Turkish psych reissues

Istanbul Plak Erkin Koray (TÜ,1972/1973)**°°'

This actually is not a reissue of the first album like it is being said, because only 10 from the original 12 tracks of this album are added, also in a different order. The 6 other tracks are bonus tracks from around the same period of the publication of this LP from around 1972/1973. Also the original LP was nothing more than a compilation of earlier singles from between 1968 until 1973. The bonus tracks are equally good or ok, but the left out tracks were still essential, like the track "Istemem".

The technical quality is good but how much of this compilation was done officially or with Erkin’s permission I really can’t tell.

A few tracks are pre-psychedelic or post-rock’n roll while most tracks are rocking with a typical Turkish crossover touch and some great guitar here and there and some attractive organ.

A good compilation, which could have been better with addition of the left out tracks, and without some of the few live ? tracks which are added as if they really make this compilation complete (which they don't).

Also : be careful with CD's with similar covers that are more usually bootlegs (if this already isn't).

Audio : "Seni Her Gordugumde", "Kizlarida Alin Askere"

Label info (Turkish) : http://www.istanbulplak.com.tr/artists_bio.asp?id=4

Info on Erkin Koray : http://psychemusic.org/ERKIN_entry.html

PS. A 2005 compilation of Turkish psych, from the Love, Peace & Poetry series is reviewed on http://progressive.homestead.com/ALTIN_MIKROFON.html

next CD->

Sublime Freq. Erkin Koray : Mechul (TÜ,1970-77,re.2011)***°

I knew Erkin 's work and singles well although it has been a while since I have heard the complete collection. There have been already numerous compilations and LP reissues, with bonus tracks. The previous version of Subliminal Records, Xotic records were perhaps the first to compile an LP release based upon tapes, now (the not related) Sublime Frequencies introduce Erkin not only as a guitarist, but like he is as a creative personality. Besides his talent as a guitarist which is clear on his earlier works, his inspirations are multi facetted and this also includes ethnic folk interests from turkey and Egypt to name a few of these interests. This was one of the reasons why they gave Erkin air play in Lebanon and Egypt. While three thirds of the album contains rather essential crossover tracks that show Erkin’s electric guitar style, with musically attractive ideas for western psych lovers, the last few tracks, from a later date (’76-’77), not all equally essential but all enjoyable, show his ethnic music interest, and also more saz lead instead of electric guitar, this shows a more complete picture of Erkin’s personal inspirational foundations. Erkin Koray’s still even when fitting within the Anadolu Pop movement had more moments of rock and an inner strength of individuality that made all other Turkish artists softer. Never the less with the compact arrangements and variety of associations at the same time this is also creative and in form well developed. A convincing, enjoyable compilation.

Audio on http://boomkat.com/... (See also http://www.myspace.com/kralerkinkoray)

Label info : http://www.sublimefrequencies.com/...

Description on http://www.dustygroove.com/i...

Normal Rec. V.A. : Love, Peace and Poetry : Turkish Psychedelic Music ****'

This is a third compilation which gives some idea of some other Turkish psych. All 16 tracks are taken from LP's. Not too many LP’s were printed in Turkey in this style as a musical concept, while most LP’s were compilations of singles.

Selda is included with two tracks from two different LP’s which were recently reissued (in UK and Korea). The first track comes from the most political album. This album was not her best but still interesting. The second track of Selda is a very psychedelic rock version with emotional female voice in a Turkish traditional form.

The second track, from the Özdemir Erdogan band, by this arranger with band was a track which appeared on one of both TRT compilation LP’s. Such gentle Anadolu pop tracks were used on national television as musical interludes. It was a proof of how much this “psychedelic touch” was generally accepted and adapted as being typically Turkish.

A short track by Alpay with nice voice shows how this popular singer somethimes had fine arrangements from some guest musicians.

A different version of the song is added by Baris Manço and the great Kaygisizlar band. Baris had a rich history in styles, but I always liked most, his late 70’s work. Also this version is from a later LP, but not one of his true highlights.

A fine anadolu rock track by Mazhar & Fuat is followed after this. The band after this, as a trio (MFÖ), moved / evolved to a much more popular but less musically attractive sound.

Then we have an early 70’s song by Erkin Koray with his Supergroup and rather experimenting with sounds and Turkish chords of electric guitar. Also the great mellow voice of Ersen is added with a beautiful hand rhythm section and his band Dadaslar from his debut album, another compilation of singles.

Also Edip Akbayram’s band Dostlar was great. We hear great fuzz and electric saz, and emotional singing which was rather traditional but in a heavy rock way.

