Baris Manco the Bes Best Album Download
First of all, this album is notable for being the concluding ane (for a long fourth dimension, at to the lowest degree) to take all the members of Kurtalan Ekspres playing. The reason for this, according to many Barış Human�o biographies and reviews on the web, is that he wanted to explore TV producing further (indeed, later hosting brusk segments in several shows from fourth dimension to time, he started his own prove to air on Sunday mornings in 1988), so in this attempt he pushed band music behind. The band nevertheless continued to exist, but they only played in concerts, and after some time they started to bear witness up in his TV shows as well. Starting with this album, Man�o began working with Garo Mafyan, one of the renown arrangers and keyboard players of Turkish pop scene at the time, notable for his "assembly line" approach towards music. That is, he was involved with arrangements & product of about ten albums a yr in late 'lxxx's and nineties, and those are what I was aware of! Using digital keyboards, sequencers and figurer programmed drumming to create an entire album (other than singing) is not a good idea, at least as far every bit Turkish music is concerned. I mean, this Garo guy is no Edgar Froese or Klaus Schulze! But I digress... Luckily, In the commencement anthology he worked with Man�o and Ekspres, his involvement is quite limited. he is credited with organisation of just two tracks in the album, and though he played the keyboards, most of the music was still produced in a band approach, i.due east. at that place was live bass, guitar was a melody instrument, not simply used for 25 2d solos in select tracks, and woodwinds yet have a prominent role in this album. That'due south redeeming quality number one. Unfortunately, the double drumming rhythm department that was employed in Kurtalan Ekspres since its germination (which, virtually of the time, included two drummers and an contrasted percussionist, making it actually triple fold) bankrupt in this album, when the long-standing drummer Caner Bora left, and one-time percussionist Celal Thou�ven took over drumming duties, which he performed with an electronic drumkit... Now, I'm non against the use of such equipment, but especially in the eighties that engineering was still in development, and they didn't sound very lively. Or, people down here just didn't know how to make skillful use of them :) In the previous "24 Ayar Man�o" anthology Bora played acoustic drumkit, while Thou�ven played both assorted percussion (such as congas) and electronic drums, and then the sound was quite tolerable, with all the ryhtmic sequences coming from "live drums" (as we call them), and electronic sounds merely adding season. At present, here we have just Yard�ven, playing the entire affair in digitalized course... Non your ideal Anatolian Rock, I would say.. However, a tad better than the totally computerized rhythm section, that would infect (almost) all Man�o albums from this point on!
The album starts with "S.O.Southward. Aman Hocam" which sounds like a modernized Rock'n'Roll number in the beginning, featuring a cheesy '80's sound with a digital keyboard melody and the electronic drumming I just mentiond, luckily augmented by rhythm guitar. Human�o lists all the letters of Turkish alphabet, and with "z" the melody changes and the guitar starts playing a riff; while repeating the championship in a rhythmic manner, on the background Man�o lists some seemingly unrelated high-school course subjects (as various equally chemistry, geography, biological science and logic...). This pattern repeats twice, and in the second part the alphabet department is kept shorter, and as presently as "S.O.S. Aman Hocam"s come in, the guitar starts playing a killer solo, unfortunately buried a footling in the mix. Information technology is one of Bahadır Akkuzu'southward finest moments, and the song certainly doesn't overstay its welcome in its 6 minute run. In fact, it leaves me asking for some more than. (S.O.S. is obvious, while "Aman Hocam" ways "O Instructor")
The 2d song is a regular pop song, with some adventurous keyboard arrangement. Man�o tells the story of how his grandparents met ("Babaanne" pregnant paternal grandmother). Information technology was a hitting when the album came out, and a video was produced for it (in fact, I recall seeing videos of at least 5 of the nine songs. Man�o was indeed into TV those days).
