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Eastern Bloc Disco at Centrala (Playlist for Feb 3, 2017)

4 Feb

Generic Sleeve [Pronit, Poland, 1960s]

The second Eastern Bloc Disco event took place yesterday evening at Centrala, Birmingham, as part of the monthly Digbeth First Friday, and this set ran from around 8pm until 10.40pm (after which a pre-prepared short mix featuring a few other songs, also listed below, saw the event through to its end, more or less). A further collaboration with Centrala, on an archival exhibition and series of events exploring the history, ephemera, design, film and wider political and cultural contexts surrounding some of these artists and sounds, is currently in development for the Summer of 2018. [Watch this space].

Grupa 220: Negdie Postoji Netko (Yugoslavia, 1968)
Koncz Zsuzsa & Illés Együttes: Fáradt Vagyok (Hungary, 1967)
Izomorf 67: Barwy Dzwieku (Poland, 1967)
Karel Černoch: Snídaně v Trávě (Help) (Czechoslovakia, 1971)
Marta Kubišová: Balada o Kornetovi a Divce (Czechoslovakia, 1969)
Blackout: Powiedz Swoje Imie (Poland, 1967)
Polanie: Dlugo Się Znamy (Poland, 1968)
Karel Kahovec & Flamengo: Poprava Blond Holky (Czechoslovakia, 1968)
George & Beatovens: Lez Blazniveho Basnika (Czechoslovakia, 1968)
Sarolta Zalatnay: Betonfej (Hungary, 1968)
Koncz Szusza: Visz a Vonat (Hungary, 1970)
Petr Spaleny & Apollobeat: Kdybych Ja Byl Kovarem (Czechoslovakia, 1969)
Vaclav Neckar & Golden Kids: Goo-Goo Barabajagal (Czechoslovakia, 1969)
Breakout: Pozlabym za Toba (Poland, 1969)
Illés Együttes: Nehez Az Ut (Hungary, 1968)
Janko Nilovic: Xenos Cosmos (Yugoslavia/France, 1974)
Czerwono Czarni: Lot na Wenus (Poland, 1969)
Hana & Petr Ulrychovi: A Co Ma Bejt (Czechoslovakia, 1970)
Angelika Mann: Wenn Ich Mal (DDR, 1974)
Hana Zagorová: Svatej Kluk (Czechoslovakia, 1968)
Chris Doerk: Glaub Nicht (DDR, 1974)
Czeslaw Niemen & Akwarele: Baw Się W Ciuciubabkę (Poland, 1969)
Josef Laufer & Their Majesties: Útěk z Hladomorny (Czechoslovakia, 1969)
Grupa ABC: Za Duzo Chcesz (Poland, 1970)
Jana Kratochvílová & Discobolos: Kyvadlo (Czechoslovakia, 1978)
Bemibem: Podaruj Mi Trochę Słońca (Poland, 1973)
Alibabki: Slonce w Chmurach Lazi (Poland, 1969)
Drugi Nacin: Zuti List (Yugoslavia, 1975)
Olympic: Tobogan (Czechoslovakia, 1970)
Emil Dimitrov: Scherazhade (Bulgaria, 1972)
Arp-Life: Baby Bump (Poland, 1976)
Walter Kubiczeck: Tentakel (DDR, 1979)
Grupul Stereo: Coloana Infinită (Romania, 1984)
Marta Kubišová: Tak Dej Se K Nam A Projdem Svet (Czechoslovakia, 1969)
Eva Pilarova: Ohen a Led (Czechoslovakia, 1970)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland, 1981)
Grupul Stereo: Plopii Impari (Romania, 1984)
Manaam: Stoję, stoję, czuję się świetnie (Poland, 1980)

Prepared Mix:

Olympic: Ikarus Blues (Czechoslovakia, 1968)
Sarolta Zalatnay & Metro: Fekete Beat (Hungary, 1973)
Filipinki: Nie Ma Go (Poland, 1967)
Halina Frąckowiak: Wodo, Zimna Wodo (Poland, 1974)
Kovács Kati: Add Már, Uram, Az Esőt (Hungary, 1972)
Marta Kubišová: Svlikam Lasku (Czechoslovakia, 1969)
Czeslaw Niemen: Enigmatyczne Impresje (Poland, 1971)
Omega: Gyöngyhajú Lány (Hungary, 1969)
Locomotiv GT: The Worlds Watchmaker (Hungary/Poland, 1974)
Tadeusz Woźniak: Zegarmistrz Światła (Poland, 1972)

