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  • Chosen records II: 1960s

    Ago 17 2009, 12h48 por samueljeronimo

    - 13th Floor Elevators, The psychedelic sounds of 13th Floor Elevators (Sunspots, 1966);
    - MC5, Kick out the jams (Wrong, 1969);
    - Adriano Correia de Oliveira, O canto e as armas (Orfeu, 1969);
    - Afterglow, Afterglow (Sundazed, 1968);
    - Al Wilson, Searching for the dolphins (Soul City, 1969);
    - Alexander "Skip" Spence, Oar (Sundazed, 1969);
    - Amon Düül II, Phallus Dei (Liberty, 1969);
    - Andrew Hill, Point of departure (Blue Note, 1964);
    - Andromeda, Andromeda (Angel Air, 1969);
    - António Carlos Jobim, Wave (Polygram, 1967);
    - Arcadium, Breathe awhile (Akarma, 1969);
    - Archie Shepp, Kwanza (Impulse, 1969);
    - Argent, Argent (BSO, 1969);
    - Art, Supernatural fairy tales (Fontana, 1969);
    - Art Blakey and The Jazz Messengers, A night in Tunisia (EMI, 1960);
    - Arthur Brown, The crazy world of Arthur Brown (Polydor, 1967);
    - Arzachel, Arzachel (Akarma, 1969);
    - The Association, Renaissance (Collectors’ Choice Music, 1967);
    - Astrud Gilberto, Beach samba (Verve, 1967);
    - Bakerloo, Bakerloo (Akarma, 1969);
    - The Band, Music from big pink (Capitol, 1968);
    - The Band, The Band (Toshiba, 1969);
    - The Battered Ornaments, A meal we can shake hands with in the dark (Repertoire, 1969);
    - The Beach Boys, Surfin' safari (Capitol, 1962);
    - The Beach Boys, Surfer girl (Capitol, 1963);
    - The Beach Boys, Little deuce coupe (Capitol, 1963);
    - The Beach Boys, Today (Capitol, 1965);
    - The Beach Boys, Pet sounds (Capitol, 1966);
    - The Beach Boys, Smiley smile (Capitol, 1967);
    - The Beach Boys, Wild honey (Capitol, 1968);
    - The Beach Boys, Friends (Capitol, 1968);
    - The Beach Boys, 20/20 (Capitol, 1969);
    - The Beatles, A hard day’s night (Parlophone, 1964);
    - The Beatles, Help! (Parlophone, 1965);
    - The Beatles, Rubber soul (Parlophone, 1965);
    - The Beatles, Revolver (Parlophone, 1966);
    - The Beatles, Sgt.Pepper's Lonely Hearts Club Band (EMIv);
    - The Beatles, Magical mystery tour (EMI, 1967);
    - The Beatles, The Beatles (Apple, 1968);
    - The Beatles, Abbey Road (Apple, 1969);
    - Bee Gees, First (RSO, 1967);
    - Bee Gees, Horizontal (Polydor, 1968);
    - Bee Gees, Odessa (Polydor, 1969);
    - Bert Jansch, Bert Jansch (Transatlantic, 1965);
    - Big Brother & The Holding Company, Cheap thrills (Columbia, 1968);
    - Bill Evans Trio, Sunday at the Village Vanguard (Riverside, 1961);
    - Bill Evans Trio, Waltz for Debby (Riverside, 1961);
    - Billy Nicholls, Would you believe (Castle, 1968);
    - Blind Faith, Blind Faith (Polydor, 1969);
    - Blodwyn Pig, Ahead rings out (BGO, 1969);
    - Blonde on Blonde, Contrasts (Sanctuary, 1969);
    - Blood, Sweat & Tears, Child is father to the man (Columbia, 1968);
    - Blood, Sweat & Tears, Blood, Sweat & Tears (Columbia, 1969);
    - Blue Cheer, Vincebus eruptum (Universal, 1967);
    - Blue Cheer, New! Improved! (Akarma, 1969);
    - Blue Mitchell, The thing to do (Blue Note, 1964);
    - The Blues Magoos, Psychedelic lollipop (Repertoire, 1966);
    - Bob Dylan, Bob Dylan (Columbia, 1962);
    - Bob Dylan, The freewheelin´ Bob Dylan (Columbia, 1963);
    - Bob Dylan, The times they are a-changin' (Columbia, 1964);
    - Bob Dylan, Another side of Bob Dylan (Columbia, 1964);
    - Bob Dylan, Bringing it all back home (Columbia, 1965);
    - Bob Dylan, Highway 61 Revisted (Columbia, 1965);
    - Bob Dylan, Blonde on blonde (Columbia, 1966);
    - Bob Dylan, Nashville skyline (Columbia, 1969);
    - Bobby Hutcherson, Dialogue (Blue Note, 1965);
    - The Bonzo Dog Band, Gorilla (BGO, 1967);
    - Booker T. & The MG's, Green onions (Atlantic, 1962);
    - Brian Auger & The Trinity, Definitely what!... (Disconforme, 1969);
    - Bridget St. John, Ask me no questions (Cherry Red, 1969);
    - Buddy Emmons, Steel guitar jazz (Verve/Mercury, 1963);
    - Buffalo Springfield, Buffalo Springfield (Atco, 1966);
    - Buffalo Springfield, Again (ATCO, 1967);
    - The Byrds, Mr. Tambourine Man (Columbia, 1965);
    - The Byrds, Turn! Turn! Turn! (Columbia, 1965);
    - The Byrds, Fifth dimension (Columbia, 1966);
    - The Byrds, Younger than yesterday (Columbia, 1967);
    - The Byrds, The notorious Byrd brothers (Columbia, 1968);
    - The Byrds, Sweetheart of the rodeo (Columbia, 1968);
    - The Byrds, Dr. Byrds and Mr. Hyde (Columbia, 1969);
    - The Byrds, Ballad of Easy Rider (Columbia, 1969);
    - Can, Monster movie (Spoon, 1969);
    - Canned Heat, Boogie with Canned Heat (EMI, 1968);
    - Canned Heat, Living the blues (Akarma, 1968);
    - Canned Heat, Hallelujah (BGO, 1969);
    - Cannonball Adderley Quintet, Mercy, mercy, mercy! Live at The Club (Capitol, 1967);
    - Captain Beefheart & His Magic Band, Safe as milk (Buddah, 1967);
    - Captain Beefheart & His Magic Band, Strictly personal (Liberty, 1968);
    - Captain Beefheart & His Magic Band, Trout mask replica (Reprise, 1969);
    - Caravan, Caravan (Verve, 1968);
    - Charles Mingus, The black saint and the sinner lady (Impulse!, 1963);
    - Charles Mingus, Mingus, Mingus, Mingus, Mingus (Impulse!, 1963);
    - Charlie Haden, Liberation Music Orchestra (Impulse! , 1969);
    - Chicago, Chicago Transit Authority (Columbia, 1969);
    - Chick Corea, Inner space (Atlantic, 1967);
    - Chick Corea, Sundance (Charly, 1969);
    - Chicken Shack, O.K. Ken? (Blue Horizon, 1969);
    - Count Basie/Sarah Vaughan, Count Basie & Sarah Vaughan (Capitol, 1961);
    - Clark Hutchinson, A=MH2 (Repertoire, 1969);
    - Climax Blues Band, Plays on (C-Five, 1969);
    - Clouds, The clouds scrapbook (BGO, 1969);
    - Colosseum, Those who are about to die salute you (Fontana, 1969);
    - Colosseum, Valentyne Suite (Castle, 1969);
    - Cream, Fresh cream (Polydor, 1966);
    - Cream, Disraeli gears (Polydor, 1967);
    - Cream, Wheels of fire (Polydor, 1968);
    - Creation, We are paintermen (Repertoire, 1967);
