The Holmes Archive of Electronic Music
Thom Holmes is your curator and guide to vintage electronic music recordings and audio experimentation. Drawing from his collection of vintage electronic music recordings spanning the years 1915-1985, each episode explores a topic or theme of historical interest. Holmes is the author of the book, Electronic and Experimental Music, sixth edition, 2020.
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Chapter 38, Eurorack
Episode 179
Chapter 38, Eurorack. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 38, Eurorack from my book Electronic and Experimental music.
Playlist: EURORACK SYNTHESIS
Time
Track Time
Start
Introduction –Thom Holmes
01:26
00:00
1. Kaitlyn Aurelia Smith, “Abstractions” (2018) from Electronic Series: Vol. 1 – Abstractions. Written, recorded and mixed by Kaitlyn Aurelia Smith. Inspired by Harry Everett Smith's "Early Abstractions" films.
21:49
01:36
2. Alessandro Cortini & Lawrence English, “Immediate Horizon, Part 1 (2018) from Immediate Horizon. Recorded live at Berlin Atonal, Kraftwerk 2015.
04:59
23:24
3. Lukas Hermann, “Amphibious” (2022). Improvisation for a Eurorack modular synthesizer. From Tone Science Module No. 6 (Protons And Neutrons).
05:51
28:24
4. James Bernard, “Prisms” (2022) from Tone Science Module No. 6 (Protons And Neutrons). Composed by James Bernard. Live performance recorded in one take using a small Eurorack modular system.
08:10
34:12
5. Elin Piel, “Vänta” (2022) Tone Science Module No. 6 (Protons And Neutrons). Composed by Elin Piel. Recorded live with Lyra 8, a small Eurorack system and Analog Heat.
06:59
42:18
6. Field Lines Cartographer, “Eddy Currents” (2022). Tone Science Module No. 6 (Protons And Neutrons). Composed by Field Lines Cartographer. Realised on ARP 2600 and Eurorack modular synths.
08:54
49:12
7. Elinch, “Upward” (2022). Tone Science Module No. 6 (Protons And Neutrons). Composed by Elinch. A live composition with a small modular system (Strega, TTMC, Disting Ex for Loops) and Buchla Easel Command.
07:28
57:58
8. Steve Roach, “Random Possibilities” (2022). Composed by Steve Roach. Performed and recorded in real time on Large Format Analog and Eurorack Modulars.
06:29
01:05:22
9. Ewa Justka, “for the gatekeepers” (2023) from don't you want followers? For “handmade synthesisers and contingent rabbit holes.”
07:22
01:11:44
10. Tunegirl, “Push the Button” (2023) from Eurorack Ruhr: Compilation # 2. Trance music with a Eurorack system.
06:19
01:19:04
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 37, Contemporary Software and Synthesis
Episode 178
Chapter 37, Contemporary Software and Synthesis. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 37, Contemporary Software and Synthesis from my book Electronic and Experimental music.
Playlist: CONTEMPORARY SOFTWARE AND SYNTHESIS
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1. Barry Truax, “Sonic Landscapes No. 3” (1977 revision). From the album Sonic Landscapes: Electronic and Computer Music (Melbourne Records, Canada). “A spatial environment for four computer synthesized soundtracks.”
15:16
01:36
2. Robert Hood. “Spirit Levels” (1994) from Internal Empire. Written, performed, and produced by Robert Hood.
05:06
16:50
3. Ikue Mori, “Abacus—Blue Parrot” (1996) from Garden. Composed, performed, produced, drum Machines, effects, Ikue Mori. 10:57
10:57
21:56
4. Ghost, “Aramaic Barbarous Dawn” (2004) from Hypnotic Underworld.
03:15
32:52
5. Outputmessage (Bernard Farley), “REM State” (2004) from Oneiros. Written, performed, and produced by Bernard Farley.
04:33
36:08
6. TOKiMONSTA, “Let Me Trick You” (2010) from Cosmic Intoxication EP. Jennifer Lee is a producer from Los Angeles, California, USA.
03:27
40:40
7. TOKiMONSTA, “Line to Dot” (2010) from Cosmic Intoxication EP. Jennifer Lee is a producer from Los Angeles, California, USA.
02:50
44:06
8. Harold Budd, “Jane 1” (2014) from Jane 1-11. Composed, performed, produced by, Harold
07:42
47:00
9. Sophie, “Elle” (2013) from Bipp/Elle. Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music.
03:39
54:42
10. William Basinski & Richard Chartier, “Divertissement” excerpt (2015). Composition and computer synthesis, Richard Chartier and William Basinski.
08:36
58:20
11. Thom Holmes, “Numbers” (2017) from Intervals. A composition using recordings of numbers stations as the primary source, combined with audio processing and software synthesis.
05:57
01:06:54
12. Ami Dang, “Conch and Crow” (2019) from Parted Plains. Sitar, electronics, audio processing, voice, Ami Dang.
06:00
01:12:50
13. Jeff Mills, “Canis Major Overdensity” (2020) from The Universe: Galaxy 1. Written, performed, and produced by Jeff Mills.
07:42
01:18:48
14. Pamela Z, “Ink” (2021). Commissioned and presented by VOLTI, artistic director Robert Geary; executive producer Barbara Heroux; performed by VOLTI. Music by Pamela Z.
18:08
01:26:32
15. Ryuichi Sakamoto, “20220214” (2022) from 12. Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.”
09:10
01:44:38
16. QOA (Nina Corti), “Sauco” (2022) (04:22), “Liquen” (2022) (02:50), “Yatei” (2022) (03:04), “Muitu” (2022) (03:16) from SAUCO. Side 1 of this release from this Argentinian composer-performer. “Sonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.”
13:33
01:53:50
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 36, Modern Turntablism
Episode 177
Chapter 36, Modern Turntablism. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 36, Modern Turntablism from my book Electronic and Experimental music.
Playlist: TURNTABLISM
Time
Track Time
Start
Introduction –Thom Holmes
01:28
00:00
1. Ottorino Respighi, “The Pines of Rome” (1924) recorded by The Milan Symphony Orchestra conducted by Cav. Lorenzo Molajoli in November 1928. Recorded bird sounds is heard at about 36 seconds into this section. This is a 78 RPM recording from 1928 that used a turntable to play the sounds during the performance.
01:44
01:36
2. Paul Hindemith, “Trickaufnahmen” (1930). Recording made available by Mark Katz, author of Capturing Sound: How Technology has Changed Music (2004).
00:58
03:16
3. John Cage, “Imaginary Landscape No. 1” (1939) from The 25-Year Retrospective Concert Of The Music Of John Cage (private, 1959).
08:37
04:12
4. Milan Knížák, “Composition No. 1’ (1979) from Broken Music. Selection and assemblage of materials made by Walter Marchetti at Harpo's Bazaar, Via San Felice 22, Bologna.
03:26
12:46
5. Grandmaster Flash And The Furious Five, “The Wheels Of Steel” (1981) from The Wheels of Steel. Medley Compiled by Sylvia Robinson; Produced by, Joey Robinson, Jr., Sylvia Robinson.
07:04
16:10
6. Christian Marclay, “Smoker,” (1981) from the album Records. Christian Marclay, turntables and processing. Recorded on a cassette deck at home.
03:40
23:12
7. DJ Shadow ... And The Groove Robbers, “Hindsight,” (1993) from In/Flux/ Hindsight.
06:55
26:56
8. Afrika Bambaataa, “Looking For The Perfect Beat” (1985) from Looking For The Perfect Beat 1980-1985.
03:51
33:56
9. Gen Ken Montgomery, “Droneskipclickloop” (excerpt, 1998) from Pondfloorsample. Using four CD players and curated sounds in the categories Drone, Skip, Click, and Loop. Mixed in real time at a performance at Experimental Intermedia Foundation (NY) on March 17, 1998.
07:19
37:48
10. Crawling with Tarts, “Trecher Track”(1999) from Turntable Solos. By Michael Gendreau and Suzanne Dycus-Gendreau.
04:11
45:08
11. Christian Marclay, from Record Without a Cover (excerpt, 1999). Marked with instructions, "Do not store in a protective package," my copy is a reissue of the disc first released in 1985, done by Japanese label Locus Solus. The naked record will naturally become increasingly damaged from shipping, storing, and playing the record, all becoming part of the work. In essence, the owner is implored to progressively destroy the release, allowing it to become scratched and bruised from accumulating damage that make each copy unique. My copy actually skips a lot. In the passage I am playing I often had to press the needle down a little bit to get through a skip. There is faintly recorded jazz music found on some of the disc, while other parts are pretty much composed only of surface noise.
04:31
49:18
12. Yasunao Tone, “Part 1” (excerpt 1999) from Solo for Wounded CD. All sounds used were from scratched CD's.
03:54
53:50
13. Philip Jeck, “Untitled 2,” (2002) from Soaked. Turntables, Philip Jeck, electronics, Jacob Kirkegaard. Recorded live at the Electronic Lounge, Moers Festival, Germany.
04:30
57:42
14. Maria Chavez, “Jebus” (2004) from Tour Sampler, recorded in Houston, Texas. Turntables and electronics by Maria Chavez.
04:59
01:02:12
15. Marina Rosenfeld, “Three” (2005) from Joy of Fear. Piano, turntables, dubplates, electronics, sound processing], vocals, Marina Rosenfeld. She said, “This record couldn’t exist without the small collection of one-off ‘acetate records’ (dub plates) that I’ve been making since 1997, when I first encountered Richard Simpson and his disc-cutting lathe in Los Angeles.”
05:47
01:07:12
16. Luc Ferrari and Otomo Yoshihide, Slow Landing” (2008) from Les Archives Sauvées Des Eaux. Composed by Luc Ferrari and Turntables, Electronics, prepared phono cartridges by Otomo Yoshihide.
10:40
01:12:58
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 35, Live Electronic Music— Historical Practices
Episode 176
Chapter 35, Live Electronic Music— Historical Practices. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 35, Live Electronic Music— Historical Practices from my book Electronic and Experimental music.
Playlist: LIVE ELECTRONIC MUSIC—HISTORICAL PRACTICES
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Karlheinz Stockhausen, “Mikrophonie I” (1964) from Mikrophonie I · Mikrophonie II. Mikrophonist 1, Johannes Fritsch; Mikrophonist 2, Harald Bojé; Electronic Filters and Potentiometers 1, Karlheinz Stockhausen; Electronic Filters and Potentiometers 2, Hugh Davies, Jaap Spek; Tam-tam, Aloys Kontarsky; Tam-tam, Fred Alings. Brüsseler Version 1965 recorded at WDR, Cologne.
07:24
01:42
2. AMM, “In The Realm Of Nothing Whatever” (1966) from AMMMusic 1966. Cello, Accordion, Clarinet, Transistor Radio, Lawrence Sheaff; Electric Guitar, Transistor Radio, Keith Rowe; Music by, Cardew, Prévost, Rowe, Sheaff, Gare; Percussion, Eddie Prévost; Piano, Cello, Transistor Radio, Cornelius Cardew; Tenor Saxophone, Violin, Lou Gare. Recorded on the 8th and 27th June 1966 at Sound Techniques.
13:22
09:06
3. Musica Elettronica Viva (MEV), “SpaceCraft” (1967) from MEV 40. Mbira Thumb Piano Mounted On A Ten-litre Agip Motor Oil Can, Contact Microphones, Amplified Trumpet, Voice, Alvin Curran; Amplified Glass Plate With Attached Springs, Contact Microphones, Frederic Rzewski; Homemade Synthesizer from Electronic Organ Parts, Allan Bryant; Moog Modular Synthesizer, Contact Microphones, Voice, Richard Teitelbaum; Tenor Saxophone, Ivan Vandor; Voice, Carol Plantamura.
30:45
22:26
4. David Tudor, “Rainforest Version One” (1968) from Rainforest. Live electronics, David Tudor, Takehisa Kosugi. Used transducers to amplify objects. Recorded by Rob Miller.
21:50
53:10
5. Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival of Hits. Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model.
06:19
01:14:56
6. The Music Improvisation Company, “Tuck” (1970) from The Music Improvisation Company. Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker.
03:00
01:21:14
7. David Tudor, “Rainforest IV” (1973) from Rainforest IV. Composed in 1973 by David Tudor; performed by Composers Inside Electronics (David Tudor, Martin Kalve, Philip Edelstein, Ralph Jones, Bill Viola, John Driscoll). Recorded at the exhibition "Für Augen und Ohren - Von der Spieluhr zum akustischen (Environment (For eyes and ears - from the mechanical clock to the acoustic environment)" at the Akademie der Künste, Berlin, January 1980.
25:12
01:24:24
8. Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" (1999) from Sound Characters (Making The Third Ear). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak.
10:04
01:49:36
9. Caroline Park, “Grain 5” (2011) from Grain. This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed by Caroline Park.
09:05
01:59:32
10. Caterina Barbieri. “This Causes Consciousness To Fracture” (2017) from Patterns Of Consciousness. Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode.
22:44
02:08:36
11. Sarah Davachi, “First Cadence” (2021) from Antiphonals. Composed, recorded, performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi.
05:48
02:31:20
12. Asha Tamirisa, “Live Performance,”(2023) at the Waterworks 2023: Festival of Experimental Sound. Laptop synthesis, snare drums, Asha Tamirisa. Soundtrack for a video recorded by Wenhua Shi & Nick Stevens, video editing by Nick Stevens, and audio recording and mixing, Matthew Azevedo.
25:10
02:37:02
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 34, Live Electronic Music— Foundations
Episode 175
Chapter 34, Live Electronic Music— Foundations. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 34, Live Electronic Music— Foundations from my book Electronic and Experimental music.
Playlist: LIVE ELECTRONIC MUSIC FOUNDATIONS
Time
Track Time
Start
Introduction –Thom Holmes
01:36
00:00
1. John Cage, “Radio Music” (1956) from John Cage. Performed on radios by Gianni-Emilio Simonetti, Juan Hidalgo, Walter Marchetti. Each of these performers used a Panasonic multi-band portable Radio Model RF-1600 B receiver.
04:33
01:40
2. John Cage, “Cartridge Music” (1960) from Music For Merce Cunningham. Phonograph Cartridges, Amplified Small Objects, David Tudor, Michael Pugliese, Takehisa Kosugi. Recorded at Paris, France in September 1988.
18:53
06:12
3. Alvin Lucier, “Music for Solo Performer” (excerpt) (1965). Live recording from 1975. Brainwave amplification performed by Alvin Lucier; electronics, Nicolas Collins.
11:46
25:04
4. Gordon Mumma, “Horn” (1965) from Live-Electronic Music. Electronic modification of horn sounds. Horn, Gordon Mumma; Cybersonic console, designed by Mumma, operated by William Ribbens; Recorded by George Cacioppo; Voice, George Cacioppo, Robert Ashley. For a hornist, two voices, and a cybersonic console operator.
09:36
36:48
5. John Cage, “Variations V” (1965). Performance on November 11, 1966, Théâtre de Champs Élysées, Paris. Performers, John Cage, David Tudor, Gordon Mumma.
39:57
46:10
6. David Tudor, “Bandoneon ! (A Combine)” (1966) from The Art Of David Tudor 1963–1992. Composed and performed by David Tudor.
14:15
01:26:43
7. David Behrman, “Runthrough” (1967–68) from Wave Train. For homemade synthesizers and photocell mixers. Homemade Synthesizer, Photocell Mixer, Alvin Lucier, David Behrman, Gordon Mumma, Robert Ashley.
12:11
01:40:26
8. Gordon Mumma, “Telepos” (1972) from Music For Merce 1952-2009. Recorded live on February 2, 1972, La Fenice, Venice. Controlled Sounds Activated By Dancers With Telemetry-accelerometer Belts, Gordon Mumma.
18:38
01:52:34
9. Pauline Oliveros, Rehearsals for “In Memoriam, Nikola Tesla” (excerpt) (1972). Recorded live September 1972, Köln, Germany. No performers listed.
11:56
02:11:06
10. Robert Ashley, “Automatic Writing” (1974–79) from Automatic Writing. Electronics, Polymoog, Voice, Words, Produce, Recorded, Mixed by Robert Ashley; Mixing Assistance, Rich LePage; Switching Circuit Designed and Built by Paul DeMarinis; Translated by Monsa Norberg; Voice, Mimi Johnson.
46:00
02:23:04
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 33, Digital Synthesizers and Samplers
Episode 174
Chapter 33, Digital Synthesizers and Samplers. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 33, Digital Synthesizers and Samplers from my book Electronic and Experimental music.
Playlist: DIGITAL SYNTHESIZERS AND SAMPLERS
Time
Track Time
Start
Introduction –Thom Holmes
01:38
00:00
1. Jon Appleton, “Syntrophia”(1978) from Music For Synclavier And Other Digital Systems. Composed and performed on the Synclavier, Dartmouth Digital Synthesizer, Jon Appleton.
08:55
01:40
2. Claude Larsen, “Nitrogen” (1980) from Synthesis. Sounds a bit like “Oxygen” by Jarre from 1976. Programmed, performed, Fairlight CMI Music, Roland System 700, Oberheim TVS-1 Four Voice, Polymoog, Roland MC 8 Micro-Composer, Syntovox vocoder, Claude Larson.
02:31
10:36
3. Eberhard Schoener, “Fairlight 80” (1980) from Events. Featured the Fairlight CMI played by Schoener and vocals by Clare Torry.