Various Artists: Privni Pantoniada (Panton) [7

Eastern Bloc Disco Playlist (Nottingham Contemporary, 16 Jan 2016)

16 Feb

Generic Sleeve (Pronit)

Last month, to celebrate the opening weekend of Monuments Should Not Be Trusted (curated by Lina Džuverović) and expand on the display of Eastern Bloc 7” records included in Behold! The Markets Shall Erase Our History! (both exhibitions remain at Nottingham Contemporary until 04 March), an Eastern Bloc Disco was staged, featuring soul, rock, psychedelia, pop, folk and more, all released by the official state record labels of Poland, Czechoslovakia, Hungary, Yugoslavia, Bulgaria, Romania, East Germany and the USSR between the early 1960s and mid-1980s. The session also included a live set from UrBororo, Pil & Galia Kollectiv’s new venture into “skewed filing cabinet swamp blues for corporate inflight listening” – an “objectively boring” band whose songs are made from an unlikely merger between the sounds of surf, grunge and punk, and whose lyrics are borrowed from a 1970s Management Self-Help guide.

The all-vinyl playlist for the night ended up looking something like this:

Marek Grechuta: W Pochodzie Dni I Nocy (Poland, 1974)
Raimonds Pauls/Margarita Vilcāne: Līgotāji (Latvia/USSR, 1974)
Izomorf 67: Barwy Dzwieku (Poland, 1967/8)
Raimonds Pauls/Nora Bumbiere: Divpadsmit Asaras (Latvia/USSR, 1974)
Blackout: Powiedz Swoje Imie (Poland, 1967)
Grupa 220: Negdie Postoji Netko (Yugoslavia, 1968)
Vera Spinarova: Andromeda (Czechoslovakia, 1972)
Krystyna Pronko: Po Co Ci To Chlopcze (Poland, 1973)
Czeslaw Niemen & Akwarele: Baw Się W Ciuciubabkę (Poland, 1969)
Josef Laufer & Their Majesties: Útěk z Hladomorny (Czechoslovakia, 1969)
Flamengo: Kure v Hodinkach (Czechoslovakia, 1972)
C&K Vocal: Generace (Czechosolovakia, 1974)
Omega: Gyöngyhajú Lány (Hungary, 1969)
Romauld & Roman: Pytanie Czy Haslo (Poland, 1970)
Drugi Nacin: Zuti List (Yugoslavia, 1975)
Piotr Figiel: Dyplomowany Galernik (Poland, 1974)
Olympic: Ikarus Blues (Czechoslovakia, 1969)
Locomotiv GT: Ringasd El Magad II (Hungary, 1973)
Hungaria: Koncert a Marson (Hungary, 1969)
Blue Effect: The Sun Is So Bright (Czechoslovakia, 1969)
Olympic: Everybody (Czechoslovakia, 1969)
Breakout: Gdybys Kochal Hej (Poland, 1969)
Illes: Nehez Az Ut (Hungary, 1968)
Karel Kahovec/Flamengo: Poprava Blond Holky (Czechoslovakia, 1968)
George & Beatovens: Lez Blazniveho Basnika (Czechoslovakia, 1968)
Martha & Tena: Boure (Czechoslovakia, 1969)
Atlantis: Don’t You Break It Again (Czechoslovakia, 1968)
Petr Spaleny & Apollobeat: Kdybych Ja Byl Kovarem (Czechoslovakia, 1969)
Sarolta Zalatnay: Betonfej (Hungary, 1968)
Halina Frackowiak: Wodo, Zimna Wodo (Poland, 1974)
Stan Borys: Wyplakalem Oczy Niebieskie (Poland, 1969)
Koncz Szusza: Visz a Vonat (Hungary, 1970)
Emil Dimitrov: Scherazade (Bulgaria, 1972)
Marta Kubisova: Tak Dej Se K Nam A Projdem Svet (Czechoslovakia, 1969)
Hana & Petr Ulrychovi: A Co Ma Bejt (Czechoslovakia, 1970)
Angelika Mann: Wenn Ich Mal (DDR, 1974)
Arp-Life: Baby Bump (Poland, 1976)
Walter Kubiczeck: Tentakel (DDR, 1979)
Grupul Stereo: Coloana Infinită (Romania, 1984)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland, 1981)
Grupul Stereo: Plopii Impari (Romania, 1984)
Chris Doerk: Glaub Nicht (DDR, 1974)
Vaclav Neckar & Golden Kids: Goo-Goo Barabajagal (Czechoslovakia, 1969)
Czerwone Gitary: Coda (Poland, 1970)
Grupa ABC: Za Duzo Chcesz (Poland, 1970)
Marta Kubisova: Cervanky (It’s Not Unusual) (Czechoslovakia, 1968)

