THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,537) החלונות הגבוהים (The High Windows) — “יחזקאל”/”Ezekiel”
From “the most perfect pop [rock] album in the history of Israeli music” (Yair Etziony, https://www.textura.org/archives/articles/etziony_top10.htm), comes some pretty perfect pop about “Prophet Ezekiel[, who] knew how to have fun!”
Yair Etziony writes about the LP:
Shmulik Kraus was already recognized as a known composer in his own right when he returned from the US, heavily influenced by the American psychedelic rock scene. Together with Arik Einstein, probably Israel ‘s most beloved singer, and Josie Katz, they created what to my opinion became the most perfect pop album in the history of Israeli music. Vocal harmonies à la the Mamas and Papas and spectacular arrangements and lyrics by the finest songwriters combined to create an album in which every track became a hit song. This album signaled the beginning of an era in which Israeli culture became more and more engrossed by international culture and music.
Jazzis adds:
Only album by the Israeli vocal trio, which included Arik Einstein, Shmulik Kraus and Josie Katz, and which is considered as the first original Israeli Pop album ever recorded. Strongly influenced by the Beatles and other (then) contemporary Pop and Rock groups, the High Windows recorded a superb set of songs in Hebrew (all written by Kraus), using vocal harmonies and instrumental arrangements, which were completely revolutionary at the time. Israeli music up to that point was based mainly on East-European melodies and folksy approach and this was the first attempt to create a local scene modeled after Western Pop. The musical “establishment” at the time received this music with harsh criticism (The Beatles were not allowed to play in Israel to avoid the “bad” influence on local youth) and some of the songs were banned by the censor from being played on the radio. But the public loved the songs and the album soon became one of the most popular Israeli albums of all times. It had a crucial influence on the local scene and soon after an entire new generation of local musicians would start to create original Israeli Pop and Rock, including Progressive Rock. It is interesting to notice that the instrumental work and arrangements on this album were done by a brilliant piano player Ziggy Skarbnik, a legendary figure of the early days of both Israeli Rock and Jazz, who unfortunately died of cancer at an incredibly young age. The drummer was no other than Zohar Levy, another legendary figure. Listening to this album 40 years after it was recorded can be quite revealing and the realization of how brilliant this stuff was and still is becomes inevitable.
And ViperAces tells us that:
It is the album that revolutionized the entire Israeli Rock and Pop scene, much like Rubber Soul did globally. The lyrics were so controversial, criticizing both the religious population and the military, that some of the songs were labeled offensive and banned to play on radio. Nonetheless, some of the songs became Israeli classics, and are loved to this day. The High Windows was also revolutionary musically. Taking a lot from many British acts, and especially The Beatles, the album utilizes vocal harmonies and fresh instrumental arrangements. The dreamy guitar lines . . . are executed perfectly, and fit just right. The sad ballads . . . are extremely gloomy and bleak, marking another high point of the album. . . . The band was firstly named The Windows, as a tribute to The Doors . . . . The High Windows was both musically amazing and very influential on the music scene, starting a Pop, Rock and even Progressive Rock culture in Israel. The album led to the forming of other great Israeli bands like Tamouz and Churchill’s [see #975]. It is an essential piece of history, and a fun album to listen to on its own.
https://www.sputnikmusic.com/review/56995/The-High-Windows-The-High-Windows/
Wikipedia tells us of the High Windows (courtesy of Google Translate):
In 1966, Shmulik Kraus and Josie Katz– then a married couple – used to perform as a duo. One day, Kraus invited Arik Einstein to their home to play him songs they were working on at the time and melodies he had written. Einstein heard and spontaneously joined them in singing, the three voices matched, and about a week later, Arik’s wife Alona . . . suggested that they become a band. . . . In April 1967, the band’s only album . . . was released. . . . Many of the songs on the album became hits. Ziggy Skrebnik is responsible for the musical arrangements on the album and also played piano and organ on it. The collaboration came about after Kraus and Einstein were enthusiastic about his playing in one of the nightclubs in Tel Aviv. The band’s style was characterized by unique, innovative and harmonious production and arrangement experiments, unusual in the musical landscape of that time . . . . After the album’s release . . . the band enjoyed great success and was invited to perform in Israel and abroad. The three recorded several more songs . . . . Professional disagreements, mainly between Einstein and Kraus, over the continued activity and promotion of the band internationally, led Einstein back to Israel. In 1968, after about two years of activity, the band disbanded.
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