Hardal was pretty different from all other bands, and were a first step outside Turkish folk foundations predicting an example for later rock bands from late 90’s and later.

Erol Büyükburç was one of those singers who because of commercial standards rarely succeeded in showing the talent of his band in psychedelic and hard rock teritory. On this compilation is added an official track which gives some idea.

Cem Karaca is my favourite rock voice. Also his bands like Kardaslar here, were able to perform true psychedelic inventive arrangements. On the added track we hear such intelligent, and compact arrangements. Hopefully Cem Karaca get his recognition with a reissue soon too.

Üç Hürel LP’s were reissued first, even when the music was less psych, rock or beat than various other examples.

One of the most inventive, still compact arrangements is from Mogollar, a group who based their work on traditional instruments but with very progressive improvisations on organ (by Murat Ses), bass, electric guitar. This album, Anadolu Pop was reissued recently.

Also included is a beautiful track from Bülent, another great album in an acid folkrock style.

Last track is by Erkut Taçkin, a not too special track, but still original for its jazzy movements within a Turkish style mixed with some electric guitar and brass.

A fine compilation for repeated listening pleasure.

Audio : Mogollar "Halicite Gunesin Batisi", Edip Akbayram : "Yakar Incenden Incenden"

Selda : "Ince Ince Bir Kar Yagar", Ozdemir Erdogan Orkestrasi : "Uzun Ince Bir Yoldayim", Selda : "Bundan Sonra", Alpay "Kirpiklerin Ok Ok Eyle", Mazhar & Fuat :

"Sur Efem Atini"

Podcast radiobroadcast : http://www.rarefrequency.com/2006/03/rare_frequency_9.html

Label : http://www.psychedelic-music.com/psychedelic2.html

Other reviews : http://almostcool.org/mr/1672/

http://www.brainwashed.com/...

http://www.dustedmagazine.com/reviews/2622

http://www.orlandoweekly.com/music/review.asp?rid=10005

http://www.popmatters.com/music/reviews/various/various-turkishpsychedelic.shtml

More info on individual artists : http://psychefolk.com/TURK.html

Normal Rec. Edip Akbayram (TÜ,1972-1977)****°

Compilation of the first two LP’s (with different order of tracks) and a few singles showing the best of Edip Akbayram.

It leaves no doubt Edip Akbayram is one of the most important Anadolu Rock artists, with a rock style deeply rooted in Turkish music standards. Edip was accompanied by Dostlar between 1972 and 1977. They could more or less have been called “Edip Akbayram Dostlar” for it is especially this period which this compilation presents. This period showed a progressive sound, with some necessary beautiful folklore elements mixed with fuzz and wah-wah, and great often fast played melodic bass.

The First two albums, but mostly the first album by Edip Akbayram were harder rock compared to the rest of the Turkish Anadolu pop scene (-the first 1974 album is a compilation of earlier singles like it was usual for a first LP in Turkey-). This compilation showed much more variety in the arrangements as I already expected, hangs very well together. It gives an idea of the variation of the earlier repertoire. Sadly one track of the second album wasn’t included, which is “Yaralarim”, a track which is equally interesting. Also there were more, progressive tracks, like “Sen Açtin Yarayi” (with Tull-like flute and funky touches) that could have completed the list of songs. Instead the cd’s are not longer than the LP’s lengthwise. Still this collection is very interesting, quite complete and so far the best most complete collection of Edip Akbayram on the market (PS. the title of “Zalim” must be “Zalim Zalim”, a track with interesting keyboards).

The booklet contains many rare photographs and there’s introduction notes by Ercan Demirel.

Audio : "Deniz Ustu Kopurur", "Yakar Inceden Inceden", "Arabam Kaldi Yolda"

More info on Edip Akbayram : http://progressive.homestead.com/EDIP_entry.html

PS. The second album, 'Nedir Ne Degildir?' (with a cover based upon the 'Stand Up' album from Jethro Tull) was reissued lately by World Psychedelia in South-Korea.

Finders Keepers Rec. Selda (TÜ,1975)***°°

For a very long time, there were a couple of official Selda compilations called “Türkülermiz”, from which I thought vol.1 was a compilation of early singles, with folk, folk protest songs, and a couple more “progressive” songs with Mogollar and one with Kardaslar, vol.2 an LP dated 1975, which was amazing “psychedelic” rock, accompanied I think by Dadaslar, and vol.3, which was again much more folk driven, and without the psychrock backing band. Vol.2 sounded extremely strong, but was not always of a very perfect recording quality. Afterwards I realised that this vol.2 was the first album, with the tracks in a different order from the LP and with two tracks missing, of which one was a previously recorded track in a different style. It was this first album which I hoped for to be re-released with all tracks in good condition, preferable with a No-Noise system, to keep all recorded contrasts in perfect shape.