04:20
13:04
4. Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” (1980) from Events. Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMIsynthesizers, Eberhard Schoener; Fairlight CMI, Morris Pert; Gong, Percussion (Gede, Kempli, Rejong), Furst Agong Raka; Gong, Percussion (Gender, Lanang, Rejong), Ketut Tama; Gong, Percussion (Wadong, Rejong), Rai Raka; Percussion, Morris Pert; Fender electric piano, Roger Munnis; tenor saxophone, Olaf Kübler; Drums, Evert Fraterman, Pete York; Electric Bass, Steve Richardson; Electric Guitar, Ian Bairnson.
11:07
17:26
5. Klaus Schulze, “Death Of An Analogue” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS.
12:20
28:31
6. Klaus Schulze, “The Looper Isn't A Hooker” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS.
07:05
40:52
7. Joel Chadabe and Jan Williams, “Song Without Words” (1981) from Rhythms For Computer And Percussion. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music.” This was an early Synclavier without a keyboard controller. Synclavier digital synthesizer, Joel Chadabe; Percussion, Vibraphone, Marimba, Slit Drum, Log, Wood Block, Temple Block, Cowbell, Singing Bowls, Jan Williams.
07:24
47:54
8. Don Muro, “Deanna Of The Fields” (1981) from Anthology. Vocals, Piano, Electric Piano, Acoustic Guitar, Electric Guitar, Synthesizer, Korg M1 Music Workstation, Bass, Drums, Percussion, Don Muro.
02:52
55:18
9. Nervous Germans, “Hometown” (1981) from Nervösen Deutschen. Bass, Producer, Micki Mäuser; Drums, Udo Dahmen; Guitar, Manni Holländer; Vocals, Casio VL Tone micro keyboard, Grant Stevens.
05:15
58:10
10. Tuxedomoon, “Blind” from Time To Lose, Blind. Effects, Guitar, Peter Principle; Casio M-10, Blaine L. Reininger; Vocals, Moog, Soprano Saxophone, Steven Brown; Vocals, Winston Tong.
07:44
01:03:26
11. Herbie Hancock, “Rough” (1983) from Future Shock. Fairlight CMI, AlphaSyntauri, Emulator, Herbie Hancock; Background Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Prophet-5, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST.
06:54
01:11:00
12. Wendy Carlos, “Genesis,” “Eden,” and “I.C. (Intergalactic Communications)” (1984) from Wendy Carlos' Digital Moonscapes. Programmed All Sounds programmed and performed on the Crumar GDS/Synergy digital synthesizer, Wendy Carlos.
15:20
01:17:50
13. Ron Kuivila, “Household Object” (1984) from Fidelity. Casio VL toneand homemade electronics, Ron Kuivila.
09:34
01:33:20
14. Lejaren Hiller, “Expo ’85” (1985) from Computer Music Retrospective. Four short pieces highlight the versatility of the Kurzweil K250: “Circus Piece - A Cadential Process” (4:04), “Transitions - A Hierarchical Process” (2:12), “Toy Harmonium - A Statistical Process” (1:41), “Mix Or Match - A Tune Generating Process (5 Examples)” (3:44).
11:55
01:42:52
15. Third World, “Can't Get You (Out Of My Mind)” (1985) from Sense Of Purpose. Yamaha DX7, Prophet 5, PFR Yamaha, Grand Piano Yamaha Acoustic, Organ Hammond B3, Clavinet Mohner D6, Percussion, Vocals, Michael "Ibo" Cooper; Backing Vocals, Glenn Ricks, Meekaaeel; Bass, Rhythm Guitar, Backing Vocals, Percussion, Richie "Bassie" Daley; Drums Yamaha Acoustic Drums, Electronic Drums Simmons, Drum Machine D.M.X., Drum Machine Linn Drum Machine, Percussion, Backing Vocals, Willie Stewart; Keyboards, Lead Guitar, Rhythm Guitar, Harmonica, Acoustic Guitar The Washburn Electro Acoustic, Vocals, Percussion, Stephen "Cat" Coore; Lead Vocals, Backing Vocals, Bill "Bunny Rugs" Clarke; Percussion, Neil Clarke; Percussion, Binghi Drums, Junior Wedderburn, Tschaka Tonge.
03:37
01:54:46
16. George Todd, “Sound Sculptures” (1985) from Music For Kurzweil And Synclavier. Synclavier Digital Music System, George Todd.
09:02
01:58:22
17. Russ Freeman, “Easter Island” (1986) from Nocturnal Playground. Electric Guitar, Acoustic Guitar, Guitar Synthesizer, Keyboard Bass, Emulator II, Linn 9000 Drum programming, Russ Freeman; Drums, Percussion, David Renick; Percussion, Emulator II programming, Steve Reid; Alto Saxophone, Brandon Fields.
05:30
02:07:22
18. Donald Steven of G.E.M.S., “Images - Refractions Of Time And Space (1986)” from Group Of The Electronic Music Studio - McGill University. Yamaha DX7, Laurie Radford; Bass, John Oliver; Electric Flute, Jill Rothberg; Percussion, Elliot Polsky, François Gauthier.
11:42
02:12:52
19. Jane Brockman, “Kurzweil Etudes” (1-3) (1986) from Music For Kurzweil And Synclavier. Kurzweil K250, Jane Brockman.
10:19
02:24:32
20. Richard Burmer, “Across The View” (1987) from Western Spaces. Emulator II plus an analog synth, Richard Burmer.
04:38
02:34:48
21. Sonny Sharrock Band, “Kate (Variations On A Theme By Kate Bush)” (1990) from Highlife. Electronics, Korg M1, Korg Wave Station, Dave Snider; Bass, Charles Baldwin; Drums, Abe Speller, Lance Carter; Guitar, Sonny Sharrock.
05:52
02:39:32
22. Second Decay, “Taste” (1994) from Taste. Produced with the Roland Compu Music CMU-800R workstation and without MIDI; Simmons Electronic Drums,Thomas V.. Other synths used: ARP Odyssey, ARP 2600, PPG Wave 2.0, Emulator I and II, Roland SH-101, SH-7, CR-78, TR-808, MC-4, TR-606, EMS Synthi A, Solina String, Mellotron, Crumar Performer, Teisco 110F, Wasp, Linn LM-1, SCI Pro-One, Minimoog, Korg Mono-Poly, SQ-10, Elektro Harmonix Minisynth, Vocoder and effect devices, Compact Phasing A, Roland Echos RE 201, SRE 555.
04:20
02:45:18
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 32, Other Analog Synthesizers
Episode 173
Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music.
Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG)
Time
Track Time
Start
Introduction –Thom Holmes
01:36
00:00
1. Raymond Scott, “Space Mystery” (1963). Used Scott’s Electronium, a custom-made analog synthesizer/sequencer.
05:08
01:42
2. Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College.
33:13
06:53
3. John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made.
06:38
40:06
4. John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist.
04:09
46:46
5. Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer.
09:31
51:02
6. Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer.
03:07
01:00:34
7. Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments.
01:18
01:03:44
8. Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band.
02:37
01:05:02
9. Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog.
06:34
01:07:40
10. Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers.
12:28
01:14:11
11. Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge.
03:15
01:26:42
12. Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian’s company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard.
07:15
01:29:56
13. Henry Kucharzyk, “Play Dot Sam” (1981) from Walk The Line - Three New Works By Henry Kucharzyk. This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. “Samson” was formally known as the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University.
03:05
01:37:08
14. Terry Riley, “The Ethereal Time Shadow” (1981-82) from Music from Mills. Used two Prophet V synthesizers, tuned to just intonation and employing sequencing.
08:51
01:40:12
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 31, ARP Analog Synthesizers
Episode 172
Chapter 31, ARP Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 31, ARP Analog Synthesizers from my book Electronic and Experimental music.
Playlist: MUSIC MADE WITH ARP ANALOG SYNTHESIZERS
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Elias Tanenbaum, “Contrasts” (1971) from ARP Art. Used the ARP Odyssey.
05:03
01:40
2. ARP demonstration. Roger Powell and Harry Coon, The ARP 2500—How it Sounds, side 2 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Music by Harry Coon and an improvisation by Roger Powell.
06:19
06:46
3. ARP demonstration. Roger Powell and Harry Coon, The ARP 2600—How it Works, side 1 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Narrated and all music by Roger Powell.
07:38
13:02
4. Roger Powell, “Ictus: Primordial Pulse,” (4:57), “Lumia: Dance Of The Nebulae” (5:14), “Fourneau Cosmique: The Alchemical Furnace Of Cleopatra,” (7:42) (1973) from Cosmic Furnace. Featured the ARP 2500, ARP Soloist, ARP 2600, and ARP Odyssey.
17:50
20:40
5. Bobbi Humphrey, “My Little Girl” (1974) from Satin Doll. Featured Larry Mizell on ARP synthesizers.
06:38
38:32
6. Herbie Hancock, “Palm Grease” (1974) from Thrust. Featured the ARP Odyssey, ARP Soloist, ARP 2600, and ARP String synthesizer.
10:35
45:16
7. John Keating, “Starcluster” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist.
03:44
55:50
8. Joseph Byrd, “The Stars and Stripes Forever” (1976) from Yankee Transcendoodle. Featured the ARP Odyssey.
03:22
59:34
9. Charles Earland, “Sons of the Gods” (1976) from Odyssey. Featured the ARP Pro- Soloist, ARP Axe, ARP String Ensemble, Clavinet and organ.
05:44
01:02:58
10. Jean Michel Jarre, “Oxygene, Parts I, II, and III” (1976) from Oxygene. Used ARP and other synthesizers.
18:40
01:08:39
11. Michel Magne, “Trip Psychiatrique” (1978) from Elements, La Terre(1978). Featured the ARP Odyssey, ARP Omni Polyphonique, and ARP 2600.
04:35
01:27:22
12. Mike Mandel, “Pyramids” from Sky Music (1978). Featured the ARP Odyssey, ARP Pro Soloist, and ARP Omni II.
05:59
01:36:51
13. Eliane Radigue, “Triptych Part 2” (1978) from Triptypch. Composed and performed on the ARP 2500 modular synthesizer.
11:56
01:37:52
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 30, EMS Analog Synthesizers
Episode 171
Chapter 30, EMS Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music.
Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Delia Derbyshire, “Dance From ‘Noah’ " (1970). Composed for a television program. Used the EMS VCS3.
00:55
01:44
2. Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.”
06:15
02:34
3. Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock.
24:23
08:48
4. Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3.
07:04
33:06
5. Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973). Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument.
03:04
40:10
6. The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers.
04:53
43:12
7. Peter Zinovieff, “A Lollipop For Papa” (1974). Realized with the EMS Synthi AKS.
06:26
48:04
8. Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS.
07:40
54:40
9. J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS.
02:04
01:02:18
10. J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer).
01:52
01:04:24
11. Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri.
02:48
01:06:16
12. Henry Sweitzer, “Open Windows” (1979) from Te Deum. Realized with the EMS Synthi AKS.
11:11
01:09:02
13. Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry.
08:38
01:20:14
14. Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000.
17:58
01:28:52
15. Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS.
04:49
01:46:40
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 29, Buchla Analog Synthesizers
Episode 170
Chapter 29, Buchla Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 29, Buchla Analog Synthesizers from my book Electronic and Experimental music.
Playlist: MUSIC MADE WITH BUCHLA ANALOG SYNTHESIZERS
Time
Track Time
Start
Introduction –Thom Holmes
01:38
00:00
1. Morton Subotnick, “Prelude No. 4” (1966). Early work for piano and electronic tape using sounds created on the Buchla 100. Pianist, Richard Bunger, recorded in 1973 (Buchla tape from 1966).
05:15
01:40
2. Morton Subotnick, “Silver Apples of the Moon” (Part 1) (1966). First commissioned work of electronic music from Nonesuch Records.
04:23
08:32
3. Gerry Olds, “4/3 + 1” (1967). Jazz mixed with electronics created on the Buchla 100 at a San Francisco Tape Music Center Concert.
11:19
12:58
4. Buffy Sainte- Marie, “Better To Find Out For Yourself” and “The Vampire” (1969). Electronic “settings,” processing of Sainte-Marie’s voice and guitar done on Buchla 100 modular systems (3 units) used by Michael Czajkowski at the electronic music studio of NYU.
04:39
24:16
5. Douglas Leedy, “Entropical Paradise” (1970). Sonic environments created by the Moog and Buchla modular synthesizers.
20:09
28:52
6. George Marsh, “Wind Borne” (1973). Prepared Buchla 200 Synthesizer with sequencing, George Marsh.
08:28
49:06
7. David Rosenboom and Donald Buchla, “How Much Better If Plymouth Rock Had Landed On The Pilgrims, Section V” (1978). Buchla modular synthesizers by composer Rosenboom and the inventor himself, Donald Buchla.
22:47
57:34
8. Morton Subotnick, “The Last Dream of the Beast” (1978, 1982, 1984). Featured the Buchla 400.
14:47
01:20:20
9. Mel Powell, “Three Synthesizer Settings” (1981). Moog and Buchla synthesizers.
08:47
01:35:06
10. Morton Subotnick, “A Sky of Cloudless Sulphur, Opening” (1980). Buchla 200 and Subotnick’s “ghost shadow electronics.”
11:15
01:43:51
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 28, Moog Analog Synthesizers, Part 2
Episode 169
Chapter 28, Moog Analog Synthesizers, Part 2. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 2 from my book Electronic and Experimental music.
Playlist: CLASSIC SYNTHESIZER ROCK— FROM TAPE COMPOSITION TO SYNTHESIZERS
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. The Beatles, “Tomorrow Never Knows” (1966). Tape loops and Lennon’s voice fed through the rotating Leslie speaker of a Hammond organ.
02:57
01:42
2. Spooky Tooth and Pierre Henry, “Have Mercy” (1969). Featured tape composition by the French composer of musique concrète as part of a collaborative rock opera.
07:55
04:40
3. Emerson, Lake, & Palmer, “Lucky Man” (1971). Featured the Moog Modular played by Keith Emerson; one of the first rock hits in which a Moog was the featured solo instrument.
04:39
12:34
4. Yes, “Roundabout” (1971). Featured the Minimoog, Mellotron, Hammond Organ and other electronic keyboards played by Rick Wakeman.
08:33
17:10
5. Elton John, “Funeral for a Friend/Love Lies Bleeding” (1973). Featured the ARP 2600 played by Dave Henschel.
11:10
25:42
6. David Bowie, “Speed of Light” (1977). Produced by Brian Eno. Used an EMS AKS synthesizer and Eventide H910 harmonizer for the electronic effects and sounds.
02:47
36:46
7. Gary Wright, “Touch and Gone” (1977). Used Polymoog, Clavinet, Oberheim, and Fender-Rhodes electronic keyboards.
03:58
39:32
8. Gary Numan, “Cars” (1979). Early synth-rock success using electronic keyboards without guitar. Multiple Polymoog synthesizers.
03:52
43:28
9. The Art of Noise, “(Who’s Afraid Of?) The Art of Noise” (1984). Art rock devised by Anne Dudley and Trevor Horn exploring the sampling capabilities of the Fairlight CMI.
04:23
47:20
10. Grace Jones, “Slave to the Rhythm” (1985). Featured the Synclavier programmed and played by Trevor Horn.
09:39
51:43
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 28, Moog Analog Synthesizers, Part 1
Episode 168
Chapter 28, Moog Analog Synthesizers, Part 1. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 1 from my book Electronic and Experimental music.
Playlist: EARLY MOOG RECORDINGS (BEFORE 1970)
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1. Emil Richards and the New Sound Element, “Sapphire (September)” from Stones (1967). Paul Beaver played Moog and Clavinet on this album by jazz-pop mallet player Richards, who also contributed some synthesizer sounds.
02:21
01:44
2. Mort Garson, “Scorpio” (1967) from Zodiac Cosmic Sounds (1967). Mort Garson and Paul Beaver. Incorporated Moog sounds among it menagerie of instruments. Garson went on to produce many solo Moog projects.
02:53
04:04
3. Hal Blaine, “Kaleidoscope (March)” from Psychedelic Percussion(1967). Hal Blaine and Paul Beaver. Beaver provided Moog and other electronic treatments for this jazzy percussion album by drummer Blaine.
02:20
06:58
4. The Electric Flag, “Flash, Bam, Pow” from The Trip soundtrack (1967). Rock group The Electric Flag. Moog by Paul Beaver.
01:27
09:18
5. The Byrds, “Space Odyssey” (1968) from The Notorious Byrd Brothers (1968). Produced by Gary Usher who was acknowledged for having included the Moog on this rock album, with tracks such as, “Goin’ Back” (played by Paul Beaver), “Natural Harmony,” and unreleased track “Moog Raga.”
03:47
10:48
6. The Monkees, “Daily Nightly” from Pisces, Aquarius, Capricorn, and Jones Ltd. (1967). Moog effects provided by Micky Dolenz of the Monkees and Paul Beaver.
02:29
14:40
7. Jean Jacques Perrey and Gershon Kingsley, “The Savers,” a single taken from Kaleidoscopic Vibrations (1967). The first Moog album by this duo known for their electro-pop songs.
01:48
17:08
8. Wendy Carlos, “Chorale Prelude "Wachet Auf" from Switched-On Bach (1968). The most celebrated Moog album of all time and still the gold standard for Moog Modular performances.
03:34
18:54
9. Mike Melvoin, “Born to be Wild” from The Plastic Cow Goes Moooooog (1969). Moog programming by Paul Beaver and Bernie Krause.
