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BY STEVE WINICK Otherworldly Drones of Psaltery and Vein of the First Album's Material: Musician and the Electric Guitar

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BY STEVE WINICK Otherworldly Drones of Psaltery and Vein of the First Album's Material: Musician and the Electric Guitar make this folk-rock debut fascinating even today. One of Malicorne’s peculiarities was to keep on putting out eponymous LPs; their second was also simply entitled Malicorne [Hexagone CD 193.652 (1975)]; most critics call it Malicorne II. If Malicorne revealed a great band in the making, Malicorne II realized that potential marvelously. The choral richness of the group's harmonies are fully developed here, and Gabriel allows his full, round acoustic guitar playing to emerge, on such tracks as “Le garçon jardinier .” Most importantly, the band is unusu- ally tight and inventive; their arrangement of “J’ai vu le loup, le renard et la belette,” for example, uses two dulcimers, an épinette des Vosges, a bouzouki and a mando- cello to produce a merry jangle of harmonies, while violin and hurdy-gurdy take the lead and electric bass, and tabor the rhythm. The other set of dance tunes begins with the completely traditional sound of the fiddle, but soon adds a fully realized arrangement featuring hurdy-gurdy, mandocello, and bass. Sergio Gaudente As for the songs, Malicorne’ s best- Malicorne, 1979 - (left to right) Olivier Zdrzalik , Brian Gulland, Dominique Regef, known piece of a capella Marie Yacoub, Patrick Le Mercier, Jean-Pierre Arnoux, Gabriel Yacoub harmonizing, “Marions les roses” is rançois Hadji-Lazaro, a mandolins and the occasional here, as are some classic songs in the popular French rock BY STEVE WINICK otherworldly drones of psaltery and vein of the first album's material: musician and the electric guitar. Other classic titles include historical ballads, songs about Pierre De founder of a family of became the album “Landry,” their first venture into a courtship, and a brief taste of poten- F Grenoble, a landmark recording tially supernatural motifs, which F capella harmonies, and “Le chant des record labels, once said credited to Gabriel and Marie that the group Malicorne “single- livrées,” a ritual marriage song sung would become a trademark of the Yacoub. handedly allowed the French public with Gabriel and Marie quite appro- band in the future. to discover folk music.” This is, Although Pierre De Grenoble fea- priately playing the courting couple. Malicorne’s third album, Almanach perhaps, an exaggeration; during the tured some of the folk scene's top Malicorne’s main weakness is in the [Hexagone CD 193.682 (1976)], 1960s and 1970s, before Malicorne’s players, the lineup did not coalesce quality of the mix, which is muddy. would be their first true masterpiece; heyday, folk music already had a cult into a group. Still, the album did lead But the interesting material, the every facet, from the album’ s initial following both in Paris and in areas to the formation of Malicorne; in band’s fresh approach, and the theme to the details of its gatefold where strong rural traditions re- early September 1973, the Yacoubs helpful bibliography of song sources sleeve, was clearly a labor of love in mained. But by combining the folk joined forces with Hughes de tradition with influences from both Courson, Pierre De Grenoble’s rock and roll and early classical producer, who was also a talented music, Malicorne accomplished a multi-instrumentalist and singer. sound at once richly musical and They soon enlisted Laurent widely accessible, and they brought Vercambre, a similar talent, to form French folk music to a far larger au- Malicorne’s first lineup. With skill dience than had ever heard it before. and enthusiasm, singing and playing obscure instruments like the bowed The history of Malicorne begins with psaltery, the hurdy-gurdy and the a musical couple, Gabriel and Marie crumhorn, they quickly rose to the Yacoub. As members of Alan top of the French folk scene. Their Stivell’s Breton folk-rock band in the debut album, Malicorne [Hexagone early 1970s, the Yacoubs witnessed CD 193.632 (1974)], was like a fresh Stivell’s wizardry at mixing tradi- breeze on the French scene. Its first tional folk music with rock and two songs charted the course of inciting young audiences to a frenzy. Malicorne’s future: a murder ballad As non-Bretons, as Parisians, the sung in Gabriel’ s strong nasal voice Yacoubs began to wonder whether a and accompanied by a combination similar combination of traditional of gentle bouzoukis and dulcimers and electric arrangements could be and tough electric bass and guitar, applied to songs and tunes from the and a song of star -crossed lovers, French-speaking regions of the sung with an ethereal wispiness by Sergio Gaudente country. The first fruits of their ex- Marie, and accompanied by a steady, Malicorne, 1978 - (left to right) Gabriel Yacoub, Laurent Vercambre, periments, recorded in