The Plastic People of the Universe - Collection. 10CD (1973 - 2009) Reuploaded

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The Plastic People of the Universe - Collection. 10CD (1973 - 2009) Reuploaded

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This band's debut may well have been one of the most amazing and radical records to be released during the punk era (or any era for that matter), recorded under the most extreme conditions in the years before punk rock was a reality (1973-1974). Prague's Plastic People of the Universe, and the band they later became, Pulnoc, remain one of rock & roll's great stories of triumph and how great music can be produced and survive even in the most hostile of environments. The band was founded in 1968 soon after 500,000 Soviet troops invaded Czechoslovakia. With the Kremlin not being particularly fond of Western-style rock that wasn't sanctioned by the state, the Plastic People, to paraphrase the Jefferson Airplane, quickly became outlaws in the eyes of Moscow (and the ruling Soviet government in Prague). From 1970 until the "Velvet Revolution" of 1989 that ended Soviet domination, the Plastic People lived a mostly illegal existence, with two of their members, Ivan Jirous and Jaroslav Vozniak, doing lengthy stretches in prison. Influenced by Zappa, English progressive rock/radical politicos Henry Cow, Captain Beefheart, and the Velvet Underground, the Plastic People appropriated the avant-garde leanings and anti-authoritarian outrage of these bands while working in their own sense of dread and desperation. Remember, according to Soviet law, they could not record, press, and distribute albums or play gigs; still, they did all three surreptitiously, with the help of their numerous artist friends who made up an indefatigable support network known as the Invisible Organization.

Although all of their music remained unheard outside of Eastern Europe (or Czechoslovakia for that matter), their first record was released in the West in 1978. Egon Bondy's Happy Hearts Club Banned was not a proper record in the sense that the Plastic People entered a studio with the intent to record a "rock" record that would be placed into mass circulation. The reality was that these were grubby, lo-fi demo recordings made by friends on primitive equipment and released without the band's knowledge. It also marked the first time the poetry of Czech dissident Egon Bondy was heard outside of Czechoslovakia. Bondy wrote lyrics that meshed perfectly with the Plastic People's cacophonous sound: harsh, dissonant soloing over repetitive odd-metered rhythms. It remains dense, challenging music, totally oblivious to the state-approved pop music.

A ferocious government crackdown on the Plastic People and their supporters occurred in 1976. Many of them were jailed, their meager instruments and recording equipment confiscated or destroyed, all in the hope that this troublesome group of avant-garde artistic political radicals would finally be stopped. The problem was that Czech government officials didn't realize that the music of the Plastic People was being listened to in the West (thanks to favorable reviews of Egon Bondy in the British music press and in America in the -Village Voice) and that groups such as Amnesty International were now wondering why these musicians were being persecuted and jailed without trial. Although never reaching the fever pitch of, say, Nelson Mandela's incarceration, it wasn't long before the plight of the Plastic People became better known to an outraged Western pop community. After being released from prison, the band managed two more releases in the '80s that were (and still are) extremely difficult to find.

After 15 years of struggle, incarceration, harassment, and violence, the Plastic People quietly disbanded in 1984, but in no way stopped their anti-government activities. Finally, in 1988, a year before the "Velvet Revolution" and the ascendancy of the poet/writer Vaclav Havel (a longtime supporter and occasional lyricist for the Plastic People) to the presidency, the band was given government permission to perform under the name Pulnoc ("Midnight"). With three original Plastic People in the group (Milan Hlavsa, Josef Janicek, and Jiøí Kabeš), Pulnoc recorded an extraordinary debut for Arista in 1991 (City of Hysteria), and a difficult-to-find live cassette recorded at New York's vaunted experimental performance space PS 122. Unlike the radical, dissonant sounds of the Plastic People, Pulnoc had a more traditional guitar-based rock sound and production polish, but its accessibility in no way detracts from its greatness as a record. There has been little music from Pulnoc since City of Hysteria, though there was a reunion and tour of the country in 1997. But, whatever the case, this story had a much happier ending than anyone could have anticipated. Although much work is required in finding what little recorded work they made, the payoff is well worth the effort.

~ John Dougan, All Music Guide

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The Plastic People of the Universe - Collection. 10CD (1973 - 2009) Reuploaded

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The Plastic People of the Universe - Collection. 10CD (1973 - 2009) Reuploaded

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The Plastic People of the Universe – это название одной из самых странных рок-групп, из когда-либо существовавших. Их странная история является одним из самых откровенных примеров творческой непоколебимости и превращение творчества в жизнь. Появившись в 1968 году в Чехословакии, во время беспорядков, связанных с борьбой против давления со стороны СССР, The Plastic People of the Universe безмерно страдали на протяжении всей своей жизни за одно лишь желание просто играть ту музыку, какую они хотели бы играть.

