For anyone who's interested, this is the playlist from the 12/10/03 SSA listening session:
Ceramic Hello - Diesquad (Absence Of a Canary LP)
Port Said - Indian Ocean, Voyage 2 (45)
Northwind - Home For Frozen Roses (Sister, Brother, Lover CD)
Inertia - The Screen/The Submarine (45)
Paul Masse - Butterfly Lake (Butterfly Lake LP)
The Chefs - Thrush (45)
Jerry Porter - LSD Fixation (Don't Bother Me LP)
Legs Akimbo - Got To Get My Legs Out Of Bed (45)
The Sound Of Feeling - Hurdy Gurdy Man (Spleen LP)
Ana Hausen - Professionals (45)
Horison - Epic (History of UK Underground Folk Rock Vol. 2 CD)
The Clique - Superman (The Clique LP)
Tim Love Lee - Way Down In Dixie (Just Call Me Love Lee CD)
Melton Constable - River Lane (History of UK...CD)
Current Obsessions - Faceless Rite (45)
Markley: A Group - Little Ruby Rain (Markley: A Group CD)
Unknown - Track 2 (untitled) (Folk & Pop Sounds Of Sumatra Vol. 1 CD)
Mark Newman - Mustapha (History Of UK...CD)
Naked Lunch - Slipping Again (45)
The Tremblers - You Can't Do That (Twice Nightly LP)
MnM's - I'm Tired (45)
Shide & Acorn - Song of the Celandine Fairy (Princess of the Island LP)
Peck, Smyth & Off - Magical (Peck, Smyth & Off CD)
Metropak - OK Let's Go (45)
Jake Holmes - Lonely (The Above Ground Sound of Jake Holmes LP)
Anti-Matter - Digital Dance (45)
Berlin Blondes - Science (45)
Shake Shake - Shake Shake (45)
Planning By Numbers - Living Neon (45)
Robert Rental - On Location (45)
Modern Life - Modern Living (45)
The Prophets - Back To Siberia (45)
Milk N Cookies - Tinkertoy Tomorrow (45)
The Filmcast - Admission Yours (45)
Model Citizens - Shift The Blame (45)
The Dance - She Likes To Beat (Dance For Your Dinner EP)
If anybody wants more info about any of these records or artists, feel free to drop me an email.
Friday, December 12, 2003
Wednesday, December 10, 2003
|
|
|
too busy going over recent acquisitions in preparation for tomorrow's S.S.A * listening session to blog about anything, but I anticipate a hearty round of obscurities tomorrow night, from which a playlist will shortly be forthcoming.
*Society of Sonic Antiquarians
*Society of Sonic Antiquarians
Posted at
1:27 AM
Tuesday, December 09, 2003
|
|
|
The Sound Of Feeling - Spleen
A while ago, I wrote about an album by the Inner Dialogue, arty two girls/one guy '60s L.A. sunshine pop. The Sound Of Feeling tempts one to imagine what might have happened if the Inner Dialogue had taken copious amounts of LSD, starting hanging around late-night avant garde jazz jam sessions, and recorded an album for NY free jazz/freako label ESP. This 1969 album isn't on ESP, but on Limelight, the short-lived Mercury subdivision that was initally a Quincy Jones-supervised, legit jazz label, but eventually also home to the great electro-psych band Fifty Foot Hose and a few other West Coast weirdos in the late '60s. The album is produced by none other than legendary jazz critic Leonard Feather. The group itself essentially consists of twin sisters Alyce Rhae Andrece and Rhae Alyce Andrece (I'm not making this up) and a guy named Gary David, all of whom are credited as both singers and "arrangers." The Andrece sisters had previously done guest spots on various TV shows, most notably appearing on the 1967 Star Trek episode "I, Mudd" in multiple roles as the legion of Mudd's identical android girlfriends, all named "Alice." (I SWEAR I'm not making this up.) The band consists of a bunch of top-flight L.A. session cats more oriented toward jazz than the Wrecking Crew musicians, but who had also played tons of rock and pop sessions. One of the aformentioned cats, the uber-ubiquitous vibes/marimba/percussionist Emil Richards, contributes microtonal vibes (don't ask me). Add to all this the participation of Paul Beaver of early synthesizer duo Beaver & Krause, a close associate of Robert Moog and one of the men most responsible for the infiltration of the synthesizer into pop music and film soundtracks in the late-'60s/early-'70s. The aforementioned vocal "arrangements" suggest a collision between the Free Design, Yoko Ono, ESP avant-diva Patty Waters, and Sun Ra's background vocalists. The music is an amalgamation of free jazz, free form avant garde freakout, and deconstructed rock/pop. Parts of Spleen are actually not that dissimilar to the recent pair of Eddie Gale reissues (check 'em out). A couple of the tracks are radical reworkings of contemporary pop songs (Simon & Garfunkel's "The Sound Of Silence" and Donovan's "Hurdy Gurdy Man," and the rest are out-there originals. Oh, and a deconstructed Bartok piece tacked on to the end for good measure. Did I mention that I wasn't making this up?
PS - I had to post this additional information I subsequently discovered. Sound of Feeling's Gary David apparently went on to be a professional epistemologist, while keeping a foot in music. His latest CD purports to be a tribute to Frankie Laine's early jazz recordings. And no, just in case you were wondering, I'm STILL not making this up.
