Friday, 28 September 2018


«Enjoy a wild, all-out performance of “Puppet Man” featuring Julio Ruggiero on Fender bass, Bernie Glow and Mel Davis on trumpets, Dick Hyman on electric organ, Arnie Lawrence on alto sax.

Experience the new Beatles hit “Let It Be” starring the solo performances of Derek Smith on piano, Bob Tricarico on tenor sax, Dick Lieb playing the Moog.

Travel on the “Marrakesh Express” featuring Vinnie Bell on guitar, Arnie Lawrence on alto sax, Billy LaVorgna on drums.

Hear beautiful “Scarborough Fair” with unbelievable Moog excitement.

Reminisce with “It Was a Very Good Year” starring Arnie Lawrence, sax; Bob Alexander, trombone; Al Klink, flute - all three using new electronic equipment which adds fantastic “sound expansion” to their great performances.

These and many other provocative hits make “Permissive Polyphonics” a new, highly personalized experience in listening excitement.

Every explosive advance in modern arranging and modern instrumentation has been explored in this fascinating album.»

[from the back sleeve notes of "Permissive Polyphonics"]

Hey, long time no see! Another long hot summer is gone and autumn has begun... Almost two months are already passed since the last post, so it's high time for something new here on Stereo Candies.

Before I start rambling on this mindblowing Stereo-4 Quadraphonic version of Enoch Light and The Light Brigade's "Permissive Polyphonics", I would like to express my gratitude to Steve K., a follower of this blog who donated his precious and pristine copy of the album so that we all could enjoy: thank you Steve!!!

So, for those who may not be aware of his importance, let's start with a short biography of Enoch Light just slightly adapted from those available on Wikipedia and Space Age Pop:

Enoch Henry Light (18 August 1905, in Canton, Ohio – 31 July 1978, in Redding, Connecticut) was a classically trained violinist, danceband leader, and recording engineer.

As the leader of various dance bands that recorded as early as March 1927 and continuing through at least 1940, Light and his band primarily worked in various hotels in New York. For a time in 1928 he also led a band in Paris. In the 1930s Light also studied conducting with the French conductor Maurice Frigara in Paris.

Throughout the 1930s, Light and his outfits were steadily employed in the generally more upscale hotel restaurants and ballrooms in New York that catered to provide polite ambiance for dining and functional dance music of current popular songs rather than out and out jazz.

"Permissive Polyphonics" back cover

At some point his band was tagged "The Light Brigade" and they often broadcast over radio live from the Hotel Taft in New York where they had a long residency. Through 1940, Light and his band recorded for various labels including Brunswick, ARC, Vocalion and Bluebird.

He broke up the band toward the end of the 1940s and went into management, working for several record companies before becoming president of Waldorf Music Hall Records in 1954. Later on, as A&R (Artists and Repertoire) chief and vice-president of Grand Award Records, he had several successes with Dixieland and Honky-tonk piano albums.

He sold Grand Award to AB-PT (...then ABC Records...) and formed Command Records in 1959 with the specific aim of capitalizing on the emerging market of stereo fanatics. His music was intended for older audiences, presumably because he saw them as more-serious audiophiles who had more money to spend on high end stereo equipment, as opposed to most popular music of the time, which was generally intended for teenagers and young adults.

Light is credited with being one of the first musicians to go to extreme lengths to create high-quality recordings that took maximum advantage of the technical capabilities of home audio equipment of the late 1950s and early 1960s.

He fully explored left-right channelization without stooping to tricks like ping-pong effects, and his experiments had a huge influence on the whole concept of multi-track recording that would become commonplace in the ensuing years.

"Permissive Polyphonics" inner gatefold, left panel

Light was a meticulous engineer and put as much effort into the quality of his recording equipment and production systems as into the music itself. He tested a number of New York studios before selecting. Doing so, he arranged his musicians in ways to produce the kinds of recorded sounds he wished to achieve, even completely isolating various groups of them from each other in the recording studio.

The first of the albums produced on Command Records, "Persuasive Percussion", became one of the first big-hit LPs based solely on retail sales. His music received little or no airplay on the radio, because AM radio, the standard of the day, was monaural and had very poor fidelity. Light went on to release several albums in the Persuasive Percussion series, as well as a Command test record.

The Command album covers were generally designed with abstract, minimalist artwork that stood out boldly from other LP jackets. These pieces were usually the work of Josef Albers. Light was so interested in the sound of his music that he would include lengthy prose describing each song's sounds. In order to fit all of his descriptions on to the album sleeve, he doubled the size of the sleeve but enabled it to fold like a book, thus popularizing the gatefold packaging format.

During his years at Command, he pioneered many recording techniques such as the use of 35 mm magnetic film instead of magnetic tape, thereby reducing the effects of "wow" and "flutter". These recordings were released under the "35MM" series, starting from "Stereo 35/MM" released in 1961.

Musicians who appeared on Light's albums include The Free Design, The Critters, Rain, Doc Severinsen, Tony Mottola, Dick Hyman and organist Virgil Fox (on the Wanamaker Organ). As an arranger, Lew Davies was one of the label's most important contributors.

"Permissive Polyphonics" inner gatefold, right panel

In 1966, Light sold the Command record label to ABC Records. Unfortunately the quality of the Command LPs released after Light's departure deteriorated until ABC discontinued releasing new material on the label in 1971. The Command name was then used by ABC on quadraphonic LP releases from the ABC, Dunhill, Westminster and Impulse! catalogues and on double album compilations and special anthologies from Command's catalogue until 1976, when the label was officially retired.