The Plastic People of the Universe появились через месяц после вторжения советских войск в Прагу. Основателем этой группы был бас-гитарист Милан Хлавса. Главным источником вдохновения музыкантов коллектива было творчество Velvet Undergroud, а репертуар состоял из кавер-версий разных песен групп The Fugs, The Doors, Captain Beefheart и Mother of Invention Фрэнка Заппы. Название группа взяла тоже из одной из песен Фрэнка - «Plastic People». Художественным директором и менеджером был блистательный историк и культуролог по имени Иван Йироус. До этого Йироус был менеджером The Primitives, а когда в 1969 году он присоединился к The Plastic People of the Universe, он притащил с собой и гитариста The Primitives Йозефа Яничека. А потом появился и скрипач Иржи Кабес и группа могла полностью повторять саунд Velvet Underground. Их концерты походили больше на театральные «хэппенинги», с костюмами, декорациями, макияжем и психоделическими световыми шоу.

The Plastic People of the Universe были главной психоделической группой Праги до января 1970 года, пока их нонкомформизм не привел к тому, что правительство лишило их профессиональной лицензии. Кроме того, что они не могли зарабатывать деньги своими выступлениями, статус любителей лишал их права пользоваться государственными инструментами и помещениями для репетиций.

The Plastic People of the Universe продолжили существовать как любительская группа, но пообещали вернуть себе статус профессионалов. Парни покупала подержанные инструменты, а Яничек, который был механиком по профессии, собирал из деталей и транзисторов усилители. Примерно в то время изучать коммунизм из Канады приехал студент Пол Уилсон, да так и остался в Чехословакии учителем английского. Потом он познакомился с Иваном Йироусом, который попросил Уилсона подтянуть английский музыкантов The Plastic People of the Universe, чтобы те могли петь песни уровня Velvet Underground, Заппы и других англоязычных рок-музыкантов, а потом решили, что все равно лучше него английский никто не знает, и уговорили стать певцом коллектива.

В июне 1972 года концерт The Plastic People of the Universe в одном подпольном пражском заведении был отменен из-за драки фанатов с милицией. Выступления группы в городе запретили и музыканты уехали в сельскую местность. Пол Уилсон покинет группу в 1972 году. За это время он примерно 15 раз появится на сцене.

После этого, Йироус привел в группу фри-джазового саксофониста Вратислава Брабенеца, представителя более старшего поколения. Тот быстро стал своим среди более молодых парней. Брабенец был самым опытным и искусным музыкантом, чем все остальные участники The Plastic People of the Universe вмесие взятые. Он настоял на том, чтобы группа стала писать собственный материал и запела на чешском. С этим все согласились. Тем временем, группа подала заявку на получение профессионального статуса. Им дали временную лицензию, которую через две недели и отменили. Власти заявили, что музыка группы «омерзительна» и может вызвать «отрицательное социальное влияние» и группу вообще запретили. Так The Plastic People of the Universe перебрались в подполье.

В это время их музыка, автором которой был в основном Милан Хлавса, сильно прибавила в оригинальности, мрачности и атмосферности, особенно когда в полный голос зазвучал саксофон Брабенеца. Вокруг The Plastic People of the Universe начала формироваться настоящая подпольная сцена – другие группы, музыканты, певцы, поэты, артисты. Эта подпольная культура росла в небольших деревеньках, куда не добиралось всевидящее око Большого Брата.

До конца десятилетия музыканты The Plastic People of the Universe страдали от того, что не получали ничего в качестве результатов собственных выступлений. Они появлялись на свадебных вечеринках, днях рождения друзей, некоторых частных и закрытых тусовках. Но организация подобного выступления напоминала порой скорее шпионский фильм. Выбиралось удаленное от общества место и время, сообщение о предстоящем концерте переходило из уст в уста проверенных людей. Чаще всего, место называлось за день до выступления. Фанаты ехали на электричке до нужной станции, потом несколько километров шли пешком, через лес, деревеньки, порой под снегом или дождем, пока не достигали нужной конюшни или фермы, где начиналось шоу.

Одним из самых памятных подобных концертов было выступление, запомнившееся под названием «Чешске будеевицкая резня бензопилой». В марте 1974 года тысячи фанатов объявились в Будеевице, где должен был пройти очередной концерт The Plastic People of the Universe, и увидели толпы полицейских. Под градом ударов резиновых дубинок, они отступили в туннели, где решили дождаться спасительного поезда. Пойманных переписали и выгнали из школ и университетов. The Plastic People of the Universe в тот день, понятное дело, так и не выступили.