    - Creedence Clearwater Revival, Creedence Clearwater Revival (Fantasy, 1968);
    - Crosby, Stills & Nash, Crosby, Stills & Nash (Atlantic, 1969);
    - David Ackles, David Ackles (Elektra, 1968);
    - David Bowie, Space oddity (EMI, 1969);
    - Davy Graham, Folk, blues & beyond... (DECCA, 1964);
    - Davy Graham, Midnight man (Fledgling, 1966);
    - Davy Graham/Shirley Collins, Folk roots, new routes (Fledg'ling UK, 1964);
    - Deep Purple, Shades of Deep Purple (EMI, 1968);
    - Deep Purple, Concerto for Group and Orchestra (Warner Bros., 1969);
    - Deep Purple, Deep Purple (EMI, 1969);
    - Deep Purple, The book of Taliesyn (EMI, 1969);
    - Dexter Gordon, Go (Blue Note, 1962);
    - Dexter Gordon, Our man in Paris (Blue Note, 1963);
    - Dizzy Gillespie, Live at the Village Vanguard (Blue Note, 1967);
    - Donald Byrd, A new perspective (Blue Note, 1963);
    - Donovan, Sunshine superman (PYE, 1966);
    - The Doors, The Doors (Elektra, 1966);
    - The Doors, Strange days (Elektra, 1967);
    - The Doors, Waiting for the sun (Elektra, 1968);
    - The Doors, The soft parade (Elektra, 1969);
    - Duke Ellington, Money jungle (Blue Note, 1962);
    - Duke Ellington/John Coltrane, Duke Ellington & John Coltrane (Impulse, 1962);
    - Duncan Browne, Give me take you (Immidiate, 1968);
    - Dusty Springfield, A girl called Dusty (Philips, 1964);
    - Dusty Springfield, Dusty (Mercury, 1964);
    - Dusty Springfield, Where am I going (Philips, 1967);
    - Dusty Springfield, The look of love (Philips, 1967);
    - Dusty Springfield, Dusty in Memphis (Mercury, 1969);
    - Earth Opera, Earth Opera (Elektra, 1968);
    - East of Eden, Mercator projected (DECCA, 1969);
    - Eire Apparent, Sunrise (Sequel, 1969);
    - The Electric Prunes, I had too much to dream (Last night) (Rhino, 1967);
    - Elmer Gantry’s Velvet Opera, Elmer Gantry’s Velvet Opera (Repertoire, 1967);
    - The End, Introspection (DECCA, 1969)
    - Eric Dolphy, Out there (Universal, 1960);
    - Eric Dolphy, Out to lunch (Blue Note, 1964);
    - Eyes of Blue, In fields of Ardath (Black Rose, 1969);
    - Fairport Convention, Fairport Convention (Polydor, 1968);
    - Fairport Convention, What we did on our holidays (Island, 1969);
    - Fairport Convention, Unhalfbricking (Island, 1969);
    - Fairport Convention, Liege & lief (Island, 1969);
    - Family, Music in a doll's house (Reprise, 1968);
    - Family, Family entertainment (See for Miles, 1969);
    - The Five Day Week Straw People, The Five Day Week Straw People (Akarma, 1968);
    - Fleetwood Mac, Peter Green's Fleetwood Mac (Blue Horizon, 1968);
    - Fleetwood Mac, Mr.Wonderful (Blue Horizon, 1968);
    - Fleetwood Mac, English rose (Epic, 1969);
    - Fleetwood Mac, Then play on (Reprise, 1969);
    - The Flock, The Flock (Sony, 1969);
    - Forest, Forest (BGO, 1969);
    - Frank Zappa,, Absolutely free (Ryko, 1967);
    - Frank Zappa,, Lumpy gravy (Ryko, 1967);
    - Frank Zappa, Uncle Meat (Ryko, 1969);
    - Frank Zappa, Hot rats (Ryko, 1969);
    - Freddie Hubbard, Open Sesame (Blue Note, 1960);
    - Freddie Hubbard, Ready for Freddie (Blue Note, 1961);
    - Freddie Hubbard, The body & the soul (Impulse!, 1963);
    - Free, Free (A&M, 1969);
    - Free, Tons of sobs (Fontana, 1968);
    - The Fugs, The Fugs (Fugs, 1966);
    - Gene Clark, Gene Clark with The Gosdin Brothers (Columbia, 1967);
    - George Benson, It's uptown (Columbia, 1965);
    - George Benson, Shape of things to come (A&M, 1968);
    - George Benson, Giblet gravy (Verve, 1968);
    - George Harrison, Wonderwall music (Apple, 1968);
    - George Harrison, Electronic sounds (Apple, 1969);
    - George Russell Sextet, Ezz-thetics (Riverside, 1961);
    - Giles, Giles & Fripp, The cheerful insanity of Giles, Giles & Fripp (DECCA, 1968);
    - Grachan Moncur III, Some other stuff (Blue Note, 1964);
    - Grant Green, Idle moments (Blue Note, 1964);
    - Grateful Dead, Anthem of the sun (Rhino, 1968);
    - Grateful Dead, Aoxomoxoa (Warner, 1969);
    - Grateful Dead, Live/Dead (Warner, 1969);
    - Hank Mobley, Soul station (Blue Note, 1960);
    - Herbie Hancock, Takin' off (Blue Note, 1962);
    - Herbie Hancock, Inventions and dimensions (Blue Note, 1963);
    - Herbie Hancock, Empyrean isles (Blue Note, 1964);
    - Herbie Hancock, Maiden voyage (Blue Note, 1965);
    - The Herd, Paradise lost (Repertoire, 1968);
    - High Tide, Sea shanties (Repertoire, 1969);
    - Holger Czukay, Canaxis (Spoon, 1969);
    - Horace Parlan, Happy frame of mind (Blue Note, 1963);
    - Horace Silver Quintet, Song for my father (Blue Note, 1964);
    - Horace Silver Quintet/J.J. Johnson, The Cap Verdean blues (Blue Note, 1965);
    - Humble Pie, As safe as yesterday is (Immediate, 1969);
    - Igginbottom, Igginbottom’s wrench (Angel Air, 1969);
    - Ike Quebec, Blue and sentimental (Blue Note, 1962);
    - Ike Quebec, It might a well be spring (Blue Note, 1964);
    - The Incredible String Band, The Incredible String Band (Elektra, 1966);
    - The Incredible String Band, 5000 spirits or the cayers of the onion (Elektra, 1967);
    - The Incredible String Band, The hangman's beautiful daughter (Elektra, 1968);
    - The Incredible String Band, The big huge (Elektra, 1968);
    - The Incredible String Band, Changing horses (Hannibal, 1969);
    - Iron Butterfly, In-a-gadda-da-vida (Atco, 1968);
    - Isaac Hayes, Hot buttered soul (Stax, 1969);
    - Jack McDuff, Down home style (Blue Note, 1969);
    - Jackie McLean, Destination out! (Blue Note, 1963);
    - Jackson C. Frank, Jackson C. Frank (Columbia, 1965);
    - Jefferson Airplane, Takes off (RCA, 1966);
    - Jefferson Airplane, Surrealistic pillow (RCA, 1967);
    - Jefferson Airplane, Crown of creation (RCA, 1968);
    - Jefferson Airplane, Volunteers (RCA, 1969);
    - Jesse Colin Young, The soul of a city boy (Capitol, 1964);
    - Jimi Hendrix Experience, Are you experienced? (Polydor, 1967);
    - Jimi Hendrix Experience, Axis, bold as love (Polydor, 1967);
    - Jimi Hendrix Experience, Electric ladyland (Polydor, 1968);