A while ago, I wrote about an album by the Inner Dialogue, arty two girls/one guy '60s L.A. sunshine pop. The Sound Of Feeling tempts one to imagine what might have happened if the Inner Dialogue had taken copious amounts of LSD, starting hanging around late-night avant garde jazz jam sessions, and recorded an album for NY free jazz/freako label ESP. This 1969 album isn't on ESP, but on Limelight, the short-lived Mercury subdivision that was initally a Quincy Jones-supervised, legit jazz label, but eventually also home to the great electro-psych band Fifty Foot Hose and a few other West Coast weirdos in the late '60s. The album is produced by none other than legendary jazz critic Leonard Feather. The group itself essentially consists of twin sisters Alyce Rhae Andrece and Rhae Alyce Andrece (I'm not making this up) and a guy named Gary David, all of whom are credited as both singers and "arrangers." The Andrece sisters had previously done guest spots on various TV shows, most notably appearing on the 1967 Star Trek episode "I, Mudd" in multiple roles as the legion of Mudd's identical android girlfriends, all named "Alice." (I SWEAR I'm not making this up.) The band consists of a bunch of top-flight L.A. session cats more oriented toward jazz than the Wrecking Crew musicians, but who had also played tons of rock and pop sessions. One of the aformentioned cats, the uber-ubiquitous vibes/marimba/percussionist Emil Richards, contributes microtonal vibes (don't ask me). Add to all this the participation of Paul Beaver of early synthesizer duo Beaver & Krause, a close associate of Robert Moog and one of the men most responsible for the infiltration of the synthesizer into pop music and film soundtracks in the late-'60s/early-'70s. The aforementioned vocal "arrangements" suggest a collision between the Free Design, Yoko Ono, ESP avant-diva Patty Waters, and Sun Ra's background vocalists. The music is an amalgamation of free jazz, free form avant garde freakout, and deconstructed rock/pop. Parts of Spleen are actually not that dissimilar to the recent pair of Eddie Gale reissues (check 'em out). A couple of the tracks are radical reworkings of contemporary pop songs (Simon & Garfunkel's "The Sound Of Silence" and Donovan's "Hurdy Gurdy Man," and the rest are out-there originals. Oh, and a deconstructed Bartok piece tacked on to the end for good measure. Did I mention that I wasn't making this up?
PS - I had to post this additional information I subsequently discovered. Sound of Feeling's Gary David apparently went on to be a professional epistemologist, while keeping a foot in music. His latest CD purports to be a tribute to Frankie Laine's early jazz recordings. And no, just in case you were wondering, I'm STILL not making this up.
Posted at
1:02 AM
Sunday, December 07, 2003
|
|
|
"Blue" Gene Tyranny - Just For The Record
This 1979 album was Tyranny's (nee Robert Fischoff) second release. He's a veteran keyboardist/composer whose name is well known in New Music circles, but hardly a household name elsewhere. Web surfers may know him as the guy who seems to have written 90 percent of the bios and album reviews of avant garde musicians (including, seemingly, his own) on the All Music Guide. BGT will always have a place in my heart as the main musical architect behind one of my favorite albums of all time, Private Parts by Robert Ashley. The first side of this album is in fact a piano piece composed by Ashley, who, it should be noted, is best known for vocal-oriented works. Not coincidentally, this long, twelve-tone piece feels a bit directionless. The liner notes say that Ashley left it unfinished for years until Tyranny finally urged him to complete it. Maybe some things are best left on the back burner.
The second side however, is quite good, and makes the record (which never made it to CD, unlike many other releases on Lovely Music) worth owning. The three pieces are all by composers who worked and/or studied with Ashley. The first, "Timing" by Phil Harmonic (sic) is composed of synth drones that change upon verbal instructions from the composer. A warm, organic piece of minimalism, it bears slight echoes of Ashley's work and the great electro-acoustic ambient recording "On Other Oceans" by David Behrman (also an Ashley cohort). The second piece, the humorously titled "Great Masters of Melody" is a shorter, more light-hearted composition by Paul De Marinis, where Tyranny plays quirky, angular clavinet against a loopy synth line, pretty entertaining stuff. The last piece, "Rendezvous" by John Bishoff features multi-tracked synthesizers and rich textures, moving between sections that are alternately attractive and slightly annoying.
This 1979 album was Tyranny's (nee Robert Fischoff) second release. He's a veteran keyboardist/composer whose name is well known in New Music circles, but hardly a household name elsewhere. Web surfers may know him as the guy who seems to have written 90 percent of the bios and album reviews of avant garde musicians (including, seemingly, his own) on the All Music Guide. BGT will always have a place in my heart as the main musical architect behind one of my favorite albums of all time, Private Parts by Robert Ashley. The first side of this album is in fact a piano piece composed by Ashley, who, it should be noted, is best known for vocal-oriented works. Not coincidentally, this long, twelve-tone piece feels a bit directionless. The liner notes say that Ashley left it unfinished for years until Tyranny finally urged him to complete it. Maybe some things are best left on the back burner.
The second side however, is quite good, and makes the record (which never made it to CD, unlike many other releases on Lovely Music) worth owning. The three pieces are all by composers who worked and/or studied with Ashley. The first, "Timing" by Phil Harmonic (sic) is composed of synth drones that change upon verbal instructions from the composer. A warm, organic piece of minimalism, it bears slight echoes of Ashley's work and the great electro-acoustic ambient recording "On Other Oceans" by David Behrman (also an Ashley cohort). The second piece, the humorously titled "Great Masters of Melody" is a shorter, more light-hearted composition by Paul De Marinis, where Tyranny plays quirky, angular clavinet against a loopy synth line, pretty entertaining stuff. The last piece, "Rendezvous" by John Bishoff features multi-tracked synthesizers and rich textures, moving between sections that are alternately attractive and slightly annoying.
Posted at
6:53 PM
Subscribe to:
Posts (Atom)