After the sale of Command Records, Light launched a new label called Project 3 and continued recording. Light produced several successful big band albums with an ace-group of studio musicians, many of whom were veterans of the greatest bands of the Swing Era who were still regularly working in New York's television and recording studios.

Released as Enoch Light And The Light Brigade, the arrangements used on those recordings were transcribed note-for-note from some of what were the hallmark original recordings. The arranging reconstructions of these now "classic" arrangements were completely reconstructed by arrangers Dick Lieb, Dick Hyman, Tony Mottola and Jeff Hest.

Among Light's later works, also released as Enoch Light and The Light Brigade, we'd like to mention at least two gems that benefited of the then recently invented Moog synthesizer, namely "Spaced Out" (1969), and "Permissive Polyphonics" (1970), the subject of this post.

Enoch Light, circa 1966

"Permissive Polyphonics" contains the following tracks:

01. Marrakesh Express (3:13)
02. Let It Be (3:54)
03. Easy Come, Easy Go (3:35)
04. Puppet Man (3:10)
05. Prelude For Young Lovers (2:26)
06. It Was a Very Good Year (2:38)
07. Mas Que Nada (3:12)
08. Monday, Monday (3:25)
09. Sittin' On the Dock of the Bay (3:09)
10. Scarborough Fair (2:26)
11. Michelle (3:08)
12. Pass and I Call You (4:20)

All tracks were remastered from the original vinyl in September 2018 and are available in FLAC lossless format, along with complete artwork reconstruction and printable PDF files.

As usual, please have a look at the comments for the download link.

"Permissive Polyphonics" was released on Project 3 Total Sound in 1970. I wasn't able to discover the specific recording and publishing dates, but since the original version of the most recent song on the album, The Beatles' "Let It Be", was released as a single in early March 1970, I guess that a mid-year release date is fairly correct.

The album was made available in three formats: LP, Reel-To-Reel and 8-Track Cartridge. In addition to the classic Stereo mix, the album also received the Quadraphonic treatment and, according to the thread going on in this forum, different quadraphonic mixes exist.

I must admit that I'm not an expert on this matter, and just reading the discussion linked above I came down with a big headache... Anyway, the quadraphonic version of "Permissive Polyphonics" that I'm offering in this post is the "Stereo-4", also called "EV" or "EV-4".

I haven't had the chance to listen to the other quadraphonic mixes of the album, but according to Steve K. - who, as you may remember, is the donor of the vinyl record that I used for my remaster and also a great fan of this album - this is by far the superior mix.

Catalogue number is "50-2019" in the top right corner on front of the sleeve, "PR5048SD" on the spine and "PR 5048 QD" on the center labels. Five writings differentiate the cover of this particular version of the album from all the others:

- "Realistic" is printed in the top left corner;
- "Processed in STEREO-4™" is printed below the "this is the NEW stereo." blurb that also appear on the top left of cover (...which in turn is also usually written on a white sticker, and not directly printed on the cover...);
- "TM" is written just above the end of the album title, suggesting that it is a trademark;
- "Allied Radio Shack - A Tandy Corporation Company" is printed in the bottom left corner, making it clear that this item was sold through the old RadioShack chain of electronics stores;
- "20 TO 20,000 CPS AUDIOPHILE SERIES" is printed in the bottom right corner.

By the way, there is no trace of this version of the album among the many listed in the pertinent Discogs entry; it may be that it's a bit of a rarity or... Who knows.

A credit for the album design does not appear anywhere in the sleeve notes. It's a pity that the author of the simple but effective artwork featured on the cover is left unknown, but it happens sometimes...

As far as I am concerned, this album sounds great and for once please allow me to say that I'm completely satisfied with the results of my remaster: the vinyl was almost flawless, the original mix is superb and I was able to get rid of all the usual vinyl-related imperfections without compromising: mission accomplished!

Enoch Light conducting, circa 1967

Dick Lieb, Dick Hyman and Tony Mottola have discussed their personal and professional relation with Enoch Light in three precious interviews conducted in 1996-97 by Robbie Baldock for the Spaced Out / Enoch Ligth website.

As author of all the arrangements of "Permissive Polyphonics" and player of the Moog synthesizer parts used on all its tracks, Lieb's interview is particularly interesting because offers first-hand commentary about the album. It also makes it clear that, contrary to what many believe, The Free Design were not involved as vocalists on this project.

The following liner notes and track-by-track commentary are taken from the inner gatefold of the album. Audio previews of all the tracks are also included along with a detailed credits and personnel list at the bottom.

Oh, and since we are on the subject: the track-by-track commentary on this particular version of the LP is slightly different from the one that was included on the regular stereo copies: it omits a few details about the position of the instruments and also doesn't mention Bob Haggart's participation to the recordings.

Here we go:

«This new Enoch Light album integrates most of the new discoveries in the field of electronic music and exploits them through the highly personalized and professional work of many of the world's finest musicians.

Enoch Light has consistently been a pioneer in recording innovations. He produced the first really significant musical stereo recording "Persuasive Percussion", and has participated in the development of many new recording techniques. These include multi-microphone placement, recording on 35 mm. magnetic film, the use of special microphones which complement the characteristics of the various orchestral instruments and experimentation with the Dolby system and with the Neumann automatic mastering lathe equipped with the SX68 cutter head.