March 1973, loping bass line, bright strums on Marie Yacoub (in mirror), Hughes de Courson, Olivier Zdrzalik 50 April/May ’99 #81 conception, design and execution. As attracted to what Steeleye’s Bob songs are ones he encounters its title suggests, the original LP was Johnson has called “the harsh, hard or composes on the road. conceived as a musical almanac; it stories” of supernatural and murder Many of these pieces reflect presents twelve songs, one for each ballads. Unfortunately, just like the group’s continuing inter- month of the year . Beginning with a Steeleye, Malicorne could release ests in songs about failed New Year’s song, ending with a some uneven albums as well. An ex- marriages, bloody murders Christmas carol, Almanach contains ample was their follow-up to and the supernatural. “Le many items with a specifically Almanach, once again entitled mari jaloux,” for example, is seasonal focus: a carol for St. John’s simply Malicorne [Hexagone CD a classic tale of a bad mar- day (June 25th), a quête song for 193.712 (1977)], but referred to as riage, very similar to songs Mayday, and a song for the ritual Malicorne IV. A few of the tracks are like “Cortège de noce” from hunting of the magpie, which occurs shining examples of what the band the band’s previous discs. in March. Most of the tracks, though, could achieve. “Le déserteur ,” a “La danse des damnés” and are traditional ballads that contain ballad in which a soldier faces death “Une fille dans le désespoir” some seasonal imagery: a slightly for desertion, is given an extremely tell classic tales about the bawdy ballad represents the licen- moving treatment by Gabriel, and a devil, while “L'auberge sanglante” is about innkeep- tiousness of Carnaval, while the lush arrangement by the band, while turn into ers who murder their guests; all of animals. In “La mule,” for ballad of “L’écolier assassin,” “Daniel, mon fils,” one of the example, a young woman is cursed hair-raising both for the bloody mur- group’s most effective a capella these themes fit in with the band’s in- terests and carry those interests fur- by the curate and becomes a mule, der it describes and the twisted arrangements, is another shockingly while in “Alexandre” a young man Oedipal relationship it implies, oedipal ballad couched in appro- ther than their previous albums did. Malicorne’s musical arrangements kills his benefactor and is cursed to represents November and the Day of priately disturbing harmonies. But be a werewolf. In “Les transforma- the Dead. Probably the most effect- other songs that could have been are never stronger than they are on this album, and the balance between tions,” on the other hand, the tive and unusual treatment on great don’t come off so well. “La changes are intentional. A man pur- Almanach is of “Les tristes noces,” a blanche biche,” one of the French traditional instruments and electric ones is perfect. Most important is that, like sues a woman; she changes into French version of the “Nobleman's tradition’s best and most gruesome various animals and objects to es- Wedding” ballad in which a young supernatural ballads, is given an a good work of fiction, this disc transports you to another world and cape him, he changes into various cad has the bad taste to invite his arrangement that was very difficult animals and objects to continue his mistress to his wedding, leading un- to achieve in its day, but it sounds puts you among interesting charac- ters; when it’ s over, you wish there pursuit. It’s a tale as old as time and wittingly to both of their deaths. As lackluster today. Meanwhile, “Le jar- told all over the world, but it’s effec- befits such a sweeping story , the dinier du couvent” alternates between were more adventures to share with your new companion. tive here all the same. The players song is given a multi-part a pleasant but uninspiring piano approach the material more like En Public arrangement encompassing several arrangement and bombastic rock and [Acousteak CD 082302 rockers, with a rhythm section that melodies as well as a richly varied roll attack made possible by the (1979)], Malicorne’s sixth disc, captures contributes lots of drive, and hard- instrumental backing; Malicorne band’s new member, bass player and the same lineup live in concert. Most edged guitar here and there; still, the invited both a classical string quartet, drummer Olivier Zdrzalik. The most of the material, which includes “Le hurdy-gurdies, fiddles and who add lushness and texture, and interesting track, “La fiancée du tim- mariage anglais,” “Le prince crumhorns lead on most of the songs the traditional folk band La balier,” includes a brass band; it has d’Orange,” “L’écolier assassin” and and tunes, and Le Bestiaire retains its Bamboche, who contribute excellent been included as an extra track on the “La danse des damnés” had already essential grounding in traditional and appeared on other Malicorne albums, playing on bagpipe and accordion.
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