    - Jimmy McGriff, Electric funk (Blue Note, 1969);
    - Jimmy Smith/Wes Montgomery, The dynamic duo (Verve, 1966);
    - Joe Henderson, Page one (Blue Note, 1963);
    - Joe Henderson, Inner urge (Blue Note, 1964);
    - John Coltrane, Giant steps (Atlantic, 1960);
    - John Coltrane, Coltrane plays the blues (WEA, 1960);
    - John Coltrane, My favorite things (Audiophile, 1960);
    - John Coltrane, Africa/Brass (Impulse!, 1961);
    - John Coltrane, Olé (Atlantic, 1962);
    - John Coltrane, Impressions (Impulse!, 1963);
    - John Coltrane, Stardust (Prestige, 1963);
    - John Coltrane, A love supreme (Impulse!, 1964);
    - John Coltrane, Ascension (Impulse! , 1965);
    - John Coltrane, Meditations (Impulse!, 1966);
    - John Coltrane, A love supreme (Impulse!, 1966);
    - John Coltrane Quartet, Crescent (Impulse!, 1964);
    - John Fahey, The dance of death & other plantation favorites (Takoma, 1964);
    - John Martyn, The tumbler (Fontana, 1969);
    - John Mayall, John Mayall & The Bluesbreakers with Eric Clapton (DECCA, 1966);
    - John Mayall, A hard road (London, 1967);
    - John Mayall, Crusade (DECCA, 1967);
    - John Mayall, The blues alone (DECCA, 1967);
    - John Mayall, Bare wires (London, 1968);
    - John Mayall, Blues from Laurel Canyon (DECCA, 1968);
    - John McLaughlin, Extrapolation (Polygram, 1969);
    - Johnny Cash, Ride this train (Columbia, 1960).
    - Johnny Cash, Orange blossom special (Columbia, 1965);
    - Johnny Cash, Johnny Cash at Folsom prison (Columbia, 1968);
    - Johnny Winter, The progressive blues experiment (BGO, 1969);
    - Joni Mitchell, Song to a seagull (Reprise, 1968);
    - Joni Mitchell, Clouds (Reprise, 1969);
    - José Afonso, Cantares de andarilho (Movieplay, 1968);
    - Kaleidoscope, Side trips (Epic, 1967);
    - Karen Dalton, It's so hard to tell who's going to love you the best (Capitol, 1969);
    - Kenny Burrell, Midnight blue (Blue Note, 1963);
    - Kenny Dorham, Whistle stop (Blue Note, 1961);
    - Kevin Ayers, Joy of a toy (EMI, 1969);
    - King Crimson, In the court of the crimson king (EG, 1969);
    - The Kinks, Face to face (Essential, 1966);
    - The Kinks, Something else (Essential, 1967);
    - The Kinks, The Kinks are Village Green Preservation Society (Essential, 1968);
    - The Kinks, Arthur or the decline and fall of the british empire (Essential, 1969);
    - La Monte Young, The black record (Edition X, 1969);
    - Larry Young, Unity (Blue Note, 1966);
    - Laura Nyro, Eli and the thirteenth confession (Columbia, 1968);
    - Laura Nyro, New York tendaberry (Columbia, 1969);
    - Led Zeppelin, Led Zeppelin (Atlantic, 1969);
    - Led Zeppelin, Led Zeppelin II (Atlantic, 1969);
    - Lee Morgan, The sidewinder (Blue Note, 1963);
    - Lee Morgan, In search of the new land (Blue Note, 1964);
    - Leonard Cohen, Songs of Leonard Cohen (Columbia, 1968);
    - Leonard Cohen, Songs from a room (Columbia, 1969);
    - Love, Da Capo (Elektra, 1966);
    - Love, Forever changes (Elektra, 1967);
    - The Lovin' Spoonful, Daydream (Buddah, 1966);
    - The Lovin' Spoonful, Hums of the Lovin’ Spoonful (Buddah, 1966);
    - Lucky Thompson Quartet, Lucky strikes (Prestige, 1964);
    - Luiz Bonfá, Plays and sings Bossa Nova (Verve, 1963);
    - The Mamas & The Papas, If you can believe your eyes and ears (Dunhill, 1966);
    - Manfred Mann, The five faces of Manfred Mann (EMI, 1964);
    - The Meters, The Meters (Sundazed, 1969);
    - Miles Davis, Someday my prince will come (Columbia, 1961);
    - Miles Davis, ’Round about midnight (Columbia, 1962);
    - Miles Davis, E.S.P. (Columbia, 1965);
    - Miles Davis, Miles smiles (Columbia, 1966);
    - Miles Davis, In Berlin (Sony BMG, 1966);
    - Miles Davis, Filles de Kilimanjaro (Columbia, 1968);
    - Miles Davis, Nefertiti (Columbia, 1968);
    - Miles Davis, In a silent way (Columbia, 1969);
    - Moby Grape, Moby Grape (Sundazed, 1967);
    - The Monks, Black monk time (Repertoire, 1966);
    - The Moody Blues, Days of future passed (DECCA, 1967);
    - The Moody Blues, In search of the lost chord (DECCA, 1968);
    - The Moody Blues, To our children's children's children (DECCA, 1969);
    - The Mothers of Invention, Freak out! (Rykodisc, 1966);
    - The Mothers of Invention, We're only in it for the money (Verve, 1968);
    - The Move, The Move (Repertoire, 1968);
    - Music Emporium, Music Emporium (Sundazed, 1969);
    - The Music Machine, Turn on (Repertoire, 1966);
    - Os Mutantes, Os Mutantes (Omplatten, 1969);
    - Nazz, Nazz (Castle, 1968);
    - Neil Young & Crazy Horse, Everybody knows this is nowhere (Reprise, 1969);
    - The Nice, The thoughts of Emerlist Davjack (Immediate, 1967);
    - The Nice, Ars longa vita brevis (Immediate, 1968);
    - The Nice, The Nice (Essential, 1969);
    - Nick Drake, Five leaves left (Island, 1969);
    - Nico, Chelsea girl (Verve, 1967);
    - Nico, The marble index (Sundazed, 1968);
    - Nirvana (UK), All of us (Island, 1968);
    - Open Mind, Open Mind (Philips, 1969);
    - Ornette Coleman Double Quartet, Free jazz (Atlantic, 1961);
    - Oscar Peterson Trio, Night train (Verve, 1962);
    - Otis Redding, The soul album (Stax/Volt, 1966);
    - Otis Redding, Dock of the bay (Atco, 1968);
    - Paul Desmond, Bossa Antigua (BMG, 1964);
    - Pearls Before Swine, One nation underground (ESP-Disk, 1967);
    - The Pentangle, Basket of light (Sanctuary, 1969);
    - The Pentangle, The Pentangle (Transatlantic, 1968);
    - The Pentangle, Sweet child (Transatlantic, 1968);
    - Peter, Paul & Mary, See what tomorrow brings (Warner Bros. , 1965);
    - Pharoah Sanders, Karma (Impulse! , 1969);
    - Pierre Henry, Le voyage, d'après le livre des morts tibétain (ECM, 1962);
    - Pierre Henry, Messe de Liverpool (Philips, 1967);
    - Pierre Henry, Messe pour le temps présent (Philips, 1967);
    - Pink Floyd, The piper at the gates of dawn (EMI, 1967);
    - Pink Floyd, A saucerful of secrets (EMI, 1968);
    - Pink Floyd, More (EMI, 1969);