03:03
22:28
10. Sagittarius, “Lend Me a Smile” from The Blue Marble (1969). This was a studio group headed by Gary Usher, producer of The Byrds, who used the Moog extensively on this rock album.
03:09
25:30
11. The Zeet Band, “Moogie Woogie” from the album Moogie Woogie(1969). Electronic boogie and blues by an ensemble including Paul Beaver, Erwin Helfer, Mark Naftalin, “Fastfingers” Finkelstein, and Norman Dayron.
02:43
28:40
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 27, Computer Music (1971–2014)
Episode 167
Chapter 27, Computer Music (1971–2014). Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 27, Computer Music (1971–2014) from my book Electronic and Experimental music.
Playlist: EARLY MUSIC FROM MICROPROCESSORS
Time
Track Time
Start
Introduction –Thom Holmes
01:36
00:00
1. David Behrman, “Figure in a Clearing” (1977). KIM- 1 computer- controlled harmonic changes for 33 electronic generators and accompanying cello.
19:10
01:40
2. Dorothy Siegel, “Rondo from Sonata in B flat for Clarinet and Piano” (by Wanhal) (1979). Realized using an Altair S- 100 microcomputer.
03:53
20:52
3. Larry Fast, “Artificial Intelligence” (1980). Music generated by a microcomputer self- composing program.
10:46
24:44
4. Laurie Spiegel, “A Harmonic Algorithm” (1981). Created on an Apple II computer with Mountain Hardware oscillator boards.
03:05
35:30
5. Nicolas Collins, “Little Spiders” (1982). For two microcomputers equipped with gestural sensing programs, that generated sounds based on analysis of keystrokes.
04:46
38:30
6. Gordon Mumma, “Than Particle” (1985). For computer percussion and a percussionist.
10:16
43:30
7. Morton Subotnick, “And the Butterflies Begin to Sing” (1988). For string quartet, bass, MIDI keyboard, and microcomputer.
06:38
53:50
8. John Bischoff, Mark Trayle, Tim Perkis, “Dovetail” (1989). Three microcomputer programs interact and respond to each other in real time.
05:04
01:00:30
9. Tim Perkis, “Wax Lips” (1992). Performed by The Hub, an electronic music ensemble networked by a Microcomputer.
04:37
01:05:32
10. Jin Hi Kim, “Digital Buddha” (2014), recorded live at the Metropolitan Museum of Art. Electric komungo, Jin Hi Kim; percussion, Gerry Hemingway; MAX/MSP programming, Alex Noyes. The world’s first electric komungo that his equipped with MIDI and controlled using MAX. The komungo is a traditional 6-string instrument from Korea.
12:33
01:10:08
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 26, Early Computer Music (1950–70)
Episode 166
Chapter 26, Early Computer Music (1950–70). Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 26, Early Computer Music (1950–70). from my book Electronic and Experimental music.
Playlist: EARLY COMPUTER MUSIC (1950–70)
Time
Track Time
Start
Introduction –Thom Holmes
01:40
00:00
1. Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR’s radio-physics division in Sydney. The computer had a speaker—or hooter—to signal when operations were completed. A clever programmer thought of manipulating the signal tones into a melody.
02:18
01:42
2. Alan Turing’s computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the King, Baa, Baa Black Sheep, and Glenn Miller’s swing classic In the Mood. Plus, the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland.
01:55
02:36
3. Max Mathews, “Numerology” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. While working at Bell Labs in telecommunications research, Max Mathews was one of the earliest computer engineers to use a general-purpose computer to program music and digitally synthesize musical sound. His programming language Music I allowed composers to design their own virtual instruments, a breakthrough during those pioneering days of computer music. “Numerology” was composed to demonstrate the various parameters, or building blocks, available to the composer using this programming language: vibrato (frequency modulation), attack and decay characteristics, glissando, tremolo (amplitude modulation), and the creation of new waveshapes.
02:49
04:38
4. John Robinson Pierce, “Beat Canon” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. Played by IBM computer and direct to digital sound transducer.
00:52
07:28
5. James Tenney, “Noise Study” (1961). So named because “each of the ‘instruments’ used in this piece includes a noise-generator.”
04:24
08:20
6. “Bicycle Built For Two (Accompanied)” (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. This recording contains samples of synthesized speech–speech artificially constructed from the basic building blocks of the English language.
01:17
12:42
7. Lejaren Hiller, “Computer Cantata, Prologue to Strophe III” (1963). From the University Of Illinois. This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language.
05:41
14:00
8. J. K. Randall, “Lyric Variations For Violin And Computer” (1965-1968). J. K. Randall’s piece had a complex section that pushed the limits of computer processing power at the time. Although the section consisted of only 12 notes, each note was 20 seconds long. Each note overlapped with the next for 10 seconds, making the total length of the section only about 2 minutes. But this required 9 hours to process on one of the fastest computers of the day.
03:34
19:40
9. John Robinson Pierce, “Eight-Tone Canon” (1966). “Using the computer, one can produce tones with overtones at any frequencies.” Produced at Bell Telephone Laboratories.
03:53
23:14
10. Pietro Grossi, “Mixed Paganini” (1967). “Transcription for the central processor unit of a GE-115 computer of short excerpts of Paganini music scores. Realized at Studio di Fonologia musicale di Firenze (Italy).
01:46
27:08
11. Pietro Grossi, “Permutation of Five Sounds” (1967). Recording made on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New year gift by Olivetti company.
01:33
28:54
12. Wayne Slawson, “Wishful Thinking About Winter” (1970). Produced at Bell Telephone Laboratories.
03:53
30:26
13. John Cage and Lejaren Hiller, “HPSCHD” excerpt (1967-1969). The piece was written for Harpsichords and Computer-Generated Sound Tapes. Hiller and Cage staged a lively public performance in 1968 at the University of Illinois in Urbana. The first 10,000 individual recordings came with an insert in the form of a computer printout insert designed to allow the listener to program their own performance. And I quote from the jacket: "The computer-output sheet included in this album is one of 10,000 different numbered solutions of the program KNOBS. It enables the listener who follows its instructions to become a performer of this recording of HPSCHD. Preparation of this material was made possible through the Computing Center of the State University of New York at Buffalo." I happen to have three copies of this album, each with the printout.
07:20
34:16
14. Jean-Claude Risset, “Computer Suite From "Little Boy" (1968). Realized at Bell Laboratories.
04:28
41:46
15. Peter Zinovieff, “January Tensions” (1968). Zinovieff’s notes, from the album: “Computer composed and performed. This piece is very much for computer both in its realization and composition. The rules are straightforward. The computer may begin by improvising slowly on whatever material is first chooses. However, once the initial choices are made then these must influence the whole of the rest of the composition. The original sounds must occasionally be remembered and illustrated but a more and more rigid structure is imposed on the randomness. The piece was electronically realized and composed in real time by an 8K PDP8/S and electronic music peripherals.”
09:48
46:12
16. Barry Vercoe, “Synthesism” (1969). Realized in the Computer Centers of Columbia and Princeton Universities using MUSIC 360 for the IBM 360 mainframe computer. Vercoe authored this musical programming language.
04:33
56:00
17. Charles Dodge, “The Earth’s Magnetic Field” excerpt (1970). Composer Charles Dodge helped close the gap between computer music and other electronic music practices in 1969– 70 by working on computer code at Princeton University and then traveling to Bell Labs to have the code synthesized by a mainframe computer. The work, “Earth’s Magnetic Field” (1970) was an outcome of this process. Dodge realized this piece by fusing computer composition with synthesis, one of the earliest examples of a practice that would become the norm many years later but that was quite difficult at the time. He used a “general- purpose sound synthesis program” written by Godfrey Winham at Princeton University. Every sound in the piece was computed into digital form using the IBM/ 360 model 91 at the Columbia University Computer Center and then converted into analog form at the Bell Telephone Laboratories.
07:45
01:00:32
18. Irv Teibel, "Tintinnabulation (Contemplative Sound)" from Environments (New Concepts In Stereo Sound) (Disc 2) (1970 Syntonic Research). One side of the record is a rare work of purely electronic computer music in a series that otherwise consisted of natural ambient sounds. It used computer-generated bell sounds, falling back on Teibel’s experience processing sounds on an IBM 360 mainframe computer at Bell Labs. The record was promoted for meditation. A sticker on the cover read, "A Sensitizer for the Mind." From the liner notes: “As an illustration of the possibilities currently under examination, Syntonic Research decided to experiment with bell sounds as an environmental sound source. . . . Tintinnabulation can be played at any speed, from 78 to 16 rpm, in full stereo. At different speeds, the sounds change in tone and apparent size, although the harmonics remain unchanged. The effect, unlike real bells, is fully controllable by the use of your volume, bass, and treble controls.”
30:10
01:08:16
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific, Part 2
Episode 165
Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific, Part 2. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific, Part 2. from my book Electronic and Experimental music. In the playlist, the musical works are in chronological order by region (e.g., China, Taiwan).
Playlist: ELECTRONIC MUSIC FROM CHINA AND THE ASIA-PACIFIC
Time
Track Time
Start
Introduction –Thom Holmes
01:39
00:00
China
1. Fengjiangzou, “败臼,” (2021). From a survey of contemporary Chinese electronic music produced by the Unexplained Sounds Group.
03:36
01:40
2. Yan Jun, “In A Sense That Yet To Be Made” (2022). From a cassette release. Yan Jun, musician and poet, born in Lanzhou and based in Beijing.
46:44
05:16
3. Zhu Wenbo, Zhao Cong, Li Song, "3 lines" (live recording 2023 in Wujing, Beijing). “Sounds from transducer feedback, elastic ropes and other objects (foil, paper…).” Trio of improvising electronic musicians.
08:59
52:00
Taiwan
4. Scattered Purgatory, “破城入山” (Ramming the Town, Roaming the Mountain) (2014). Experimental drone/folk/rock band from Taipei, Taiwan comprised of members Lu Li-Yang and Lu Jiachi.
07:48
01:00:58
5. Mong Tong, “介紹 (Jiè Shào)” and “地府 (Dì Fǔ)” (2021). Mong Tong is a Taiwanese psychedelic music band formed by brothers Hom Yu and Jiun Chi. From the album, Music From Taiwan Mystery.
06:27
01:08:44
6. Mong Tong, “天庭 (Tiān Tíng)” (2021). From the album, Music From Taiwan Mystery.
07:38
01:15:08
Thailand
7. Rik Wachirapilun, “สังวาส (Fuck)” (1999). Rik is a Thai musician whose music combines elements from Thai, Indian, Arabic and Western New Wave/Indie Rock cultures.
04:15
01:22:46
Indonesia
8. Otto Sidharta, “Gamelan” (1980). From the album, Otto Sidharta, Indonesian Electronic Music 1979-1992.
11:28
01:27:02
9. Melcyd, “Hellephant” (2015). From the cassette compilation, Pekak! Indonesian Noise 1995-2015: 20 Years of Experimental Music from Indonesia. “Melcyd is an experimental music group that was born in the indie-pop scene of Yogyakarta city and shifted to a more experimental form in their later period as a music group.”
06:12
01:38:24
10. Theonugraha, “Ngayau” (2015). From the cassette compilation, Pekak! Indonesian Noise 1995-2015: 20 Years of Experimental Music from Indonesia.
04:01
01:44:36
11. To Die, “Di Lautan Kegamangan” (2015). From the cassette compilation, Pekak! Indonesian Noise 1995-2015: 20 Years of Experimental Music from Indonesia. A list of recordings can be found here.
04:25
01:48:38
Philippines
12. Jose Maceda, “Ugnayan” excerpt (1973/2009). Ugnayan, music for 20 radio stations. This release is a stereo mix of the original twenty tracks recorded under the supervision of the composer in 1973 in the Philippines.
22:21
01:53:02
13. Jose Maceda, “Strata” (1987).
19:42
02:15:22
New Zealand
14. Douglas Lilburn, “The Return” (1965). Narrator, Tim Elliott; Technical Supervision, Willi Gailer; Maori Voice, Mahi Potiki. Tape work with voices. Douglas Lilburn (1915-2001) has been described as the "grandfather of New Zealand music," having worked in both conventional classical styles as well as pioneering electro-acoustic music in New Zealand.
17:00
02:34:58
15. Annea Lockwood, “Tiger Balm” (1970/1987). Revised Tape, Annea Lockwood; Engineering Assistance, Peter Grogono. “Tiger Balm was originally mixed in 1970 at Peter Zinovieff's Putney Studio in London. It was revised by the composer in her own studio a number of years later. This is the revised version.” Born in New Zealand, Annea Lockwood moved to England in 1961, studying composition at the Royal College of Music, London and followed courses in electronic music with Gottfried Michael Koenig.
10:26
02:51:56
16. Douglas Lilburn, “Soundscape with Lake and River” (1979).
11:01
03:02:22
17. Ros Bandt, “Stack (Red Rhythmic Pulses In Red Paint and Electrified Steel)” (2000). Concept, composed, performed, sound design, art direction, design, photography, Ros Bandt. Bandt is a musicologist, sound sculptor and instrument designer.
09:57
03:13:22
18. Rory Storm, “My Little Sun” (2005). Sound artist from New Zealand. Electric guitar, drum loop, bass guitar, keyboards, samples, acoustic guitar, field recording, vocals, tape, piano, ocarina, Metasynth, Rory Storm.
05:41
03:23:16
Opening and closing voicings, Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific
Episode 164
Chapter 25, Electronic Music from Japan, China, and The Asia-Pacific. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 25, Electronic Music in Japan and The Asia-Pacific from my book Electronic and Experimental music.
Playlist: ELECTRONIC MUSIC IN JAPAN AND THE ASIA-PACIFIC
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1. Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Early work of tape music.
13:50
01:36
2. Toru Takemitsu, “Vocalism Ai (Love)” (1956). For magnetic tape (condensed from a 72-hour tape montage.
04:11
15:22
3. Makoto Moroi and Toshiro Mayuzumi, “Shichi No Variation (7 Variations)” (1956). Tape music for sine wave generators.
14:51
19:32
4. Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958). For magnetic tape.
03:28
34:24
5. Group Ongaku, “Object” (1960). Recorded on May 8, 1960, at Mizuno’s house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno.
07:34
37:50
6. Toru Takemitsu, “Water Music” (1960). For magnetic tape.
09:41
45:26
7. Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration).” For magnetic tape and reader.
07:05
55:06
8. Group Ongaku, “Metaplasm Part 2” (1961). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Tadashi Mori (conductor),
09:08
01:02:10
9. Akira Miyoshi (composer), opening excerpt to Ondine (1961). For orchestra, mixed chorus and electronic sounds.
04:32
01:11:18
10. Joji Yuasa – “Aoi No Ue” (1961). For voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio.
29:50
01:15:50
11. Kuniharu Akiyama, “Noh-Miso” (track 1) (1962). Tape music. Hitomi-Za is an experimental puppet theatre group. They had performed in February 13-17 in 1962 at Sogetsu Kaikan Hall. This program was consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each part.
01:44
01:45:40
12. Toshi Ichiyanagi, “Parallel Music” (1962). Tape music recorded at NHK Electric Music Studio, Tokyo Japan.
09:12
01:47:22
13. Kuniharu Akiyam, “Demonstration of Nissei Theater” (excerpt) (1963). “Demonstration of Nissei Theater” composed in 1963 for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo.
05:15
01:56:36
14. Toshi Ichiyanagi, “Sound Materials for Tinguely” (1963). “Music For Tinguely” was composed at the studio of Sogetsu Art Center. This rare track comprises sound materials used for that composition.
03:31
02:01:54
15. Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio."
04:24
02:05:26
16. Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965). Tape piece for violin and chamber orchestra.
10:01
02:09:46
17. Joji Yuasa, “Icon on the Source Of White Noise” (1967). Tape work using white noise as material and designed for a multi-channel system. In the original version, several sound images of various widths (e.g. three loudspeakers playing simultaneously) moved at different speeds around the audience, who were positioned inside the pentagonal loudspeaker arrangement.
12:13
02:19:44
18. Makoto Moroi, “Shosanke” (1968). Tape work fusing electronic sounds with those of traditional Japanese instruments.
13:20
02:31:54
19. Minao Shibata, “Improvisation for Electronic Sounds” (1968). Tape piece for electronic sounds.
09:27
02:45:12
20. Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage.
06:57
02:54:40
21. Toshi Ichiyanagi, Music for Living Space (1969, Bijutsu Shuppan-Sha), composed for the Electric Faculty of Engineering of Kyoto University. Early Computer Music combined with Gregorian chant for Osaka Expo '70.
08:49
03:01:34
22. Toshiro Mayuzumi, “Mandara” (1969). Tape piece for electronic sound and voices.
10:22
03:10:24
23. Takehisa Kosugi, “Catch-Wave” (Mano Dharma '74)” (1974). “Mano-Dharma '74” is an excerpt from a meta-media solo improvisation performed by Takehisa Kosugi. From his notes: “Sounds speeding on lights, light speeding on sounds music between riddles & solutions. ‘the deaf listen to sounds touching, watching.”
26:32
03:20:42
24. Yoshi Wada – Earth Horns with Electronic Drone, excerpt, (1974). Electronics by Liz Phillips. Pipehorn players Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada. Composed by, recorded by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York, Sunday 2-5pm, February 24, 1974.
