The Rock & the Roll

from all around the world

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MJCR025 - LP
ALAIN PETERS
  • Caloubadia
  • Mangé pour le coeur
  • La rosée si feuilles songes
  • La pêche bernica
  • Plime la misère
  • Ti pas ti pas n'arriver
  • Complainte de Satan 2
  • Ti Cabart
  • Wayo Manman!
  • Rest' la maloya

Alain Peters est l’un des trésors les mieux gardés de la musique de l’océan Indien et bien au-delà. Sa musique est unique. Profond blues créole, maloya réunionnais et grand folk universel, elle s’empare insidieusement de vous pour ne plus jamais vous quitter. Peters a traversé les années 1970 et 1980 comme une étoile filante, en groupe ou en solo, avec son luth sahélien, son magnétophone quatre pistes, ses alcools forts et son génie maudit, avant son décès en 1995, à l’âge de quarante-trois ans. Poète, musicien, chanteur et mélodiste, il laisse dans son sillage une poignée de chansons sublimes rassemblées ici en vinyle pour la première fois. D’une beauté sidérante et d’une noirceur toujours ensoleillée, Alain Peters exprime une saudade intense, l’âme errante d’une humanité créole à fleur de peau. A la croisée des cultures africaines, indiennes et européennes, l’île de La Réunion porte bien son nom. Au gré de sa fragile carrière, Peters n’aura de cesse d’incarner l’âme de cette terre de croisements et de fusions culturelles, entre instruments africains, mysticisme indien et poésie européenne.

A la fois pudique et sincère, Caloubadia est une chanson immédiatement indélébile. Les chœurs éthérés de Peters, accompagné ici par son complice Loy Ehrlich, donnent une sensation d’apesanteur instantanée à cette ode aux ivresses de toutes sortes, une sorte de lente incantation, mystique, alcoolique et acoustique. Avec une économie de moyens mais avec une poésie de chaque instant, Peters évoque son quotidien et son environnement, où les purs moments de bonheur et les grands soleils côtoient des tempêtes intérieures d’une force et d’une noirceur volcaniques.

Des percussions chétives et improvisées, un luth à quatre cordes, deux sachets plastiques frottés et trois fois rien suffisent à Peters pour ériger des symphonies créoles d’une beauté sidérante. Le soleil, l’océan et le vent les visitent. Mangé pour le cœur en est l’exemple parfait, ne serait-ce que grâce à sa mélodie presque surnaturelle. Publié en 1977, La rosée si feuilles songes constitue sa première composition enregistrée, au Studio Royal de Saint-Joseph. Interprété par le chanteur Hervé Imare, cet unique 45 tours est paru sous le nom des Caméléons dont Peters est alors le bassiste, à la croisée du jazz rock, du reggae et du progressif. Le groupe vit alors en communauté à Langevin, dans les hauts de Saint-Joseph, sans doute l’une des périodes les plus fertiles pour Péters, qui écrit avec beaucoup d’aisance, d’abord en français, avant de passer au créole.

S’appuyant sur un poème de son ami Jean Albany, La pêche Bernica lorgne vers le jazz libre, avec ses incantations de saxophone signées René Lacaille, fidèle complice de Peters depuis l’époque des Caméléons. Il chante une partie de pêche à l’heure de la messe, dans une rivière connue de l’île, du côté de Saint-Paul. Comme dans toutes ses créations, Peters bâtit un trésor mélodique à partir de souvenirs d’enfance sublimés par le poète et la musique de Peters, d’une fluidité remarquable, comme descendue d’une ravine bordée d’azalées cascadant vers l’océan.

Plime la misère conjure le mauvais sort, déjouant un ton plaintif pour devenir création vive. Autre poème de Jean Albany, la mélodie de cette chanson se construit encore sur du vent, tout en citant quelques lieux de La Réunion, replaçant une nouvelle fois l’île au centre des envies de Peters. La toponymie des noms réunionnais s’intègre naturellement à ses paroles. Fier de ses racines créoles, il a grandi en assistant aux concerts de Claude Vinh-San et du Jazz Tropical, une formation qui l’a marqué de manière indélébile. Son père Edouard était en outre batteur au sein de l’orchestre du saxophoniste Chane-Kane, une des formations historiques de l’île avant la déferlante pop de la fin des années 1960.

Ti pas ti pas n'arriver est un autre grand moment de poésie de l’océan Indien, une chanson également connue sous le nom de Rame canot. Cette chanson relève d’une perfection euclidienne ; elle fonctionne comme une véritable parabole pour les épreuves que la vie lui inflige alors.