В ответ на бойню в Будеевице, Иван Йироус организовал Первый Музыкальный Фестиваль Второй Культуры. Сам Йироус взял себе псевдоним «Магор», что, если перевести грубо, означает «сумасшедший», так как его идеи относительно создания «второй культуры» полностью противоречили тоталитаризму культуры «первой». Фестиваль, который окрестили «Свадьбой Ганнибала», прошел в Поступице под Бенесовым, 1 сентября 1974 года. Сотни людей прибыли туда, чтобы послушать The Plastic People of the Universe и прочие подобные подпольные группы. На фестивале Магор объявил, что рок-н-ролл является спасением «Второй культуры», и все, что они делают, имеет необыкновенное историческое значение и чрезвычайно важно.

The Plastic People of the Universe возглавили и Второй Музыкальный Фестиваль Второй Культуры, известный также, как «Свадьба Магора», в небольшом городке Бояновице, 21 февраля 1976 года. В ответ на проведение подобных мероприятий, 17 марта 1976 года полиция арестовала 27 музыкантов, среди которых были и The Plastic People of the Universe. Кроме того, были допрошены и примерно сто фанатов. Оборудование группы было изъято, дома обысканы, кассеты, фильмы и книги – конфискованы. Пол Уилсон был выгнан из страны.

Шесть месяцев спустя дело по аресту музыкантов The Plastic People of the Universe и других групп приобрело необыкновенный резонанс. Из-за огромного количества протестов большинство музыкантов было выпущено на свободу. Однако четверо из них, включая Вратислава Брабенеца и Ивана Йироуса из The Plastic People of the Universe, а также Павела Зайцека из родственной группы DG 307 и певца Святоплюка Карасека остались в застенках.

21 сентября 1976 года четыре героя рок-н-ролла оказались на скамье подсудимых. Хиппи против коммунистического государства. Обвинители зачитывали тексты некоторых песен обвиняемых и называли их музыку «антисоциальным феноменом, которая портит жизнь молодым людям Чехословакии». Подсудимые с чувством собственного достоинства защищались, уповая на право писать и петь о том, о чем им хочется. Два дня спустя был оглашен приговор. Музыканты оказались «виновны в организации социальных беспорядков». Йироус получил 18 месяцев тюрьмы, Зайцек – 12, а Карасек и Брабанец по 8.
В месяцы, которые последовали потом, хиппи-общественность сплотилась вокруг The Plastic People of the Universe. Они даже создали организацию по защите прав человека и 1-го января 1977 года провозгласили Хартию 77, которая стала их манифестом. Гавел говорил, что The Plastic People of the Universe защищали «на присущее каждому человеку естественное право выражать свое творчество свободно, своим собственным, независимым способом». Эта Хартия стала предтечей идей, которые 12 лет спустя приведут к демократической революции в стране. Хавеля, спустя некоторое время после ее провозглашения, упрятали за решетку.

С конца 70-х The Plastic People of the Universe стали записывать музыку на кассеты и распространять ее среди своих друзей и верных поклонников. Несколько лент покинуло границы страны и было выпущено на Западе. Первый и лучший по признанию многих критиков альбом «Egon Bondy’s Happy Hearts Club Banned» был записан в одном богемском замке в 1973-74 годах и вывезен из страны в 1978 году для издания за рубежом, причем группа об этом ничего не знала. Это один из наиболее оригинальных альбомов за всю историю существования психоделического джаз-рока, с европейскими мелодическими структурами и комедийными стихами чешского поэта Эгона Бонди.

Группа продолжала записываться и подпольным способом выпускать музыку на протяжении всех 70-х и начала 80-х. В этом им помогал Пол Уилсон из Торонто. После того, как выпустили Брабенеца, Гавел пустил The Plastic People of the Universe на свою дачу, где они 1-го октября 1977 года провели Третий Музыкальный Фестиваль Второй Культуры. Полиция концерт не остановила, но, на всякий случай, оцепила усадьбу и всячески напоминала о себе, пока The Plastic People of the Universe выступали в переделанном для концерта амбаре. Запись этого выступления появилась на западе в 1979 году под названием Hundred Points. Тем временем коллектив сформулировал свой следующий альбом Passion Play, в этот раз на библейскую тематику. Работа велась в том же загородном доме Гавела с обязательной зримо присутствующей вокруг полицией.

В апреле 1981 года The Plastic People of the Universe записали еще один альбом Leading Horses, в этот раз в доме одного из друзей под городком Чешска Липа. Несколькими неделями спустя, этот дом мистическим образом сгорел дотла. Чуть позже Брабенеца в связи с этим происшествием арестовала полиция и долгое время допрашивала. Вскоре после этого The Plastic People of the Universe продолжили работу над альбомом опять же на даче Вацлава Гавела, единственном месте, где они могли чувствовать себя в безопасности. В 1982 году Брабанеца вынудили-таки отправится в изгнание, после того, как его вновь арестовала полиция и долгое время пытала. Он уехал в пригород Скарборо в Торонто в Канаде, где жил в чешской общине, насчитывающей более 10 тысяч человек и работал садоводом.