    - Pink Floyd, Ummagumma (EMI, 1969);
    - The Pretty Things, S.F. Sorrow (Snapper, 1969);
    - Procol Harum, A whiter shade of pale (Repertoire, 1967);
    - Procol Harum, Shine on brightly (Repertoire, 1968);
    - Procol Harum, A salty dog (Repertoire, 1968);
    - Pussy, Pussy plays (Edsel, 1969);
    - Quicksilver Messenger Service, Happy trails (Repertoire, 1969);
    - Ravi Shankar/Yehudi Menuhin, West meets east (Angel, 1967);
    - Renaissance, Renaissance (Island, 1969);
    - Robert Johnson, King of the delta blues singers (Columbia, 1961);
    - The Rolling Stones, The Rolling Stones (England's newest hitmakers) (Abkco, 1964);
    - The Rolling Stones, 12 X 5 (London Records, 1964);
    - The Rolling Stones, The Rolling Stones N°2 (DECCA, 1965);
    - The Rolling Stones, Now! (Abkco, 1965);
    - The Rolling Stones, Out of our heads (Abkco, 1965);
    - The Rolling Stones, December's Children (And everybody's) (London Records, 1965);
    - The Rolling Stones, Aftermath (DECCA, 1966);
    - The Rolling Stones, Between the buttons (Abkco, 1967);
    - The Rolling Stones, Their satanic majesties request (Abkco, 1967);
    - The Rolling Stones, Beggars banquet (DECCA, 1968);
    - The Rolling Stones, Let it bleed (Abkco, 1969);
    - Roy Harper, Sophisticated beggar (Sundown, 1967);
    - Sam Rivers, Contours (Blue Note, 1965);
    - The Savage Rose, In the plain (Polydor, 1969);
    - Scott Walker, Scott (Fontana, 1967);
    - Scott Walker, Scott 2 (Fontana, 1968);
    - Scott Walker, Scott 3 (Fontana, 1969);
    - Scott Walker, Scott 4 (Fontana, 1969);
    - Silver Apples, Silver Apples (MCA, 1968);
    - Simon & Garfunkel, Sounds of silence (Columbia, 1966);
    - Simon & Garfunkel, Parsley, sage, rosemary and thyme (Columbia, 1966);
    - Simon & Garfunkel, Bookends (Columbia, 1968);
    - Skin Alley, Skin Alley (Akarma, 1969);
    - Sonny Rollins, The bridge (RCA, 1962);
    - The Small Faces, The Small Faces (DECCA, 1966);
    - The Small Faces, From the beginning (DECCA, 1967);
    - The Small Faces, Ogden's nut gone flake (EMI, 1968);
    - Smokey Robinson and the Miracles, Make it happen (Motown, 1963);
    - Soft Machine, Soft Machine (Probe, 1968);
    - Soft Machine, Volume Two (One Way, 1969);
    - Spirit, Spirit (Epic Legacy, 1968);
    - Spirit, The family that plays together (Ode, 1969);
    - Spooky Tooth, It's all about (Edsel, 1968);
    - Spooky Tooth/Pierre Henry, Ceremony, An electronic mass (Edsel, 1969);
    - Stan Getz, Getz Au Go Go (Verve, 1964);
    - Stan Getz/João Gilberto, Getz/Gilberto (Verve, 1963);
    - Status Quo, Picturesque matchstickable messages from the Status Quo (Essential, 1968);
    - Status Quo, Spare parts (Sanctuary, 1968);
    - Steve Miller Band, Children of the future (Capitol, 1968);
    - Steve Miller Band, Sailor (Capitol, 1968);
    - Stevie Wonder, For once in my life (Tamla Motown, 1968);
    - Stevie Wonder, My cherie amour (Tamla Motown, 1969);
    - The Stooges, The Stooges (WEA, 1969);
    - Strawberry Alarm Clock, Incense and peppermints (Big Beat, 1967);
    - Tea & Symphony, An asylum for the musically insane (Si-Wan, 1969);
    - The Temptations, Cloud nine (Tamla Motown, 1969);
    - Terry Riley, Reed streams (Mass Arts, 1966);
    - Terry Riley, A rainbow in curved air (Columbia, 1967);
    - Thelonious Monk, Monk's dream (Columbia, 1962);
    - Thelonious Monk, Big band and quartet in concert (Columbia, 1964);
    - Thelonious Monk, Straight, no chaser (Columbia, 1967);
    - Thelonious Monk, Underground (Columbia, 1968);
    - Them, The angry young Them (DECCA, 1965);
    - Them, Them again (DECCA, 1966);
    - Tim Buckley, Tim Buckley (Elektra, 1966);
    - Tim Buckley, Goodbye and hello (Elektra, 1967);
    - Tim Buckley, Happy sad (Elektra, 1969);
    - Tim Hardin, 1 (Verve, 1966);
    - Tina Brooks, True blue (Blue Note, 1960);
    - Tom Rush, Circle game (Elektra, 1968);
    - Townes Van Zandt, Our mother the mountain (Tomato, 1969);
    - Townes Van Zandt, Townes van Zandt (Tomato, 1969);
    - Traffic, Mr Fantasy (Island, 1967);
    - Traffic, Last exit (Fontana, 1969);
    - Tyrannosaurus Rex, My people were Fair and had sky in their hair... (A&M, 1967);
    - Tyrannosaurus Rex, Prophets, seers & sages, the angels of the ages (A&M, 1968);
    - Tyrannosaurus Rex, Unicorn (A&M, 1969);
    - Ultimate Spinach, Ultimate Spinach (Akarma, 1968);
    - Ultimate Spinach, Behold & see (Akarma, 1968);
    - Ultimate Spinach, Ultimate Spinach III (Akarma, 1969);
    - The United States of America, The United States of America (Edsel, 1968);
    - Van der Graaf Generator, The aerosol grey machine (Fontana, 1969);
    - Van der Graaf Generator, The least we can do is wave to each other (Virgin, 1969);
    - Van Morrison, Blowin' your mind! (Epic/Legacy, 1967);
    - Van Morrison, Astral weeks (Warner Bros. , 1968);
    - Vanilla Fudge, Vanilla Fudge (Atco, 1967);
    - Vanilla Fudge, Near the beginning (Repertoire, 1969);
    - The Velvet Underground, White light/White heat (Polydor, 1968);
    - The Velvet Underground, The Velvet Underground (Polydor, 1969);
    - The Velvet Underground/Nico, The Velvet Underground & Nico (Verve/MGM, 1967);
    - Wayne Shorter, Speak no evil (Blue Note, 1964);
    - Wayne Shorter, Schizophrenia (Blue Notev);
    - White Noise, An electric storm (Island, 1969);
    - The Who, My generation (Brunswick, 1965);
    - The Who, A quick one (Reaction, 1966);
    - The Who, The Who sell out (MCA, 1967);
    - The Who, Tommy (Polydor, 1969);
    - Wooden O, A handful of pleasant delites (Akarma, 1969).
    - Xhol Caravan, Electrip (Garden of Delights, 1969);
    - The Yardbirds, For your love, heart full of soul & others (Sunspots, 1965);
    - The Yardbirds, Roger the engineer (Warner Bros., 1966);
    - The Yardbirds, Little games (EMI, 1967);
    - Yes, Yes (Atlantic, 1969);
    - The Youngbloods, Elephant Mountain (Edsel, 1969);
    - The Zombies, Odessey & oracle (Repertoire, 1967).
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  • silence and repetition