Plus célesteComplainte de Satan (1ere figure) est beaucoup moins sombre que son titre ne le laisse paraître. Les paroles évoquent un spleen îlien et l’immensité environnante. Faussement fataliste, Peters s’en remet aux éléments et à un Bon Dieu presque résigné. Il délivre lui-même les paroles pour sa propre survie. Nocturnal, Ti cabart est un instrumental léger et émouvant, avec des bribes de refrain sibyllin qui filent loin dans l’azur, sans jamais regarder derrière lui. Il plane très haut au-dessus des pitons réunionnais, porté par des chœurs à couper le souffle. Wayo manman ! tisse un canevas hypnotique, en partie grâce aux cordes du ngoni.

Peters répète le refrain comme un long mantra qui tourne en boucle. Porteur d’une mélodie universelle Rest’ la maloya est sans doute l’un des plus grands tubes que personne ne connaît encore, à toujours serrer près du cœur. Le Fender Rhodes et les percussions légères tissent un canevas parfait pour la voix de Peters dont la voix bleue traverse ce titre comme une étoile filante, qui touche au rêve du monde. Pleine d’espoir, cette chanson sonne comme un lever de soleil avec l’océan pour seul horizon. 

 

 

 

Alain Peters is one of the best-kept secrets in the music scene of the Indian Ocean and beyond. His music is unique: a blend of Creole blues, maloya and international folk, it discretely takes hold of you and never leaves you. Peters travelled through the 70s and the 80s like a shooting star, alone or with a band, with his Sahelian lute, his reel-to-reel tape recorder, firewater and ill-fated genius. He died in 1995, aged 43. Poet, musician, singer and melody-maker, he left behind a handful of sublime songs which are gathered here for the first time on vinyl. Full of dazzling beauty and sparkling darkness, his songs express the yearning homesickness of the Creoles’ highly sensitive wandering soul, at the crossroads of African, Indian and European cultures. Réunion (literally “the gathering”) is aptly named and over the course of his uncertain career, Peters continuously embodied the soul of this culturally hybrid land with a fusion of African instruments, Indian mysticism and European poetry.

 

Both discreet and sincere, Caloubadia leaves a lasting impression. Peters and his friend Loy Ehrlich’s ethereal choruses give this ode to euphoria a feeling of weightlessness. It’s a slow incantation, mystical, heady and acoustic. With sparse means and spontaneous poetry, Péters speaks of his daily life and environment, where happiness and sunlight shine on an inner storm of volcanic strength and darkness.

 

Frail improvised percussion, a four-string lute, two plastic bags rubbed together and other titbits are enough for Peters to compose Creole symphonies of dazzling beauty, full of sun, waves and wind. Mangé pour le cœur is the perfect example of this, if not for its preternatural melody.

 

Released in 1977, La rosée si feuilles songes was the first song he recorded at Studio Royal in Saint-Joseph. Interpreted by singer Hervé Imare, this unique 7” was released by “Les Caméléons”, for whom Peters played the bass guitar. The band, at the crossroads of jazz-rock, reggae and prog rock, lived in a community in Langevin, in the heights of Saint-Joseph. This is undoubtedly one of the most productive periods for Péters, who wrote with a lot of ease, first in French, then in Creole.

 

Based on a poem by his friend Jean Albany, La pêche Bernica veers towards free jazz, with its incantatory saxophone, arranged by René Lacaille, Peters’ loyal friend since the “Caméléons”. He sings about a spot of fishing at the time of the Mass, in one of the island’s well-known rivers, near Saint-Paul. As in all of his compositions, Peters builds a little melodic gem from his childhood memories, which the poet and the music transcend. It’s remarkably fluid, as if flowing in an azalea-lined gulley which bounces towards the Ocean.

 

Plime la misère wards off ill fortune, evading a plaintive tone to become a lively creation. Based on another poem by Jean Albany, the song’s melody is built around the wind, while quoting several places in Réunion, once again placing the island at the heart of Peters’ preoccupations. The toponymy of the island names blends perfectly with the lyrics. Proud of his Creole roots, he grew up attending Claude Vinh-San and Jazz Tropical concerts, a band which had a lasting influence on him. His father Edouard actually played the drums for saxophonist Chane-Kane’s band, one of the island’s most influential bands, before the tidal wave of pop music of the late 60s arrived.

 

Ti pas ti pas n'arriver is another great moment of poetry from the Indian Ocean. The song is also known as Rame canot. This song demonstrates Euclidean perfection: It works like a parable for the hardship that life inflicted on him at the time.