Generic Sleeve (Supraphon)

Through the evening, a muted playlist of videos also ran on a large screen, and everything shown at the event can be seen in the Eastern Bloc Disco playlist compiled here – between 2 – 3 hours of visuals in total, now available with their soundtracks intact.

Halina Frąckowiak: Idę Dalej (Muza, 1974)

26 Jan

Halina Frąckowiak had long been known as the lead vocalist with Andrzeja Niebeskiego’s Polish soul outfit Grupa ABC when she released her first full-length solo recording, Idę, in 1974. While many of the songs were in more mainstream idioms, the best material used progressive instrumentation and arrangements, many composed by Frąckowiak herself (including the song that concerns us here, Idę Dalej) with some additional material on the LP arranged by such notable composers as Katarzyna Gärtner and Wojciech Trzciński. The supporting musicians on Idę are drawn from a wide pool of Polish players of the time, so the approach here appears to have been for Frąckowiak to put together an appropriate backing for each song rather than work with a more stable line-up (on her second solo release, Geira, she worked more consistently with the progressive rock band SBB). Idę Dalej itself has a heavy organ-based sound and a dynamic that underscores its message perfectly: as Frąckowiak walks out on her dying relationship into some unknown future, to be lived on her own terms, the slow sections describing what she’s leaving behind are contrasted neatly with the uplift of the choruses that describe her going. I can’t help suspecting that this song might well have a similar status in Poland to that held by Gloria Gaynor’s I Will Survive in the UK: a perfect marriage of heartbreak and exhileration precisely engineered to make the ending of a relationship feel like the most exciting thing in the world, tinged with sadness though it might remain. The full song can be heard here and a transcript of the Polish lyric, written by Janusz Kondratowicz, can be read here:

Ide Dalej (Going On)

(After Janusz Kondratowicz/Halina Frackowiak, 1974)

There’s not much I can give you,
I’ve so little left in hand:
while the clock ticks ever faster
my days fade out like sound.

I shared everything I had with you,
each word, each passing thought,
each touch and fleeting moment:
what’s left now is not enough.

So your silence grows in volume,
impatient stares turn dark,
moods shift from cold to black,
sway like palm trees in a storm.

I’m going, I’m going back to live my life.
I’m going, as one thing’s born and another dies.
I’m going, you’ll write your own account of us.
I’m going, don’t miss me, I’ll find my own way out.

I’m going, along the path I have to walk.
I’m going, where horizons fall out of sight.
I’m going, without you at my side,
I’m going, I’ll keep going. I’m moving on.

There’s not much I can give you,
I’ve so little left in hand:
while the clock ticks ever faster
my days fade out like sound.

I shared everything I had with you,
each word, each passing thought,
each touch and fleeting moment:
what’s left now is not enough.

Today, there’s nothing left of us,
what I know I’ll no longer hide.
One hope I’ll carry against the wind:
that the memory helps me live.

I’m going, I’m going back to live my life.
I’m going, as one thing’s born and another dies.
I’m going, you’ll write your own account of us.
I’m going, don’t miss me, I’ll find my own way out.

I’m going, along the path I have to walk.
I’m going, where horizons fall out of sight.
I’m going, without you at my side,
I’m going, I’ll keep going. I’m moving on.