    Jun 3 2009, 4h50 por handmeups

    The concept of wasted time is a lie.

    La Monte Young

    Morton Feldman

    John Cage
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  • Other Minds 14

    Mar 11 2009, 23h39 por PeterLamons

    Last weekend I volunteered for the fourteenth Other Minds festival. Other Minds is a San Francisco based nonprofit organization that puts on concerts of "new music" which translates to contemporary classical.

    I originally volunteered because I was broke. The festival had an amazing lineup and I knew Id hate myself if I missed it. It ended up being an incredible experience that went above and beyond just seeing the performances.

    Day 1 (Thursday)
    I met some of the other volunteers who were all really cool people. One person I really enjoyed getting to know was New York based composer Brent Miller.

    The first piece of the evening was a string quartet titled, Spiral X: In Memoriam (2007), by Chinary Ung. This piece was inspired by the Cambodian holocaust in which half of the composers family and many of his friends were killed. The Del Sol String Quartet not only played their instruments but also yelled and shouted, mimicking the cries of the holocaust's victims. I enjoyed this piece. It was my first exposure to the composer and it sparked my interest.

    The next two pieces, The Shadow of Silence (2003-2004), and Phantasmagoria (2006-2007), were by Bent Sørensen. The first was performed by pianist Eva-Maria Zimmermann, the second was performed bythe Trio Con Brio Copenhagen. Both were good but neither stood out to me over all. I have to say that Phantasmagoria takes the cake for best title of the festival though.

    After a brief intermission Ben Johnston's (LastFM page Ben Johnston) new piece, The Tavern (1998/2008) had its world premiere. It was written for, and performed by, John Schneider. Joining Schneider was baritone, Paul Berkolds. The piece was for just intonated guitar and voice. Johnston set the poetry of Jalaluddin Rumi to music for this piece. While Im a fan of Ben Johnstons music I didn't like this piece as much as others I've heard. The guitar didn't seem to work. He admitted in the liner notes that he is not a guitarist and I think that resulted in the guitar parts not being as good as they could have. That having been said, I enjoyed the text he chose. It was humorous, dealing mostly with wine, drunkeness, and at one point hash, yet still offering some interesting words of wisdom and insight.

    The final two pieces were performed by the Cello Octet Amsterdam.
    Both pieces were inspired by vocal music. The first was Motetten (2005) written by the recently deceased Mauricio Kagel (LastFM page Mauricio Kagel). Its fairly easy to see that the piece was inspired by the motet style from the title. The music was lively and the performers were animated. The was a certain lightheartedness that was almost comedic at times. It was fun to watch and seemed to be equally so to perform.

    The Final piece of the night was the US Premiere of O-Antiphonen (2008) by Arvo Pärt (LastFM page Arvo Part). Pärt was the only living composer that did not attend. Arvo's recent music is beautiful and peaceful. This piece was no exception. As is the case with most of his recent work, religious music was the inspiration for this piece. This time the inspiration came from the Great Antiphons which is a series of seven songs usually sung like a Gregorian chant over the week leading to Christmas in Eastern or Greek Orthodox churches.

    Day 2 (Friday)
    The evening began with a piece titled Hannah, for solo cello and electronics, by Dobromiła Jaskot. The cello was played by Hannah Addario-Berry and the electronics were handled by the composer. This piece was interesting. The hall had six speakers hung, four in the corners, and two in the middle on either side. The composer added effects such as delay and reverb, or used filters to change the timbre of the instrument, while performer played. While doing this the performer also panned the sound between the six speakers, sometimes taking the processed sound to one corner and the normal sound to another.

    The second piece, by Los Angeles based Cat Lamb, was called Dilations (2008). It was the world premiere and was commissioned by Other Minds. The piece was for three tenors, (Carl Boe, Trey Costerisan, & Noah Miller) three bass clarinets, (Jeff Anderle, Phil O'Connor, & Jonathan Russell) and three cellos (Gianna Abondolo, Erika Duke-Kirkpatrick, & Thalia Moore). The piece, like Ben Johnston's prior and several upcoming, used just intonation. It was slow moving and sparse. It was made up mostly of long sustained tones and silences. As is the case with all music in just intonation that Ive been able to hear, the overtones were beautiful. The long sustained intervals and chords sang. While I enjoyed the piece very much, it wasn't received very well by all of the audience. Some left before it ended and the applause seemed halfhearted. Cat was the youngest featured composer (b. 1982). I had the chance to speak with her several times throughout the festival. She was very personable and bright. Watch out for her in coming years.

    After the intermission Chico Mello's chamber piece, ...Das Árvores...(1999) was performed by Jeff Anderle & Jonathan Russell (clarinet), Peter Wahrhaftig (tuba), Richard Worn (contrabass), Eva-Maria Zimmermann (piano), and Rick Sacks (percussion). Chico was born in Brasil and now lives in Germany. His piece was really fun and similar in mood to the Kagel piece the night before but even more so. It had members of the ensemble lighting matches, shrugging their shoulders, and turning their heads to look at each other throughout it. I helped with the change over for this piece so I had to watch it from the side of the stage. I was a little disappointed because I couldnt see everything that was going on but it was still really enjoyable.

    The next two pieces were by Canadian Linda Catlin Smith. The first was titled, Through the Low Hills (1994). It was performed by the composer (playing piano) and Gianna Abondolo (cello). Neither piece really stood out to me. I found them to be a bit boring.

    Ending the night was another piece by Dobromiła Jaskot. it was titled Linearia (2007) performed by the Del Sol String Quartet. This piece wasn't bad but wasn't one of my favorites either.

    Day 3 (Saturday)
    Beginning the evening was another piece by Chinary Ung. This was titled Spiral XI: Mother and Child (2008). Ung Wrote this piece for his wife, violist Susan Ung. Again in the piece the performer not only played the instrument but also sang. Susan's voice was powerful and added quite a bit to the piece. I enjoyed this piece quite a bit.

    John Schneider was next up. He performed two original pieces on just intonated guitars. The first was a slide guitar and was accompanied by some spoken word. The second was instrumental, performed on a steel string guitar. Both were very good. His CD's aren't widely distributed but if you ever happen to see them around make sure to pick it up. I believe Other Minds has some available for sale online.

    John Schneider also performed two Harry Partch pieces. The first was on one of Partch's original instruments called a harmonic cannon. Here's a picture...

    It was called Two Studies on Ancient Greek Scales (1946/1950). The second piece is one of Partch's best known, Barstow (1941). John Schneider performed this brilliantly on a just intonated guitar. Schneider is gifted with a good singing voice but he took the piece above and beyond by playing the part of the narrator, sticking out his thumb for cars to and turning to watch as they passed him by, eventually announcing "Screw it, I'll walk!" and then walking across the stage while playing.

    After the intermission Chico Mello played a 45 minute set of "brasilian" songs showing his great sense of humor. The first 20 minutes or so were made up of fragmented samba and other songs. He would play seconds of a song and change abruptly. He would begin to play familiar songs such as Girl From Ipanema juxtaposed with soft whimpers and noises. The whole thing was very funny and enjoyable. He announced afterward that it what he had just played was called John Cage on the Beach. He then played several songs with a distinctly samba feel but without the steady beat. He would stop unexpectedly or change the rhythm completely in middle of a song. The lyrics were in Portuguese but he also incorporated throat singing which was, in my humble opinion, awesome.

    The final performance of the night was by La Monte Young's (LastFM page La Monte Young) protégé Michael Harrison (LastFM page Michael Harrison) accompanied by the Del Sol String Quartet. The piece was called Tone Clouds (2008) which was based on his 2007 release for just intonated piano, Revelation. I enjoy the CD quite a bit and have listened to it often. While the performance was excellent on everyones part I felt that the string arrangement didn't add to the piece at all and in fact, detracted from it. That having been said it was still very powerful to hear.



    Volunteering for the festival ended up being a incredible experience. I was able to meet almost all of the composers and performers. I also met a lot of the people involved with the Other Minds organization who were very cool. A highlight of the weekend was being able to meet Ben Johnston who will be 83 on the 15th of this month. He was a student of Harry Partch and a really intersting guy. I was only able to speak briefly with him a couple of times, he was surrounded by people most of the time, but the little I did speak with him was a great experience and a real honor.
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  • The Well-Tuned Piano 81x25 6:17:50 - 11:18:59 PM NYC

    Dez 7 2008, 4h35 por handmeups

    About a month ago, I bought the CD boxed set of La Monte Young's "The Well-Tuned Piano 81x25 6:17:50 - 11:18:59 PM NYC" over EBay. I hadn't heard the piece before, but I had heard a few of his pieces of drones and sustained tones, and I had read a whole lot about him. I ended up paying about $400 for it. I was expecting it to go to $500, so that was all right. I'm not wealthy, but I believed it would be worth the money, and it was.

    I just listened to it for the first time today, and it was wonderful! Lately I've been using my portable digital player from Cowon for most of my listening, so I had ripped the CD's and put them on there in FLAC format like I've been doing for everything. During my listening to the piece, I took a break of about a half an hour at the point between the second and third CD's, mostly because my in-ear Etymotic earphones were kind of bothering me.