 

The more celestial Complainte de Satan (1ère figure) is far less dark than its title might suggest. The lyrics evoke the island spleen and the surrounding vastness. Deceptively fatalistic, Peters leaves it to the elements and to an almost resigned Good Lord, while he delivers the lyrics for his own survival himself. The nocturnal Ti cabart is a light and moving instrumental track, with fragments of a sibylline chorus that tales off into the blue, without ever looking back. It floats high above the island’s peaks, carried by breathtaking choruses, while Wayo manman! weaves a hypnotic canvas, thanks in part to the strings of the ngoni. Péters repeats the chorus like a long looped mantra.

 

With its universal melody, Rest’ la maloya is probably one of the greatest unknown hits, which should be kept close to the heart. The Fender Rhodes and light percussions weave the perfect canvas for Péters, whose blue-tinted voice travels through the track like a shooting star, touching on a world dream. Full of hope, the track sounds like a sunrise, with nothing but the ocean on the horizon.

 

Moi J’Connais Records & Sofa Records would like to thank Ananda Peters, Alain Courbis  and RunMuzik for their help and support

 

Mastered & Cut by Adi Flück at Central Dubs

Artwork & Design by Felix

 

Moi J’Connais Records MJCR025

Sofa Records SR001

MJCR031 - LP
THE SADIES
  • Dying Is No Way To Make A Living
  • Little Sadie
  • Wagon Wheel
  • J'ai essaye de ne pas
  • Locust Eater
  • Strange Birds
  • Algoma Refections
  • All The Way Back Home
  • Oh, How She Rides
  • Song For A 12 oz Mouse
  • Walking Bum
  • Mile Over Mecca
  • 1000 Cities Falling
  • External Sounds
  • Within A Stone
  • Ballad of Immortal Joe

The Sadies Archives Vol. I Rarities, Oddities and Radio: 1995-2015

 

This album is compiled mostly of outtakes, radio performances, demos and some early 45s, none of which were ever released on Bloodshot or Yep Roc records. These sessions were recorded on tape, mostly in a single live performance. With hundreds of songs in the vault after twenty years, it was time to skim the cream from the top. Sadly, all the cream was actually at the very bottom so the process of bringing these songs to light has been riddled with delays. All of which, in my opinion, have been worth waiting for.  I guess it's more like cream cheese.

 

Okay here we go.

 

1. Dying Is No Way To Make A Living

This is taken from our very first 45 that we released on our own label, Golden Horseshoe records in 1996, recorded in '95. We pressed 300. This recording features Andrew Scott on drums and Wiley, Travis' Alaskan malamute on lead vocals.

 

2. Little Sadie (Trad.)

This recording was broadcasted live from a radio show we did in Lawrence Kansas, circa 1999. It is one of three radio shows we ever played 'acoustic' but when we were starting out, we'd play like this fairly often in Toronto.  

 

3. Wagon Wheel

This terribly named song is also from our first 45. Both songs were re-recorded for our first Bloodshot record but these versions are way better. Recorded on Travis' 8-track cassette recorder.

 

4. J'ai Essayé De Ne Pas

J'aime la français mais... je ne suis pas un francophone. Mon francais est terrible. Je m'en excuse. Ce morceau est sorti en 2005 sur un 45t chez Mint Records. Bob Egan, merci pour la pedal steel. La chèque est à la poste.

 

5. Locust Eater

This is a demo I recorded of Sadie with my dear friend and idol, Bernie Pleskach in 1995. Great guy, as long as you keep him away from the accordion. Else, he becomes The dreaded Locust Eater.

 

6. Strange Birds (Langford/Sadies)

We originally recorded this song with Jon Langford and it was released in 2003 on our Mayors Of The Moon album. I wrote this song to a poem Jon wrote. I've been singing it live for a long time now so we re-recorded this song for a weird live 'iTunes session' we did a few years ago. I like it.

 

7. Algoma Reflections (Jet Pac/Socan)

The Shadowy Men on a Shadowy Planet were a huge influence on The Sadies in a million ways. They are dear friends. Don Pyle and the late Reid Diamond have been integral to Sadie's career since the very beginning (and Brian Connelly introduced me to Mickey Baker's wildest guitar record when I was 18). This song was released on a Shadowy Men tribute album long ago. Also recorded on Travis' old 8-track at a cottage in Quebec. Not very 'Algoma-y' but it still turned out nice.

 

8. All The Way Back Home (The Unintended)

Shit, where do I start? Well, I guess I start by saying this is not the Sadies. This is one of my favourite bands, The Unintended. Rick White and Greg Keelor have both had huge roles in the Sadies' sci-fi story of creation, albeit very different ones. Rick has co-written a bunch of our songs, shot some videos, did some of our record covers and Greg has produced us, sang on our records etc. etc. etc. They are key parts of the machine.

