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Albert Marcoeur


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Albert Marcoeur Albert Marcoeur album cover
4.05 | 26 ratings | 2 reviews | 42% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 1974

Songs / Tracks Listing

1. C'est Raté, C'est Raté (3:40)
2. Simone (4:10)
3. Tu Tapes Trop Fort (3:37)
4. Appalderie (4:29)
5. Que le Temps est Long (5:39)
6. Mon Père Avait un P'tit Champ d'Pommes (3:15)
7. Qu'est-ce que tu as? (7:44)

Total time: 32:34

Line-up / Musicians

- Albert Marcoeur / drums, percussion, wood, pipes, clarinets, saxes, piano, voice, bird-calls, horns, whistles
- Patrice Tison / bass, guitars, organ, percussion, charengo, anusoidal murmur, bird-calls, horns, whistles
- Robert Lafont / trombone
- Claude Marcoeur / alto bottle, percussion
- Popeye / alto bottle
- Didier Perrier / bass bottle
- Gerard Marcoeur / bass bottle
- François Breant, Christian Sarrel, Claude & Gerard Marcoeur / chorus
- Michel Roy / student carpenter
- Maurice Tasserie / master carpenter
- Beatrice Boitte / pot-au-feu

Releases information

1974 Atlantic/WEA 40546 B
Re-release: 2001 Label Frères M1 1974

Thanks to black velvet for the addition
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ALBERT MARCOEUR Albert Marcoeur ratings distribution

(26 ratings)
Essential: a masterpiece of progressive rock music(42%)
Excellent addition to any prog rock music collection(35%)
Good, but non-essential (15%)
Collectors/fans only (8%)
Poor. Only for completionists (0%)

ALBERT MARCOEUR Albert Marcoeur reviews

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Collaborators/Experts Reviews

Review by Sean Trane
4 stars There are few albums that are really and truly groundbreaking in the history if rock, but in its opposition subgenre, they seem to abound. But if RIO was groundbreaking, they had to come from somewhere to base their sounds and directions, and three of them were Soft Machine's Third and Wyatt's End Of An Ear, and Samla Manna Mamma's Maltid. Another is obviously Albert Marcoeur's early works, and certainly his self-titled debut. While Marcoeur has often been cited as the French Zappa, I often found that moderately satisfying and partly exaggerated, not only by the width of their respective works, but also by their

Indeed, both frequently delve in avant-garde music and have a certain sense of humour (although Albert does not have Frank's derision), but Marcoeur's music is not as accessible as Zappa. Marcoeur involves his brothers for choirs with François Breant (see his entry), but his main musical pal is Patrice Tison on guitars, bass and even keyboards when needed, while Albert drums and blows in wind instruments mostly, but explores

I'm a bit of a late-comer to Marcoeur as I'm discovering his works over three decades after their initial release, but I find that I'm filling in an immense void in my musicology, as I also delve in Hector Zazou (still to be included as I write now), whom I would consider Marcoeur's spiritual son. Musically this is not far away from Stormy Six's L'Apprendista, mixed with a bit of Maltid. After the almost punkish C'est Raté, which offers a few grins as the music tries every directions to come back directly to itself, There is an instrumental Simone that starts gloomily over an alarm siren, before ending on a calmer line. Tu Tapes Trop Fort (you hit too hard) seems to be the logical follow-up of C'est Raté, not only sonically (same universe), but lyrically trying to violate a safe.

Appalderie recalls Simone's siren alarm at first before dissonant for the first time on the album and the album's centerpiece Que Le Temps Est Long , a lovely intimate song interrupted by a violently intrusive chorus. The darkest and most impenetrable track is P'tit Champs De Pomme (small applefield) where the music has definitely swung dissonant, and most likely improvised, sometimes reminiscent of Italy's Area. Closing (already!?!) on the album-longest and very percussive Qu'est Ce Que Tu As, (what's wrong with you? In this case) with a slow flute, the track soon embarks on Samla-ian boat and the repetitive staccato rhythms are ending in a surprise way.

Although this album's reputation of being a foundation of RIO (and Etron Fou Leloublan were very influenced by it), Marcoeur's debut album remains very accessible despite the dissonant moment in the second-last track. An absolutely essential album if you want to know about how RIO came to be.

Review by Dobermensch
4 stars This is a very short, silly and yet totally inspired album bursting at the seams with weird and wonderful sounds. Albert Marcouer may have been a trained Clarinetist but this recording is far more interesting than this may suggest. In some ways he sounds like Frank Zappa from a few years earlier but is far more experimental, frantic and ridiculous.

Only the French seemed capable of this kind of maniacal goofiness in the early to mid 70's. Thankfully the vocals are recited in that language, leaving me non the wiser as to what's irritating him so much. The vocals are bleated out like a 70's French Film Star. When he sings it's like listening to prog geniuses 'Moving Gelatine Plates'.

This album is similar to 'Etron Fou Le Loublan' another French band who released similar wackiness from the same period. While Krautrock was at it's height in Germany, the French seemed to go in a different direction completely.

Tin cans, horns, pops and squeaks are all condensed into a fast flowing sea of madness, which gets more hilarious the further it progresses. By the end I've got a big 'Cheshire Cat' grin on my face like someone's been tickling my ribs. Sped up tape manipulation of zany sounds only adds to the fun.

It's like watching clowns at the circus in their tartan jackets as their car falls to pieces. The doors falls off, the steering wheel detaches, the engine backfires and the wheels go wonky. None of it makes any sense of course, but it has a light hearted playfulness that is missing from many recordings from this era. If only all music was carried out with such gay abandon I'd be a happy guy.

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