В 1983 году Bozi Myln выпустили «Leading Horses». Еще один альбом, названный «Slaughterhouse» был записан в 1984 году, но так выпущен и не был. А в 1986 году The Plastic People of the Universe записали свой последний альбом, известный под названием «Midnight Mouse». Это была поп-пластинка, все еще пропитанная, впрочем, духом прежних идей коллектива.

В конце 1987 года власти подсказали группе, что если они хоть как-то изменят свое название, то смогут официально получить лицензию на профессиональную музыкальную деятельность и в 1988 году группа The Plastic People of the Universe распалась из-за споров относительно имени. Ян Брабец заявил, что он или будет играть под старым названием, или вообще не будет играть. И ушел.

После этого Хлавса собрал новую группу под названием Pulnoc («полночь»). Имя было выбрано в силу того, что оно отражало не конец старой группы, а лишь ее трансформацию.Кроме старых музыкантов, игравших еще в The Plastic People of the Universe, в новом коллективе были и новые лица - невестка Хлавсы Микаела Немцова - оперная певица и преподаватель музыки, Карел Янчак – 23-летний гитарист, игравший до этого в пражской панк-группе, виолончелист Томаш Шилла и барабанщик Петр Кузамандас. Pulnoc разрешали играть и за рубежом, куда они выезжали в качестве туристов. Первый концерт новой группы состоялся в Junior Klub в Праге весной 1988 года.

В апреле 1989 года Pulnoc начали турне по США. Каждый концерт этого турне музыканты посвящали Магору. Они играли как новые песни, так и песни The Plastic People of the Universe. В рамках этих гастролей состоялось знаменитое выступление на Манхеттене, привлекшее внимание большинства местной музыкальной журналистики, в том числе и MTV, а также кучу людей из чешской общины. Группу встретили громогласными овациями еще до того, как они успели сыграть свои первые аккорды. Павел Зайцек, который к тому времени жил и работал скульптором в Нью-Йорке, вышел на сцену и спел песню, написанную по поэме Уильяма Блейка, а музыка, что они играли, отражала то настроение свободы, что обуревало ими и предвещало окончание тоталитарного гнета на родине.

История The Plastic People of the Universe завершает свой круг 12 июня 1993 года, когда они выступили в пражском Junior Klub, празднуя грядущий приезд объединившейся группы Velvet Underground в Чехословакию. The Plastic People of the Universe появились на сцене под именем Meyla’s Velvet Revival Band и играли исключительно классические композиции своих кумиров. На следующий день приехали Velvet Underground и выступили перед толпой на Площади Культуры в Праге. Конечно, это событие вряд ли могло произойти, если бы не The Plastic People of the Universe.

~ Last FM

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The Plastic People of the Universe - Collection. 10CD (1973 - 2009) Reuploaded

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The album’s title means “Drunk as a Plum”. This is one of the easier Plastic People albums to find, although it wasn’t commercially released until a couple decades after the tracks were recorded. These are live recordings from the early seventies when the band was performing as a largely ‘unofficial’ music group around Prague. Their ‘concerts’ were usually loosely organized music festivals and family or community celebrations like weddings and birthday parties. This was a time of pretty severe suppression under the Soviet regime in Czechoslovakia, and shortly after the last of these recordings most of the band was rounded up during or shortly after the Bojanovice raid. Several band members including founder Milan Hlavsa went on trial the following spring. Hlavsa and most of the rest of the band were eventually released, but Vratislav Brabenec and Ivan Jirous were among several musicians sentenced to jail terms for “disturbing the peace”. The international attention garnered from this incident and playwright Vaclav Havel’s Charter 77 manifesto were key elements in the eventual release of these musicians. Havel would go on to serve several years in prison under the Communists himself, but would eventually invite the Plastic People to perform in Prague in his capacity as the Czech president after the fall of the Soviet Union. The recordings from that concert would form the wonderful “1997” Plastic People album.
Several of the songs from that concert originated during the time of these 1973-1975 recordings. The quality of these recordings is surprisingly good, although a bit uneven. There was undoubtedly a lot of work that went into making them presentable for this release.

The Plastic People of the Universe are a fascinating band, and a bit of an enigma. Their sound evolved behind the Iron Curtain in relative seclusion from the rest of modern music from the late sixties through the eighties, but the band had access to many modern recordings and clearly took inspiration from several Western artists, most notably Frank Zappa and the Velvet Underground. But there are Slavic inflections to this music as well, primarily in the abundant use of dissonant brass and almost psychedelic, jazzy instrumental passages that border on other-worldly at times. The rhythms are relatively simple, and the arrangements seem to be heavily reliant on improvisation. Vocals are mostly Czech, but occasionally some English creeps in. While I don’t speak or understand Czech, I get the strong impression from listening to many of their albums and reading about the band that they have a fairly wry sense of humor.