Finderskeepers re-released this first album, and luckily also included the most “rocking” earlier tracks from vol.1. Unfortunately it was not always done with the most perfect remastering conditions I wished for, although the technical result is still acceptable and enjoyable. On most official releases of Selda she was accompanied in a more folk way. This compilation shows her most “psychedelic” approach thanks to the accompanying bands.

What is so strong about her is first of all her moving, and in a unique way, powerful voice, which already in a folk context shows power of expression. In this case she is also accompanied by some of the finest “progressive” musicians around, with instruments like saz, wah-wah, fuzz, drums and on “Gitme” or “Niye Cattin Kaslarini”, an instrument which sounds moog-like, played by the Dadaslar, a group who also recorded on some of Ersen’s singles.

Her songs, rooted in tradition, were also moving in a (difficult to translate to other contexts and languages) poetic way, singing with concerns for the people, an approach which was seen as being rather left wing/reactionary to the political climate, resulting in the banning of a later album (‘Hasret Türküsü’), considered as a protest album, and she even spent some time in prison later on, in the time where every possible reaction to gain some social liberations could cause problems or even death, especially after the 1978 coup, when the government became ruled under the eye of the army, who turned the country for a while into an over-protective police state, with also no more rock music for a long time, because it was seen as being too politically involved. (Cem Karaca on his turn for instance was forced to stay abroad for a very long time).

This first album musically, definitely was the most interesting and strongest from her. Producer was Zafer Dilek (he later recorded the interesting television tunes related TRT compilation series, of which vol 2 is most recommended).

One of the strongest tracks on the album, “Ince Ince Bir Kar Yagar”had already shown a very comparable, heavy rock version by Edip Akbayram on his first album (1974). All tracks are worth hearing, and all of them have different captivating elements, all with a great emotionality, and an incredible band.

Those who haven’t heard the original album yet, or the previous mentioned compilation will be very happy and moved to hear this. But at certain points the kind of used filters to make the music more acceptable for CD release worked as a bit in disadvantage. For me it is especially noticeable on certain tracks, where it is most clear how the sounds have been boozed up too much into the high registers, and while adding dynamics at times, and making acceptable contrasts, it also loses warmth, and especially on certain tracks, a few essential effects. When listening in headphones some tracks begin to disturb in sharpness, something, different sequencing cannot help with much any more. "Meydan Sizindir” even sounds like a different mix from the previous CD. The wah-wah psychedelic “warped” effect on the official compilation is almost completely in the background, and the voice sounds too sharp. Here, it could be possible that the version I know did not have a really deliberate effect because of some restoring failure, but the over filtered version is NOT an improvement. On “Ince Ince” the higher registers gives more focus on the moved emotionality. Other tracks, like “Gine Haber Gelmis (U.H.)” on the other hand sounds like taken from an LP in bad condition, and were possible processed differently, finding the sound conditions from the LP acceptable enough. Technically, the remastering for me especially on some tracks is a disappointment. I remember still how Nexus records started with reissuing Turkish LP’s, and they always used the expensive No-Noise re-mastering system, taken from an original LP if the masters weren't available, a technique mastered by a proffesional engenier, where it also did not matter what condition the original LP was in. As a reissue for living room enjoyment or played not too loud in headphones, this album still is a must. But considering the errors I noticed, unfortunately I still think it is better to buy the Turkish vol.1-3 series instead.

Audio : "Yaz Gazeteci Yaz" ( or here), "Ince Ince"(or here), "Gitme", "Utan Utan", "Meydan Sizindir" ,"Nasirli Eller","Yalalar"(or here), "Karaoglan","Mehmet Emmi" ; bonus : "Nem Kaldi" (with Kardaslar), "Anayasso" (with Mogollar)

Label info : http://www.finderskeepersrecords.com/discog_selda.html

Review with 3 audio tracks : http://www.boomkat.com/item.cfm?id=24587

Other reviews and remarks : http://observer.guardian.co.uk/omm/reviews/story/0,,1915313,00.html

http://angryape.com/news/2006/10/finders-keepers-release-rare-selda-album

http://www.dustygroove.com/...