    I had been planning all week to listen to the piece today, so I had been anticipating it all that time. I couldn't wait to hear it, but I was also afraid of how I would respond to the duration of it. The longest musical piece that I had listened to before was Philip Glass's "Music in Twelve Parts", which is about three and a half hours. However, I had even taken a break or two during that piece, and I'm still planning on going back for another listen sometime soon. Anyway, I'm pleased to be able to say that the five hours did not feel like too long. In fact, as the final hour was winding down, I had that feeling that I would love it if it lasted even longer. Of course, I took a break in the middle, so my attention was only tested for the three hours after the break, rather than the full five hours at once.

    The music of "The Well-Tuned Piano" is wonderful and consistently beautiful. The composition consists of sections and subsections that do not come in a fixed organization. Rather, La Monte improvises during each performance to choose the sections to play, and in what order or with how many repetitions. The impression I got of the music was of waves of changing density. His playing moves between a one-note-at-a-time andante to a dense cloud of rapid key strikes, reverberations, and overtones. The dense sections were usually more enjoyable, but the calmer sections were equally welcome for all the functions they serve in mood, dynamic contrast, and modulations. A striking quality of the music is how it maintains a peaceful and meditative mood no matter how active it is. There's not really a lot of tension, but this is music of rich moods and expansive dream worlds.

    Concerning the quality and timbre of the sound, I got the impression that this is what a piano should sound like. The piano had a clean ivory and wood sound, and it didn't sound stuffy or too warm. The recording sounded like I was sitting right there on the bench next to La Monte. The only detrimental sounds were the ocassional noises that got picked up, mostly from the audience--several coughs, a sneeze or two, and a few mechanical rumbles and squeaks from the building and outside.

    I'm thoroughly happy with this recording and glad I gave up those $400. It's a new favorite, and I see myself in the future listening to it once or twice a year. I'm not sure whether I'll indulge in another listen sometime this winter or wait until the spring to enjoy it again. While listening to it today, I was sitting on a couch and looking at the changing lights from the Christmas tree my family had set up and another strand of lights on the wall. It was a good environment, and it seemed to me a perfectly satisfactory substitute for Marian Zazeela's "Magenta Lights". In the springtime, I want to listen to it while lying outside under a tree.
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  • James Blackshaw Interview

    Nov 1 2008, 20h54 por TheBlackPope

    I did an interview with James Blackshaw recently, because James Blackshaw is about to play in Germany FOR THE FIRST TIME EVER.

    He'll perfom in Krefeld at the Unrock Instore Gig (03.12.2008, for details go here: http://www.lastfm.de/event/802473).

    Here's the interview:



    To Try And Do Something New And Not Recreate What's Been Done Before

    An Interview With James Blackshaw


    Holger Adam: I read about four or five interviews with you published on the internet (of course) and I don't want to bother you again with all these questions about how you got to know John Fahey and Robbie Basho and then picked up the guitar to learn to play in this way/tradition and how you then got into minimal and modern composition (Steve Reich, La Monte Young, Terry Riley etc.), so if that's okay with you, then we'll skip that part and maybe we start our interview with a question about what'll happen in your near future.

    You told me on the phone, that you are about to record a new album and then I read on the internet (again) that it'll be out on Michael Gira's Young God Label. So maybe we can talk about that at first. How did you connect with Gira and – if you already want to share some thought and ideas about it – what will the record sound/be like? I'm curious, of course...


    James Blackshaw: Ha, thanks for not asking me about how I came to play guitar – I appreciate that, I have indeed been asked that question on countless occasions and the answer is always the same!

    So, how the Young God thing came about?

    I think it was around the end of 2005, that I got an e-mail out of the blue from Laurent Leclere of Mi and L'au, who at the time were touring the UK and Ireland with Josephine Foster, a friend of mine with whom I'd also toured with earlier that year and played some of my first ever shows with. At that point, Mi and L’au were still making their album for Young God Records. Laurent was incredibly complimentary about my music and wrote me a really nice e-mail about how he'd listened to my album „Lost Prayers and Motionless Dances“ in Ireland and how it had moved him. We started an e-mail exchange – he sent me some demos of the record they were making, which I thought were fantastic, a drawing he'd done and we chatted about things. At some point he told me that he'd sent some of my music to Michael Gira and sometime later I got an e-mail from Michael, saying he loved it and wanted to hear more. I was pretty shocked! I sent some more CD-Rs to him, but it didn't cross my mind that he would want to sign me.

    Around the same time, Tompkins Square offered me an exclusive two album deal and after some thought, I decided to take it. But no more than a week or so after I had posted the contract back to Tompkins Square, Michael e-mailed me saying he'd like to release some of my music, but it was too late.

    Anyway, in December last year, just a couple of weeks before I recorded „Litany of Echoes“, I was playing a festival in Den Haag, Holland, where Michael was also playing a solo show. Me, Jozef Van Wissem and some other friends went to watch him play and were blown away by his performance. After his set, I went and got ready to play in a room just downstairs from the hall Michael had just played in. I played – not one of my best sets, because I was playing all new material which I hadn't quite got to grips with yet – and when I got down off the stage, one of the first people I saw who came up to greet me was Michael Gira, who had been watching the whole time! We got along really well and went and drank and talked.

    So we stayed in touch after that and after I'd finished recording „Litany“, we spoke again about doing a record together and finally sealed the deal earlier this year. I am incredibly excited about it all.

    About the record itself – I've been writing off and on for most of this year, but have done most of the work these last two months. I moved home from London to Hastings and it took a bit of time to readjust. I bought a piano and have been practicing a lot, developing my technique, and so there's a lot more piano. About half of the record is based around guitar and half of it are compositions I've written for piano. That said, the record will be a lot more dense in terms of instrumentation. I realised I enjoy listening to the songs on my previous albums which have arrangements for other instruments more than the solo guitar pieces, so there will be more of that. I hope Joolie Wood and John Contreras, both of whom play in Current 93, will be playing violin and cello respectively and there will also be clarinet, vibraphone, glockenspiel, wordless vocals and percussion. At least that's what I'm thinking at this point. The aim is to make a record with more dynamic variation – really quiet, sparse passages followed by totally thick waves of sound.


    HA: Sounds like you're very comfortable with your situation and possibilities right now. You prefer – as far as I can see – to address yourself more as a composer rather than a solo-guitarist. (If you want to you can go into detail on that distinction.) And the way you describe working on your new album tends in this direction, too. That's why it came to my mind, to ask you if you ever thought about doing soundtracks. Have you been asked to do so yet?


    JB: I certainly don't mean to get uptight or fussy about whether I consider myself a guitarist or a composer, ha! At the end of the day, I'm both, and really a composer is just a more fancy way of saying someone who writes songs or music.

    Both those things are heavily intertwined for me – playing guitar heavily influences the way in which I write, but it is also fair to say that my main inspiration for music I write for guitar is not as heavily influenced by other guitar music as some people think.

    It is totally disheartening to read stuff like „The Cloud of Unknowing sounds exactly like John Fahey“ (which is one of the first reviews I ever read about „Cloud“, on amazon.com!), when I think it sounds nothing like Fahey, except the fact that it's based around solo-guitar. That's not to say I don't love Fahey, because I do, but I just feel it's important to try and do something new and not recreate what's been done before, and no doubt better!

    Anyway, as for soundtrack work – I'd love to do that, but I've never been asked, no! I'd actually really, really love to do a soundtrack for a horror film. I love horror films and I imagine that being so much fun to work on.


    HA: It's surprising to me that you'd like to do music for a horror-movie, because to me your music seems to evoke the opposite of horror: your music's so beautiful, very moving, warm and even sometimes ecstatic. Not the kind of music you imagine to hear whilst seeing someone hacked into pieces… But on a second thought there's a haunting otherworldly quality to your music. (Maybe you should send Werner Herzog some CD-Rs, his movies represent both: the beauty and the horror.)