These guys aren’t spectacular musicians in any technical sense, but they sure as hell are fun to listen to. There is an intensity to this music that is very addictive, and I am constantly finding myself drawn back to them in recent years since I have been able to get my hands on some of their recordings. I first read about the band during a phase of international exposure due to many human rights activists and other musicians trying to bring awareness to their plight in the early eighties. Their presence on the ProgArchives is long overdue.

A few standout tracks include “Komu je dnes dvacet” with its simple but catchy bass rhythm and strident brass; the Deep Purple-like “Jaro lйto podzim zima”; the very funky and danceable “NF 811”; and the almost ‘Several Species of Small Furry Animals…’ Pink Floydian “My Guitar”. “Pršн, pršн” appears on this and several other Plastic People albums, and features some intense violin and saxophone.

Like I said, this is really addictive stuff, and is well worth seeking out. Once these guys get under your skin, they’re likely to stay there. This is a pretty good place to start with the band since it’s probably the easiest to find and has an extensive sampling of their music. A four star offering, probably even 4.5.

Review by ClemofNazareth, Progarchives

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It's really worth it to check out the history of this band and to read what they went through for the sake of playing the music they loved.They were jailed to be made an example of for playing live and they were never allowed to record their music,although recordings were smuggled out the country.They really are folk heroes in the Czech Republic for standing up to the communist regime.When communism fell the new President Vaclav Havel invited them to play a concert.How the times had changed. They named themselves in part from a Zappa tune called "Plastic People".They were big fans of his style of play including the humour. I would describe the music here as having this relentless and catchy drum/bass beat/rhythm that often reminds me of CAN.The difference is the often dissonant sax,guitar and violin that plays over top.Vocals are rough and almost spoken in their own language,but it fits the style of music perfectly.I love the cover picture that includes Czech poet Egon Bondy who's words are used throughout this album,he himself had his poems and writings banned by the communist government back then too. "Twenty" features sax and violin with slowly sung lyrics.Crazy sax before 1 1/2 minutes. "Constipation" has this eerie intro as a rhythm comes in followed by vocals.It picks up before 3 minutes then settles again as sax joins in and rips it up.Amazing! The vocals are back 7 1/2 minutes. "Toxic Chemicals" has a good rhythm with vocals.The guitar is making some noise after 1 1/2 minutes as the rhythm continues with violin.So good ! "Magical Nights" opens with loud percussion as spacey sounds join in.A change after 1 1/2 minutes as it picks up with vocals.Violin comes in screeching before 2 1/2 minutes.Love this stuff. "M.G.M." has these theatrical vocal expressions and some banging sounds. "Around The Window" opens with bass and percussion as sax comes in screaming.Almost spoken vocals before 3 minutes.The sax is back so loud it echoes.Vocals are back late and the violin ends it. "Elegy" features violin which is joined by a heavy beat then vocals. "The Wondrous Mandarin" has this crazy rhythm as violin plays over top.Vocals join in. "Nobody" has this great sounding rhythm and it kicks in quickly.Vocals before a minute.The violin starts making noise in the background. "Oh Yeah- How Nicely You Sleep" has clapping,piano and vocals early on.Funny stuff.This is hilarious.Snoring ends it. "Me And Mike" is raw sounding and dissonant.Vocals join in,sax late. "Early Bird" sounds so good with the guitar,violin and vocals. "Fancovka" is catchy with vocals,a beat and guitar.Violin later.The sax is killer. "By One Foot" has a beat with violin and sax playing over top.Nice. "Sofa Blues" has a beat with spoken words.It gets fuller.So incredible. "Apocalyptic Bird" opens with spoken words then it kicks in.Vocals follow,and the sax a minute later is dissonant.Amazing stuff.Check out the slicing violin too. "Conscript's Song" ends it in style.Spoken words as percussion then therimin that is possessed joins in.A beat with violin follows then vocals 2 minutes in as he spits out the words.The tempo picks up a minute later.It then settles back as some themes are repeated. Without a doubt one of the best Rio/Avant albums i've ever heard.It's so appealing with that beat and rhythm that i'm consantly tapping my foot or some part of my body, and yet it's also very avant-garde with those insane horns and violins.Essential listening.

Review by Mellotron Storm, Progarchives

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Ach to statu Hanobenн’ (Oh, Dishonor to the State) is a collection of live recordings of the band from the 1976-1977 period where they were pretty fractured most of the time thanks to being arrested for disturbance of the peace by the Communist government and serving out various prison terms. The band’s concerts were nearly all clandestine, performed at secret ‘festivals’ out of town, or under the pretext of a wedding or family celebration. I would imagine the crowds were mostly small.
Canadian Paul Wilson, who had been a member of the band in earlier days and had married a Czech national, was deported during this period and returned to Canada where he arranged to have some of the band’s material released.