10:51
03:47:10
25. Matsuo Ohno, Takehisa Kosugi, “B.G.M. Parts A-F” (1963). Music and effects later used for Astroboy.
06:59
03:57:48
26. Joji Yuasa, “My Blue Sky (No. 1)” (1975). Tape parts realized at NHK Electronic music studio.
15:43
04:05:00
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 24, Electronic Music in Latin America
Episode 163
Chapter 24, Electronic Music in Latin America. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 24, Electronic Music in Latin America from my book Electronic and Experimental music.
Playlist: ELECTRONIC MUSIC IN LATIN AMERICA
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Reginaldo Carvalho “Sibemol” (1956). Early electroacoustic work from Brazil. Composed in his home studio.
01:33
01:40
2. Mauricio Kagel “Transicion” (1958). Realized at the WDR studio, Cologne, Germany by this Argentinean composer..
13:12
03:16
3. Hilda Dianda, “Dos Estudios en Oposición” (1959). An Argentinean composer and early experimenter with electronic music. The tape part for this early work likely composed in her home studio.
06:14
16:26
4. Mario Davidovsky, “Electronic Study No. 1” (1961). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer.
05:44
22:40
5. Jorge Antunes, “Pequena Peça para mi Bequadro e Harmônicos” (1961). Realized by this Brazilian composer in his private studio.
03:47
28:24
6. César Bolaños, "Intensidad Y Altura" (1964). Electroacoustic work realized in CLAEM, Instituto T. di Tella, Buenos Aires by this Peruvian composer.
05:13
32:10
7. Hilda Dianda, “A7” (1964). Electroacoustic work for cello and tape from Argentina. Her electronic music work was associated with CICMAT, Buenos Aires.
15:04
37:24
8. Jacqueline Nova, “Oposición – Fusión” (1968). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionál de Buenos Aires.
10:28
52:28
9. Alcides Lanza, “Penetrations II” (1969). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer.
09:58
01:02:56
10. Jorge Antunes, “Cinta Cita” (1969). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer.
04:46
01:13:05
11. Jacqueline Nova, “Creación De La Tierra” (1969). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionál de Buenos Aires.
18:21
01:17:50
12. Eduardo Kusnir, "La Panadería Versión Electrónica" (1970). Electroacoustic work realized in CLAEM, Instituto T. di Tella, Buenos Aires by this Argentinean composer.
09:20
01:36:04
13. José Maria Neves, "Un-X-2” (1971). Electroacoustic work realized in the "Centre Americain," Paris by this Brazilian composer.
08:54
01:45:22
14. Oscar Bazán, "Parca" (1974). Electroacoustic work realized in CICMAT, Buenos Aires by this Argentinean composer.
08:49
01:54:12
15. Jacqueline Nova, “Montaje Electroacústico A Partir De Materiales” De La Música Original De La Película Camilo El Cura Guerrillero (1974). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionálde Buenos Aires.
08:14
02:03:00
16. Juan Blanco, “Tañidos” (1983). Realized by this Cuban composer at the Estudio Electroacústico Del Instituto Cubano De Amistad Con Los Pueblos (ICAP).
12:53
02:11:14
17. Syntoma, “No Me Puedo Controlar” (1983). Produced by this Mexican synth-pop band at Estudios Rack.
04:06
02:24:06
18. Juan Blanco, “Espacios II” (1984). Realized by this Cuban composer at the Estudio Electroacústico Del Instituto Cubano De Amistad Con Los Pueblos (ICAP).
08:45
02:28:12
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 22, Electronic Music in Canada
Episode 161
Chapter 22, Electronic Music in Canada. Works Recommended from my book, Electronic and Experimental Music
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 22, Electronic Music in Canada from my book Electronic and Experimental music.
Playlist: ELECTRONIC MUSIC IN CANADA
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition.
2:12
01:38
2. Hugh LeCaine, “Ninety-Nine Generators” (1956). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time.
1:42
03:40
3. Hugh LeCaine, “This Thing Called Key” (1956). Le Caine composed on his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys.
1:53
05:22
4. Anhalt, “Electronic Composition No. 2” (1959).
8:47
07:16
5. Norma Beecroft, “From Dreams of Brass” (1964). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto.
15:59
16:04
6. Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau’s and the electronic sounds were composed using Le Caine’s Polyphonic Synthesizer.
4:21
32:02
7. Micheline Coulombe Saint-Marcoux, “Zones” (1972). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music.
9:02
36:22
8. Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977). Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976.
11:20
45:24
9. John Mills-Cockell, “Collision” from Gateway (1977). Produced, engineered, organ and synthesizer by independent Canadian musician John Mills Cockell.
03:32
56:54
10. Dennis Patrick, “Phantasy III (Excerpt)” (1977-78). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976.
04:53
01:00:26
11. Hildegard Westerkamp, “Cricket Voice” (1987). This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time.
11:09
01:05:20
12. Ann Southam, “Fluke Sound” (1989). Southam is another female Canadian composer of note. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music.
10:22
01:16:16
13. Norma Beecroft, “Evocations: Images Of Canada (1992). In contrast to the earlier tape works of Beecroft, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer.
16:01
01:26:30
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 23, Radiophonic Music in the United Kingdom
Episode 162
Chapter 23, Radiophonic Music in the United Kingdom. Works Recommended from my book, Electronic and Experimental Music
This episode of the podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 23, Radiophonic Music in the United Kingdom from my book Electronic and Experimental music.
Playlist: RADIOPHONIC MUSIC IN THE UNITED KINGDOM
Time
Track Time
Start
Introduction –Thom Holmes
01:36
00:00
1. Daphne Oram, “Introduction to Oramics” (1960). Introduction to her Oramics studio and processes for making electronic music. Voice and musical examples by Daphne Oram, recorded in her home studio Tower Folly, Kent.
04:37
01:38
2. Daphne Oram, “Four Aspects” (1960). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent.
08:07
06:14
3. Delia Derbyshire, “Doctor Who Theme” (Closing Credits) (1962). The most famous version of this theme for the popular television program, composed by Ron Grainer and realized by Derbyshire at the BBC studios.
02:23
14:20
4. Ray Cathode (George Martin), “Time Beat” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles.
02:11
16:40
5. Ray Cathode (George Martin), “Waltz in Orbit” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles.
01:52
18:52
6. Daphne Oram, “Costain Suite” (1964). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent.
13:17
20:44
7. Delia Derbyshire, “Running” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964.
08:08
34:02
8. Delia Derbyshire, “Falling” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964.
08:45
42:08
9. Delia Derbyshire, “Land” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964.
07:02
50:54
10. Daphne Oram, “Pulse Persephone” (1965). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent.
04:03
58:06
11. Tristram Cary, “Sputnik Code” (1968). Cary was a British composer and pioneer of electronic music. He composed this work for a movie soundtrack.
01:50
01:02:08
12. Lily Greenham, “ABC in Sound” (1968). Early tape work by this pioneer of electronic music in the UK. Greenham was an Austrian-born Danish visual artist, performer, composer and leading proponent of sound poetry and concrete poetry. She settled in London.
02:39
01:04:02
13. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “The Black Mass: An Electric Storm In Hell (The White Noise)” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw.
07:20
01:06:40
14. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Your Hidden Dreams” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw.
04:55
01:13:58
15. White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Love Without Sound” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw.
03:07
01:18:52
16. Electrophon (Brian Hodgson, Dudley Simpson), “Arrival of the Queen of Sheba” (Händel) (1973). Electronic interpretations of classical music for various synthesizers.
03:04
01:22:00
17. Paddy Kingsland, “Fourth Dimension” (1973). Produced by Kingsland for the BBC Radiophonic Workshop. “The synthesisers used on this disc are both British, and both made by E.M.S. of London. They are the VCS3, an amazingly versatile miniature synthesiser, and its big brother, the Synthi '100', known within the Radiophonic Workshop as 'The Delaware', after the address of the Workshop.”
02:19
01:25:02
18. Lily Greenham, “Traffic” (1975). Realized at the Electronic Music Studio, Goldsmiths' College, University of London. Technical Assistance, Hugh Davies.
10:33
01:27:18
19. White Noise (David Vorhaus), “Concerto Movement 1” (1975). Used what Vorhaus called the Kaleidophon Synthesizer that included two EMS VCS 3’s connected via a console of electronic modules he designed.
11:33
01:37:50
20. Delia Derbyshire, “Dreaming” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program.
01:13
01:49:18
21. Glynis Jones, “Crystal City” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program.
01:01
01:50:30
22. Glynis Jones, “Magic Carpet” (1976). Includes three shorts works, Magic Carpet Take-Off, Magic Carpet Flight and Magic Carpet Land. Produced for the BBC Radiophonic Workshop as sound effects.
00:50
01:51:30
23. Brian Hodgson, “Tardis Land” (1976). Produced for the BBC Radiophonic Workshop as a sound effect.
00:23
01:52:22
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 21, The San Francisco Tape Music Center
Episode 160
Chapter 21, The San Francisco Tape Music Center. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 21, The San Francisco Tape Music Center from my book Electronic and Experimental music.
Playlist: THE SAN FRANCISCO TAPE MUSIC CENTER
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1. Terry Riley, “Mescalin-Mix” (1960-62). Early tape collage and one of Riley’s first works for tape.
14:23
01:38
2. Terry Riley, “Concerto For Two Pianos and Five Tape Recorders” )1961). Piano, LaMonte Young; piano and tape assemblage, Terry Riley. Recorded live. 1961 Riley-Terry_ConcertoForTwoPianos-b.wav
04:36
15:56
3. Pauline Oliveros, “Apple Box Double” (performance 2008). This piece was composed for various configurations of apple crates that were touched and scraped with various objects while being amplified. The original dates from about 2006. This performance by Seth Cluett and Oliveros took place in 2008.
12:45
20:30
4. Steve Reich, “Melodica” (1966). Tape piece and the last of Reich’s works before moving onto instrumental composition in his minimalist style.
10:42
33:16
5. Morton Subotnick, “Laminations” (1966). For orchestra and electronic sounds, on tape. By this point, Subotnick was working with an early model of a synthesizer built for the San Francisco Tape Music Center by Donald Buchla. This synthesizer material was also used for the opening of Silver Apples of the Moon the following year.
10:29
44:08
6. Morton Subotnick, “Prelude No.4 for piano and electronic tape (1966). Another Subotnick work for instruments and tape with synthesized electronic sounds.
06:58
54:36
7. Pauline Oliveros, “Alien Bog” (1967). Utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and a tape delay system.
33:17
01:01:30
8. Morton Subotnick, “Silver Apples of the Moon” (1967). Subotnick, recently departed from San Francisco and taking up shop at New York University, brought synthesizers constructed for him by Don Buchla when he was at the San Francisco Tape Music Center. This electronic composition represented a high point for the use of synthesizers at that time and was recorded on commission from Nonesuch Records.
32:01
01:35:00
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 20, The Experimental Music Studio, University of Illinois
Episode 159
Chapter 20, The Experimental Music Studio, University of Illinois. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE EXPERIMENTAL MUSIC STUDIO, UNIVERSITY OF ILLINOIS
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1. Lejaren Hiller, “Nightmare Music” (1961). Tape composition produced at the Experimental Music Studio, University of Illinois.
09:41
01:34
2. Charles Hamm, “Canto, For Soprano, Speaker & Chamber Ensemble” (1963). Produced at the Experimental Music Studio, University of Illinois.
06:25
11:16
3. Lejaren Hiller, “Computer Cantata, For Soprano, Chamber Ensemble and Tape” (1963). Produced at the Experimental Music Studio, University of Illinois.
23:09
17:38
4. Herbert Brün, “Futility, For Speaker And Tape” (1964). Produced at the Experimental Music Studio, University of Illinois.
07:50
40:34
5. Lejaren Hiller, “Machine Music, For Piano, Percussion And Tape” (1964). Produced at the Experimental Music Studio, University of Illinois.
13:15
48:22
6. Kenneth Gaburo, “Lemon Drops” (1965). Tape composition produced at the Experimental Music Studio, University of Illinois.
02:55
01:01:40
7. Salvatore Martirano, “Underworld” (1965). Tape composition produced at the Experimental Music Studio, University of Illinois.
16:55
01:04:36
8. Kenneth Gaburo, “For Harry” (1966). Tape composition produced at the Experimental Music Studio, University of Illinois.
03:41
01:21:32
9. Lejaren Hiller, “Suite For Two Pianos And Tape” (1966). Produced at the Experimental Music Studio, University of Illinois.
18:30
01:25:16
10. Lejaren Hiller, “Computer Music for Tape & Percussion” (1968). Produced at the Experimental Music Studio, University of Illinois.
06:52
01:43:42
11. Salvatore Martirano, “The SalMar: Part One” (1983). Performance by Martirano in Paris in 1983 using the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois.
18:59
01:50:26
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 19, The Cooperative Studio for Electronic Music, Ann Arbor
Episode 158
Chapter 19, The Cooperative Studio for Electronic Music, Ann Arbor. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE COOPERATIVE STUDIO FOR ELECTRONIC MUSIC, ANN ARBOR
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Gordon Mumma, “Music from the Venezia Space Theater” (1963-64). Tape composition produced with Robert Ashley at the Cooperative Studio for Electronic Music in Ann Arbor, for Milton Cohen’s Space Theater.
12:01
01:38
2. Robert Ashley and Bob James Trio, “Wolfman” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
06:08
13:25
3. Robert Ashley, Gordon Mumma and Bob James Trio, “Untitled Mixes” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
05:19
19:34
4. Gordon Mumma and Bob James Trio, “And On” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
08:54
24:50
5. Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
12:20
33:54
6. Robert Ashley, “She was a Visitor” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
05:56
46:00
7. Gordon Mumma, “Horn” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
06:22
51:54
8. Robert Ashley, Purposeful Lady Slow Afternoon (1968). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor.
10:15
58:18
9. Alvin Lucier, “Vespers” (1969). Performance piece for echolocating devices, first produced in Ann Arbor at the Once Festival.
10:03
01:08:27
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 18, The Columbia– Princeton Electronic Music Center, New York
Episode 157
Chapter 18, The Columbia– Princeton Electronic Music Center, New York. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE COLUMBIA–PRINCETON ELECTRONIC MUSIC CENTER, NEW YORK
Time
Track Time
Start
Introduction –Thom Holmes
01:31
00:00
1. Vladimir Ussachevsky, “Sonic Contours” (1952). Tape composition produced at the Columbia-Princeton Electronic Music Center.
07:24
01:36
2. Otto Luening and Vladimir Ussachevsky, “Incantation For Tape” (1953). Tape composition produced at the Columbia-Princeton Electronic Music Center.
02:36
08:56
3. Vladimir Ussachevsky, “Linear Contrasts” (1958). Tape composition produced at the Columbia-Princeton Electronic Music Center.
03:46
11:28
4. Halim El Dabh, “Electronics And The Word” (1959). Tape composition produced at the Columbia-Princeton Electronic Music Center.
02:47
15:14
5. Mario Davidovsky, “Electronic Study No. 1” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
05:44
17:56
6. Otto Luening, “Gargoyles” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:27
23:42
7. Vladimir Ussachevsky, “Wireless Fantasy” (1960). Tape composition produced at the Columbia-Princeton Electronic Music Center.
04:37
33:08
8. Ihan Mimaroglu, “Prelude No. 8 (To the memory of Edgard Varèse)” (1966). Tape composition produced at the Columbia-Princeton Electronic Music Center.
04:00
37:44
9. Pril Smiley, “Eclipse” (1967). Tape composition produced at the Columbia-Princeton Electronic Music Center.
07:56
41:38
10. Milton Babbitt, “Occasional Variations” (1968-71). Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:56
49:46
11. Bülent Arel, “Stereo Electronic Music No. 2 (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
14:24
59:41
12. Charles Dodge, “Changes” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
14:44
01:14:00
13. Alice Shields, “The Transformation Of Ani” (1970). Tape composition produced at the Columbia-Princeton Electronic Music Center.
09:05
01:28:44
14. Daria Semegen, “Electronic Composition No.1” (1971). Tape composition produced at the Columbia-Princeton Electronic Music Center.
05:53
01:37:48
15. Bülent Arel and Daria Semegen, “Out Of Into” (1972). Tape composition produced at the Columbia-Princeton Electronic Music Center.
16:39
01:43:34
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 17, John Cage in the United States
Episode 156
Chapter 17, John Cage in the United States. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: EARLY ELECTRONIC MUSIC IN THE UNITED STATES
Time
Track Time
Start
Introduction –Thom Holmes
01:25
00:00
1. Louis and Bebe Barron, “The Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin (who’s voice you will hear). Tape composition produced at the Barron’s studio (New York).
09:01
01:38
2. Williams Mix (1952) by John Cage. Tape composition produced at the Barrons’ studio (New York).
05:42
10:40
3. Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) Tape composition produced at the composer’s Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center.
02:54
16:20
4. Henry Jacobs, “Sonata for Loudspeakers” (1953-54). Tape composition produced at radio station KPFA-FM in Berkeley.
09:29
19:12
5. Jim Fassett, track “B2” (Untitled) (1955). From the album, Strange To Your Ears. Tape composition produced at CBS radio.
08:15
28:38
6. Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach), “Nola” (Arndt) and “Home, Sweet Home” (1955). Disc composition created on RCA Mark I Music Synthesizer at Princeton University.