In selecting the songs for this album we have taken advantage of the great changes in modern popular song composition and combined these wonderfully fresh, inventive ideas with the newest of recording techniques. We do hope that this album will give you great pleasure and that you will enjoy the musical excitement which motivated all of us at these recording sessions.

Marrakesh Express
(written by Graham Nash, originally performed by Crosby, Stills & Nash)

We're off and running on the Marrakesh Express, with the Moog synthesizer supplying the train whistle effect. Vinnie Bell's electric sitar presents the tune. This exciting arrangement is spurred on by the swinging jazz of Arnie Lawrence's electric alto sax, Billy LaVorgna's great drumming and Julio Ruggiero's driving bass. The vocal group takes over in the second chorus, complemented by the power-packed horn ensemble. The Marrakesh Express roars out of sight with Arnie Lawrence wailing again on electric sax.


Let It Be
(written by John Lennon and Paul McCartney, originally performed by The Beatles)

Gospel-style piano, played by Derek Smith, opens this arrangement, answered by the soulful tenor sax of Bob Tricarico and a brass choir. The Moog is featured melodically in a variety of timbres in this version of the Beatles' classic. Also featured is the vocal group "speaking words of wisdom" against a driving rhythm section and insistent horns.


Easy Come, Easy Go
(written by Jack Keller and Diane Hildebrand, originally performed by Cass Elliott, it was later brought to success by Bobby Sherman)

Marimba, Fender bass and drums establish a rhythmic figure and are joined by the delightful combination of three alto flutes and one bass flute. Phil Kraus' marimba and Dick Hyman's electric harpsichord takes up the rhythm and introduce the vocal group. The Moog is again heard in a featured melodic role, followed later by a "shuffle" feeling and a sumptuous flute solo by Don Ashworth.


Puppet Man
(written by Howard Greenfield and Neil Sedaka, originally performed by Neil Sedaka, it was later covered by The Fifth Dimension)

Vinnie Bell's guitar is pitted against a wailing sax section before the brass make their introductory statement. The Moog states the first chorus of the tune, punctuated by hard-hitting brass figures. A climactic explosion on the Moog is heard before the brass take over. This arrangement also features great organ fills by Dick Hyman behind the chorus and some fine jazz by Arnie Lawrence on electric alto sax.


Prelude For Young Lovers
(written by Frédéric Chopin, adapted by Dick Lieb)

Once the atmosphere is set by Dick Hyman on electric harpsichord, three flutes and an English horn engage the brass section in a cascading dialog. The theme of this piece (taken from Chopin's "Prelude No. 4") is first stated by the voices. The beautifully interweaving melodic lines cushioned on a flowing, rhythmic accompaniment add to this sensitive orchestration by Dick Lieb.


It Was a Very Good Year
(written by Ervin Drake, originally performed by The Kingston Trio, it was subsequently made famous by Frank Sinatra)

A recurring motif by the Moog structures the introduction and sets the verses off from each other. Electronically amplified horns are featured: Arnie Lawrence on alto sax, Bob Alexander on trombone and Al Klink on flute divide the solo work, each with his own inspired jazz flavoring. And notice how the electronically produced lower octave adds such a new spatial dimension to the normal sounds of their horns!


Mas Que Nada
(written by Jorge Lima Menezes a.k.a. Jorge Ben, originally performed by him, later covered by Sérgio Mendes)

Trumpets and the Moog join the happy jazz samba set by the rhythm section in anticipation of a luscious bass flute solo by Don Ashworth. Trumpets play the first chorus over the soft cushion of four flutes, vibes and voices. The arrangement also features a "swing" chorus. Reverberation fills the air as the tune fades out.


Monday, Monday
(written by John Phillips, originally performed by The Mamas & The Papas)

The "wah-wah" guitar of Vinnie Bell is featured along with piano, bass and drums in the introduction. The tune itself starts as a duet between Vinnie and the voices. A full sounding horn ensemble adds "punch" to the arrangement, as does an exciting "double-time rock" section. Later on Urbie Green's trombone is heard soaring over the ensemble as the tune goes in to a fade ending.


Sittin' On the Dock of the Bay
(written by Otis Redding and Steve Cropper, originally performed by Otis Redding)

The "white-noises" of the Moog are used to punctuate organ, bass and drums before they are joined by Vinnie Bell's guitar. The explosive brass chorus is followed by Walt Levinsky's alto sax solo. After Bob Rosengarden's drums do some fancy shuffling, Urbie Green's commanding trombone makes the first statement of this Otis Redding tune. The vocal group is again featured in some "soulful" swinging.


Scarborough Fair
(a traditional English ballad, adapted and brought to success by Paul Simon and Art Garfunkel)

Bass and drums start on the left (in 5/4 meter!) and swing across to the right where they are joined by the drone sounds of Vinnie Bell's guitar, the vibes and the organ. The Moog takes up the melody, moving rapidly through the speakers with a unique timbre. The ensemble swings into a jazz waltz, as the voices enter on the third chorus, complemented by four saxes (who later switch to three alto flutes and one bass flute for some jazz figures). The Moog (played by arranger Lieb), flutes and voices follow each other as the arrangement fades to an end.


(written by John Lennon and Paul McCartney, originally performed by The Beatles)

Bells, voices, bass and organ build a pyramid of sound after which the four flutes pile up for a similar pyramid. Bernie Glow (right) and Mel Davis (left) - an incredibly matched pair of giants! - engage in a beautiful and seemingly effortless flugelhorn duet on the melody. This arrangement also features a subtly blended vocal group and very sensitive flute playing.


