Mugur de fluier (1974) 01 Septembrie 2002 by Mihai Plamadeala - musician NOMEN EST OMEN

Translated and adapted by Vlad Borlea

If through their previous album, "Cei ce ne-au dat nume", they managed to surprise all rock lovers in the country, due to their change of style, with "Mugur de fluier", Nicolae Covaci - guitar, double six, vocals, percussion; Iosif Kappl - bass, vocals, violin, blockflote, percussion, chimes; Mircea Baniciu - vocals, guitar, percussion; Costin Petrescu - drums, cymbalom, percussion, Valeriu Sepi - percussion and (only a collaborator for the moment) Gunter Reininger - percussion, celesta, chimes - fully confirmed that the road they had set on was the right one.

Conceived in the same unitary fashion, close to symphonic prog rock, the album creates and mentains a special atmosphere, more powerful than the one on the previous LP.

The song "Lasa, lasa" (1,5,7,11,13) was split into five unequal parts and distributed (serving as interlude) throughout the opus. The effect is the inteded one: continuity is not impaired and the theme is what gives the whole its strength. And while we're here, I wonder why the album doesn't end in relation to its beginning, that is with an epilogue of the above-mentioned song. I sense that the idea, otherwise remarkable, was not used within its full potential. This remark, however, is independent of the judgement on this excelent album's value. A version of the song was included in the soundtrack of "Nemuritorii" (The Immortals"), a film directed by Sergiu Nicolaescu.

"Pavel Chinezu, leat 1479"(2), "Strunga"(3) and "Anule, hanule"(12), three musically distinct songs, fit perfectly into the Phoenix sound. The compositional, thematic and interpretational variety makes them unique amongst rock creations everywhere. Covaci's solo on "Pavel..." was said to be "Rory Gallager like", an idea that I do not share. Rock language is universal. The influences shouldn't be identified with the "alfabet" used, but looked for at a "syntax" level. As music "cannot be born from nothingness", everything is alike up to a point (the notes being the same). Certain "templates" even become distinctive marks for musical genders, so the problem of resemblances, influences or plagiarism remains a complex one (it seems that critique based on music theory is still needed, after all).

Each time I listen to "Strunga" I become fascinated by its force and its charm and I realise how easily such a song might be underestimated, due to the very fact that you simply like it, with no reservations. I agree to one of my friend's idea, who noticed an interesting phenomenon, that Phoenix, unlike Sfinx, were "consumed" rather than listened to at college student parties (otherwise said, an elitist environment). We are dealing with adaptation on more levels of receiving the music of Phoenix, which does not imply any forms of artistic compromise, only finding a wide expression language.

"Anule, hanule" could generate by development a rock opera. It would also be ideal as a soundtrack. Nicu Covaci (1, 2, 3, 5, 6, 7, 8, 10, 11, 12, 13) always finds the best solutions for his intentions. The fact of being the lead singer in more songs was considered in relation to the whole - the register and the remarkable backing vocal qualities Baniciu has sets them outside the ordinary area. The choir and additional instruments represent the band's mark, who gives more and more importance to the lyrics. The music becomes a way of expression, and not "its own purpose". The collaboration with Serban Foarta - Andrei Ujica (1, 2, 5, 6, 7, 9, 11, 12, 13) and Victor Circu (8, 10, 14) or the use of suitable folkloric texts (3, 4) are one of the band's strongest points. Mircea Florian, another great artist (close to Phoenix) also gave importance to original lyrics, only with a different finality, of course. Esteemed bands or artists have often disqualified themselves because of the bad "libretto".
"Mugur de fluier"(10) is also the inspired title of the album; another song loved by the wide public, and which has a hidden core. Its resemblance with "Christmas song" from "Living in the past" by Jethro Tull doesn't stop me from appreciating the song at its real value. "Andrii Popa"(4), Baniciu's only composition that was accepted into the Phoenix repertoire, is in my opinion "out of their league". It would have fitted on a solo album of the artist, maybe supported by the band. The folk pattern, the theme and the approach liken it to similar creations, such as "Amintiri cu haiduci"- Valeriu Sterian, "La fagadau' de piatra" - Mircea Florian or "Cantic de haiduc"- Dorin Liviu Zaharia. It is the most popular Phoenix song...

Iosif Kappl's compositions (9, 14), different through style and approach from Covaci's, are also fantastic. "Muzica si muzichiie"(9), built on alternating measures, creates a complete "fair music" atmosphere. Its specific oriental-Balkan characteristics make up the charm of the song, seen from an ironic perspective. The theme's progression remembers of "Mesterul Manole", released on a previous single. "Dansul codrilor" (14) anticipates a series of songs close to the hard-rock approach, such as "Filip si cerbul" or "Vasiliscul si aspida" (of "Cantofabule"). More direct regarding the means of expression, this is built on the idea of "monumental". Yet "Mica tiganiada"(6) and "Ochii negri, ochi de tigan"(8) are the most complex songs on the album. Exceptional pieces of work, they have no match in Romanian music. I consider "Mica tiganiada" to be one of the (few) songs that stand out amongst great works on a universal scale. The cymbalom, the bongos, the violin and the lyrics suited to the idea give a specific charm to a song incredibly well sustained by rock instruments. You can talk over and over about it but its audition can tear apart any speculative judgement.
 
"Ochii negri..." is conceived as a piece of "old music", its archaic character making its presence felt both musically and semiologically. The shape some themes take with Phoenix makes me believe they would have had the potential for 3 distinct rock operas. 

Phoenix were loved ever since they appeared, in the '60s, but if it survived the time, it is because of the orientation they chose in the '70s. Through "Mugur de fluier" the band reached its full artistic maturity, preparing the public for what was to be probably the climax of Romanian progressive rock, the "Cantofabule" record.

What do u think?