05:26
36:54
7. John Cage, “Fontana Mix” (1958). Tape composition produced by Cage at Studio di Fonologia of the Italian Radio (Milan).
11:33
42:33
8. Tod Dockstader, “Drone” (1962). Tape composition produced privately by the composer (Los Angeles).
13:24
54:06
9. Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965). Tape composition produced at the studio for Experimental Music of the University of Illinois.
02:52
01:07:30
10. Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Tape composition produced at the Electronic Music Studio of Brandeis University.
06:12
01:10:20
11. Pauline Oliveros, “Bye Bye Butterfly” (1965). Tape composition produced at the San Francisco Tape Music Center.
08:05
01:16:32
12. Olly W. Wilson, “Cetus” (1967). Tape composition produced at the studio for Experimental Music of the University of Illinois.
09:18
01:24:36
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 16, Other European Electronic Music Studios
Episode 155
Chapter 16, Other European Electronic Music Studios. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: OTHER EUROPEAN ELECTRONIC MUSIC STUDIOS
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
1. Luciano Berio, “Mutazioni” (1955). Tape composition produced at the RAI studio (Milan).
03:36
01:38
2. Luciano Berio and Bruno Maderna, “Ritatto di Città (poema radiofonico)” (1955). Tape composition produced at the RAI studio (Milan).
06:05
05:14
3. Bruno Maderna, “Notturno” (1956). Magnetic tape composition, RAI studio (Milan).
03:24
11:16
4. Dick Raajimakers, “Song of the Second Moon” (1957). Tape composition produced at the Philips Research Laboratories (Eindhoven).
03:08
14:40
5. Luciano Berio, “Thema–Omaggio a Joyce” (1958). Early text-sound composition using magnetic tape. RAI studio (Milan).
06:24
17:48
6. Tom Dissevelt, “Whirling” (1958). Tape composition produced at the Philips Research Laboratories (Eindhoven).
02:37
23:56
7. Luigi Nono, “Omaggio A Vedova” (1960). Tape composition produced at the R.A.I. (Rome).
04:52
26:32
8. Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961). Tape composition produced at the Studio Di Fonologia Musicale Di Firenze (S 2F M) (Florence).
02:56
31:24
9. Ake Karlung, “Antihappening” (1962). Tape composition produced at the studio of ABF, Stockholm (Norway).
03:51
34:20
10. Alfred Janson, “Canon” (1964). Tape composition produced in his private studio (Norway).
12:27
38:08
11. Lars-Gunnar Bodin, “Den heter ingenting, den heter nog ‘Seans 2’” (1965. Tape composition produced in the studios of Swedish Radio (Stockholm).
16:00
50:46
12. Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965). Gruppo Nuove Proposte Sonore (NPS) (Padua).
05:46
01:06:46
13. Arne Nordheim, “Response I” (1966) for 2 percussion groups and magnetic tape. Tape composition produced at NRK radio (Oslo).
18:09
01:12:32
14. Enore Zaffiri, “Musica Per Un Anno” (1968, excerpt). Tape composition produced at the Studio di Musica Elettronica di Torino (SMET) (Torino).
13:41
01:30:41
15. Teresa Rampazzi, “Duodeno normale” (1972). Tape composition produced at the Gruppo Nuove Proposte Sonore (NPS) (Padua).
01:27
01:44:24
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 15, Elektronische Musik in Germany
Episode 154
Chapter 15, Elektronische Musik in Germany. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: ELEKTRONISCHE MUSIK IN GERMANY
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1. Heinz Schutz, “Morgenröte” (1952). Elektronische musik using magnetic tape (Cologne).
03:42
01:36
2. Karel Goeyvaerts, “Compositie Nr 5 met zuivere tonen” (1953). Elektronische musik using magnetic tape (Cologne).
02:44
05:12
3. Karlheinz Stockhausen, “Studie I” (1953). Elektronische musik using only processed sine waves (Cologne).
09:25
07:50
4. Giselher Klebe, “Interferenzen” (1955). Elektronische musik using magnetic tape (Cologne).
04:52
17:16
5. Gottfried Michael Koenig, “Klangfiguren I” (1955). Elektronische musikusing magnetic tape (Cologne).
04:18
22:00
6. Franco Evangelisti, “Incontri di fasce sonore” (1957). Elektronische musikusing magnetic tape (Cologne).
03:30
26:08
7. Mauricio Kagel, “Transición” (1958). Elektronische musik using magnetic tape (Cologne).
13:22
29:30
8. Györgi Ligeti, “Artikulation” (1958). Elektronische musik using magnetic tape (Cologne).
03:58
42:44
9. Herbert Eimert, “Epitaph für Aikichi Kuboyama” (1960). Elektronische musik using magnetic tape (Cologne).
22:26
46:44
10. Michael von Biel, “Fassung” (1964). Elektronische musik using magnetic tape (Cologne).
13:47
01:09:06
11. Karlheinz Stockhausen, “Hymnen Region III (opening)” (1953). Elektronische musik using only processed sine waves (Cologne).
02:30
01:22:40
12. Peter Eötvös, “Mese” (1968). Elektronische musik using magnetic tape (Cologne).
12:42
01:25:10
13. Karlheinz Stockhausen, “Studie II” (1953). Elektronische musik using only processed sine waves (Cologne).
03:10
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 14, Musique Concrète in France
Episode 153
Chapter 14, Musique Concrète in France. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: MUSIQUE CONCRÈTE IN FRANCE
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1. Pierre Schaeffer, “Étude Aux Chemins De Fer ” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris).
02:53
01:36
2. Pierre Schaeffer, “Étude Violette” (1948). Early musique concrète using turntables not magnetic tape. GRM studio (Paris).
03:25
04:28
3. Pierre Schaeffer and Pierre Henry, “Prosopopée I” from Symphonie pour un homme seul (1949– 50). Early use of magnetic tape for musique concrète GRM studio (Paris).
02:57
07:48
4. Iannis Xenakis, “Diamorphoses” (1957). Magnetic tape composition. GRM studio (Paris).
06:57
10:42
5. Luc Ferrari, “Visage V” (1958-59). Magnetic tape composition. GRM studio (Paris).
10:37
17:38
6. Mireille Kyrou, “Etude I” (1960). Magnetic tape composition. GRM studio (Paris).
05:09
28:12
7. Philippe Carson, “Turmac” (1961). Magnetic tape composition. GRM studio (Paris).
09:43
33:20
8. Bernard Parmegiani, “Danse” (1961). Magnetic tape composition. GRM studio (Paris).
04:08
43:04
9. Henri Pousseur, “Trois Visages De Liège” (1961). Magnetic tape composition. Composed at the Centre de recherches et de formation musicales de Wallonie (CRFMW) (Belgium).
20:40
47:22
10. Luc Ferrari, “Hétérozygote” (1963-64). Magnetic tape composition. GRM studio (Paris).
26:20
01:08:00
11. François Bayle, “Vapeur” (1964). Magnetic tape composition. GRM studio (Paris).
04:44
01:34:16
12. Beatriz Ferreyra, “Demeures aquatiques” (1967). Magnetic tape composition. GRM studio (Paris).
07:20
01:39:00
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 13, Edgard Varèse and The Listener’s Experiment
Episode 152
Chapter 13, Edgard Varèse and The Listener’s Experiment. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: CLASSICAL MUSIC WITH ELECTRONICS
Time
Track Time
Start
Introduction –Thom Holmes
01:28
00:00
1. Edgard Varèse, “Déserts” (1954). Early combination of live orchestra with magnetic tape.
24:49
01:36
2. Maurice Blackburn and Norman McClaren, “Blinkity Blank” (1955). Film score for five instrumentalists and sounds created by etching directly onto the soundtrack.
05:07
26:28
3. Morton Subotnick, “Laminations” (1966). Live orchestra with electronic sounds on tape.
10:29
31:24
4. Mario Davidovsky, “Synchronisms No. 5” (1969). For percussion quintet and electronic sounds on tape.
08:39
41:50
5. Wendy Carlos, “A Clockwork Orange” (1971). Early analog synthesis of orchestral and choir sounds.
07:03
50:36
6. Jacob Druckman, “Animus III” (1971). For clarinet and tape.
15:44
57:34
7. Isao Tomita, opening four tracks from The Bermuda Triangle (1979) including themes by Prokofiev and Sibelius. Analog electronic orchestration.
12:52
01:13:18
8. Wendy Carlos, “Genesis” from Digital Moonscapes (1984). Completely digital orchestration.
07:10
01:25:58
9. Robert Ashley, “Superior Seven” (1988). Live instruments with MIDI instrument accompaniment.
30:15
01:33:10
10. William Orbit, “Adagio for Strings” (2000). Electronic realization of Samuel Barber orchestral work.
09:34
02:03:26
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 12, The History of Audio Recording Technology
Episode 151
Chapter 12, The History of Audio Recording Technology. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: THE HISTORY OF AUDIO RECORDING TECHNOLOGY
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1. Leon Scott “Au Clair de la Lune” (1860). Phonautograph. One of about 50 recordings made around 1860 by Édouard-Léon Scott de Martinville's on his invention, the Phonautograph that were digitally restored in 2008 by the First Sounds collaborative. These were created using the Lawrence Berkeley National Laboratory's virtual stylus technology, which sought to track the wavy lines scratched on soot-covered paper as though they were standard record grooves.
00:20
01:38
2. Alice J. Shaw, an improvised whistling performance (1888) from an Edison Records cylinder recording.
02:13
01:58
3. George J. Gaskin, “Drill Ye Terriers Drill” (1896) from an E. Berliner's Gramophone shellac disc.
01:24
04:10
4. Sousa's Band, “Happy Days In Dixie” (1897) from an E. Berliner's Gramophone shellac disc.
01:43
05:36
5. Emperor Franz Joseph, short message recorded on Valdemar Poulsen’s Telegraphone (1900). Early magnetic wire recording. Recording made without microphone.
00:09
07:18
6. Sousa's Band, “The Mosquito Parade” (1904) from Columbia Records shellac disc. Note the higher fidelity of the instruments compared to earlier recordings on disc, recorded without electrical microphones but optimizing the use of acoustic horns for sound intake.
02:54
07:28
7. Noble Sissle (vocals) and Eubie Blake (piano), medley of popular songs (1923). Recording using onto an early sound film using the Phonofilm process invented by Lee de Forest.
06:51
10:22
8. Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1924) from an RCA Victor shellac disc. This is an acoustically recorded version of this piece, without the benefit of vacuum tube amplification or electrical microphones. Compare to the 1927 version (next), also by Whiteman, produced using electrical recording.
09:06
17:12
9. Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1927) from RCA Victor, His Master's Voice shellac disc. An electrical recording using vacuum tube amplification and electrical microphones.
08:59
26:30
10. Paul Hindemith, “Trickaufnahme” (excerpt) (1930), an experiment in turntablism using turntable discs to both record, mix, and playback the result.
00:58
35:28
11. BBC, “Pieces of Tape” excerpt of a program (1933) produced by editing together segments recorded previously using the Blattnerphonesteel tape recorded that used a magnetic process. This was the first audio recording assembled using tape editing. A dozen years prior to the available of magnetic tape, edits made to steel tape had to be made by spot welding.
05:29
36:28
12. Sidney Bechet, “Blues of Bechet” (1941) from an RCA Victor shellac disc. An early example of overdubbing/multitracking. Bechet played every instrument on this track, including the piano, clarinet and soprano saxophone. Each instrument was recorded onto a new master disc and mixed on another disc to create the final recording.
01:57
41:56
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 11 Electronic Music Performance Instruments (1920– 40).
Episode 150
Chapter 11 Electronic Music Performance Instruments (1920– 40). Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Playlist: ELECTRONIC MUSIC PERFORMANCE INSTRUMENTS (1920– 1950)
Time
Track Time
Start
Introduction –Thom Holmes
01:35
00:00
1. Luigi Russolo, “Serenata” (1924). Mechanical noise-intoners and orchestra.
02:01
01:38
2. Leon Theremin, “Deep Night” (1930). The inventor playing his own instrument.
01:48
04:16
3. Orchestra Raymonde, “Romantique” (1934). Song featuring the Electronde, an instrument based on the Theremin made by Martin Taubman.
02:55
06:06
4. Edgard Varèse, “Ecuatorial” (1934). Scored for chorus, small orchestra, organ, and two Ondes Martenots. Performance under the direction of Pierre Boulez in 1983.
12:11
09:00
5. Paul Hindemith, “Langsames Stück und Rondo für Trautonium” (1935). Oskar Sala played the Trautonium.
05:29
21:02
6. Olivier Messaien, “Oraison” (1937) for Ondes Martenot and orchestra.
07:43
26:34
7. John Cage, “Imaginary Landscape No. 1” (1939). Radios and turntables playing test signals.
08:37
34:14
8. Slim Galliard Quartet, “Novachord Boogie” (1946). Featured the Hammond Novachord organ/synthesizer.
02:57
42:50
9. Lucie Bigelow Rosen, “That Old Refrain” (1948) for Theremin and piano.
03:25
45:48
10. Miklós Rózsa. “Subconscious” from Spellbound (1948). Musical score for the Alfred Hitchcock film featuring Dr. Samuel J. Hoffman on Theremin.
02:07
49:14
11. Clara Rockmore, “Valse Sentimentale” (Tchaikovsky) (1977) for Theremin. Later performance of the famous Thereminist from the 1930s-1940s.
02:07
51:22
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 10, Earliest Experiments in Electronic Music (Pre- 1920)
Episode 148
Chapter 10, Earliest Experiments in Electronic Music (Pre- 1920). Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 10, Earliest Experiments in Electronic Music (Pre- 1920) from my book Electronic and Experimental music.
Playlist: Futurist Music
Time
Track Time
Start
Introduction –Thom Holmes
01:34
00:00
Antonio Russolo, “Serenata” (1924). A 78 RPM recording made using original intonarumori (noise intoners).
02:38
01:36
Antonio Russolo, “Corale” (1924). A 78 RPM recording made using original intonarumori (noise intoners).
02:01
04:12
Luigi Russolo, “Risveglio Di Una Citta” (1913). This recording was made in 1977 by Mario Abate, Pietro Verardo with reproduction intonarumori (noise intoners).
03:52
06:12
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 09, MIDI, Noise Reduction, and Audio Compression Technologies
Episode 147
Chapter 09, MIDI, Noise Reduction, and Audio Compression Technologies. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 09, MIDI, Noise Reduction, and Audio Compression Technologies from my book Electronic and Experimental music.
Playlist: MIDI Controllers in Electronic Music
Time
Track Time
Start
Introduction –Thom Holmes
01:40
00:00
Robert Ashley, “Superior Seven” (1986). Used an early MIDI controller suite of instrumental sounds accompanying a live flutist.
30:15
01:42
Michel Waisvisz demonstrates The Hands and Crackle MIDI controller-synthesizers. The No Backup Concert (2004) at STEIM.
09:40
32:08
Thomas Wydler & Toby Dammit, “Ramwong” (2021). Features a treated Buchla Marimba Lumina synthesizer, a MIDI instrument and controller.
02:15
41:48
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 08, Tape Composition and Sound Editing
Episode 146
Chapter 08, Tape Composition and Sound Editing. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 08, Tape Composition and Sound Editing from my book Electronic and Experimental music.
Playlist: Classic Tape Composition Techniques
Time
Track Time
Start
Introduction –Thom Holmes
01:30
00:00
1 Pierre Schaeffer, “Cinq études de bruits: Étude violette (1948). Early application of backwards sounds using a turntable
03:19
01:34
2 Pierre Henry, “Le Microphone bien tempéré” (1950– 52). Used reverberation.
24:48
04:50
3 Otto Luening, “Invention in Twelve Tones” (1952). Used tape echo.
03:47
29:37
4 Morton Feldman, “Intersection” (1953). Used leader tape as a composition tool to add patches of silence.
03:30
33:18
5 György Ligeti, “Glissandi” (1957). Extensive use of tape speed variation and backwards sounds.
07:45
33:44
6 Henri Pousseur, “Scambi” (1957– 58). Explored white noise, filtering, and reverberation.
06:34
44:20
7 Herbert Brün, “Anepigraphe” (1958). Tape music with voices edited into the mix, produced in the WDR studio in Cologne.
07:46
50:56
8 Terry Riley, “Music for the Gift” part 1 (1963). One of the first uses of tape delay with multiple tape recorders.
05:45
58:42
9 Pauline Oliveros, “Beautiful Soop” (1967). Used multiple tape echo signals.
27:46
01:04:24
10 Violet Archer, “Episodes” (1973). Using two Putney synthesizers, a bank of 10 oscillators, mixer, reverb, ring modulation, and filtering.
08:46
01:32:10
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 07, Computer Music Basics
Episode 146
Chapter 07, Computer Music Basics. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 07, Computer Music Basics from my book Electronic and Experimental music.
Playlist: Early Computer Synthesis
Time
Track Time*
Start
Introduction –Thom Holmes
01:30
00:00
1 Max Mathews, “Numerology” (1960). Direct computer synthesis using an IBM 7090 mainframe computer and the Music III programming language
02:45
01:32
2 James Tenney, “Analog #1: Noise Study” (1961). Direct synthesis and filtering of noise bands at Bell Labs’ facilities.
04:24
04:04
3 Lejaren Hiller, “Computer Cantata” (third movement) (1963). Direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language.