Pass and I Call You
(written by Johann Sebastian Bach, adapted by Dick Lieb)

Pun intended! Bach's "Passacaglia in C minor" is at the core of Dick Lieb's writing here. Bass, drums and guitar pave the way for an explosive ensemble. The Moog takes over and announces the Bach theme which will be the basis for some very clever variations in the "top" part of the band. Featured in this arrangement are Vinnie Bell, Dick Hyman (with a remarkable solo on organ) and some really hard swinging musicians and singers!

Here's the complete credits and personnel list of "Permissive Polyphonics":

Dick Lieb: Moog synthesizer
Dick Hyman: organ, harpsichord
Derek Smith: piano
Vinnie Bell: guitar, electric sitar
Julio 'Julie' Ruggiero: Fender bass
Bob Haggart: Fender bass
Billy LaVorgna: drums
Bob Rosengarden: drums
Phil Kraus: marimba, vibes
Al Klink: flute
Don Ashworth: flute, bass flute
Bernie Glow: trumpet, flugelhorn
Mel Davis: trumpet, flugelhorn
Arnie Lawrence: sax, alto sax
Walt Levinsky: alto sax
Bob Tricarico: tenor sax
Bob Alexander: trombone
Urbie Green: trombone

Arranged by: Dick Lieb

Executive Producer: Enoch Light
Associate Producers: Tony Mottola / Jeff Hest

Recording Engineer: Donald Hahn
Mixing: Chuck Irwin
Supervising Engineer for 4 Channel Mixing: John Eargle
Mastering: Phil Austin

Enoch Light in the studio, circa 1967

More information about Enoch Light and "Permissive Polyphonics" is available here:

If you have any other useful information about Enoch Light and "Permissive Polyphonics", or if you spot any dead links, please get in touch with me at stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!

Wednesday, 1 August 2018


Piccola mia, dormi ancora che è presto
dormi ancora, il sole è lontano
Piccola mia, no, non voglio svegliarti
voglio solo accarezzarti

Il sole è nato, ancora addormentata
la tua pelle è tutta sudata
La casa è di amici, il letto ad ore
fatto apposta per fare l'amore

Ho diciassett'anni, tu se il mio grande amore
voglio darti la mia vita, il mio colore
Voglio spiegarti che non so come amarti
vorrei dirti mille cose, vorrei toccarti

Voglio svegliarmi insieme a te voglio volare
insieme a te voglio ridere e giocare
Voglio, voglio, quante cose voglio
non riesco mai ad accontentarmi

Parlare con te mi fa sentire più grande
un posto mio e tuo è solo un sogno
Il sole và via, la sera si avvicina
e siamo solo un bambino e una bambina

Voglio amarti, occhi di Luna voglio amarti
su una stella voglio portarti
Voglio scappare con te, voglio scappare
andare avanti e non tornare

Voglio amarti, occhi di Luna voglio amarti
Voglio scappare con te, voglio scappare
andare avanti e non tornare...


Keep on sleeping my little baby, it is still early
keep on sleeping, the sun is faraway
No my little baby, I don't want to wake you up
I just want to caress you

The sun is born, you're still sleeping
and your skin is all sweaty
At a friend's place, a bed by the hour
tailor-made for making love

I am seventeen years old and you're my great love
I want to give you my life and my colours
I want to explain you that I don't know how to love you
I would like to tell you a thousand things, I would like to touch you

I want to wake up with you, I want to fly with you
I want to laugh and play with you
I want, I want, I want so many things
I can never be satisfied

Talking to you makes me feel more grown up
a place of our own is just a dream
The sun has gone away, the night is getting closer
and we're still a little boy and a little girl

I want to love you Moon Eyes, I want to love you
I want to take you on a star
I want to run away with you, I want to run away
move forward and never come back

I want to love you Moon Eyes, I want to love you
I want to run away with you, I want to run away
move forward and never come back...

[from the lyrics of "Occhi di Luna" / "Moon Eyes"]

Well-known Italian musician, composer and director Andrea Liberovici was born in 1962 in Venice, where he spent his youth before moving to Genoa.

Son of Sergio Liberovici (one of the most active musicians in the Italian music scene after World War II and founder - along with Michele Straniero - of the Cantacronache group, prime movers of the folk music revival and important representatives of the new political song movement in Italy) and of Margherita Galante Garrone (better known as Margot, singer-songwriter and also part of the Cantacronache), Andrea grew up in a stimulating environment and easily followed his parents' footsteps.

Liberovici studied composition, violin and viola at the Venice and Turin conservatories, acting at the Scuola del Teatro Stabile in Genoa and singing with Cathy Berberian at the International Festival in Montalcino.

Anyway, legend has it that he discovered Rock music when he was twelve years old, while on holidays in London, after attending a Rolling Stones concert. So, feverish of rock, he didn't hesitate a moment to join a few groups that used to play in pubs in the city. Back in his home town, Liberovici bought the whole Stones discography and spent the winter listening to the records inside and out. During his next holidays he flew again to London for three months and, just like most of the artists on the road, he earned a living playing violin in the London Underground and found a roof occupying houses with other youngsters like him... [1]

Years later, as composer and director, he co-founded the Teatro del suono (Theatre of sound) in 1996, with the poet Edoardo Sanguineti and Ottavia Fusco. Over the last decade Liberovici has created a lot of projects which have explored the relationship between music, poetry, theatre and technology, in collaboration with such renowned artists as Peter Greenaway, Claudia Cardinale, Aldo Nove, Judith Malina, Vittorio Gassman, Giorgio Albertazzi, Enrico Ghezzi, Ivry Gitlis and Regina Carter.

