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Eastern Bloc Disco at Uncanny Christmas (Primary Playlist, 2017)

10 Dec

Generic Sleeve (Pronit)
Playlist of tracks given an airing during a set at the Uncanny Christmas party at Primary, Nottingham, on Dec 9, 2017, mainly written down while still fresh in my mind (before the records get put back on their shelves) and for my own reference, or the benefit of anyone who might be interested in the ongoing Eastern Bloc Songs project’s general direction of travel and current interests as we enter the final weeks of 2017. Next year will be something of a landmark, as both an exhibition and publication will be forthcoming in the Summer, if all goes to plan, so watch this space for further details.

NOVI Singers: Misfit (Poland)
Czesław Niemen: Larwa (Poland)
Drugi Nacin: Zuti List (Yugoslavia)
Piotr Figiel: Dyplomowany Galernik (Poland)
Corvina: A mosolyomon ördög ül (Hungary)
Arp Life: Baby Bump (Poland)
Beatrice: Gyere kislány, gyere (Hungary)
Angela Vlatkovića & ABC – Есть Время Для Любви (Yugoslavia)
Stan Borys: Wyplakalem Oczy Niebieskie (Poland)
Halina Frąckowiak & Grupa ABC: Za dużo chcesz (Poland)
Angelika Mann: Wenn Ich Mal (DDR)
Neoton Família: Sámson és Delila (Hungary)
Judit Szűcs: Űrdiszkó (Hungary)
Urszula: Wołam Znów Przez Sen (Poland)
Grupul Stereo: Coloana Infinita (Romania)
Gigi: A Divat a Fontos (Hungary)
Bemibem: Podaruj mi trochę słońca (Poland)
Czesław Niemen: Baw Się w Ciuciubabkę (Poland)
Sarolta Zalatnay: Betonfej (Hungary)
Filipinki: Tłok na plaży (Poland)
Kati Kovács: Fémzene (Hungary)
Chris Doerk: Glaub Nicht (DDR)
Locomotiv GT: Ringasd el Magad II (Hungary)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland)
Jana Kratochvílová & Discobolos: Kyvadlo (Czechoslovakia)
Hana Zagorová: Venuše (Czechoslovakia)
Václav Neckář & Golden Kids: Goo Goo Barabajagal (Czechoslovakia)
Illés: Nehéz az Út (Hungary)

Generic Sleeve (Supraphon)


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.

Czesław Niemen & Akwarele: Dziwny jest ten świat (Muza, 1967)

2 Jun

Czesław Niemen (born 1939: died 2004) was one of the key figures in the development of Polish popular music and Dziwny jest ten świat (Strange Is This World) is among his best known songs. He started his music career in 1962 as one of the vocalists associated with Niebiesko-Czarni (Black and Blue) and his debut recording was a 1962 twist EP made with them. Further recordings and tours followed, including a prominent role for Niemen – alongside Ada Rusowicz, Wojtek Korda and Helena Majdaniec – on Niebiesko-Czarni’s self-titled debut LP.

In 1965, having developed into a key songwriter as well as vocalist, Niemen joined Akwarele (The Watercolours) with whom he made three LPs, including Dziwny jest ten świat (1967), an album containing a title-song whose Polish lyrics merged with a powerfully soulful delivery: an unusual combination in the Polish context at the time, though Niemen’s fellow Niebiesko-Czarni vocalist Stan Borys was another who had clearly been paying attention to Black American artists, and Ada Rusowicz had also performed versions of Aretha Franklin’s Respect and other similar material both live and on records.

Following the success of Dziwny jest ten świat (the recording is said to have sold over 160,000 copies at the time of its release and it has remained in the catalogue ever since) Niemen’s subsequent career was long and varied, with the progressive organ-based rock of Enigmatic and electronic keyboard-based projects like Idee-Fixe often winning attention in international markets: by the time of his death he was considered sufficiently important for members of Poland’s government to attend his funeral and it’s said that on the day every Polish radio station played Dziwny jest ten świat at the same moment.

While the lyric to Dziwny jest ten świat is very spare, perhaps even slightly generic in its broad sentiments, Niemen’s delivery gives the simple phrases enormous memorability and character when the song is heard in performance. The Polish lyric can be read here, and the song (performed by Niemen at the 1967 Sopot Festival) can be heard here.

Dziwny jest ten świat (Strange is this World)

(after Czesław Niemen, 1967)

This world is strange, home to evil people still.
It’s strange how man despises man.

It’s strange that wars are fought, people are killed.
Strange this world that lets the bad run free

keeps the good in chains. This world is strange.
Our lives make me ashamed, I’m ashamed to say.

But what else is there to feel? It’s too often seen
that words are drawn like knives or swords,

cut good men’s throats. There are good people:
I might believe in them. I must, with all my strength, believe.

For this world, strange as it is, should not end
just because some do evil while we forget the good.

And there are good people: I might believe in them.
I must, though it takes all my strength, believe.

For this world, strange as it is, shouldn’t be made to end
because some do evil: hold in mind the good.

The day has come for hatred to leave our sight.
It’s high time for these hatreds to burn themselves out.