Jorge Amado – Guia Das Ruas E Dos Mistérios Da Cidade Do Salvador Da Bahia (1980, 2LP, Brazil)

Disco 1

A1 - Título / Pequena biografia / Dedicatória 2:08

A2 - Convite 3:32

A3 - Quem guarda os caminhos da cidade 1:51

A4 - Mãe Menininha do Gantois 2:42

A5 - A força do povo / Festa de S.Bárbara ou festa de Iansã / Baiano é um estado de espírito 4:07

A6 - A Bahia se leva na cabeça / Cais e saveiros / Encontro do pintor Mirabeau Sampaio com a condessa Papalina / Importância da cultura popular / Os perfumes vieram do Oriente 7:31

B1 - Poeta e cantor das graças da Bahia 2:52

B2 - Festa da Conceição da praia / Calá e a madeira 2:23

B3 - Capoeira Angola / João Gilberto em Nova Iorque 3:25

B4 - Para um samba de roda, um prato basta 1:08

B5 - Olga do Alaketu e Stela de Oxóssi / 2 de julho-Glauber Rocha 6:10

B6 - O forte do mar / Procissão de N.S.Bom Jesus dos Navegantes 2:29

B7 - Dois netos do Boca do Inferno 3:44

Disco 2

A1 - Pelourinho 1:49

A2 - Os alagados / Tapeceiro, Pintor, Poeta / Lavagem da Igrefa do Bonfim 7:05

A3 - Gil no afoxé / Avenidas 2:27

A4 - Ex voto / Caetano de Matos Castro Alves Veloso / Igreja de São Francisco 4:19

A5 - Iemanjá / Miguel Satana Obá Aré 5:09

B1 - Batidas e lambretas / Cozinha baiana 5:48

B2 - Dadá, viúva de Corisco / Barba & poesia 4:40

B3 - Caribé e a memória da Bahia 2:02

B4 - Camafeu de Oxóssi (no velho mercado) 1:00

B5 - D.Carlos Bastos, Príncipe da Bahia / Os capitães da areia / Ferreiro de Exú, vulgo Mário Cravo / Adeus moça 8:00

Musicians:

Music By, Arranged By, Conductor – Egberto Gismonti

Acoustic Bass – Zeca Assumpção

Drums, Percussion – Nenê

Piano, Acoustic Guitar, Flute – Egberto Gismonti

Soprano Saxophone, Flute – Mauro Senise

Images & Avant-Quart – Le Dernier Jour D'Un Condamné (1979, LP, France)

Obscure French folk/symphonic rock band which released one self-titled album in 1977, followed 2 years later by Le Dernier Jour D'Un Condamné on which they collaborate with Avant Quart.

Members are: Jean-Pierre Haure on bass and guitar, Marc Girard on drums, Georges Valat on guitar, flute, harmonica and vocals, André Dion on guitar, mandolin, vocals, Marc Peynet on keyboards and percussionist Titus.

Music on the debut is lightly folk rock mixed with a bit of symphonic style and a few more dark moments with eclectic overtones. Compositions are most often driven by acoustic guitars and piano passages - with a few twists. Their debut album can be recommended for enthusiasts of French symphonic rock with a big dose of nostalgia who are searching for something unknown. (progarchives)

Guido Ballo ‎– Metràpolis (1972, LP, Italy)

Parte Prima
A1. Mâd (2:43)
A2. Fiore (0:56)
A3. Kam-Ami (1:39)
A4. Procruste (2:58)
A5. Pav (0:57)
A6. Caccia (1:22)
A7. Struzzo (1:29)
A8. L'Inganno (0:57)
A9. Ur (0:52)
A10. Notte (3:22)
Parte Seconda
B1. Metràpolis (1:40)
B2. Folla (1:15)
B3. L' Albero (1:20)
B4. Habitus (1:11)
B5. Salme (2:19)
B6. Lav-Êrna (1:51)
B7. Rug (1:27)
B8. Pedone (1:35)
B9. Anxia (0:29)
B10. Dhû (1:48)
B11. Poi-Improvvisamente (3:10)

Musicians:
Bass – Danny B. Besquet
Drums, Percussion – Gianchi Stinga
Guitar – Ronnie Jackson
Music By – Detto Mariano
Organ, Synthesizer, Moog, Celesta, Mellotron, Piano – Gianni Leone
Vocals – Chiara Riccio, Grazia Fioravante, Paola Di Simone, Rossana Galasso
Voice – Guido Ballo


A curiosity from an Italian poet, making an album with rock musicians at a time when almost everything that was Italian and experimental was worth investigating. For me this works because of not understanding the texts much at all, thus the poetry is another instrument, along with the guitars, electronics/keyboards, drums and really nice choral female vocals. In all, it sounds like a soundtrack to a weird Giallo movie! (ultimathulerecords)

Le musiche di "Metràpolis" ricordano molto certe atmosfere del leggendario album "Ys" del Balletto di Bronzo dello stesso anno, ma ad uno stato più brutale e primordiale, e con un impatto sonoro ancora più cupo e violento.

Rispetto ad "Ys" si avvicinano molto più alla musica colta contemporanea a partire da Béla Bartók e Igor Stravinskij fino a Karlheinz Stockhausen, Pierre Boulez e Luciano Berio, sfiorando in certi casi anche la serialità della dodecafonia. 

Alcuni spunti, tra l'altro, anticipano di qualche anno le atmosfere ipnotiche e inquietanti delle musiche dei Goblin e di Keith Emerson per i film di Dario Argento. 

Detto Mariano figurava di fatto come il compositore delle musiche, ma sia Gianni Leone che Gianchi Stinga sostengono che si limitò a dare delle indicazioni vaghe, e loro improvvisarono tutto. (Cfr. il saggio di Gianmaria Consiglio "Il Balletto di Bronzo e l'idea del delirio organizzato -- 'Ys' tra rock e avanguardia", Eclysse, Salerno 2009, p. 79, nota n. 27).

Eugenio Miccini ‎– Concerti Di Poesia (1983, LP, Italy)

RADIOTAXI 9 - "CONCERTI DI POESIA"

Side A

A1. Melodramma Per Acqua, Tosse E Poco Più, 1966 (19:00)
A2. Commutazione Di Comunicazione Di Commutazione, 1979 (3:00)
A3. Il Soma,  1981 (3:00)
Side B

B1. Alfabeto, 1978 (15:00)
B2. Erotica, 1982 (9:00)

Note
Vibrazioni del Sonoro
Gatefold cover with English and Italian text by Eugenio Miccini.
Supplement to Lotta Poetica N.14
Recorded at B&B Record Studio, Verona, Italy.

While many sound poetry albums may sound like a good idea in theory (especially if you've got a thing for flipped out vocalists) the reality of actually sitting with one is often as enticing as a dry hump with a hair shirt. That however is not the case here, or at least not with the jarringly odd A side (the flip side being a bit of a wash unless you get aroused by the idea of someone holding down the FF button on a cassette deck). Miccini was something like the grand old man of Visual Poetry in Italy during his life; an art practice that involved collapsing together words, figures, signs and symbols. A similar set of aesthetic collisions and elisions is in evidence here, as ancient tinny gramophones underpin increasingly hectic stereo-panned recitation en route to what sounds like armageddon in a clock making factory. (Mutant Sound)