"Liberovici", original inner sleeve"

More recently, his music has been performed by Nouvel Ensemble Moderne (Montreal), Toscanini Orchestra, Teatro Carlo Felice Orchestra and others. These works have also been presented and produced by landmark cultural institutions such as Teatro di Roma, La Fenice in Venice and Salle Olivier Messiaen in Grenoble.

He has also worked in residence at INA-GRM and France Culture in Paris, STEIM Center for research and development in Amsterdam and GMEM National Centre of Musical Creation in Marseille. His music and shows have been presented in Italy and in international cities such as New York, Paris, Athens and Montreal.

"Liberovici", original inner sleeve"

«I was born in Giudecca ( of the islands in the Venetian Lagoon...) and I spent my entire youth in the city, studying at the Conservatory. I was a curious and restless spirit, before my sixteenth birthday I released my first album, "Oro" (..."Gold", already covered here...), which included songs of a transgressive nature, entirely composed by me, which were born from precocious musical experiences I had along with friends of mine when I used to play in the streets. The venetian producer Ermanno Velludo, also a great engineer, took care of production. A milanese producer passing by Venice produced the following album "Liberovici" (1980), but from that moment I decided to change direction, in controversy with the power of the record labels that often constrain the creativity of an artist.» [2]

"Liberovici", original insert - page 1

«Our home, in Venice, was populated by artists; the full Living Theatre lineup used to pay a visit. My playmate and buddy-buddy, both as a child and as an adolescent, was Serena Nono - daughter of Luigi - now a painter. She was my next-door neighbor and her home, as you would easily guess, was just as full of music and of meetings. Let's say that I was very lucky! My anarchist-creative spirit was not censored, but indeed profoundly encouraged by the people around me (friends, relatives and strangers).»

«I always played a bit of everything, before and during the Conservatory: from guitar to piano and flutes. I started the Conservatory when I was in junior high school and attended it, more or less, until the age of sixteeen. In the meantime I began to record and release my first albums, so I left the Conservatory for about one year. I took it up again when I was eighteen for three years, no longer in Venice but in Turin, studying violin and viola. Later in Turin I continued the study of the instrument and also began to study composition. I never finished the Conservatory and even if for a long time I felt this interruption as a sort of personal failure, now I'm proud of it.»

«My true icons were Bob Dylan, the Rolling Stones and then Patti Smith. I was fascinated by their singing style.» [3]

"Liberovici", original insert - page 2

«I think that "Oro" is a small declaration of absolute candour and amazement. I wrote it, lyrics and music, at the age of fourteen, but this wouldn't mean much. Indeed, generally speaking, the more you're young and the more you're inclined to refer to models. Instead I think that this album was, although born of many influences, very personal and, therefore, inevitably sincere. I love it very much. It's one of my creations that I love the most.»

«The "Liberovici" album was the beginning of disaffection. Music-industry executives, producers, press agents... At the age of seventeen I was touring Italy as a young star, with driver, fans, etc., and living in a Milan hotel suite. Above all I had no creative autonomy. My every intuition was examined, sifted through and censored. I still remember with horror the fights to the death (I was not easy to tame), with hunger strikes, locked inside the toilets of my record company, because they had rejected a song or mine or, even more serious, because they were putting on me an image that didn't belong to me. I even dared to refuse, with great dismay of the executives, the chance to go to San Remo festival. I literally told them to fuck off and I escaped to London to play my violin in the subway to survive.» [3]

"Liberovici", original insert - page 3

«I've been very lucky with my parents. All three. My mother Margot, an author, singer and puppeteer, my father Sergio, a composer and teacher with whom I lived for just a short time, and Giovanni Morelli, a musicologist who passed away some years ago, with whom I grew up. It was a wonderful family that deliberately throwed me into a magic potion cauldron, just like Obelix, filled with music and theatre. I came out from that pot ( one point I was about to drown...) with many efforts and also with a great indigestion. Once digested, I found myself in the cauldron again, but with a joyful gratitude for those wonderful flowers who have placed me in the world and that have chosen art literacy from the world for me.» [4]

"Liberovici", original insert - page 4


[1] translated from a short feature/interview published on "Albo Varietà Motori" magazine, 1980

[2] translated from a feature/interview by Riccardo Petito published in "Il Gazzettino", n. 174, 25th July 2004

[3] translated from the book "Officine Liberovici" published by Marsilio Editori, Venice, October 2006

[4] translated from an interview conducted by Filippo Bordignon, 2012

Andrea Liberovici performing live, circa 1979-80

"Liberovici" contains the following tracks:

01. L'eroe e l'eroina [The Hero and the Heroin] (3:46)
02. Ammorissimmo Mmio [Suupeer Loovee of Mmine] (3:04)
03. Padre Pio [Father Pio] (2:03)
04. Ciuff ciuff [Choo-Choo] (3:04)
05. Carino carina [Cute boy, pretty girl] (3:58)
06. Tira tira tira [Pull pull pull] (6:34)
07. Vorrei [I Would] (4:47)
08. Occhi di Luna [Moon Eyes] (4:26)
09. Uh caramellina uh uh [Uh Little Candy Uh Uh] (3:03)

All tracks were remastered in July 2018 and are available in FLAC lossless format along with complete artwork reconstruction and printable PDF files. For my remaster of this album I used audio tracks sourced from the rare CD re-release.