I was living with Rick and playing in his band Elevator (through/to hell) when we began writing our s/t album together. It was recorded on Greg’s 1" 8 track machine (7 track actually) on 03/03/2003. This was the only song omitted from the Blue Fog record. I can't remember why. We actually had to bake the tapes to mix this song for the collection so, first time for human ears folks!

 

9. Oh, How She Rides (James Ackroyd/ASCAP)

This song was originally on my dad's album, James and The Good Brothers from 1970. The Grateful Dead brought them to SF to record it and at least one of them play on it and all this other interesting hippy stuff. It's a great album. Our version is fairly faithful to there's and was recorded during our sessions with John Doe in 2009 but for whatever reason, we didn't finish it until 2015. Thanks John, Goldstein and D'Arcy. Dedicated to James Ackroyd.

 

10. Song For A 12 oz. Mouse

We wrote and recorded this song for a cartoon but I'm not supposed to say which one, in case they have a problem with us releasing it. The cartoon was great but very short lived, just like the song.

 

11. Walking Bum (J.Spencer/M.Verta-Ray Patricia Ann music/Marsupial Parlay Vous. BMI)

The year or so Sadie spent playing with Heavy Trash had some of my favourite concerts I've ever been a part of. Sadie would always open the show and Jon Spencer and Matt Verta-Ray were... I don't know, just amazing. Always different. I loved it. We recorded with them on their 'Way out with Heavy Trash' album from 2007 but this song was taken from a WFMU live radio broadcast we did with them in 2005. It was recorded live to air and this copy was dubbed off the airwaves. I love WFMU.

 

12. Mile Over Mecca

Paul "the critter" Aucoin played vibraphones with Sadie on many recordings and tours. That's him on Algoma Reflections. Anyhow, Paul did the string arrangement for this song (which first appeared on our Stories Often Told lp), and then had some Haligonian highschool kids play it for us. We played along and used it on a soundtrack long ago. Thanks Critter.

 

13. 1,000 Cities Falling (Part 1)

This was recorded live for CBC radio back in 2006 maybe? My archives are a little dodgy. I know it was out west because that's Paul Rigby on pedal steel.

 

14. External Sounds

This one is the only outtake from our last record. Just didn't fit. Doesn't really fit here either but hey, this is supposed to be weird stuff, right? It was actually written for a cartoon about space truckers that isn't out yet. Seriously.

 

15. Within A Stone

This is also from that iTunes session I mentioned earlier. I sang this on our Pure Diamond Gold album in 1999. Travis sings it here. Another thing about this one is Garth Hudson is playing the organ with us. An honour.

 

16. Ballad of immortal Joe

This piece is the second half of a score we did for a short animated film called, "The Ballad of Immortal Joe" by Pazit Cahlon and Hector Herrera. Trumpets by the inimitable Jonah Falco and creepy vocals by my creepy cousin, D'Arcy Good. Try and see this when it comes out. I think it's excellent.

 

Nothing recorded from 1994 was used for this collection but we'd like to thank Ted Robinson for getting things started with us way back then.  I should also thank Cyril and Robyn for inspiring this collection.

Well, that's about all I got. Thank you for listening.

Dallas Good

 

The Sadies are

 

Dallas Good guitar, banjo, keyboards, vocal

Travis Good guitar mandolin, vocal

Sean Dean bass

Mike Belitsky drums

 

With special guests

 

Andrew Scott drums on 1, 3 and 5

Bob Egan pedal steel on 4 and 7

Bernie Pleskach accordion on 5

Rick White acoustic Guitar and vocal on 8

Greg Keelor back up vocal on 8

Aaron Goldstein pedal steel on 9

D'Arcy Good back up vocals on 9 and 16

John Doe acoustic guitar and back up vocal on 9

Jon Spencer acoustic guitar and vocal on 11

Matt Verta-Ray guitar and back up vocal on 11

Paul Aucoin vibraphone on 7, string arrangements on 12

Paul Rigby pedal steel on 13

Garth Hudson organ on 15

Jonah Falco trumpet on 16

 

All songs by The Sadies (sadies music/Socan) unless specified

Premastering by Guillermo Subauste

Mastering by Peter J. Moore

Managed by Judith Coombe @ Starfish Entertainment

Tour Management by Bryan Boake

 

Moi J’Connais Records are Cyril Yeterian & Robin Girod and is based in Switzerland

Graphic Design & Illustration by Michel Casarramona

 

MJCR031 - The Sadies Archives Vol. I Rarities, Oddities and Radio: 1995-2015

 

 

MJCR030 - LP
Velvet Illusions
  • Velvet Illusions
  • Acid Head
  • Hippy Town
  • Born To Be A Rolling Stone
  • She Was The Only Girl
  • Town of Fools
  • Lazy
  • Mini Shimmy
  • The Stereo Song
  • I'm Coming Home Los Angeles

 

Following the success of our HUMAN EXPRESSION record, we thought we would continue our search for forgotten Californian bands of the late 60s.