    So, what are your influences, musically and otherwise?


    JB: Well, I am a HUGE fan of Werner Herzog! I'm actually sitting here looking at an old Italian bill poster for „Woyzeck“ I have on my living room wall! Anyway, yes, it would be a big dream come true to do a soundtrack for a Herzog film. He's an amazing director, an amazing man full-stop. It'd be tough following those great soundtracks by Popul Vuh though, and more recently people like Ernst Reijseger and Richard Thompson.

    I must admit, I've loved horror films and books since I was a young teenager and I've never gotten over it, ha! But have you seen „Candyman“? See, I think Philip Glass' soundtrack for that film is incredible. I'd love to do something so eerie and gothic.

    I'm influenced by all kinds of things, and strangely enough, I'm as inspired by things in art that I don't like as by the things I do. For example, I have in the past been close a number of people in the improv/experimental scene. Things about that scene very firmly encouraged me in my own mind that I didn't want to be an improviser and made me realise what I love about composition.

    As you know, I'm a really greatly inspired by modern composition and minimalism, for lack of a better word: early Reich and Glass, La Monte Young, Terry Riley, Simeon ten Holt, Lubomyr Melnyk, Charlemagne Palestine, Morton Feldman, Arvo Part, Henryk Gorecki, Gavin Bryars, Alfred Schnittke... A long list!

    I love a lot of solo-piano music, especially. I can’t negate the influence of Robbie Basho and Fahey on my early work and how I came to play guitar in a certain way. The writing of Fernando Pessoa and Jorge Luis Borges has really started to contribute to the overall mood and concepts behind some of my recent work. I love The Kinks and The Beatles and lots of 60's pop stuff and I think that's had some strange influence on me, although I couldn't say what!

    But it's funny, I think one of the biggest things that influences me is just my mood, my state of mind. It's funny that this sense of hopefulness seems to emerge, because usually my best work is not written when I'm happy. It comes from some sort of inner sadness that I can never quite shake and the sense of restlessness I have and fragility I feel, even when things appear to be right on the surface. Somehow, when I am most in touch with these feelings, I write most of my music.


    HA: Another thing that I wanted to ask you is, how your collaboration with Jozef van Wissem did start? How did you meet each other, and – as far as I know – the two of you recorded another record that is about to be released on Important records, right? So (besides the question how the new record maybe differs from the fabulous first one) I'd like to know, how playing as a duo is different from playing solo?


    JB: This kind of goes back to a compilation called „Garden of Forking Paths“ I was putting together for Important Records. It was not long before I got the idea of putting that compilation together – with the loose idea of putting together songs by composers from very different musical backgrounds and nationalities who played solo string instruments – that I first heard Jozef's music. I was/am a big fan! I immediately related to what it was he was trying to do and liked his aesthetic, his minimalist tendencies. I contacted Jozef to ask if he'd like to do something for the compilation and he was excited by the idea and agreed to take part.

    While I was playing a show in Amsterdam, I met Jozef for the first time. We hung out, got along great and he gave me a CD with the track for the compilation. It was his idea that we work together on some sort of project. We kept in touch and then some months later, we arranged for me to come and spend a few days in Amsterdam to work on the record with him, at his home. It was a fun time – and really the first time I've really collaborated with anybody. We spent a lot of time trying to find things we felt would work as a duo and abandoned a lot of ideas. In the end, some of our most simple concepts seemed the most effective. For example, the first and second songs on „All Things...“, which were based around things we'd both written, but then stripped back and elongated into some kind of strange athletic, endurance test. The second self-titled piece in particular, is murderous to play!

    We did the second record, „The Wolf Shall Also Dwell With The Lamb“ in the same way this year. Having done the first record together already and played live a few times since, it seemed to develop more naturally, like we'd already found our style, discovered our strengths and weaknesses both as a duo and individually and things went well. I think it's a good record, stronger as a whole than the first. There's a particularly nice sparse piece that is written entirely for harmonics on guitar and lute that I'm very fond of.


    HA: Yeah, talkin' about murderous playing: I'd love to see you and Jozef van Wissem play „All things...“ – for the worst case we could keep some first aid kit around!


    JB: Ha, yeah, have a doctor on standby!


    HA: But until then we're happy to have you in Krefeld soon, where you'll be playing an Unrock-Instore-Gig. We are pretty excited about that. So for that reason a very simple question, did you ever play in a record shop before? And whether or not: did you ever play in Germany before?


    JB: Well, I'm really looking forward to the show too! It won't be my first time playing an instore in a record shop (I've done ones for Aquarius Records in San Francisco, Sound Fix and Eat Records in Brooklyn, Fingerprints in LA and a couple of bookstores too), but it will be my first time ever in Germany. I've never been to Germany in my life at all and can't wait!


    HA: I can assure you a warm-hearted welcome! I was asking about the record shop partly because I read that you worked in one (do you still?). So, here comes the inevitable question: What's the current Top 5 music you listen to apart from your own work?


    JB: Yeah, I used to work in Reckless Records in Soho, London for about three years. I got made redundant and the shop went into liquidation – tough break! I'm living on making music at the moment – just about!


    HA: Thank you very much for your time and patience to answer all the questions, James. I enjoyed talking to you very much. Have a good time recording and touring! I'm looking forward to meet you in Krefeld at the Instore-Gig!


    JB: Thanks a lot, Holger! It was a pleasure speaking with you and I look forward to seeing you soon!


    The Interview took place via e-mail on 10/28/2008


    James Blackshaw’s Top 5 Recent Listens:
    1. Maxine Funke – „Lace“ CD-R (Nextbestway, „great female NZ singer-songwriter on Alastair Galbraith's label“)
    2. Philip Glass – „Music in 12 Parts“ CD (OMM, „surprise, surprise!“)
    3. Jonathan Kane – „February“ CD (Table of the Elements, „I remember hearing this a while back and not really liking it at all. I've been strangely drawn back to it though. Minimalism via electric, white-boy blues.“)
    4. Alfred Schnittke – „Symphony No.3“ LP („Russian label, the first movement – wow!“)
    5. The Kinks – „Something Else By...“ LP („Village Green Preservation Society“ is a much better album, but I've played that to death. This is still a lovely album though!“)


    James Blackshaw’s Top 5 Horror Movies (in no particular order):
    A Tale of Two Sisters (dt. „Zwei Schwestern“)
    Don't Look Now (dt. „Wenn die Gondeln Trauer tragen“)
    Jacob's Ladder (dt. „Jacob’s Ladder“)
    The Evil Dead (dt. „Tanz der Teufel“)
    Candyman (dt. „Candyman“)


    Unrock Instore Gig Vol. 11:
    http://www.lastfm.de/event/802473

    The interview's is published here, too:
    http://www.unrock.de



    Feel free to leave a comment on what you read right here and come witness the first ever appearance of James Blackshaw in Germany!
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  • a few thoughts on music

    Jun 2 2008, 23h48 por Grindfucked

    I'm fed up with the recent concept of "music as image", music to justify a certain lifestyle in our modern society. Music nowadays seems not to represent an honest experience, an inspiring experience or a different/enlightening experience as much as it represents the fake and monetary intentions of consumer society. everything seems to be watered down into different genres and sub-genres, putting people into disparate groups, every single group being into this certain style and not much besides that. we have emokids, jazz snobs, so-called "intellectual" listeners of classical music, metalheads, hip-hoppers and lots more, none of those styles serving genuine, honest experiences and intentions as much as it serves segregation and alienation of people, seemingly for the sake of capitalist gain.

    It can all be followed down to the single word of "term". Every time a new term is coined, it also seems that it gets filled with subjectivity, which will affect the way that people see this or that thing when they get confronted with it. This, of course, isn't restricted to music, but is, if you ask me, true when talking about anything from political views to haircuts. The terms make people blind, restrains them from judging things for themselves freely.