Please have a look at the comments for the download links.

Recorded the previous year, "Liberovici" was released by CGD in Italy sometime in early 1980, probably in January, with catalogue number CGD 20194. The album was re-released on CD sometime during the mid-90s, probably in 1996. Although not a limited edition, this digital version has been unavailable since many years and rarely surfaces on the second hand market.

I came into possession of my vinyl copy of the album in 1987. It was part of a stock of LPs given to me by my older brother, who in turn had got them as a gift from someone else who wanted to get rid of them... Sigh, poor discarded and homeless vinyls, how can people treat you with so much cruelty? My little babies, I'll keep you warm and safe...

Ehm, in 1987 I was 17 years old, just the same age that Andrea Liberovici was in 1979 when he recorded this provocative second album and I couldn't help but identify with many of the verses of the songs included on it.

Given the young age of the musician, and aware that the LP was simply entitled with the author's surname, at that time I thought that "Liberovici" was his first and only album... Since I had enjoyed that record so much, a great joy filled me one year later as I discovered that Andrea had released his debut LP back in 1978: "Oro". I already dedicated a post to it and I almost can't believe that more than five years have already passed since I promised to offer you his second effort...

The difference between the two albums is clear right from the cover: while Oro" showed him offering a beautiful smile under a huge pair of glasses, a guitar over his shoulder and a nice "No Nukes" button, on "Liberovici" Andrea appears almost emaciated, gazing at us with a mixture of challenge and resignation.

Andrea Liberovici, feature on 'Albo Varietà Motori' issue 14, April 1980

L'Altritalia has already written the perfect review of this album and I truly hope they won't mind if I include it here below. I completely agree with them about the nature of "Liberovici", which in my opinion is absolutely not a trash album.

«Ridicule can be tragic, and tragic is often sublime. Andrea Liberovici was 18 in 1980. Son of Sergio, composer and etnomusicologist, he was kind of an infant prodigy, having released his first album "Oro" (Gold) in 1978, at the age of 15.

This first effort was sort of an end-of-course essay for a precocious, brilliant child musician who had studied at two different conservatories and had a great talent for theatre as well. The work of a teenager trying to impress the world, attempting to be profound and provocative, while he mostly sounded naive, and eventually innocuous. The music is a mash up of Canterbury-like pop with rockish rushes and some avant tricks. The whole album is actually interesting, but the one track that stands out is "Risotto", which is also a strong link, both musically and lirically, to his incredible second record.

Liberovici came out just at the beginning of what was later called riflusso (“reflow”): after more than twenty years of massive political engagement, the revolutionary movement was rapidly disbanding, and collective issues were soon replaced by individual commitment. La marcia dei quarantamila (“The march of the the forty-thousand”) is a milestone in Italy's contemporary history. More than 40.000 employees and managers from FIAT demonstrated against trade unions power and for a “return to order” in the factories. Restoration was coming. In the meantime, heroin consumption was reaching a peak, and terroristic attacks got more and more indiscriminate and useless.

The conflict was still there, but became a private issue. Something for your analyst, if you could afford one. Or something to sing at, if you were a musician.

The album reflected this end-of-an-era climate, being hysterical, confused, disturbing. It summarized seventies' glam, funk rock, new wave, cantautore style in a way that was already pure eighties' postmodernism. The lyrics as well were a collection of the past decade's alternative culture slogan and clichés: drugs, sex, new social and family relations, spirituality. Everything's fluorescent and overilluminated; exaggerated and yet stylized.

The boy took the risk of turning himself into a comics' character. And in a way he was a comics' character: look at him on the cover. But the thing is, he sounded totally serious about what he was doing. Serious and intransigent as only a young man can be. It's the same attitude that made great Cannibale and Frigidaire, two of the most important and influential italian magazines of those years, and the people from The Great Complotto. Even when he dedicated to Padre Pio – now a saint – a love song which somehow reminds of “Je t’aime, moi non plus”, it was not comedy. There's a no-way-out feeling here, a sense of loss and hate which rescues even the most embarassing moments.

In the end, i disagree completely from pals at Orrore a 33 giri. [...their review of "Liberovici" is available here...] This is not a trash album. It’s a great piece of contemporary art.»

Andrea Liberovici, feature on 'Intrepido' issue 26, June 1980

Here's the credits and personnel list of "Liberovici":

Music and lyrics by Andrea Liberovici.

"L'eroe e l'eroina" lyrics by Andrea Liberovici and Marziano Fontana.

Arranged by Tony Mimms.

"L'eroe e l'eroina", "Padre Pio" and "Tira tira tira" arranged by Liberovici, Angelo Turotti and Rockstarter.

Produced by Liberovici.

Mixed by Gigi Venegoni and Gianfranco Longo.

"L'eroe e l'eroina" produced and mixed by Marziano Fontana, Silvio Puzzolu, Liberovici and Pino Vicari.

Recorded in 1979 at Idea Recording, Milan, Italy.

Engineered by Gianfranco Longo and Pino Vicari.