"Nerede" is a slow blues number, based on one of the themes used in the picture "14 Numara" in 1985 (Homo�o equanimous the entire score for the movie, he besides used some of the other themes for other songs later, such as 1989's "Darısı Başınıza," run across my review of that album) I know this, because I watched the motion picture simply to grab the Barış Man�o themes :) I personally like the tunes, especially the way they were presented in the flick (I saw it in youtube but for this reason!) merely the song is a bit cheesy.
"D�riye" is a popular-rock number, non unlike S�per Babaanne. The opening (and ongoing) bass and synth riff and the following funky guitar is interesting, but that'south pretty much it. The lyrics are derived from traditional Turkish sayings, as was Man�o'southward custom effectually the time. In fact, at least one such song is included in each album from 1979's "Yeni Bir Yard�n" to 1992's "Mega Man�o"... With acoustic drums this song may have sounded better IMHO.
The opener of side B in vinyl and cassette editions is another redeeming quality, at to the lowest degree for me. The song has a elementary but familiar Barış Man�o tune, and the lyrics are once again derived from Turkish proverbs. The championship (second part of the famous saying by Suleiman the Magnificent, coupled with the bodily beginning role) forms the refrain. The saying basically means "health is better than wealth". Literally: "There is nothing else every bit worthy equally government (state) in the public; there is no such govenment as worthy as wellness in the whole world" ("devlet" in the saying might equally well be a double entendre, meaning both state, govenment, and "luck" in other contexts). As I said, the melody, equally well every bit the entire vocal is simple, not having intricate solos or changing time signatures, but I like it, probably because it reminds me of similar earlier Man�o songs, such as "Kazma" from 1983'southward "Estağfurullah... Ne Haddimize!"
The side by side vocal "Unutamadım" (I couldn't forget you) is a pretty standard blues number. As much as I detest dejection (except when Jimi Hendrix, Jim Morrison, or certain krautrock bands perform it!) the electronic drums make information technology worse! Even when the album first came out, and when I bought the cassete in 1990, it was my least favorite in the album, and time didn't treat it well according to my taste... Still, it doesn't keep me from singing information technology with screaming vox in Barış Man�o memorial concerts held every twelvemonth on February ii :) (that's because information technology'southward a fan favorite)
Hither comes the shining jewel of the anthology: "İşte Hendek İşte Deve (xv Yıl Sonra)"... It may have been the unmarried redeeming quality of the anthology, which would prompt me to give 3 stars. It is the reason why I wrote the lengthy explanation in the releases information section. I echo here: "İşte Hendek İşte Deve" is the quaternary recorded studio version of the 1971 single. Parenthetical sub title means "15 years subsequently." Saxophone solos well-nigh the end are variations of the solo played in the rail "Kervan," commencement recorded in 1974 and released in the 1980 cassette-just anthology "Disco Man�o" -- 15 years later obviously refers to the first recording/release date and the appointment of this recording, although in the concurrently there was another rendition, in 1980's "Disco Human�o." The version hither is extended by another stanza, continuing the story told in the original song ("I have the aforementioned song in my lips, years afterward, today"). This my favorite version of the song, maybe along with the radio edit recorded effectually the same time with the original single version, just non publicly released until 1989. This makes the version here the fourth recorded, but tertiary released version. Regardless, this is my favorite of all those versions :) The funky bass+keyboard+guitar riff opens the song, followed by a short woodwind section playing the principal theme. Vocals come in, equally with the Moğollar versions, and continues until the kickoff interlude. The interludes are played by woodwinds instead of the guitar in the single version and distorted organ in the (then-unreleased) radio version. Then comes the second (newly-written) stanza, again followed by the aforementioned interludes, only this time variations with saxophones are played (based on the solos from "Kervan" equally I mentioned higher up). As brusque equally it lasts (about 25 seconds) it is my favorite part of the vocal, and in turn, favorite part of the album; also favorite part in all versions of the song! Following the solo, the closing stanza (actually, semi-stanza) of the original song is sung, and the song fades out, without singing the refrain once more (unlike the 1971 originals, which closes with the refrain; but then once more, those versions had one and a half stanzas, and past this point in this version the refrains are already sung twice); which maybe makes this version better. The next (and final) recorded/released version (in 1999'due south Man�oloji) is based on this 15th twelvemonth version, having the extra stanza, simply not the new solos and the original half-stanza catastrophe. and the interludes, played with guitar and organ in the 1971 originals and saxes here, are played with saz (bağlama) in that version. On a related notation, the interlude melody is based on a traditional folk tune from Elazığ region of Turkey. Moğollar made utilise of that melody in a very eclectic instrumental single track they released in 1970 (unremarkably considered as the very first Anatolian Rock record), and when they started working with Human being�o the next twelvemonth, it's no surprise they came up with an enhanced version of the melody. Too bad their collaboration didn't terminal, at least for another year or so.