See also my webpage on Selda on http://psychemusic.org/selda.html

Finders Keepers Rec. Mustafa Özkent ve Orkestrasi :

Gençlik ile Elele (=Hand In Hand With Youth) (TÜ,1973)****°

Mustafa Özkent started his career as a musician in 1960 with his youngsters band 'Teenagers', located in Ankara. It was so called, as no member was older than 19. He became trusted as an arranger, and therefore, a new independent label, Evren decided to let Mustafa make an instrumental rhythmical driven LP, while experimenting with some new stereo effects.

-In those days, outside the core of Western musical culture, an instrumental album with somehow psychedelic improvisations was never called "psychedelic", more labelled as A Go-Go, often dance rhythm related item. Acid jazzrock was more often one influence for such music. Similar try-outs were already done by groups like Gence 5, who later further developed the jazz reference (evolving to Gence 10).-

Mustafa Özkent and the label in their turn had put a different, confusing labeling on the album seeing it this way as a more free styled, instrumental, rhythmic experiment, describing the orientation of the music on the album as "folk, rhythm'n'soul, blues'n jazz, rock'n pop", a range of their crossover styled freedom.

For this new group of Mustafa Özkent's, which was called the Mustafa Özkent Orkestrasi, organist Umit Aksu was invited, as well as Cahit Oben on second guitar (Cahit Oben had already proven to be rather open minded and not having a one-eyed focus in his interpretations of Anatolian themes), as well as two drummers and a percussionist, while Özkent himself played the lead guitar. The album was recorded as a live take, but there were added several effects.

The group made two singles (1972,1974) and two LP’s (1973,1975) although on the second, “Elif”, in a similar style, has only Mustafa’s name on the cover. After that Mustafa continued to be demanded as an arranger. For example in 1975 he participated on the Özel Türkbas belly dance album “Alla-Turca - The Turkish Way With Özel”. (El-Ay Records, 1975), also reissued.

Musically this is great funky Turkish-styled music that I’m sure would still do great on the dance floor. Besides this angle, the improvisations, the wah-wah guitar, groovy Hammond organ, I am sure will warm up any musical freaks and lovers as well. As a style in Turkey this was something completely new. Instrumental records were simply not done, and longer rather psychedelic improvisations could only be heard on live occasions (the most remarkable moment I ever heard was from a Cem Karaca bootleg, live in Ankara with Kardaslar in 1978, with an over 10 minute solo on organ and electric guitar recalling at least the best progressive groups in UK,..). The fundament here is rhythm mostly, which switches in themes, which, with the organ repetitions, additional percussion, and electric strings keeps the beat in a steady hypnosis. Of course there are a few Anatolian melodic themes adapted, but the melody itself is less the point than the "groove" and the improvisation.

Conclusion : Splendid ! A must ! I’m sure this has possibilities to cause a revelation, if enough people give such an “unknown name” a try.

PS.1. Also his second somewhat equally styled album is worth tracing.

PS.2. The album has also been re-released in Turkey by Öncü Prodüksiyon in 2006.

PS.3. Another instrumental album with great organ improvisations is the unofficial ? album by Agri Dagi Efsanesi (Murat Ses (organist from Siluetler, early Mogollar), organ with Nejat Teksoy, guitar (singer from beat group Mavi Isiklar). This contains some covers (Uriah Heep,..) and jamming like the incredible "Play with fire" (Rolling Stones) with wonderful organ and another 15 minutes organ ? improvisation with saz ? and electric guitar. Highly recommended !

Another instrumental Turkish album which I am eager to see reissued is Metin Alatli’s "Alamooga Esinlenmeler -Sentetik Oyun Havalar-" (1975), a moog album by the organ player from Siluetler (the Shadows inspired pre-Mogollar band), like Walter Carlos mixed with Turkish rock !!)

Audio : "Üskdar'a Giderken","Burcak Tarlalarl"(or here or here or here), "Dolana Dolana"

(or here), "Karadir Kara"(or here), "Emmioglu","Çarsamba","Uskdara Giderken",

"Silifke" (or here)

Review with 3 audio tracks : http://www.boomkat.com/item.cfm?id=24586

Label info : http://www.finderskeepersrecords.com/discog_mustafa.html

& http://www.finderskeepersrecords.com/press_mustafa.html

Description on http://www.dustygroove.com/...

Other reviews :http://www.moviegrooves.com/shop/genclickelelemustafaozkent.htm

& http://www.almostcool.org/mr/1871/

& http://www.dailyom.com/articles/3/2007/7628.html

See also my webpage on Mustafa özkent Orkestrasi on http://progressive.homestead.com/ozkent.html

Complete discography : http://www.diskotek.arkaplan.com.tr/

Shadoks Music Bunalim (TÜ,1970-1973)****°

I was amazed by the detailed and well worked out biography in the booklet of this reissue (with many more details to the info I previously assembled), the many rare photographs being collected, or the whole completeness of the collection. This is finally the first official assemblage of Grup Bunalim’s repertoire.

