THE PLASTIC PEOPLE Passion Play LP

$

36

The Plastic People of the Universe
Passion Play
Bozi Mlyn Productions BM 8001
(c)(p) 1980 Bozi Mlyn Productions
Made in Canada
LP; single cover with one page (2-sided) insert

"The Plastic People of the Universe biography "What's it like making rock n' roll in a police state? The same as anywhere else, only harder. Much harder" (Paul Wilson, Musician magazine, 1983)

THE PLASTIC PEOPLE OF THE UNIVERSE were a rather innovative but otherwise unexceptional post-psychedelic band. They wouldn't likely stand out in the history of modern music were it not for their completely remarkable story of persistence in the shadow of suppression behind the Iron Curtain in post-'Prague Spring' Czechoslovakia. Their story is one of vision, and serves as a symbol of the power of human will in the face of soulless oppression.

The Plastics were born amid the Soviet invasion of Czechoslovakia in late 1968. They were formed by bassist Milan Hlavsa, already a veteran of local bands THE UNDERTAKERS, NEW ELECTRIC POTATOES, and FIERY FACTORY. Hlavsa recruited former schoolmates Ji?í Števich, Michal Jernek, and drummer Pavel Zeman into the original lineup. In addition to a repertoire of VELVET UNDERGROUND, DOORS, and MOTHERS OF INVENTION covers, the band distinguished themselves with garish face paint, satin togas, and wild original compositions that made up in energy what they lacked in style or complexity.

In the spring of 1969 the band enlisted PRIMITIVES GROUP veteran Ivan Jirous as artistic director, and added former TEENAGERS violist Ji?í Kabeš the following year. Around the same time Jirous enlisted the help of Canadian language teacher Paul Wilson to provide vocals and to teach the band English lyrics for their compositions. 1972 also saw the addition of saxophonist Vratislav Brabenec.

The Plastics endured many years of government harassment and persecution, all while continuing to develop their sound and an ardent following while cementing their place as fathers of the Czech musical underground. Having lost state sanction as professional musicians early in the Soviet occupation the band often appeared in the guise of amateur entertainment at weddings, dances and family parties, as well as in the occasional underground festival. Their equipment was often laboriously hand-made, and rehearsals were usually conducted without amplification in the secrecy of friend's and family's crowded apartments. Arrangements were typically practiced as individual parts, with the combined works being put together in impromptu fashion only on those rare occasions when the band found themselves with an opportunity to perform on stage."
—Progarchives.com

CONDITION:
Cover: shelf wear; creases along spine
LP: excellent