Coming back to the album: the next song, "Osman" is ane of the two songs arranged by Garo Mafyan (the other being "D�riye") but no big deviation is felt with the other songs, presumably since he already exerted his influence on the driving instrument of the anthology, the keyboards. My friend K�nir Tireli (munimonde) who writes experimental/progressive music reviews (both for Turkish and international scenes) describes the vocal equally "epic", just I don't retrieve this has anything to practice with its length (with a very average v minutes, information technology is only the fifth longest track in the anthology; although 5 minutes is quite long because Man�o songs in full general, and the unabridged Turkish popular/stone scene for that matter). The song tells the story of a forbidden love, touching very slightly upon the social injustice in Turkey. Music wise, it'south a slow, blues-based, keyboard driven tune, with very few interesting moments. As such, I'grand non a big fan. And I'k not fond of the tragic ending of the story, either... Probably the only affair highly-seasoned with the song that it is composed by the long-continuing Ekspres member Celal Thou�ven, who likewise happened to contribute to the composition of an all-time Barış Man�o archetype: D�nence (beware: don't expect any similarities, as the majority of D�nence is actually Nejat Tekdal'due south work...)
The album wraps with another band fellow member Bahadır Akkuzu's composition, "Al Beni." It's a romantic vocal with a string-synth background and acoustic guitar riff. For years information technology had been my about loathed vocal from the album, so much so that fifty-fifty when I was cassette-leap I took time to fast forrad the tape to the terminate, and either flip it to hear it from the kickoff or move on to the next cassette... If I the CD had come out those days (and was accessible like the budget price CDs I bought in mid-nineties) I would've definitely skipped the track (i.e. stopped CD, since it's the concluding track). But for some reason, the vocal began to grow on me in recent years, so much so that I find myself bustling it! Still, I don't recall it's of involvement to progheads. Add to this the fact that I find even the worst vocal by Barış Man�o "listenable" and never change station when I hazard upon whatever Man�o song on radio.
I actually want to rate this album 3 stars, because as much every bit it marks the turning betoken in Man�o'southward musical career, where everything afterwards went totally downhill, information technology is also remarkably meliorate than the first album I reviewed (1989'due south Darısı Başınıza, which I rated 2 stars) and then it does deserve at least half a star more than. In a Barış Man�o site I probably would have rated this 3 and a half, a tad improve than not-essential for Homo�o fans (however, not indispensible, but not to exist totally overlooked either). Hither, when the progressiveness is concerned, the album as a whole is definitely non-prog, with some progressive/experimental touches hither and at that place, prog-related at best. If the ratings were over ten, I probably would've charge per unit it five. Man�o fans should include it in their collection, of grade, especially subsequently collecting all the good stuff (all albums from 1975 to 1985, with a couple of essential compilations from the same period and before). This album provides a not-and so-worthy, but non-hideous-either coda to that menstruum. To make another analogy with a well known prog (related) ring, if y'all similar all 'eighty's Alan Parsons albums (but all of them; not just Heart in the Heaven; well, with the possible exception of Vulture Culture...) in that location'southward a hazard you might find this one enjoyable... But start, become through everything before this, at least 5 or so albums...
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