The music here is mostly primitive, as was a lot of the Plastic’s material until their later years. I don’t know what most of the lyrics are about, but given the album’s title and some track names like “Phallus Impudicus” and “Apokalyptickej Ptak” I can pretty much guess as to some of the themes.

A couple of the band’s more well-known songs appear here in early form, most notably the power chord-laden “Pršн, pršн” and the (not surprisingly) bluesy “Spofa Blues”. Elsewhere the cacophonic “Eliasuv ohen” and dirge-like “Nebo jitн jest Hospodinovo” show the band’s range and sense of humor at the same time.

The showcase song on the album is the twenty minute long “100 bodщ”, a rambling and completely improvisational jam with rambling half-sung, half-spoken vocals that I believe have something to do with the 1974 police raid of a Plastics concert at the town of Budejovice, although I can’t be sure.

This is one of the marginal Plastics albums that I know was released more for its historical interest than for its musical value; but even in that context its an important album for fans. The early versions of “Pršн, pršн” and “Spofa Blues” are worth hearing, and the more edgy tracks show a side of the band that wasn’t exposed all that often on their other recordings. This is better than a collector’s piece but probably not essential, so three stars it is but a big red raspberry in tribute of the dishonor to a state that deserved every bit of that.

Review by ClemofNazareth, Progarchives

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Strangest than their usual work. It's esoteric sounding rock take on biblical themes (Easters). In fact, translation is bad. It should be The Passion Play, because it means this Christian thing, not more often used adjective (do something with passion).
Lyrics are mostly biblical (Old Testament I suppose, but that is hard for my, I'm strongly persuaded atheist and these words means nothing to me). But one have to understand the situation. Faith in god back in 70s was oppressed. Not banned, you also wasn't killed for wearing denim clothes, but people were persecuted to some extent. So Plastics took this as an rebellion thing. It's much different from for example Neal Morse's work (made in relatively free society and country, where you don't expect to have your career and a lot of things in life over just for your belief), it's more dark, but not offensive. It reminds me Pink Floyd tracks such as "Carefully With That Axe, Eugene" and "Set The Controls For The Heart Of The Sun" ("Kazani na hore"), or hypnotic saxophone in next track.

If this is example of RIO (here it's in opposition to comm regime), then I like it. Just how many beatings, house raids, prison stays they had to survive and still had the energy to create such ANTI effort. 4(+)stars, because I feel that I can't understand it as much as believer can. But I do believe, in love and freedom. My own way.

Review by Marty McFly, Progarchives

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Not everything the Plastic People of the Universe did was exactly great. Despite their inspiring story one has to critique the music on its own merits, and the amateurish musicianship on this, their third release, was pretty rough stuff.
The album’s title 'Jak bude po smrti' means “what it’ll be like after death”, or “afterlife”, a topic bassist/vocalist and unofficial band leader Milan Hlavsa seemed to be somewhat obsessed with in his early compositions. Unless you know Czech you’ll have to imagine what they’re singing about or find an English translation though. The music is instantly recognizable as that of the Plastics thanks to the abundance of discordant guitar/bass, atonal and dissonant horns, and timing that is almost impossible to follow.

But unlike the comparatively restrained first album (‘Egon Bondy’s Lonely Hearts Club Banned’), and some of their later albums after their musicianship had improved considerably; this record is very, very rough. The recording quality isn’t very good either, and I think this was actually recorded live in one take.

There is very little variation between the three lengthy tracks here, and I suspect a lot of the music was improvised. Not much else to say about it except that you shouldn’t expect much if you get a chance to listen to it, but I don’t think it takes anything away from the band’s story; this is simply where they were musically at the time.

If you are even remotely interested in this band, their history and their music – don’t start with this album. I’d recommend picking up their live reunion record ‘1997’, then maybe a compilation like ‘Vožralej jak slнva’. If you’re still hanging in there then put this one on your list as a completer piece. Otherwise I hate to do this because I truly love these guys, but this is no better than a two star album, even for them.

Review by ClemofNazareth, Progarchives

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At some point in the Plastic People’s career they relocated from Prague to Vienna, or at least those who were not still in jail back in communist Czechoslovakia did. I believe it was there that ‘Co Znamenб Vйsti Koně’ was recorded, but I’m not positive.
There is definitely a major shift in the band’s sound with this record in any case. Considering the strong bond these guys had with each other and the relative transparency of how changes in their lineup or circumstances had in corresponding changes to their sound, I’d say it is fairly certain this was a post- exodus record for them.

The overall impression here is of a recording that is far more refined and restrained than anything they had done to that point. At times I’d almost dare use the term symphonic (or maybe arch-symphonic) to describe it. Don’t get me wrong – the penchant for paying regular tribute to Velvet Underground, Zappa and Captain Beefheart is still strong, but the group has reigned in their previously unrestrained enthusiasm a bit and focused on actual arrangements versus the previous tendency to improvise heavily. I must say this new dimension is quite appealing and gives greater credence to their standing.