05:41
08:28
4 Jean-Claude Risset, “Mutations I” (1969). Used frequency modulation.
10:23
14:06
5 Charles Dodge, “The Earth’s Magnetic Field” (Untitled, part 1) (1970). Used an IBM mainframe computer and the Music 4BF programming language to convert geophysical data regarding the Earth’s magnetic field into music.
14:00
24:28
6 Laurie Spiegel, “Appalachian Grove I” (1974). Used the Groove program at Bell Labs.
05:23
38:22
7 Curtis Roads, “Prototype” (1975). Used granular synthesis.
06:11
43:48
8 John Chowning, “Stria” (1977). Used the composer’s patented FM synthesis algorithms.
05:14
50:00
9 Jean-Baptiste Barriere, “Chreode” (1983). Granular synthesis using the Chant program at IRCAM; computer-controlled organization of material—a grammar of musical processes prepared with IRCAM’s Formes software.
09:24
55:10
10 Barry Truax, “Riverrun” (1986). Composed using only granulated sampled sound, using Truax’s real-time PODX system.
19:42
01:04:30
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 06, Analog and Digital Synthesis Basics, Part 2
Episode 145
Chapter 06, Analog and Digital Synthesis Basics, Part 2. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 06, Analog and Digital Synthesis Basics, Part 2 from my book Electronic and Experimental music.
Playlist: Analog Synthesis and Sound Modification
Time
Track Time
Start
Introduction –Thom Holmes
01:32
00:00
1 Richard Maxfield, “Prelude, Pastoral Symphony” (1960). Tape piece combining electronic sounds with the modulated sounds of nature.
04:02
01:36
2 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Tape piece of processed acoustic sounds. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française.” Kyrou is the rare example of a woman composer using the French studio. 5:09
05:09
05:36
3 Hugh Le Caine, “Safari: Eine kleine Klangfarbenmelodie” (1964). Used extensive additive synthesis and texturing by means of the Sonde, an instrument equipped with 200 closely tuned sine tones.
03:09
10:44
4 David Behrman, “Wave Train” (1966). Used analog circuits, internal feedback, audio processing in real time. Recording is from a flexi-disc released by Source: Music of the Avant Garde in 1968.
15:34
13:52
5 Steve Reich, “Come Out” (1966). Tape piece experiment with tape loops and phasing of vocal passages.
12:53
29:22
6 Gordon Mumma, “Horn” (1967). Performance released on flexi-disc for Aspen Magazine No. 1 (1967). Performed at the Once Festival in Ann Arbor, Michigan by Mumma, Robert Ashley, and George Cacioppo. Acoustic sounds modified electronically in real time.
06:22
42:14
7 Pril Smiley, “Eclipse” (1967). “Eclipse” was realized at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work, “Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” 7:56
07:56
48:46
8 Charlemagne Palestine, “Seven Organism Study” (1968). Used feedback and analog synthesis for this drone work.
07:53
56:36
9 Hugh Davies, “Salad” (1977). From the National Sound Archive of The British Library. The file was produced in Davies’ home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55
13:55
01:04:24
10 David Lee Myers, “Periodicity, track A1” (1988). Analog feedback circuits controlled in real time.
02:36
01:18:16
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 06, Analog and Digital Synthesis Basics, Part 1
Episode 144
Chapter 06, Analog and Digital Synthesis Basics, Part 1. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
There is a complete playlist for this episode on the website for the podcast.
Let’s get started with the listening guide to Chapter 06, Analog and Digital Synthesis Basics, Part 1 from my book Electronic and Experimental music.
Playlist: Early Experiments and Synthesizers
Time
Track Time
Start
Introduction –Thom Holmes
01:40
00:00
1 Halim El-Dabh, “The Expression of Zaar” (alt. title Wire Recorder Piece) (1944). Middle East Radio, Cairo. Composed using a magnetic wire recorder.
01:53
01:40
2 Hugh Le Caine, “Dripsody” (1955). Canada. Using Le Caine’s special purpose tape recorder.
02:00
03:30
3 Josef Anton Riedl, “Folge von 4 Studien” (1959). Siemens Studio für Elektronische Musik.
02:35
05:30
4 Milton Babbitt, “Ensembles for Synthesizer” (1961– 63). Using RCA Mark II Electronic Music Synthesizer
10:41
08:06
5 Mauricio Kagel “Antithese” (1962). Siemens Studio für Elektronische Musik.
09:22
18:46
6 Konrad Boehmer, “Aspekt” (1966). State University Electronic-Music Studio, Utrecht.
15:15
28:08
7 Pauline Oliveros, “I of IV” (1966). University of Toronto Electronic Music Studio. Using Hugh Le Caine’s tape loop system.
25:29
43:34
8 Alice Shields, “Study for Voice and Tape” (1969). Columbia– Princeton Electronic Music Center.
05:14
01:08:52
9 Charles Wuorinen, Time’s Encomium (1968– 69). Using RCA Mark II Electronic Music Synthesizer.
30:47
01:14:06
10 Douglas Leedy, “Entropical Paradise I” (1970). Side 1 of three-LP set. Six “sonic environments” using the Buchla Modular Electronic Music System and Moog Modular Synthesizer at UCLA.
20:09
01:44:55
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 05, The Physics of Musical Sound
Episode 143
Chapter 05, The Physics of Musical Sound. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
Playlist
Time
Track Time*
Start
Introduction –Thom Holmes
01:28
00:00
John Cage, “Cartridge Music” (1960). Uses phono cartridges to amplify small sounds.
19:57
01:30
Robert Ashley, “The Wolfman” (1964). Uses a mike inside of the vocal cavity as a feedback and distortion chamber for audio that is highly amplified.
15:27
21:26
Beaver and Krause, “Nonesuch Guide to Electronic Music” (1968). Two complete albums of examples from this landmark album. Includes examples of synthesis and principles using the Moog Modular synthesizer. The first track is a composition called “Peace Three” that is repeated as the final track of the album; in this case I only play it once at the end of the album. See the image below for a scan of the album’s title sequence.
45:16
37:00
Steve Reich, “Pendulum Music” (1968). Manipulates the feedback properties of a microphone swinging over a loudspeaker.
05:54
01:22:16
David Tudor, “Toneburst” (1975). Incorporates an internal feedback loop where Tudor fed the output of his handbuilt instruments into other. Partly analog, partly digital.
29:19
01:28:06
Jason Kahn, Toshimaru Nakamura, “Track 1” from Repeat (1999). No-input feedback, which is basically a feedback loop produced without external (acoustic) input. All digital.
08:02
01:57:26
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 04, Electronic Music Composition by Process
Episode 142
Chapter 04, Electronic Music Composition by Process. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
Playlist
Time
Track Time*
Start
Introduction –Thom Holmes
01:31
00:00
Yves Klein, “Monotone-Silence Symphony” (1947). I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this process work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I’ve examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on.
40:03
01:34
Steve Reich, “It’s Gonna Rain” (1965). Process piece using tape loops and phasing.
08:03
41:38
La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” (1969). Early work employing electronic drones. Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct.
22:49
49:24
Terry Riley, “A Rainbow in Curved Air” (1969). Minimalist process work for electronic organ.
18:46
01:12:08
Steve Reich, “Four Organs” (1970). Process piece for four electronic organs.
24:11
01:31:04
Brian Eno, “Discreet Music” (1975). Process piece for synthesizers.
31:35
01:55:12
David Behrman, “Figure in a Clearing” (1977). Process piece using the KIM- 1 microcomputer
19:13
02:25:30
Laurie Spiegel, “A Harmonic Algorithm” (1980). Self-generating program running on an Apple II computer.
03:08
02:44:48
Alvin Lucier, “Music for Piano with One or More Snare Drums” (1990). Process piece for amplified piano and snare drum.
09:20
02:47:48
Marina Rosenfeld, “Two (Joy of Fear)” (2005). Process piece for a timed improvisational live performance.
10:22
02:56:50
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 03, How Electronic Music is Composed.
Episode 141
Chapter 03, How Electronic Music is Composed. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
Playlist
Time
Track Time*
Start
Introduction –Thom Holmes
01:26
00:00
Pierre Henry, “Antiphonie” (1953). Early serial tape composition.
03:00
01:30
Edgard Varese, “Poème électronique ” (1958). Classic tape composition using montage.
08:08
04:30
Iannis Xenakis, “Concret PH” (1958). Modified and amplified small sounds.
02:41
12:32
Pauline Oliveros, “Sound Patterns” (1961. Electronically modified voices and electronics on tape.
04:00
15:12
İlhan Mimaroğlu, “White Cockatoo” (1966). Tape composition using abstract sounds applied to sonata form.
04:23
19:10
Karlheinz Stockhausen, “Telemusik” (1966). Tape composition using world music recordings; also a component for included for live performance.
17:38
23:30
Karlheinz Stockhausen, “Hymnen” (1966– 67). Classic tape composition.
29:53
41:08
David Tudor, “Rainforest IV” (1973). Sounding objects, transducers, and contact microphones.
25:12
01:11:12
Ruth Anderson, “Points” (1973– 74). Synthesis using sine tones.
05:33
01:36:22
Eliane Radigue, “Adnos I– III” (excerpt) (1973– 80). Minimalist drone music for synthesizer; the full length is over an hour.
33:52
01:41:46
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 02, Listening to Electronic Music
Episode 140
Chapter 02, Listening to Electronic Music. Works Recommended from my book, Electronic and Experimental Music
Welcome to the Archive of Electronic Music. This is Thom Holmes.
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
01:27
00:00
David Tudor, “Anima Pepsi,” from the Pepsi Pavilion (1970)
23:03
01:32
Pauline Oliveros, “Big Mother is Watching You” (1966)
33:45
24:34
John Cage, “Fontana Mix” (1958)
11:34
58:18
Tetsu Inoue, “Kaze” (2007)
07:26
01:09:50
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Chapter 01, Electronic and Experimental Music, Recommended Works
Episode 139
Chapter 01, What is Electronic Music? Recommended Works from Electronic and Experimental Music
This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.
The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.
Playlist
Time
Track Time*
Start
Introduction –Thom Holmes
01:16
00:00
Pierre Schaeffer, Cinq Études De Bruits Étude Violette (1948). Example of musique concrète.
03:25
01:16
Pierre Schaeffer and Pierre Henry, Bidule en Ut (1950). Example of musique concrète.
02:11
04:36
Herbert Eimert, Klangstudie I (1952). Example of elektronische music.
03:57
06:46
Herbert Eimert and Robert Beyer, Klang Im Unbegrenzten Raum (1952). Example of elektronische music.
10:33
10:40
Karlheinz Stockhausen, Studie I (1953-54). Example of elektronische music.
10:00
20:59
Karlheinz Stockhausen, Gesang Der Jünglinge (1955-56). Example of electroacoustic music.
13:40
30:28
Else Marie Pade, Symphonic Magnetophonique (1958). Example of electroacoustic music.
19:28
43:38
Edgard Varèse, Poème Électronique (1958). Example of organized sound.
08:08
01:02:54
Max Mathews, Numerology (1960)
02:45
01:11:05
Daphne Oram, Four Aspects (1960). Example of Oramics or electroacoustic music.
08:15
01:13:36
Henri Pousseur, Trois Visage de Liège (1961). Example of electroacoustic music.
17:54
01:21:44
James Tenney, Collage No.1 (Blue Suede) (1961). Example of electroacoustic music.
03:27
01:39:32
Delia Derbyshire, Falling (1964). Example of radiophonic music.
08:45
01:42:58
Ann Hamilton, Mantle (1998). Example of sound art.
32:09
01:51:39
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Electronic Music of Conrad Schnitzler—A Retrospective, Part 1
Episode 138
Electronic Music of Conrad Schnitzler—A Retrospective, Part 1.
Playlist
Time
Track Time*
Start
Introduction –Thom Holmes
06:06
00:00
Conrad Schnitzler, “Meditation” from Rot (Red) (1973 Conrad Schnitzler Self-released. Composed, performed, recorded, and produced by Conrad Schnitzler.
19:44
08:28
Conrad Schnitzler, “Die Rebellen Haben Sich In Den Bergen Versteckt” from Blau (Blue) (1974 Conrad Schnitzler Self-released. Composed, performed, recorded, and produced by Conrad Schnitzler.
18:44
28:06
Conrad Schnitzler, “05/1975 B (6:11),” “05/1975 A (4:29),” “12/1975 A (1:53),” “14/1975 A (2:21),” “03/1975 A” from Filmmusik 2 (2017 Bureau B). Composed, performed, recorded, and produced by Conrad Schnitzler.These works were for composed for films that did not yet (most never) existed. They date from 1975 and fill an interesting niche in his work from the time. These shorter works contrast nicely to the extended works that he was producing up until this time.
18:47
45:40
Conrad Schnitzler + Wolf Sequenza, “Nächte In Kreuzberg” (3:48), “Humpf” (2:51), “M5-477” (4:39), “Pendel” (4:16), “Wer Geht Da?” (3:46), and “Copacabana” (5:17) from Consequenz (1980 Conrad Schnitzler Self-released). Composed, performed, recorded, and produced by Conrad Schnitzler and Wolf Sequenza (Wolfgang Seidel).
24:36
01:05:22
Note: These are all complete album sides. For Filmmusic 2 and Consequenz, the album sides include several individual tracks and the timings for each are shown in parentheses in the descriptions above.
Opening background music: Conrad Schnitzler, “Untitled” (excerpt, side A) of the Red Cassette (1974 Conrad Schnitzler Self-released) (09:08).
Introduction to the podcast voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Merry Moog 2024
Episode 137
Merry Moog 2024
Electronic Music for the Holidays Performed on the Moog and other Synthesizers
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
04:34
00:00
1. Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54
02:54
04:32
2. Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33
01:33
07:24
3. Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14
02:14
08:56
4. Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley.
03:48
11:08
5. Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
01:01
14:56
6. Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
01:44
15:56
7. Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
01:52
17:40
8. Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer.
04:46
19:30
9. Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module.
01:34
24:16
10. Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin.
04:43
25:50
11. Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer.
07:02
30:32
12. Alan Horsey, “We Wish You a Merry Christmas” from Switched-On Christmas (1985 Snowflake Records). Italian album with electric organ by Alan Horsey. This is reminiscent of Hooked on Classics as the entire album seems to be woven together by a drum machine beat. This is played on organ. Seems a little late for disco.
03:10
37:30
13. Denny Hinman, “Christmas in July” from Plays The Yamaha Electone E-70 (1980 Yamaha). Denny Hinman plays the Yamaha Electone E-70. A release by Yamaha.
01:45
40:36
14. Miharu Koshi, “Belle Tristesse” (妙なる悲しみ)from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Written by, synth-pop with vocals by Miharu Koshi. Miharu Koshi is a keyboardist and singer with a long-standing collaborative association with YMO-founder Haruomi Hosono.
03:43
42:20
15. Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). Japan. A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards.
03:44
46:02
16. Frank Collett, “Jesu Joy of Man’s Desiring (1970 Privately Made Release). USA. This is a special addition to the Merry Moog podcast. I found what is likely a one-of-a-disc private pressing by Frank Collett using the Moog Modular Synthesizer. This 45 RPM disc was recorded at Finetone Recording Studio in New York City and is inscribed with the hand-written message, “To John & Loretta: Merry XMAS. Composed and arranged by Frank Collett” This appears to be disc made of metal with a vinyl coating. One side includes his rendition of Bach’s “Jesu Joy of Man’s Desiring” plus a short tune called “Little Joey” (see below). The flip side contains the same recording of “Little Joey.” Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. He was raised in New York. In 1968 he was accompanist to Sarah Vaughan. The following year he moved to Las Vegas, Nevada. He became the house pianist, with the orchestra in the main showroom of the International Hotel (which became the Las Vegas Hilton). It was during this period that he made this recording in NY.
01:57
49:44
17. Frank Collett, “Little Joey” (1970 Privately Made Release). Frank Collett using the Moog Modular Synthesizer. From a 45 RPM disc recorded at Finetone Recording Studio in New York City (see above). Dated December 22, 1970. Clearly made using a Moog Modular Synthesizer. Collett (1941-2016) was a noted session pianist and sometimes led and recorded with his own trio. Moog Modular Synthesiser, Frank Collett. Whose Moog Synthesizer did he use to make this recording? I can only speculate and guess that he made the recording at the studio of Gerson Kingsley in New York.
01:56
51:40
18. Romantic Synthesizer, “Oh Tannenbaum” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot.
02:53
53:34
19. Keiko Ohta (Ota), “Here Comes Santa Claus” from Electone X’Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree.
02:43
56:24
20. Keiko Ohta (Ota), “Blue Christmas” from Electone X’Mas Present (1975 Canyon). Yamaha Electone GX-707 (GX-1), arranged by Keiko Ohta. Japan. Yes, the song originally made famous by Elvis Presley. Ohta was a female Electone star from Japan. The GX-1 was an early polyphonic synthesizer and a new branch of the Yamaha Electone family tree.
04:11
59:06
21. Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer.
02:46
01:03:16
22. Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton.
01:59
01:06:00
23. Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album.
01:48
01:07:58
24. Koichi Oki, “Jingle Bells” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan.
01:50
01:09:46
25. Koichi Oki, “Winter Wonderland” from The Man From Yukiguni (1975 TIM/RS). Japan. Koichi Oki's Christmas album performed solely by his Yamaha Electone E-3. “Yukiguni” means snowland. Oki was a hugely popular Electone artist in Japan.
02:18
01:11:34
26. Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s.