It was already clear to me, after having compared music from all other Turkish bands with singles, that Bunalim was much heavier, and more garage psych than any other band around. Being different than the others, for them it was more difficult to cut singles, so not much of what they were capable of or ever showed was put onto vinyl format. They just appeared on 6 different singles, 12 tracks in total.

In the booklet’s biography I found many connections with other important Turkish rock bands from that period for many of the individual members.

The band was founded in 1969 and lasted until 1972. The first drummer left in 1970 to join Karadslar with Cem Karaca. The next drummer Hüseyin Sultanoglu played also with Cem Karaca’s groups Kardaslar and Dervisan, while drummer Nihat Örerel played with Erkin Koray amongst others, while another temporary drummer, Mehmet Gözüpek performed later with Ersen’s Dadaslar. Bass player Ahmet Güvenç can also be heard on “Elektronik Türküler from Erkin Koray, and with the later Baris Manço’s Kurtulan Express.

From the 6 singles with Grup Bunalim (1970-1972), one was released under name of Aziz Azmet (singer of Mogollar, but also participating with Bunalim for a while), another under the name of Rifat Öncel. After this the band reformed as the hard rock band Ter, accompanying Erkin Koray during his heaviest rock period.

The order of the tracks is well compiled, starting with an Anadolu Pop track (this style is the generally, media stimulated, style of local folk with rock instruments), “Basak Saclim” showing already the heavy details, then building up and showing better with each track the heavier approach of the band. “Tak Var Köpek Yok” for instance with heavy fuzz, bass, drumming and singing is very garage-like showing the band’s creative rawness, ending the track with a bit of acoustic guitar in the end (some conversations with their in that time manager Cem Karaca in studio), and a dog barking as a conclusion ! The intro craziness on the great song “Bir Dünya da Bana Ver” is completely over the top, but had to be limited to a energetic few seconds, leaving the attention to the song, with of course still heavy elements. At the time of the ninth track, the music finds its way back to the Anadolu folkpop tracks, finding some accumulation. Also it is nice to hear how the group’s approach hides itself in energy outbursts behind these still good tracks.

A must-have !!

Audio : "Basak Saçlim" (or here), "Hele Hele Gel", "Tas Var Kopek Yok" (or here or here), "Yollar","Ask Senin Bildigin Gibi Degil", "Bir Dunya da Bana Ver"

Label's entry : http://www.psychedelic-music.com/psychedelic1.html

More info, band pictures and links on a separate page : http://psychemusic.org/GRUP_BUNALIM.html

Destur Cem Karaca : Püshküllü Moruk (TÜ,1970-1973)***°

Finally, this is the first album of the great rock singer Cem Karaca to be released / distributed outside Turkey. More so, this is a unique 6-track recording which was never released before. This is the composed playback score for a play he did, arranged with his band Kardaslar, and recorded in only 10 hours. Cem Karaca’s parents were actors. This is Cem’s first theatre appearance. Also his mother sings along on one track.

The play which was first performed by the Ulvi Uraz Group in 1971-72 was in fact an adaptation of Ben Johnson’s “Volpone”. The original text of that play was written in 1606 was adapted to Turkish codes and was played during the Ottoman Empire in the 18th century. A new adaptation was created in 1971 by poet and scenarist Ülkü Tamer, while the idea of making it an “Ottoman Pop Musical” was firstly Ulvi Uraz idea. The play didn’t have any success, so had to close very soon.

The style of rock group Kardaslar is recognisable, while most tracks are a bit more led by acoustic guitar and Cem’s powerful vocals, while other instruments are more like an additional score.

First track is an instrumental rock overture, a bluesy psych improvisation, with also some use of saz, adding thus its inevitable Turkish flavour. The second track, “Passion Of Gold” uses bass, fuzzed 'iglig' (a Turkish guitar-like string instrument) in the background, acoustic guitar on the foreground, heavy vocals by Cem Karaca, and builds up different tensions. The rock track, also with a Turkish flavour, “The Fox” has rhythmical variation, some Turkish fuzz improvisation, and a more bluesy electric guitar. After a track lead by Cem’s mother on vocals, “Dear Mr.Judge”, the next track has the recognisable emotionally powerful Cem Karaca style, once more it is a bit more led by acoustic guitar, besides electric bass, a bit of electric guitar, and a small section of his mother participating and responding. It has a charming mix of blues, rock and a Turkish flavour empowered with the presence of Cem Karaka rock. This leads in one take to the final conclusive track, “Ring Down The Curtain”, a convincing ending, changing the acoustic guitar theme to some more flamenco flavours.