On songs like “P.F.” and “Samson” where atonal clarinet, madman shouted vocals and feral strings remind us that this is the Plastic People (as opposed to a normal band), the group manages to set the whole thing to a steady cadence with just enough restraint that one feels like this is well thought-out music with an air of worldly wisdom to it.

Elsewhere, like with lengthy and strangely worship-leaning “Fotopneumatickб Pamм”, the band shows a new side; reverent, reflective versus angry, and quite focused on exploring the various sounds that are introduced as a part of the overall message in the song (as opposed to just for the sake of exploring sounds for their own sake). This sound would crop up again on ‘Hovězн Porбžka’ and even more so with ‘Půlnočnн Myš’ before the group would finally fracture.

The transformation isn’t totally complete though; with “Mše” there is a relapse into dirge-like improvisation and dissonance, and while the lengthy “Osip” shows some thought toward arrangement, it is also quite primitive and not very approachable if you haven’t heard the group before.

This is one of the better Plastic People albums in my opinion. They seem to be more focused on their music and less on the emotions and experiences behind the music, which I think in this case results in a more cohesive body of work. I’m still going to recommend that anyone starting off with this band pick up their ‘1997’ live concert release first, but this one wouldn’t make a bad follow-on to that one for those who want to hear more. Four stars and recommended to the adventurous prog fan.

Review by ClemofNazareth, Progarchives

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This collection of tracks come from various source between 77 and 82 (this is the eighth chapter in the Globus International series on the PPOTU) and but does not include the album Passion Play, the album following the "famous" Egon Bundy's Happy Hearts Club Banned , which was the only album of theirs that managed to sneak through the Iron Curtain and get a release in France (only there, unfortunately). The group was still enduring police repression and some members spent up to 18 months in the Party's jails, while their manager will spend more than 8 years of his life in there for his RnR beliefs. Led by the powerful and scary-looking (a completely broken and deformed nose gracing the centre of this hairy shagged face) saxman Vrastislav Brabenec and the no less impressive and hairy (but less ugly) violin player Jiri Kabes.
Leading off is the 28 minutes-long 100 Bodies (a recount of a Warsaw Pact massacre ending the Spring Of Prague and we are in a typical minimal Velvet Underground and Can groove where the band improvises over a slowly evolving beat, even if the "song" has four different stages and sometimes interesting chord changes. The 20-mins Dopis Magorovi is much the same as its predecessor with some really insane digressions into madness, notably through the piano and the violin, but also through the myriad of artistes fighting the regime in one way or another. There is even one line yelled by anarchist and avant-garde script and playwright (and future president by popular acclaim after the communist regime fell) Vaclav Havel. An absolutely astounding track!

The following 8-min+ Phil Esposito track is a weird (even stupid) vocal montage depicting the Philadelphia Flyers hockey player and his exploits in beating up the Czechoslovak team in the final of the 76 Canada Cup over quasi-African musical chaos and chants. While rather funny and amusing at first, this track will not stand much repeated listening without hitting your nerves. Between the Czech team won that cup and the writing of this silly if hilarious track, I suppose that they made it 2 - 0. After such a silly session, Metastaze (you'd think these guys had a jail wish, uh ;-) is an absolute delight with the delicate and inventive drum beat being surfed upon by the brass instruments and a jumpy bass, the whole thing having a delightful Eastern Gypsy-jazz flavour without being overpowering, but dying in an ugly sax death throe. Probably one of the band's best moments in their long provocative career, but this track was certainly more challenging than "derangesome".

The short title track is another track reminiscent of those many groups (past but mostly future) that made a specialty of that Gypsy-Jazz or Jazz-Manouche. The closing Socialne Blizci (social XXX) is yet another piece like the preceding two, and by now, the group was in full swing into its proggiest years.

This collection is certainly one of the country/continent's most important release as it is the not-so silent witness of the fight against totalitarianism and this comes from one of the most politically-engaged groups ever: Plastic People Of The Universe. Essential and outstanding stuff.

Review by Sean Trane, Progarchives

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By the time the Plastics recorded the tracks for this album they were under pretty much constant surveillance and harassment by the communist police in Prague. The home where they recorded ‘Co znamenб vйsti koně’ had been burned to the ground by police, and longtime member saxophonist Vratislav Brabenec had been arrested and beaten enough times that he was forced to leave Czechoslovakia and resettle in Canada where he eventually found a new living as a gardener. He appears on only one track here (“Papнrovэ hlavy”) but would resurface in the band’s 1997 return concert following the collapse of the Soviet Union although only on a couple songs in that show. Three of the songs on this album (“Šel pro krev”, “Kanбrek” and “Špatnб věc”) would be played during that show.
The thing I notice most about this album is the increased emphasis on atonal reed and horn sounds. Vбclav Stбdnнk plays bass clarinet and flute and new member Petr Placбk a variety of clarinets. The lower registers of the twin bass clarinets result in a rather depressing sound, and the overall mood of this record seems more resigned than the band’s previous works. The band also picked up a Korg somewhere, and keyboardist Josef Janнček plays it on most of the tracks here and on their next release ‘Půlnočnн myš’.

