Albert Marcœur ‎– Albert Marcœur (1974, CD, France)

Songs:

1. C'est Raté, C'est Raté (3:40)

2. Simone (4:10)

3. Tu Tapes Trop Fort (3:37)

4. Appalderie (4:29)

5. Que le Temps est Long (5:39)

6. Mon Père Avait un P'tit Champ d'Pommes (3:15)

7. Qu'est-ce que tu as? (7:44)

Musicians:

Albert Marcoeur / drums, percussion, wood, pipes, clarinets, saxes, piano, voice, bird-calls, horns, whistles

Patrice Tison / bass, guitars, organ, percussion, charengo, anusoidal murmur, bird-calls, horns, whistles

Robert Lafont / trombone

Claude Marcoeur / alto bottle, percussion

Popeye / alto bottle

Didier Perrier / bass bottle

Gerard Marcoeur / bass bottle

François Breant, Christian Sarrel, Claude & Gerard Marcoeur / chorus

Michel Roy / student carpenter

Maurice Tasserie / master carpenter

Beatrice Boitte / pot-au-feu

Albert Marcœur, French multi-instrumentalist/composer, was born on December 12 1947, in Dijon, France. During his formal education of clarinet at the National Academy of Music and Dance of Dijon, Marcoeur actively participated in many straightforward college rock 'n roll bands. Closing an end to his formal training Marcoeur's musical visions had gravitated towards the experimental facets of music, wishing "to do nothing else but make my own music".

In 1970, the realisations of Marcoeur's 'unclassifiable' forays found their conception, marking the being of studio life. It was to be another four years until the release of his first self-titled album, which still ranks as his greatest recording to date. Loosely classified as proto-RIO chamber-rock, the album lays down several RIO foundations [much like Robert Wyatt's, "The End of an Ear"], later to be picked up by the likes of Aksak Maboul. As with all great albums, controversy was only a step around the corner, with a helping hand of an unauthorised 'loan', the albums closing bars containing "two two-note chords that I had found on a jazz classics album".

While embracing the 'avant-garde' in the true sense on of the word, Marcoeur's compositions took a tight but balanced approach, giving even the most absurd noises a homely feel. Smitten with humour, Marcoeur has more than once been hailed the French reply to Zappa [though less prolific]. Historically his influence cannot be denied, producing another three albums of high calibre, before wandering off into more clichéd avenues.

While an acquired taste, ALBERT MARCOEUR's early works are highly recommended. (progarchives)