04:22
01:13:52
27. Bob Wehrman, John Bezjian and Dusty Wakeman, “Joy to the World” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy.
02:40
01:18:12
28. Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Produced in L.A., a collection of pre-fab synthesizer classics. Not the same record of the same title as Douglas Leedy.
01:46
01:20:50
29. Romantic Synthesizer, “So This is Christmas” from Christmas Memories (1983 Dureco Benelux). French-Dutch album. Arranged, produced, synthesizers by Gerto Heupink, Robert Pot. We don’t often hear an instrumental rendition of this Lennon and Ono X-mas tune.
03:22
01:22:34
30. Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise.
03:07
01:25:54
31. Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37
05:37
01:28:58
32. The Original Cast: R2-D2, Anthony Daniels As C-3PO, “R2D2 We Wish You A Merry Christmas” from Christmas In The Stars: Star Wars Christmas Album (1980 RSO). Vocals, Arthur Boller, Donald Oriolo, Jr., Dori Greenberg, Ivy Alexenburg, Jake Yeston, Jessica Taylor, Marney Alexenburg, Ricky Haayen, Roddy McBrien, Russell Poses, Scot Randell, Stacy Greenberg; Keyboards, Derek Smith, Harold Wheeler, Pat Rebillot; Sound Effects (R2D2), Ben Burtt. The whole Star Wars crew seems to have a part in this holiday album. I wanted to highlight a track featuring the melodious electronic beeping of R2D2.
03:33
01:34:34
Opening background music: Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Notice how the melody imitates a familiar tune without ever hitting the same notes. A copyright thing. Another name of this track might as well be, “It’s Beginning to Sound A Lot Like Christmas.” Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension.
Opening and closing sequences voiced by Anne Benkovitz.
Visual design by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music
Episode 136
Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
14:28
00:00
Karlheinz Stockhausen, “Es (It)” (1969) from Aus Den Sieben Tagen (from the Seven Days) (1973 Deutsche Grammophon). Composed by, electronics (Filters, Potentiometers), spoken voice, technician (Sound Direction), liner notes, Karlheinz Stockhausen; Elektronium, Harald Bojé; Piano, Aloys Kontarsky; Drums, Percussion (Tam-tam, Flexatone, Guero, Bamboo Flute, Jew's Harp, Rolf Gehlhaar; Drums, Percussion (Tam-tam, Flexatone, Guero, Jew's Harp, Alfred Alings; Viola, Johannes G. Fritsch. The Elektronium was an electronic instrument in the form of an accordion, invented by Hohner in 1952. From the cycle of compositions entitled Aus den Sieben Tagen. Es (10th May 1968). This is the complete cycle for the work consisting of 7 albums recorded at the Georg-Moller-Haus (Loge) in Darmstadt, from the 26th to 31st August 1969. This is different than the earlier recordings from Cologne that were released separately. Comes in a sturdy box together with a tri-lingual 20-page booklet. Each record is packed in its own cover.
23:04
14:30
Sun-Ra and his Astro Infinity Arkestra, “Space Probe” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley.” Recorded at Gershon Kingsley’s New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year.
17:45
37:30
Sun-Ra and his Astro Infinity Arkestra, “The Code Of Interdependence” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley; Drums, Danny Davis, John Gilmore; Oboe, Marshall Allen; Tenor Saxophone, John Gilmore. Recorded at Gershon Kingsley’s New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year.
16:50
55:16
Opening background music: Sun Ra and his Solar Myth Arkestra, “Seen Three Took Four” from The Solar-Myth Approach Vol. 1 (1970 Actuel). Piano, Minimoog, Electric Organ, Clavinet, Sun Ra; Tenor Saxophone, Percussion, John Gilmore; among a huge host of others.
Introduction to the podcast voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
An Electronic Music Mixed-Bag
Episode 135
An Electronic Music Mixed-Bag
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
06:28
00:00
John Bischoff, “The League Of Automatic Music Composers: Recording, December 17, 1978” from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Computer, David Behrman, Jim Horton, John Bischoff, Rich Gold; Mixing, "Blue" Gene Tyranny. “The League Of Automatic Music Composers makes music collaboratively by forming microcomputer networks. … For this performance, “each composer independently created a music program for his own microcomputer; we then mutually designed ways to internconnect our computers, and modified our programs to enable them to send data back and forth.”
08:40
06:58
Frankie Mann, “I Was a Hero” from “The Mayan Debutante Revue” (1979) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Organ, bass guitar, voice, composed by Frankie Mann. “The Mayan Debutante Revue” is a reinterpretation of religious history. The work is a performance piece involving tape, slides, and one female performer.”
09:22
15:38
Frankie Mann, “How to be Very Very Popular” (1978) (excerpt) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Tape editing, organ, synthesizer, voice, composed by Frankie Mann; voices, Julie Lifton, Ellen Welser, and unknown others. “How to be Very Very Popular” began as a letter-tape to my best friend. … Later I began composing electronic music, initially using homemade circuits and later using expensive synthesizers in college electronic music studios. My friend and I continued to send each other letters cross-country in tape form.”
08:49
24:58
Maggi Payne, “Lunar Dusk” from Lovely Little Records (1980 Lovely Music Ltd.). Recorded at the Center for Contemporary Music, Mills College, February 4, 1979. Composed, electronic music by Maggi Payne. This piece was “composed using the Moog and Aries synthesizers and the twelve-track recording studio at” Mills College. “Major concerns … are spatial location of sounds and complex timbral changes.”
07:59
33:46
The Commodores, “Machine Gun” from Machine Gun/There’s a Song in My Heart (1974 Motown). Single release featuring the early Commodores on this instrumental with Lionel Richie wailing along on the ARP Odyssey.
02:42
41:42
Billy Preston, “Space Race” from Space Race/We're Gonna Make It (1973 A&M). Single release. Preston was best known for his piano, Hammond, and Fender Rhodes work on Beatles’ records and his early solo work. By this time, he had picked-up on the unique sounds that synthesizers could conjure. He was inspired to create this song while experimenting with the ARP Pro-Soloist synthesizer.
03:26
44:24
George Duke, “Part 1 - The Alien Challenges The Stick / Part 2 - The Alien Succumbs To The Macho Intergalactic Funkativity Of The Funkblasters” from Master Of The Game (1979 Epic). Written by Byron Miller, David Myles, Ricky Lawson; Producer, Acoustic Guitar, Arranged By, Bells, Clavinet, Composed By, Fender Rhodes, Keyboards, Organ, ARP Odyssey, ARP String Ensemble, Minimoog, Oberheim, Prophet-5 and Crumar synthesizers, written by and vocals, George Duke; Bass, Byron Miller; Drums, Ricky Lawson; Guitar, David Myles.
09:21
47:46
Steve Roach, Side 2, “T.B.C.” (5:06); Canyon Sound (2:58); Time For Time (3:33); Reflector (6:50) from Traveler (1983 Domino). All music composed and performed on synthesizers by Steve Roach. American Roach has such a great legacy of electronic music that is clearly distinguishable from the German wave of the 1970s. This is from his first, official album released in 1983.
17:56
57:02
Reynold Weidenaar, “Twilight Flight” (6:56) (1977), “Close Harmony” (4:44) (1977), and “Imprint: Footfalls to Return” (5:04) (1981) from Reynold Weidenaar / Richard Brooks Music Visions (1986 Capstone Records). Weidenaar was formerly the editor of Bob Moog’s Electronic Music Review journal (1968-70) and an early user of the Moog Modular synthesizer. He was director of the electronic music studio at the Cleveland Institute of Music and at the time of this recording was on the faculty of the NYU films and television department. Twilight Flight” for electronic sounds was composed in 1977. “Close Harmony” for electronic sounds was composed in 1977. “Imprint: Footfalls to Return” for soprano voice and electronically modified sounds of the bare feet of Bharata-natyam Indian dancer was composed in 1981.
16:50
01:14:58
Eric Siday, three short works, “Night Tide” (2:56), “Communications No. 2” (0:24); and “Threat Attack” (2:05) from Musique Electronique (1960 Impress). Hard to find original disc by Siday, before he ventured into commercial recording using the Moog Modular synthesizer. His intereste in electronic music was deep, and he was one of the first customers of Robert Moog when his synth became available.
05:28
01:31:58
Hans Wurman, “Etude In C Minor, Op. 10, No. 12” (1:54) and “Waltz In D-Flat OP, 64, No. 1 (1:24) from Hans Wurman – Etude In C Minor, Op. 10, No. 12 (1970 RCA). Arranged and performed on the Moog Modular synthesizer by Hans Wurman. Brilliant interpretations of two classical pieces.
03:22
01:37:14
Opening background music: Einstürzende Neubauten [ein-sturt-zen-deh noy-bau-ten], “Der Tod Ist Ein Dandy” from Halber Mensch (1985 Some Bizarre). Noise metal from this dependable source of industrial music. (06:39)
Introduction to the podcast voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
From Organ to Synthesizer: The Evolution of the Yamaha Electone
Episode 134
From Organ to Synthesizer: The Evolution of the Yamaha Electone
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
06:56
00:00
Electone E-1, home style cabinet, transistorized oscillators, analog, two manuals, pedalboard, two built-in speakers.
1.Hidemi Saito, Tadashi Yoshida, “Kiriko No Tango” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962.
03:32
07:14
2.Hidemi Saito, Tadashi Yoshida, “Furare Jyozu Ni Hore Jyozu” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by, Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962.
02:54
10:42
Electone B-6, home style cabinet, transistorized oscillators, analog, two manuals (44 notes each), pedalboard, two built-in speakers.
3.Koichi Oki, “September In The Rain” from Swingin' Electone! (1967 Takt). Arranged by, Electone organ, Koichi Oki; Bass, Masanaga Harada; Drums, George Otsuka, Akira Ishikawa; Guitar, Masaaki Fujita; Tenor Saxophone, Yasushi Ashida. The Electone model is not specified but it had two manuals and is likely a model A-3.
03:22
13:38
Electone EX-42, space age cabinet, like the GX-1, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, portamento strip, pedalboard.
4.Shiro Michi, “Hey Jude” from Let's Learn Electone/Shiro Michi Electone Course Vol. 5/ "All About The Rhythm" (1970 CBS/Sony). Drums, Takeshi Inomata; Electone, Yuri Tashiro; Percussion – Tokyo Cuban Boys Percussion Group. Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built.
03:29
16:56
5.Shiro Michi, “Summertime” from Let's Learn Electone/Shiro Michi Electone Course Vol. 6 Jazz Standards and New Hits (1971 CBS/Sony).1970 — EX-42. Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. Famous Electone players such as Shigeo Sekito used this instrument to make the "Special Sound Series.” Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built.
02:17
20:20
6.Koichi Oki, “Light My Fire” from Yamaha Superstar! (1972 Universal Summit). Oki was known as the “world’s leading Yamaha Electone player” in the liner notes. Uses the Yamaha Electone EX-42.
02:59
22:32
7.Koichi Oki, “Spring” and “Summer” (side 1) from Exciting Keyboards - Four Seasons (1973 CBS/Sony). Arranged by, ARP Synthesizer, Electone [Electone Koichi Oki;Drums, Akira Ishikawa; Guitar, Ken Yajima. Music by Vivaldi, Koichi Oki. This release was dated 1978 but the recordings were made in 1973. Oki was a musician working for Yamaha in the early seventies, providing demonstrations of their Electone organ. The model used here was an EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology.
21:34
25:30
8.Yuri Tashiro, “Summertime” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited.
04:00
47:16
9.Yuri Tashiro, “Jazz Samba” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited.
04:35
52:28
10. Archie Ulm, “Popcorn” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. The classic Gershon Kingsley Moog tune played on the Electone EX-42. Percussion by Paul Hergert.
03:55
55:48
11. Archie Ulm, “Harlem Nocturne” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. Percussion by Paul Hergert.
05:20
59:42
Electone E-70, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, built-in speakers. Same circuit board as used in the Yamaha CS-80 synthesizer.
12. Denny Hinman, “How Deep is Your Love?” from Denny Plays The Yamaha Electone E-70 (1980 Yamaha). Ued the E-70 One of the first home-based organs to feature Yamaha's PASS (Pulse Analog Synthesis System) in a console cabinet. The E-70's architecture resembled the famous CS-80 synthesizer, though it lacked analog VCOs. Its original price tag was ¥1,800,000.
02:46
01:04:58
Electone D-80, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, pedalboard, built-in speakers.
13. Bob Hacker, “Rocky Top” "One Man Opry" Bob Hacker Plays The Yamaha Electone D-80 (1980 Yamaha). Used the three-manual Yamaha Electone D-80.
04:01
01:07:46
Electone FX-1, space age cabinet, like the GX-1, integrated circuits, program cartridges, three manuals, pedalboard.
14. Claude Dupras, “Pulstar” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. An interesting rendition of a Vangelis song.
03:22
01:11:44
15. Claude Dupras, “The Spring” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. A little bit of Vivaldi.
03:32
01:15:06
Electone 7000, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, two speakers.
16. Jim Levesque, “Moonlight Sonata/Night and Day” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) was a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony.
03:49
01:18:36
17. Tracy Hammer, “Top Banana” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). Used the Electone 7000 (aka E-75 in Europe/Japan), a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony.
01:43
01:22:22
18. Debbie Culbertson, “Ice Castles” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) is a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony.
04:09
01:23:58
Electone EL-90, home style cabinet, integrated circuits, disc recording of programming, two manuals, pedalboard, two built-in speakers. Introduced new synthesizers, filtering, and expression technologies that made instrument voices on the Electone closer to digital samples.
19. Unknown Artist, “Prime Time,” Yamaha Electone EL-90 the Demonstrations (1991 Yamaha). A cassette demonstration tape showcasing the Electone EL-90 in various musical settings.
03:50
01:28:04
Opening background music: Hidemi Saito, Tadashi Yoshida, side 1 from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1.
Introduction to the podcast voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Sonic Adventures in Electronic Composition—The Ashley, Smith, and Hamilton Mix
Episode 133
Sonic Adventures in Electronic Composition—The Ashley, Smith, and Hamilton Mix
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
05:35
00:00
1. Tom Hamilton, “London Fix 2” from London Fix (2003 Muse Eek). Composed and produced by Tom Hamilton; Programmed by Michael J. Schumacher. Tom Hamilton first made his living in audio production then gradually shifted all of that work to new music. Tom worked on almost all of the late Robert Ashley CDs and tours since 1990. This disc is subtitled "Music Changing with the price of Gold. An environment of continuous electronic music created through a programming residency at Engine 27, New York City. Please play softly.”
08:13
05:42
2. Kaitlyn Aurelia Smith, “Who I Am & Why I Am Where I Am” from The Kid (2017 Western Vinyl). Composed, produced, and performed by Kaitlyn Aurelia Smith. Kaitlyn Aurelia Smith is an American composer raised on Orcas Island in northwest Washington state. She attended the Berklee College of Music in order to study composition and sound engineering. Smith is a vocalist, classical guitarist, and electronic musician using a variety of modular setups.
05:20
13:56
3. Kaitlyn Aurelia Smith, “I Am Curious, I Care” from The Kid (2017 Western Vinyl). Composed, produced, and performed by Kaitlyn Aurelia Smith.
03:44
19:22
4. Kaitlyn Aurelia Smith, “I Will Make Room For You” from The Kid (2017 Western Vinyl). Composed, produced, and performed by Kaitlyn Aurelia Smith.
04:58
23:08
5. Kaitlyn Aurelia Smith, “To Feel Your Best” from The Kid (2017 Western Vinyl). Composed, produced, and performed by Kaitlyn Aurelia Smith.
06:20
28:07
6. Robert Ashley, “Superior Seven” from Superior Seven / Tract (1995 New World Records). Flute and computer programming, Barbara Held; Computer Programming, processing, and mixed by Tom Hamilton; synthesizer voices designed by Robert Ashley and Tom Hamilton; composed by Robert Ashely. Ashley was mostly known for his modern operas composed of dialog and new music. As a result, this instrumental work may not be what you expect from him. Superior Seven dates from 1988, just after the introduction of MIDI. Ashley fully explored MIDI for this work, writing a solo flute part with piano and a MIDI orchestra. Music was written for a flute player and pianist and audible cues triggered the engagement of MIDI instrumental parts controlled by a participating electronic musician (Hamilton). I saw this performed live and the results were startling.
30:15
34:16
Opening background music: Tom Hamilton, “Region 6” (excerpt) from Sebastian's Shadow (1997 Monroe Street Music). Electronics and composed by Tom Hamilton. Sebastian's Shadow follow the harmonic order found in J. S. Bach's Fantasia And Fugue No. 4 (BWV 542) (15:23).
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
The 2024 US Open Sound Experiment
Episode 132
The 2024 US Open Sound Experiment
Playlist
Note: The starting times indicate at which time during the podcast a sound begins. The tracks often overlap based on the given length of each track.