Having unfortunately fallen into the pits of oblivion, The Velvet Illusions were never given the honours of a full LP. Hailing from the American Northwest, the young fellows (aged 14 and 17 at the time) soon moved to Hollywood in the hope of finding glory and success, but the 7” was plagued by bad luck and ended up in the unwanted tray. During the year 1967, three A-sides and respective B-sides gave the band a legendary aura, with their angelic faces, their VOX amplifiers and their weird double-necked guitars. Now their ten rare gems, which were first produced as a whole in 2011 by US-Tune-In label, are finally available as an LP!

Organ and saxophone, unbridled fury, a trip through garage music from acid beats to anti-pot-smokers ballads (!!!), this record paints a bizarre picture of what American youth in the 60s was trying to do. A movement away from tradition, fascination for Afro-American music, emancipation, rapport to drugs, etc.: The record acts as a historical testimony of the late 60s about to fall into the next decade with its Vietnam war and disillusionment. As such, it is Steve Weed, young rock god who wrote and sang most of the songs and his mates’ illusions, as velvety and analytical as they are, that were etched into vinyl to travel through time and remind us that there is nothing as classily American as the sound of the 60s. And the ten tracks are as intriguing as they are catchy, with inspiring sing-along melodies that break the aesthetic mould of most bands of the time. We’re miles away from the mainstream and from Woodstock; we’re much closer to garages and small town venues. They could have toured with 13th Floor Elevators, and The Doors even, but the music industry was having none of it, and the record remained a unique piece of work.

This beautiful release acts as a tribute. Randy Bowles is still alive and was deeply moved by this belated yet well-deserved acknowledgement. The man is now over 60 and lives in his Seattle home, where he still plays his tracks, with acoustic guitar and warm timbre, “forty years” later as he puts it. You can even find him on YouTube!

1,000 copies will be made, with silk-screened cover and sleeve notes, since there is a heavy demand for such sounds, suited as much to your living room as for a party. A beautiful record for an unfortunate band! Coming this february on Moi J’Connais Records.

 

 

MJCR029 - LP
Various Artists
  • Lawrence Walker - Osson Two-Step
  • Mama Rosin - Yvon LeBlanc
  • Criminal Waltz - Breaux Frères
  • Fiddle Stomp - Wallace "Cheese" Read
  • Le Blues du Petit Chien - Breaux Frères
  • Vous Avez Donne Votre Parole - Dennis McGhee
  • J´ai Fait Tout Le Tour Du Pays - Jimmy Peters & Ring Dance Singers
  • Blue Runner - Bebe & Eraste Carriere
  • Mama Do Right - Milton
  • Doin' The Zydeco - Rockin' Dopsie
  • Canray's One Step - Canray Fontenot
  • Le Two Step À Jules - Freeman Fontenot

 

Following Following the huge success of our first volume (three pressings!) in 2009, the long-awaited Cajun / Zydeco Vol. 2 is finally here! The long wait was not due to a lack of inspiration but rather to the creator’s diligent research, and as such this awesome second volume has taken five years to come together. The idea hasn’t changed. We dug into some of the world’s most moving and lesser-known music and made our selection. We spent hours on end doing this. We painstakingly separated Cajun from Zydeco music, since both genres are so intimately linked. We equalised and finally pressed the whole thing on vinyl. The result? A rich compilation of rare gems. Some of these tracks had never been pressed onto vinyl since their original 12” version! It’s a trip into the South of Louisiana, where this music–a blend of worlds and traditions–took shape at the beginning of the 20th century. A selection of tracks from the past, from local legends (Nathan Abshire) to unknown craftsmen (Jimmy Peters), who all, in their own way, have left their indelible mark. Waltz, two-step, one-step, blues, the record pays tribute to the unique blend of European dances with African rhythms. Each track has been weighed up for its historical as well as for its musical interest. A combination of melodeon and, for the Zydeco side, button accordion, triangle, rub board and fiddles. It’s a masterpiece in the Moi J’Connais collection. Sold with sleeve notes and a magnificent poster from one of the masters of Cajun fiddle, Dennis McGhee. 

 

 

 

 

CD-Sampler is out and free. Available at Bongo Joe !