Otherwise this appears to be more of the same by the band. The songs are all sung in Czech, something that Brabenec encouraged the band to do after he joined them in 1972. Prior to that they alternated between Czech and English, partly because of their many English-speaking influences (Zappa, Velvet Underground, the Fugs), and partly thanks to the brief period in which Canadian Paul Wilson was in the band in the early seventies.

The English translation of the album title means ‘slaughtered beef’ or something to that effect. One can only imagine what the band members were referring to considering the tribulations they had suffered at the hands of their oppressive government throughout the entire history of the group. The Berlin Wall was still a few years from falling, but the band themselves would call it a day following this and their next album, with some members going on to form Půlnoc and some of them reuniting in the late nineties.

This isn’t really a standout album from the band, but anything they’ve managed to commit to vinyl over the years is well worth a listen by progressive music fans and those whose blood boils at the thought of people having to suffer for the simple act of making music. Give it a spin if you get a chance, this is an important piece of musical history that you’ll certainly never hear on your local radio station. Four stars.

Review by ClemofNazareth, Progarchives

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I'm sure most thought this would be the last studio album for the band as it was released back in 1986.Well not so fast as they released a new one last year.The title of this particular album i'm reviewing means "Midnight Mouse" and that is one cool album cover. THE PLASTIC PEOPLE OF THE UNIVERSE is to ryhthm as CAN is to groove.I just can't get over how catchy the rhythm is on just about every track.And what makes it interesting of course are the strings and horns which help in this regard.Add those reserved Czech vocals and you have a band that is truly unique.Just to clarify,we get clarinet,trombone and bass clarinet for horns and violin,cello and viola for strings. "Pulnocni Mys" is all about that rhythm including some different sounding guitar as horns join in followed by vocals before a minute.Strings late.Catchy stuff.Check out the bass ! "Ruka/Co Zde Snim A Co Zde Vypiju" is mid paced as strings join in quickly then reserved vocals and horns. "Mlady Holky" opens with chunky bass and horns.Very cool sound here.Strings then vocals follow.Excellent track. "Leze" opens with percussion before vocals and strings take over with cymbals.Contrasts continue.Nice. "Podvlikacky" opens with horns and flute as strings help out with that beat.Vocals join in.This is uptempo and catchy.Love the bass before 3 1/2 minutes.Huge ! The rhythm is so catchy too. "Vrati Se" is a short piece that opens with vocals that yell.Killer bass ! Horns are prominant too.Strings 2 minutes in. "Podel Zdi A Doleva" opens with strings then it picks up quickly and vocals arrive after a minute.A catchy rhythm once again is the highlight. "Z Kouta Do Kouta" is catchy with the strings over top.Vocals join in and when this ends he's out of breath. "Zpiva" opens with vocals that sort of laugh with the rhythm.Cool.Spoken vocals follow as the rhythm continues with strings over top.Outstanding. "Pokouseni" is the 23 minute closer.It's different because we get spoken words that will come and go all the way through and in between we get that ever so catchy rhythm that starts after 5 1/2 minutes.Just an incredible track that works regardless of the spoken words i don't understand.I'd like to think he says some humerous things though by his tone.The song's last 6 minutes are like the opening 6 minutes. A solid 4 stars for this mouse.

Review by Mellotron Storm, Progarchives

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This compilation contains live recordings from 2003, when Plastic People of The Universe played the show both together with another Czech band - Agon Orchestra, some studio archive recordings and bonus DVD.
Music there is alternative mix of chamber rock, some free jazz (especially sax soloing) and theatrics show. And if quite often live recordings show another, more emotional side of many artists, it happens there for good and for bad.

Biggest problem I have with this album is being not pure concert, but more theatrical show, there are plenty of lyrics (in Czech, and my minimal knowledge of this language doesn't help much) , which is important part and component of all show. While me (as many other listeners) can't understand and possibly enjoy this part, all other recording sound more as bulky collection of not very related between each other pieces with long narrative breaks between them. Such structure hardly destroy impression (at least for non-Czech speaking listener).

Speaking about music itself, most of all I like there some sax free jazz soloing over the chamber string combo playing. Strings sounds quite good as well, but I missed whole musical composition feeling (again, the possible reason is narrative lyrics separating musical compositions to single pieces).

With some great moments on it, this release is hardly representative for band's best musical moments and could be more interesting to fans and collectors.

Review by snobb, Progarchives

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Horizontal thick line = 5 khz; thin line = 1 Khz