Later, Cem Karaca did a few other plays like ‘Die Kanaken’ (resulting in a terrific Turkish rock album in Germany, and also sung in German), ‘Ab in Die Orient Express’ (one song on Die Kanaken LP also has that title), and ‘Sevdican’.

Kardaslar was Ünol Büyükgönenç : saz, electric and acoustic guitar ; Seyhan Karabay : iklig, bass ; Fehiman Ugurdemir : electric guitar, bass ; Deniz Dündar : drums.

Audio : "overture"(or here), "Passion of Gold", "The Fox"

Label's entry : http://www.destur.org/

More info, band pictures and links on a separate page : http://progressive.homestead.com/CEM_entry.html

Best albums from Cem Karaca on CD in Turkey :

* "Ölümsüzler" (compilation of progressive tracks),

* Safinaz (symphonic rock album),

* Anadolu Efsaneleri / Legends of Anatolia (compilation of first album by Cem Karaca, with first album of Edip Akbayram, and a Mogollar compilation ?)

next CD

Guerssen Rec. Cem Karaca/Kardaslar (TÜ,1973,re.2011)***°

Cem Karaca can be considered as Turkey’s most important rock singer. His voice is powerful, almost operatic at times, full of inner strength of being emotionally and intellectually affected, a true socialist minded spirit. He already got attention during his student days (with The Jaguars). He won the Altin Mikrofon contest selections (the best band got their recording sessions), which resulted in some singles. He played with the best bands including Mogollar, Kardaslar, Apaslar, Dervisan and Kurtulan Express. He also recorded some tracks with the German band The Ferdy Klein Orchestra. He tried to break through in Germany too, with partial success, but they were cheated by their manager so were left broke after their German tour. The result of which is recorded on this LP is mainly the period with the band Kardaslar where Cem holds the perfect ground between Anatolian folk songs, with acoustic pickings, traditional Turkish violin and some subtle rock elements and even a bit of schlager in rock settings, as powerful rock songs. Cem never had intended a release like this, it was the label’s decision to compile it, but it never the less gives a very consistent compilation and idea of this period with singles and unreleased tracks from that period. The album was never re-released, is very rare because it was deleted after a court case decision, this is in fact the first official reissue.

It is not Cem Karaca’s most progressive work. The best tracks in that area I have heard were from unofficial live sessions with long organ solos and electric guitars, some ideas where they led to, you can get from the Edirdahan sessions. But it very much shows the perfect middle between the Turkish and the German focus, (-two tracks are with the string orchestra, the last track is based upon a waltz rhythm-), and for this area this hangs well together. The tracks build up well from acoustic foundations to more power in the voice, more fuzz and interesting use of percussion, then with the string arranged tracks too. It is a very enjoyable release and in fact mostly contains material that cannot be found on most of the compilations around, it also hangs together much better than most of them.

Label info : http://guerssen.com/productes.html?prod=12441

More about Cem Karaca : http://www.psychemusic.org/CEM_entry.html

Finders Keepers Rec. Ersen (TÜ,1973-1977comp.2008)****'

Finally also Ersen’s work has received a first compilation reissue, ever I must say, because also in Turkey you can’t find any. The reason of this is associated with politics. While musicians like Selda and Cem Karaca clearly took position in the left wing camp, Ersen chose after political changes the side of the right wing party. When the military coup in 1978 wiped out most of the rock music expressions, Baris Manço was able to survive thanks to a negotiating and socialising talent, as a TV host mostly, Ersen became less and less appreciated, even so much so that his only musical refugee became army parties and police balls, which meant a downwards spiral to his career.

In 1967 he had started completely different, with Mediterranean entertainment music, and he released some Spanish-flavoured singles with Spanish guitar or entertaining arrangement, which still are charming and where he already received attention for his special voice. When in 1970 the original singer of Mogollar, Aziz Azmet, left this band, Ersen was asked to join in. This brought him to the Anadulo Pop scene. His soft voice surely has its own beautiful and unique originality, which was appreciated by many more bands, so that for a long time he was surrounded and accompanied by the best musicians. After Mogollar he worked with 3 Hürel and had a long time cooperation with Cem Karaca’s Kardaslar and also with the off-shoot Dadaslar, bands who guided him for a long time. Most rockier tracks were later compiled on his first two LP’s : fuzz rock in Anadolu pop style. It is this period which received attention on this compilation.