Andrea Liberovici: viola, Fender Telecaster

Angelo Turotti: guitars
Roberto Possanzini: bass
Roberto Ricci: drums
Umberto Tenaglia: keyboards

William Marino, Dave Summer, Stefano De Carli, Giancarlo Brambilla: guitars
Michael Fraiser: keyboards
Michael Brill: bass
Andy Surdy, Fabio Amodio: drums
Tullio De Piscopo, Claudio Bassani: percussion
Bruno De Filippi: harmonica
Pierluigi Muccioli, Claudio Pascoli, Giovanni Capriolo: horns
Ornella Cherubini, Eloisa Francia, Marina & Monica Balestrieri: backing vocals

Backing vocals in "L'eroe e l'eroina": Rockstarter, Mixo and Silvio Puzzolu

Photography: Flavio Gallozzi

Cover and Logo Design: Marziano Fontana

Adverts for "Liberovici" on 'Il Discorriere' (CGD magazine), February 1980

The following clips offer a complete preview of the remastered album, enjoy!

A few original 1980 TV appearances which feature a short-haired Andrea Liberovici are also included below as a bonus courtesy of YouTube.

More information about Andrea Liberovici is available here:

If you have any useful information about Andrea Liberovici and "Oro", or if you spot any dead links, please get in touch with me at stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!

Friday, 20 July 2018


Sheep Records was a Swiss underground label specialized in Garage-Rock, Surf, Lounge and other Rock'n'Roll oddities. Run by Christian Müller from Zürich, along with friends Andi Frick and Andreas Egi, it was active from 1996 to 2004 and published about 30 releases, mostly on 7" vinyl singles.

In october 2006, after about two years of hiatus, all the contents of the now defunct Sheep Records website were deleted from the Internet, and replaced with a blank page announcing that "Der Kebab ist gegessen" ("The kebab is eaten"), a last goodbye and a reference to the label's cataloguing system that included the prefix "kebab" for vinyl releases and "gigot" for CD releases.

Following The Men From S.P.E.C.T.R.E.'s "With the Finger On the Trigger" (...featured here...) released in 1999, "Opiumparty" by Los Banditos was the second full-lenght release in the then growing Sheep Records catalogue.

Recorded and mixed the previous year, the album was released in January 2002 in CD format with cat. number Gigot 021 and as a vinyl LP with cat. number Kebab 021. Tracks order for the two formats was a little bit different, with the CD release also containing one bonus track not included on the LP.

"Opiumparty" features mostly original material from a band that, at the time of release, had already reached maturity and could easily craft their compositions using many different elements. Two covers are also included of the album: "Ca Plane Pour Moi", a 1977 hit-single by Belgian musician Plastic Bertrand ('s the original version), and "Beim Hully-Gully Bin Ich König", a 1964 original by East German combo Die Sputnicks.

The short Sheep Records press-release presents the record with these words: «This is the third album by the East German combo Los Banditos. Their sound is an explosive mixture of 60's beat, surf, twang, rock'n'roll, garage, trash, easy listening & love, sex & crime mixed up with some future sounds from the 21st century. In other words: the perfect soundtrack for wild dance parties.»...

"Opiumparty" contains the following tracks:

01. Nackt Im Taxi (3:25)
02. Oh Mädchen Komm (3:19)
03. Was Kann Ich Tun (3:11)
04. Monika Und Janette (2:55)
05. Ca Plane Pour Moi (3:32)
06. Hot Rod Sally (2:15)
07. Mittagsruhe Im Polizeirevier (3:40)
08. Ytrapmuipo (4:38)
09. Cairo (4:11)
10. Hochzeit In Bristritja (2:55)
11. Kalaschnikow (2:01)
12. China Strip (3:12)
13. Illuminatis (7:44)

bonus track

14. Beim Halligalli Bin Ich König (Ultramono) (2:58)

All tracks were remastered in July 2018 and are available in FLAC lossless format along with complete artwork reconstruction and printable PDF files.

For my remaster of this album I used audio tracks sourced from the CD release, but the tracklisting reflects that of the LP release - which I thought is the best - with the cover of Die Sputniks' "Beim Hully-Gully Bin Ich König" offered as a bonus track.

Please have a look at the comments for the download links.

Here's the complete credits and personnel list of the album:

Django B.B. Silbermann: bass and vocals
Com. Rodriguez Flamingo: guitar, keyboards, organ and vocals
Superjoe Paco Louis: effects and percussion
Jiri Buschnik: drums
Mr. 2000 Volt: guitar and sitar

Recorded at Elektronik Tempel Studio, Saalfeld, in January 2001.

Recording engineer: Dr. Jens Leuschner

Mixed at Superstar Studio, Saalfeld, in July 2001 by Mr. 2000 Volt and Django B.B. Silbermann

Mixing engineer: Dr. Don Eck

Produced by Steffen Gräf.

Mastered by Dan Suter at Echochamber, Zürich.

Artwork by Franco and Django B.B. Silbermann.