    This is of course natural and probably to a large degree unpreventable in a society such as ours. What disturbs me about it is that the capitalists and commercialists seem to exploit this fact as much as they can, placing people into different groups, identifying them with this or that lifestyle (most of them are, according to this theory, different sides of the same coin), so that they'll buy whatever stuff is made in that lifestyle's name. Making metalheads buy spike accessories, making punks buy leather jackets (or whatever), making emokids dry their hair black or red or whatever, and so on (you get the point). These people should realise that they're all being fooled and that, no matter how much they try to oppose styles not being like their own, they're still not seeing who the REAL enemy is, i.e. the one that makes them enemies instead of friends and the one that narrows their minds, which is, in my opinion, capitalism and the forces behind capitalism.

    The only way to really avoid this kind of segregation is to turn to stuff that can never be put into one cathegory, that can never be easily organized. Punk may once have been nonconformist and anti-capitalist in some sense of the words, but that quickly got watered down, turning it into a commercial genre as well as any other, complete with already torn apart jackets (punk style) being sold for $150 in a specialized punk store near you. Instead it seems that experimental music is our only hope, since this is where you can find anything that does NOT fit into the "normal" genres, and since the experimental genre itself isn't defined by how the music sounds or what kind of style/place/people/etc it represents, but rather by what kind of approach the musician/musicians/fans have towards music-making in general, an approach that may vary widely itself, making it hard for the capitalist forces to commercialize it, put it into a general term (or "terminate" it, as I'd lake to say :P). This makes it the only truly nonconformist genre out there (which is surely not new to anyone familiar with it) and also the only "genre" to safely avoid "termination".

    This, combined with the joy of surprise and excitement of exploration, might be the biggest reason why "experimental" is the tag showing up at the top most often when checking which tags dominate my charts.

    CoilFoetusMy Bloody ValentineAgitation FreeNelly FurtadoJohann Sebastian BachOrthrelmThelonious MonkCursiveTransglobal UndergroundGang StarrBuena Vista Social ClubRetaliationRobert RichBo Kaspers OrkesterThe CongosRadioheadTinariwenGogol BordelloSex PistolsBurialGorgoroth16 HorsepowerAlien Sex FiendStarving WeirdosJohn ZornLamonte YoungBlind Willie McTellSpice Girls
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  • Ghosts on Water-Ghosts on Water (Review)

    Mai 13 2008, 20h01 por esperikglare

    Ghosts On Water - Ghosts On Water
    CD, Faraway Press, 2007
    www.farawaypress.net

    Ghosts On Water - 'Ghosts On Water'

    "Ghosts on Water" is a collaboration between Daisuke Suzuki, Naoko Suzuki and Andrew Chalk. The three have worked together in the past and released a limited edition CD-R in 2005, entitled "Senshu", that was limited to a mere 100 copies. This EP consists of 4 tracks and "Ghosts on Water" is a very fitting name, summarizing very well the feeling this disc brings about.
    The first thing I noticed several seconds into the first track was the fact that this EP is quite a departure from what I've come to expect from Mr. Chalk (either his recent solo releases or as a member of Mirror).The music is still pretty, the drones are still there, it's just there's something all together else going on in addition to it all. The first track starts with some gentle noises that after several listens I think are processed human voices, but I'm not entirely certain. Gentle strums on what I think is a combination of piano and bass guitar float along among the background noises that become almost a sort of blowing wind that's whispering something indecipherable to you.
    The next two tracks revolve around human voices (more likely the ghosts themselves making themselves known). The second track has what seems to be one voice with bass-oriented drones in the background while the third revolves around two voices. The closest thing I've heard to the droning voices in these songs is a piece by La Monte Young that was nothing but droning vocals. However, the Young piece (which the title of escaped me) seemed bland and soulless to my ears while both these pieces convey a sense of a haunting presence. The third one especially, with the dual voices being the more ominous of the two.
    The next piece brings simple, yet elegant piano playing over the top of quiet drones that is equally as pleasant. Although the track slows down and ends completely, it blends into the fifth and last track, the pianos and drones resuming with gentle, seemingly calm sounds that I assume are the voices from earlier returning for an encore.
    In the end, "Ghosts on Water" is a very fruitful effort from all the contributors and something I think they should all be very proud of. If you're a fan of any music in the "drone ambient" category I would say this disc is essential. Many people who work in similar fields fall into the trap of being too repetitious and don't have near enough going on. "Ghosts on Water" is a unique approach and very refreshing for anyone looking for something new to listen to, highly recommended!

    -- Charles Martineau [9/10]
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  • TuneFishr

    Jan 20 2008, 4h37 por sgrfsh

    So, being kind of militant (some would say snobbish) about music, especially the kind that almost never gets radio play (in the United States at least), I created something of a website, some would say blog (yeah, stupid word). It's not much at the moment, but I will be writing all kinds of reviews and good stuff on music that I find interesting. It's really aimed at promoting music that is more on the eclectic side, but I don't plan on limiting it in any way, other than it won't be featuring Britney Spears or her ilk.

    The URL is http://tunefishr.com/ if anyone is mildly interested. I'd be interested in feedback once there's a fair amount of content. It's new so don't expect too much. I'm a busy man!

    Here's a rundown on what I'll be featuring in the near future:

    Philip Glass
    Steve Reich
    La Monte Young
    The Residents
    Plaid
    Ulrich Schnauss
    Delia Derbyshire
    Aphex Twin
    Orbital
    Future Sound of London
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  • About The Event Scores

    Jan 12 2008, 15h38 por WalterCianciusi

    Walter Cianciusi's collection of event scores is filled with surprising and often charming works. The event form has become an almost-classical medium associated with twentieth-century avant-garde, and especially with the artists of the Fluxus group. While there is still energy to be found in interpreting classical event scores, it is difficult to write new scores that convey the lively energy of earlier contributions. Cianciusi does this with works that balance subtle humor, meditative reflection, and a good sense of the tradition these works inhabit. Reading this book, I remembered just how much fun it was to get a new collection of event scores when Fluxus or Something Else Press published selections of work by Alison Knowles, Bengt af Klintberg, George Brecht and the others. Cianciusi's work sparks the same sense of delight and invention.

    Ken Friedman, 2007

    Event Scores - The Book

    Walter Cianciusi
    La Monte Young
    Henry Flynt
    John Cage
    Angus MacLise
    Alvin Lucier
    Nam June Paik
    Tony Conrad
    Charlemagne Palestine
    James Tenney


    electronic
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  • Albums That Shouldn't Exist

    Out 17 2007, 1h33 por brendanvox

    If you can't listen to these pieces in their entirety you obviously have no respect for the composers and don't genuinely enjoy this genre of music at all.

    Early Gurus Of Electronic Musi
    OHM: The Early Gurus of Electronic Music (disc 3)
    OHM: The Early Gurus of Electronic Music (disc 2)OHM: The Early Gurus of Electronic Music (disc 1)OHM: The Early Gurus of Electronic Music: 1948-1980
    John CageIannis XenakisKarlheinz StockhausenEdgard VareseMorton SubotnickPierre SchaefferOskar SalaHugh Le CaineRaymond ScottMusica Elettronica VivaAlvin CurranOtto LueningVladimir UssachevskyVladimir Ussachevsky & Otto LueningMilton BabbittPauline OliverosPaul LanskyRichard MaxfieldRobert AshleyTod DockstaderSteve ReichTerry RileyMaryanne AmacherAlvin LucierCharles DodgeJohn ChowningLuigi RussoloBulent ArelDaphne OramDavid TudorGordon MummaGottfried Michael KoenigGyorgy LigetiHalim El-DabhHerbert Eimertwerner meyer-epplerJean-Claude RissetJoji YuasaLuc FerrariLa Monte YoungLaurie SpiegelMax MathewsLuciano BerioMario DavidovskyKlaus SchulzeDavid BehrmanBernard ParmegianiFrancois BayleJon HasselHolger Czukay
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