-(I must say that I also liked the, slightly different, next LP of him called ‘Arabesque Rock’ which added another unique flavour to his repertoire, with relations to other genres, as a kind of more soulful rock (under influence of some American examples perhaps), remaining in a still very successful formula, with longer tracks and sax arrangements. But after that the music quickly became a more mellow mainstream version of the earlier concept, with a weakened rock sound, and less interesting keyboards).-

Two great Mogollar tracks are added, of which the first track “Ternek” (-not 'Temek' as indicated-) is a bit folkier styled as a backing band compared to the later tracks. Also “Kozan Dagi” shows bowed Turkish violin, Turkish percussion, acoustic guitar, electric bass, drums. I missed Mogollar’s "Haliçte Günesin Batisi" which could have easily been included as well.

Another favourite on the compilation is “Yine Seni Tanirim”, which is also instrumentally very strong with a combination of electric guitar with traditional Turkish instruments, and an incredible rhythm section, some great electric bass and fuzz leads, and even a funky guitar part, a beautiful Turkish styled song.

Similar great percussion and electric guitar we can hear on on “Metelik” with saz, electric guitar, and with a great heavy up tempo energy, and a heavy guitar solo added in it too.

Another favourite, this time also for its analogue keyboards amongst another fantastic rhythmic drive and great song is “Dostlar Beni Hatirlasin”, proving how much Dadaslar was such a great band (live they could play such songs much longer). “Bir Aynlik Bir..”, again with Dadaslar is another favourite this time for its electric bass contribution, and the heavy electric fuzz guitar solos combined with organ. Great to hear also is “Gazan Mübarek Olsun” with emotional well developed singing, organ, and where there are sax solos mixed in the rock band sound, the only track which reveals where he was directing to towards the ‘Arabesque rock’ LP. “Zalim Zalim” is the only track with a small Arabesque string addition, but with the rock core still leading the music. (Edip Akbayram did a great version of this song on his second album).

In fact, all listed tracks are extremely good, if not essential, which makes this a must to introduce Ersen to Western collectors. If he really can’t get interest in Turkey any more (people in general prefer not to think back to the uncomfortable uneasiness of the old period in general, because music and politics didn’t make a very good combination, and people try to forget all that), let him have at least have a deserved musical attention elsewhere. I personally love him very much ! I hope Cem Karaca will be one of next persons to receive a compilation for outside Turkey. But perhaps other reissues (Manço’s “2023” for instance) might come first. I will keep you updated of official releases. (I won’t review any bootlegs). Highly recommended.

Audio : "Beni Hör Gorme", "Temek", "Gazan Mubarek olsun", "Sor Kendine"

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Review with audio : http://www.boomkat.com/item.cfm?id=73195

Label info : http://www.finderskeepersrecords.com/shop_042.html

Seperate page for Ersen with more links : http://progressive.homestead.com/ersen.html

Twimo Rec. V.A. : Bosphorus Bridges :

A Wide Collection of Turkish Jazz and Funk (TÜ,'70s??,re.2005)****°

I’d like to mention this great LP that I missed a few years back. It was already released on a new label in 2005 while waiting for the official permission to releases these Turkish tracks, but this permission never came so that the label was forced to withdraw themselves and to destroy the remaining copies. This was really a shame because here was compiled (by Roskow Lazarus?) some really interesting obscure tracks with Turkish funk flavours (side A) and jazz (side B). I found an unofficial download, so here is my short description. This compressed download was not of the best quality unfortunately but it’s all I have got. I hope permission for this release will be made possible in future some day, but I am afraid with this latest conservative government we can’t hope for the best.