Additional musicians:

Johannes Schrantz: violin and viola on "Cairo"

Miss Zero: vocals on "Nacht Im Taxi" and "Hot Rod Sally"

Almuth Eger: vocals on "Mittagsruhe Im Polizeirevier" and "Illuminatis"

Thomas Uhlmann: clarinet and transverse flute on "Hochzeit In Bristritja" and "Illuminatis"

Greetings and thanks to: Slf-Clubhaus + Salem, Claudia&Michael@x-vision, Sabine 1+2, Sandra, Monika + Jeanette, Fam, Leuschner, Fifty Foot Combo, Flaming Sideburns, King Khan, The Men From S.P.E.C.T.R.E., Robert and The Roboters, Ray and The Rockets, Die Sputnicks, Yucca Spiders, S. Jansen, Wassu + Nina, Jana, Andrea, D. Siegesmud, Revolverblatt, East-Club Heiko + Jaqueline, Unique, Wild at Heard, Kassa + Rose Tom, Under Pressure, Lutz + Hans, Villingen-Gang, Siggi + Moni, Kradhalle, Françoise, B. Parrish, Phil Dirt, Norman, Steve, Sheep Records, Artkontor, Matthias Rutishauser U.V.A......

The "Opiumparty" tour poster, circa 2002

The following short reviews of "Opiumparty" are sourced - and translated - from the web:

«Sweet 60's Beat combined with 70's Fuzz, Eastern patterns, Surf, organ and - before all - great melodies. Their explosive soft-sex-rock-sound with warm organs, catchy guitar licks and some very expressive analog-stuff-shows, makes Los Banditos a very creative and therefore interesting band. This Bandito album is already their third and has instrumentals (with some additional and very welcome female "lalala's") but also songs with vocals. Whether they are sung backwards, Elvis-like, or with maniacal laughter, it sure makes "Opiumparty" a highly varied album.» - Karl Ruddel /

«60's Instrumental and Surfbeat paired with Erotic Movies and Italo-Western soundtracks - wrapped up with as much glamour as possible - is the sound of Los Banditos. The fact that the quintet from Jena blends this mixture with original vintage equipment from the former East Germany gives the stylish bandits not only a distinctive sound, but also a certain charm. In comparison to their two previous albums, their Surf Music sound is kept more in the background in favour a of a more mature approach that includes occasional vocal numbers and East German "Big Beat" folklore, which would perfectly suit any spy movie from the '60s. If you are into this this sound cocktail, the album is really worth your money. Sexy party music for sexy people - even without opium.» Achim Lüken /

Here's a short Los Banditos biography as found here:

In 1996 the band was founded as a trio in Jena, Germany. The Banditos first specialized in Surf, but soon enough line up and musical competence were steadily broadened, so that four years later we're facing a five-headed gang that is still celebrating its music on a solid Surf base and is unmistakeably inspired by the East-German "Big Beat" bands of the early Sixties (yes, this term did exist already 40 years ago), but is integrating the sexy groove of the Sixties/Seventies Soul into its music, performing classical R'n'B vocal pieces and with the help of the DJ, who is a regular band member, creates an own version of Post Easy Listening Pop. This mixture is produced on original vintage GDR-equipment: Musima de Luxe guitar, Musima Billant 76 bass and Weltmeister T/O 200.5 organ.

The Banditos' live gigs turn out to be a challenge for your dancing as well as for your laughing abilities. Glamour is served in family packs and the prescribed combination of musical drugs, namely Sixties Beat, Surf, sound tracks of spy thrillers, Spaghetti Westerns and blue movies, Black Soul, Las Vegas Glamour, Shadows melodies and brave postmodern Pop makes even the death move. At the latest with their interpretations of "Je t’aime… moi non plus" and "Oh Tannenbaum" (whose melody is also the state hymn of Maryland) every hall goes wild.

But of course the Banditos are not only game for popular party tunes. In the first place elegance and understatement are dominant. In an adequate atmosphere it is not unlikely that an Los Banditos concert takes up to three hours. And there's not one moment of boredom included. Their own compositions, titled "Fremder Planet" (Unknown Planet), "Porno Uschi" (Porn Uschi), "Unbekannte wilde Frau" (Unknown Wild Woman) or "Zwischenfall im Orbit" (Incident In Space) don't have to hide behind their versions of classics or obscurities.

Self evidently, the Banditos are now all year around on tour, not only at home, but also in Italy, Austria, Switzerland, Slovenia, The Netherlands, Belgium and Danmark. Their divine "Sex" video clip ran several times on Viva; Arte broadcasted a complete concert and they have been hired to write the music for Karen Finleys thestre play "The Theory of Total Blame". Of course they appear also frequently in the radio, in fanzines and the press. Some samples? Spex: "Best Surf/Instrumental record of approximately the last 18 month." Flying Revolverblatt: "Fantastic Instrumental sound between Surf &Easy Listening." Ox: "The heroes of Trash Surf Beat… were the only ones who managed to make the 700 lethargic bastards move."

Los Banditos sometime in the 00s

The following clips offer a preview of the remastered album, enjoy "Nackt Im Taxi", "Was Kann Ich Tun", "Hot Rod Sally", "Ytrapmuipo", "Cairo", "Hochzeit In Bristritja" and "Illuminatis"!

The original clips for "Hot Rod Sally" and "Hochzeit in Bistritja" are also included as a bonus.

Los Banditos are still rocking after more than twenty years since their foundation, and their latest album "Apokalypse Der Liebe", released in 2016, is another heartfelt addition to their catalogue.

If you enjoy "Opiumparty" I strongly encourage you to show them your appreciation purchasing their available albums and singles.

Here below you can watch one of their recent concerts which was filmed at the BC Club in Ilmenau, Germany.

More information about Sheep Records and Los Banditos is available here:

The Sheep Records story will continue in the next months. All your inputs are more than welcome, if you want to get in touch please write to stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!

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