aphrodite’s Child might get you somewhere close.
One or two psychedelic-style relics also present themselves, including the undersea sci-fi of ‘Lisboa Ano 3000’, and the Donovan-fronting-Caravan trip as proffered on the excellent set closer ‘Amigos’. A wealth of information, also in English, adorns the insert and the exact reproduction of the Columbia label and extra-textured gatefold is stunning. Don’t miss this!
*****
Lenny Helsing (Shindig! Magazine, November 2014, #43)
It’s a fascinating listen with many influences floating through – Portugal’s folk-pop ancestry, jazzy, progressive interludes, singer-songwriter ambiance – the whole encased in dense, deeply resonating rhythms. Imagining Kevin Ayers and various Canterbury pals in sweet, sonic conversation with members of Aphrodite’s Child might get you somewhere close.
One or two psychedelic-style relics also present themselves, including the undersea sci-fi of ‘Lisboa Ano 3000’, and the Donovan-fronting-Caravan trip as proffered on the excellent set closer ‘Amigos’. A wealth of information, also in English, adorns the insert and the exact reproduction of the Columbia label and extra-textured gatefold is stunning. Don’t miss this!
*****
Lenny Helsing (Shindig! Magazine, November 2014, #43)
What we have here before us is a rather beautifully presented, heavy vinyl reproduction of José Cid’s 1971 debut solo album. Cid had already been part of Portugal’s group scene back in the late 1950s where he’d been releasing records with the likes of the Os Babies group. He then re-emerged in the late 60s as the keyboard player with the highly-regarded Quarteto 1111 group; themselves soon to be part of Armoniz’s excellent reissue campaign.
However, once Cid had taken his leave from Quarteto 1111 around late 1969, he chose to assemble a far-reaching studio project where he would play all the instruments himself: piano, viola, bass, drums, Hammond organ, vocals, guitars, mellotron etc. All engineering and production duties as well as guiding the direction of the selected material would also be his responsibility. Well, as the old saying goes, the man did good. In fact, he did very good! [...]
Lenny Helsing / It's Psychedelic Baby Magazine (April 4th, 2015) - [Read more]
However, once Cid had taken his leave from Quarteto 1111 around late 1969, he chose to assemble a far-reaching studio project where he would play all the instruments himself: piano, viola, bass, drums, Hammond organ, vocals, guitars, mellotron etc. All engineering and production duties as well as guiding the direction of the selected material would also be his responsibility. Well, as the old saying goes, the man did good. In fact, he did very good! [...]
Lenny Helsing / It's Psychedelic Baby Magazine (April 4th, 2015) - [Read more]
A sumptuous reproduction of José Cid’s rare 1971 album. This truly gifted song-maker had been releasing records as far back as the late 1950s, in Portugal, with the group Os Babies, before re-making the scene as keyboardist with highly-regarded psych-going-prog activists Quarteto 1111. After leaving towards the end of the 60s, Cid decided to put together an ambitious studio project where the responsibility for playing everything would be his alone; piano, viola, bass, drums, Hammond organ, vocals, guitars, mellotron etc. He also took care of all the engineering and production duties.
A fascinating, thrillingly eclectic body of work that, in its own way, is a perfect distillation of the influences handed down through that nation’s pop, jazz and more ethnic avenues; also via the psychedelic pop experimentation of the times and the more adventurous singer-songwriter niche. It’s light without being lightweight, although in the hands of another perhaps the more fragile elements could've yielded a flimsier, less engaging product. Occasionally, things are offset by dramatic twists and rockier turns which creates crackling electric panoramas anchored by robust bass and bursts of spot-on percussion. With its freaky underwater atmospherics, 'Lisboa Anos 3000' is an obvious stand-out, while 'Vampiro' and 'Amigos' display considerable musical knowhow and ability. Here and there, Cid’s music comes over as a close cousin of the Canterbury scene.
This beautifully-made limited edition heavy vinyl pressing – with insert in both Portuguese and English – won’t hang around long, so you better act fast.
Lenny Helsing (Ugly Things Magazine, Summer 2015, #39)
A fascinating, thrillingly eclectic body of work that, in its own way, is a perfect distillation of the influences handed down through that nation’s pop, jazz and more ethnic avenues; also via the psychedelic pop experimentation of the times and the more adventurous singer-songwriter niche. It’s light without being lightweight, although in the hands of another perhaps the more fragile elements could've yielded a flimsier, less engaging product. Occasionally, things are offset by dramatic twists and rockier turns which creates crackling electric panoramas anchored by robust bass and bursts of spot-on percussion. With its freaky underwater atmospherics, 'Lisboa Anos 3000' is an obvious stand-out, while 'Vampiro' and 'Amigos' display considerable musical knowhow and ability. Here and there, Cid’s music comes over as a close cousin of the Canterbury scene.
This beautifully-made limited edition heavy vinyl pressing – with insert in both Portuguese and English – won’t hang around long, so you better act fast.
Lenny Helsing (Ugly Things Magazine, Summer 2015, #39)
En parallèlle de sa participation au groupe Quarteto 1111, à la fin des années 60, José Cid travaillait dejà en solo et a discrètement sorti en 1971, chez Columbia Portugal, son premier disque. On tient là un chef d'oeuvre autant pop que folk au psyché, d'une richesse infinie. C'est un client/ami qui a dégoté la réédition au Porto lors de sa sortie et nous l'á fait écouter. On s'est rapproché du label pour en commander pour le magasin. Le soin apporté à la réédition ne fait pa regretter "l'intouchable" original.