The “funk’ side had a few unknown tracks to me. The Emin Findikoglu track has some wild making Turkish-oriental or “Sufi”-flute based upon a funky fundament, with groovy touches by two note-keyboards, some solo sax and some electric guitar. The great psych-funky Mustafa Özkent track we know from the reissue on Finders Keepers. Erkut Taçkin’s track is a Turkish styled song with a great background band, playing a funky bass and rhythm, jazz-flavoured Turkish flute, disco loop-alike keyboard touches. The background is rather repetitive, a-GoGo like. The Erkin Koray track isn’t really funky but it has its own sort of grooviness. The (Ümit) Aksu Orkestrasi track is another surprise. It is a 'must have' track with rolling funky guitar and bass rhythmic drive, a low and higher registered jazz arrangement with saxes and trumpets, some sax solo, and good drumming with cymbals as well. After 3 and a half minute some very psychedelic, weird electronic music comes in, composed of strange sounds, making everything over the top, ending in the sound of bubbling water. Side two starts greatly with a Turkish styled Ferdi Özbegen song, that shows an unusual groovy background, with whirly flute, groovy almost Ethiopia jazz rhythms with small funk touch, and some sax solo somewhere. Erol Pekcan plays jazzy piano. The sax melody follows the lalala singing. It is well arranged on a very up tempo, fast, rather complex Latin rhythm. Also here is some sax solo on top. The second Pekcan track is with full “orchestra”/band, which is brass arranged mostly, groovy. Also fantastic is the Okay Temiz track "Denizalfi Rüzgarlari", one of his most successful tracks with an electrified African string instrument (forgot its name), great additional bass, some electric guitar and on top of it all, some fine moog arrangements. It is an even better version than the version I know from him with his Turkish/Swedish band Oriental Wind. Durul Gece 10 is again Taçkin’s band, a brass orchestra, playing a Turkish styled melody arranged with interesting jazz layers with interesting contra-rhythmic melodies, and a really outstanding great percussive solo part with long kettle drum and with drums with spectacular effect, before another brass based arrangement to conclude with.

No, this is really a shame the album was only available for a too short a time. This collection gives a new dimension to collecting Turkish music from the 60s and 70s.

Audio you can find on youtube ; Track listing here

Bouzouki Joe Rec. V.A. : Turkish Freakout -psych-folk singles 1969-1980 (TÜ,2010)***°

Turkish freak-out based itself on some Anadolu pop/rock collected singles, not particularly of psychedelic nature but nearly always with some fuzz around, which together with the typical 70s Anatolian pop elements always had something more psychedelic in our ears than intended.

Outside this area is the essential single of Okay Temiz. Unfortunately it is taken of a not too perfect quality vinyl, while a track like this deserves a special threatment. Not like the liner notes say this is a an combination of western with Turkish instruments ; the main instrument is an electrified berimbau amongst a few other African elements combined with Turkish and western instruments. Okay Temiz was a jazz musician who developed his skills further in Sweden.

This is followed by a good Anadolupop track by Kardaslar, with some fuzz and mostly acoustic elements. From Cem Karaca (who had worked with kardaslar) is included a ballad which starts with acoustic guitar but then turns partly into a (Anatolian) rock song. Much more psych is Apaslar (another Cem Karaca band)'s track “Gilgamis” with beautiful fast melodically rhythmic electric bass, fast tambourine, beautiful freak-out fuzz guitars and neat drumming. From Erkin Koray one of his singles with a full orchestration and good solo electric guitar was included, .and a second track with a special and creative rhythm, an ethno-folk-rock track, folk track with some electric guitar. Such tracks place Erkin Koray right. He was a good electric guitarist but he also showed a lot of attention to different arrangements of folklore inspirations. Another essential Anadolu pop/rock artist is included with two tracks, Ersen. The first track shows nice fuzz, a funk influence in background, and is based upon a complex fast rhythm. Also the second, concluding track is an essential fuzz-based Ersen track. Baris Manço is included with a rather popular sing-a-long song “Hal Hal”. One of Manço's compositions is greatly interpreted by Arif Sag, a Anatolian folk-rock combination of electric saz with fuzz guitars.

Also included are more popular singers which were outside the rock area. Alpay in his early days was still on the edge, part of the Anadolu Pop scene. One psych-fuzz-rockier track from him was included showing the attractive voice of this singer, and the B-side, another attractive Anatolian rock song with hey-hey-ing backing crowd.

The other inclusions were more pop tracks, but because of the freak-elements and the Turkish flavour in a 70s rock arrangement and honest attention to the arrangements they remain completely attractive to listen to. Beyaz Kelebekler's track is more a typical Turkish pop song with good female voice and arrangements with nice clarinet, flute and psych-rock band (including some fuzz of course). Popular singer Adja Pekkan's track has lush orchestrations, and other interesting arrangements even when not really rock. Sevil & Ayla's track which included a “Whole Lotta Love” (Led Zeppelin) theme on Turkish chamber orchestra mixed into a typical Anadolu pop song, remains worth checking out. Rifat Oncel's track also is a nice enough to include pop song with a good arrangement with clarinet and organ. Onder Bali's track was included because the instrumental combined an electric saz solo with a clarinet solo. An oddity which is just that little bit different thus becomes interesting. Last popular singer Adja Pekkan is folkpop with some organ. This is also no real psych. But the arrangements with a nice belly dance rhythmic theme incorporated into the Turkish pop song remains successful.

A compilation which gives a good idea about the creativity around with some successful examples.

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