Time
Track Time
Start
Introduction –Thom Holmes
03:36
00:00
1. Chair Umpires
01:19
05:24
2. USTA Billie Jean King Tennis Center—outer courts. Sample Alchemy, Granular effect, Classic.
03:46
05:40
3. USTA Billie Jean King Tennis Center—outer courts. Quick Sampler, Bent Guitar.
06:16
07:20
4. USTA Billie Jean King Tennis Center—outer courts. Sample Alchemy, Spectral effect, Blur
01:50
09:08
5. USTA Billie Jean King Tennis Center—outer courts. Sample Alchemy, Spectral effect, Low/High Cut.
02:58
10:56
6. Arthur Ashe Stadium, Meta-Synth, Inertia setting
25:16
11:26
7. Grandstand Stadium, Meta-Synth, Inertia setting,
08:36
12:16
8. Grandstand Stadium, Auto-Filter, Constant Rise Four Bars.
08:33
29:48
9. Grandstand Stadium, Arturia MiniFilter V, Beatchopper.
08:33
31:02
10. Arthur Ashe Stadium, Delay Designer, Buzz Pattern.
26:05
34:40
11. Louis Armstrong Stadium, Delay Designer, Pulse Groove.
24:42
54:36
12. Grandstand Stadium, AutoFilter, Volume Gate Filter.
22:31
01:16:38
13. Arthur Ashe Stadium, Pedlboard, Blue Echo, Squash Compressor.
30:28
01:36:28
14. East Village Neighborhood, AutoFilter, Resonant High Pass; Delay Designer, Ring and Roll.
27:28
01:37:56
15. USTA Billie Jean King Tennis Center—outer courts. Sample Alchemy, Granular effect, Classic.
07:56
02:02:48
16. USTA Billie Jean King Tennis Center—outer courts. Quick Sampler, Bent Guitar.
08:02
02:03:56
17. USTA Billie Jean King Tennis Center—outer courts. Sample Alchemy, Spectral effect, Blur
03:46
02:06:59
18. USTA Billie Jean King Tennis Center—outer courts. Sample Alchemy, Spectral effect, Low/High Cut.
02:54
02:09:44
Recording equipment used: Zoom Hn4 Pro digital recorder; Shure CVB-B/O Boundary Condenser Microphone; Boya Omnidirectional Cardioid XLR Lavalier Microphone.
Opening background music: Opening background music: A mix of tennis recordings set to a track called “Make It Good” by DJ Tennis (2012 Life and Death). The tennis recordings include excerpts from Arthur Ashe, Learn Tennis (For Beginners & Advanced Players) (1974 Manhattan Recording Company), John Newcombe, Tennis With John Newcombe (1974 K-Tel), and Evonne Goolagong, Tennis Tips By Evonne Goolagong (1975 Fleetwood Records), narrated with questions by Bud Collins.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Shortwave Particulates—A Soundscape
Episode 131
Shortwave Particulates—A Soundscape
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
03:36
00:00
Thom Holmes, Shortwave Particulates (2024 Private Release). A sequence composed of a variety of vintage sounds collected from shortwave radios. Interval signals, Identification signals, programs in many languages from the around the globe. Interlaced with electronic sounds and drones.
01:38:18
03:36
Thom Holmes, Shortwave Particulates Loops (2024 Private Release). A sequence of drones and synthesized sounds that repeats as a long loop, to which I added improvised electronic sounds. This plays simultaneously with the last third of the Shortwave Particulates soundscape.
30:40
01:19:21
Opening background music: Thom Holmes, extracts from shortwave mixes.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Recent Finds for the Electronic Music Archive
Episode 130
Recent Finds for the Electronic Music Archives
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
04:18
00:00
Esplendor Geometrico, “Estación Katowice” and “Signos De Energía” from Kosmos Kino (1987 Discos Esplendor Geometrico). Percussion, Drum Machine, Vocals, Gabriel Riaza; Synthesizer, Drum Machine, Vocals, Noises, Arturo Lanz. Industrial music from Spain.
10:08
04:42
KG, “My Magic Guitar,””Harry Escaped!,” “Die Sauberen Flöten,” “À L'enterrement De Kraftwerk,” “Fish And Chips Sugar Free,” “The Shotgun Gallery Drum School,” “The End Of The World” from Baraka (1997 Antimatière). French industrial band. Limited to 300 copies. Comes in a plain white cardboard cover with die-cut hole on center front. Back cover has two stamps: "ANTIMATIERE" and "MARRAKECH WVIII".
11:55
14:46
Mystic Moods Orchestra, “The Look of Love” from The Mystic Moods Of Love (1968 Philips). Lushly weird arrangements with a silky vocal chorus and environmental sounds recorded by Brad Miller. This record came before the Mystic Moods Orchestra used a Moog synthesizer. Originally included a fragrance card affixed to the cover with the writing "A Romantic Fragrance has been added to this album to enhance your Mystic Moods of Love" (actual capitalization).
03:30
26:37
Chris and Cosey, “Re-education Thru Labour” from Trance (1982 Rough Trade). Composed and Acoustic And Electronic Instrumentation by Chris Carter and Cosey Fanni Tutti.
07:07
30:06
Chris and Cosey, “Put Yourself In Los Angeles” from Heartbeat (1981 Rough Trade). Produced, composed and Acoustic And Electronic Instrumentation by Chris Carter and Cosey Fanni Tutti. Synth, Cornet, Casio MT30, Tapes, Vocals, Cosey F. Tutti; Synth, Electronic Drums, Guitar, Casio MT30, Taped Voices, Vocals, Chris Carter.
03:37
37:09
Skyliner Flight 35, side A, from Skyliner Flight 35 (Authentic Plane Sounds) (1952 Columbia). Directed by Hecky Krasno, Text by Leo Paris. 78 RPM. "Ride with the pilot as he flies a 4-engine Constellation from New York to California." Part of a series of children’s records from Columbia.
03:25
40:56
Reynold Weidenaar, side A, tracks 1-5, “Neptune Two-Step #1,” “Neptune Two-Step #2,” “Neptune Two-Step #3,” “Computer Clip-Clop,” “Cosmic Capers” from Electronic Effects (1968 A Sam Fox Production). Composed by Reynold Weidenaar. Historically significant recording of the early Moog Modular Synthesizer by this collaborator of Moog, student Reynold Weidenaar. Around this time (1967-68), Weidenaar edited the journal that originated with Bob Moog, the short-lived Electronic Music Review. This recording was made in the electronic music studio of R.A. Moog Co. studio in Trumansburg, New York. Not many recordings were made there. It was distributed by a company specializing in broadcast library music, Sam Fox Productions. You can hear the raw power and versatility of the Moog Modular components in these short compositions.
03:19
44:22
Reynold Weidenaar, side B, tracks 1-5, “Milky Wail #5,” “Milky Wail #6,” “Milky Wail #7,” “Venus Exposed,” “Cosmic Crackle #1” from Electronic Effects (1968 A Sam Fox Production). Composed by Reynold Weidenaar.
04:13
47:40
Ralph Lundsten, The Paradise of Heroes” from Paradissymfonin (1980 Harvest). Produced, composed, Synthesizer, Keyboards, Arranged By, Voice, Effects, Ralph Lundsten; Choir, Annelie Sköld, Annica Risberg, Kai Kjäll-Andersson, Kerstin Bagge, Liza Öhman-Kling; Conductor, Lars Bagge; Drums, Peter Sundell; Electric Guitar, Electric Bass, Georg Wadenius; Flute, Keyboards, Björn J:Son Lindh; Harp, Gloria Lundell, Marie Eriksson; Keyboards, Wlodek Gulgowski; Pipe Organ, Birgit Lindkvist; Percussion, Björn Liljequist, Pétur Östlund; Percussion, Arranged By, Gunnar Lundqvist. Mr. Lundsten was a little like the Rick Wakeman of Sweden. He worked in his private studio and produced many thematic compostions and over 40 albums in his long career in music.
05:46
51:52
Hiroshi Yoshimura, “Time Forest” from Soundscape 1: Surround (1986 Misawa Home). Composed, arranged, and performed by, Hiroshi Yoshimura. Hiroshi Yoshimura was a Japanese musician and composer, a pioneer of Japanese ongaku or environnemental music. Interestingly, this music was originally commissioned by a home builder to provide music to complement their newly built homes. Yoshimura described his music as being transparent, adding “Not all interiors are visual by nature; music as interior is none other than the interior of the heart.”
10:38
57:36
Mamman Sani, “Dangay Kotyo” from Taaritt (2022 Sahel Sounds). Recorded 1985 to 1988 at Studio Samira in Niamey, Niger and Studio Kham Mai in Paris, France. This wonderful music was not released until recently. Composed, recorded by, Crumar Bit 99 v, Yamaha RX5 synthesizer, Roland TR-505 Drum Machine, Mammane Sani Abdoulaye. Sani is an early pioneer of synth music in Niger. Sani found unlikely fame in Denmark, regularly appearing in the playlist of Copenhagen bars. "In Niger we have sweet melodies. When the music is good, it's a positive vibration. When someone can cry because of a melody, there is something humane in them. If you are stressed, you can take this music like a tablet. It's music to cool down. It's not music for dancing, but maybe it can make you dream."
04:11
01:08:11
Opening background music: Unknown Artist, side A, Ambient Battle Samples: Phase One: Enter The Stargate Manifold...(2003 The Crypticon Media Cartel). Produced, Controlled & Bankrolled by AL9000 Motherbrain (Alexandre Delmaere). From A side label : "These sounds are of intergalactic sonic property and available for any manipulations and outputs you so desire. Welcome to the Crypticon Media Cartel 2003. Original transmissions from sector 9.41 of Sirius-V during the last sonic cruise of the outer rings." Essentially, this is a list of electronic sound effects to be sampled and played by DJs. (15:05)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Women Synthesists
Episode 129
Women Synthesists
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
04:36
00:00
Eliane Radigue, “Transamorem – Transmortem” (excerpt) from Transamorem – Transmortem (2011 Important Records). Composed in 1973 for ARP 2500 modular synthesizer. Music of slowly changing drones using the marvelous ARP synthesizer, which was Radigue’s key instrument for years after having experimented with Moog and Buchla modulars.
39:29
04:40
Caroline K, “The Happening World” from Now Wait For Last Year (1987 Earthly Delights). Caroline was a co-founder of Nocturnal Emissions, together with Nigel Ayers, in 1980. Arranged By, Recorded By, Producer, Composed By, Performer, Caroline K. Executive-Producer, Nigel Ayers. Drones of a different ilk. Noisy sounds, steady articulation, interesting timbres popping in and out. Sonically articulate.
20:49
44:03
Pauline Anna Strom, “Organized Confusion” from Plot Zero (1987 Trans-Millenia Consort Recordings). Pauline Anna Strom was a decades-long composer, musician and healer who lived and worked in San Francisco, CA. Pioneering blind synthesist. Music composed, synthesized, electronic treatments by Pauline Anna Strom. Strom taught herself to compose intuitively, practicing sounds with her various synthesizers, which included a Yamaha DX7, Prophet 10, two Yamaha CS1X portable keyboards and an E-mu Emulator. When she was ready to record, she laid it down using a Tascam four-track recorder and assembled her albums using a computer workstation. Early days for both the sampler and workstation.
06:04
1:04:48
Pauline Anna Strom, “Spacial Spectre” from Spectre (1984 Trans-Millenia Consort Recordings). Composed, synthesized, and electronic treatments by Pauline Anna Strom. From her vampire-inspired album.
06:58
1:10:51
Pauline Anna Strom, “Blood Thirst” from Spectre (1984 Trans-Millenia Consort Recordings). Composed, synthesized, and electronic treatments by Pauline Anna Strom. From her vampire-inspired album.
07:23
1:17:40
Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" from Sound Characters (Making The Third Ear) (1999 Tzadik). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak.
10:04
1:25:04
Caterina Barbieri. “This Causes Consciousness To Fracture” from Patterns Of Consciousness (2017 Important Records). Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode.
22:44
1:34:56
QOA (Nina Corti), “Sauco” (04:22), “Liquen” (02:50), “Yatei” (03:04), “Muitu” (03:16) from SAUCO (2024 Leaving Records). Side 1 of the newest release from this composer-performer from Argentina. “Sonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.”
13:33
1:57:38
Opening background music: Pauline Anna Strom, “The Unveiling” from Trans-Millenia Consort (1982 Ether Ship Records). Her first cassette release from 1982. Composed and performed on synthesizer by Pauline Anna Strom. (06:04)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found on iTunes and Bandcamp.
Terry Riley—Part 2, Solo Organ and Synthesizer Works
Episode 128
Terry Riley—Part 2, Solo Organ and Synthesizer Works
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
05:28
00:00
Terry Riley, “The Last Camel in Paris” from The Last Camel In Paris (2008 Elision Fields). Composed and performed on a Yamaha YC-45D combo organ custom-tuned to just intonation and outfitted with a digital delay system, Terry Riley. Concert recorded by Radio France for a France Culture program by Daniel Caux broadcast May 13, 1979, in the Atelier de Création Radiophonique series. The delay circuit was created by Chester Wood, Riley's road technician. It fed stereo signals to the digital delay. The YC-45D was modified so that it had separate mono outputs for each of its two keyboards, resulting in 4-channel live performances comprising two live channels and two delayed. Riley improvised these concerts around given themes and patterns. Wood created the delay, which they called “the shadow,” out of “an ancient computer he had procured from Don Buchla and this tour was the maiden voyage to try it out,” (Riley). Previously, the analog delay Riley used on works such as the Dervishes (see previous episode) created a fixed-length delay based on the physical head gap of the tape recorders used, which consisted only of two delays of 7.5 inches per second and 3.75 inches per second, the speeds available on his Revox tape machine. The digital delay allowed Riley to fine tune the pause before a sound would repeat, finding tape delays that worked well with the tempos he was using in his compositions. This concert came after the release of Shri Camel album on CBS, a widely known release. I thought hearing these live variations on that work would be of interest.
50:58
05:34
Terry Riley, “Eastern Man” from Songs For The Ten Voices Of The Two Prophets (1983 Kuckuck). Composed, Voice, two Prophet 5 synthesizers by Terry Riley. Recorded in concert on May 10, 1982, at Amerika-Haus in Munich. Recorded digitally on Sony PCM-100 and PCM-1610 equipment.
11:19
56:39
Terry Riley, “Aleph Part 1” from Aleph (2012 Tzadik). Composed, Korg Triton Studio 88 synthesizer, Recorded, Liner Notes, and Produced by Terry Riley. Recorded in 2008, Aleph was originally created for the Aleph-Bet sound project organized by John Zorn for the Contemporary Jewish Museum in San Francisco.
45:46
01:07:56
Opening background music: Terry Riley, “Anthem of the Trinity” from Shri Camel (1980 CBS). Produced, Composed, Performed in real-time on a modified dual-manual, Yamaha YC-45-D Electronic Organ with just intonation and digital delay, by Terry Riley.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found in iTunes and on Bandcamp.
Terry Riley—Analog Organ Works
Episode 127
Terry Riley—Analog Organ Works
Playlist
Time
Track Time
Start
Introduction –Thom Holmes
08:08
00:00
1. Terry Riley, “Journey From The Death Of A Friend” and “Happy Ending” from Happy Ending (1972 Warner Brothers Records). Music composed for the film "Les Yeux Fermes," a film by Joel Santoni. made at the "Strawberry Studio" Château d'Hérouville-France. This is a studio recording. “Journey From The Death Of A Friend” was recorded in real time with the tape delay system timed for a shorter delay, expressly for the Yamaha YC-45D combo organ. The track called “Happy Ending” features Terry on saxophone and uses a longer delay sequence than the organ piece, plus electric piano and organ. Recorded March-April 72.
36:53
08:10
2. Terry Riley, “Performance Two,” sides 3 and 4, from Persian Surgery Dervishes (1972 Shanti). Composer, performer, Yamaha YC-45D combo organ, Tape Feedback, Terry Riley. Riley plays a modified Yamaha electric organ tuned in just intonation and using a tape delay system. Performance Two performed May 24, 1972, Théâtre de la Musique, Paris.
47:46
45:01
3. Terry Riley, “Parts 1 and 2,” sides 1 and 2, from Descending Moonshine Dervishes (1982 Kuckuck). Composer, performer, Yamaha YC-45D combo organ, Tape Feedback, Terry Riley. Riley plays a modified Yamaha electric organ tuned in just intonation and using a tape delay system. Recorded in concert November 29, 1975, at Metamusik Festival in Berlin.
52:00
01:32:54
Opening background music: Terry Riley, “A Rainbow In Curved Air” from A Rainbow In Curved Air (1968 Columbia). Electric Organ, Electric Harpsichord, Rocksichord, Dumbec, Tambourine, Terry Riley.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Original music by Thom Holmes can be found in iTunes and on Bandcamp.
The Japanese Shigin Vocal Tradition—and Electronics
Episode 126
The Japanese Shigin Vocal Tradition—and Electronics
Playlist
Track Time
Start Time
Introduction –Thom Holmes
04:46
00:00
1. Mix of Susumu Yokota, “Saku” from Sakura (1999 Skintone) plus Abe Shũfu II, “Mount Fuji” from Music Of The Shigin: Chanting To Chinese Poetry (1975 Folkways). Album of electronic music from the late composer Susumu Yokota and a track from Folkways of Japanese shingin folk music.
05:42
04:54
2. Mix of Shiro Michi,“マドンナの宝石 (Intermezzo From "The Jewels Of The Madonna)” from エレクトーン 名曲アルバム (Electone Masterpiece Album)(1965 Polydor). Plus a female shigin performer accompanied by koto from a Japanese collection of shigin singers (1973 Toshiba TY-40077), side 2, track 6. Shiro Michi, Shiro Michi, was a popular Japanese Hammond organist in the 1950s, and Electone artist from the 1950s-2000s since 1958. This track was performed on the Yamaha Electone.
03:02
10:34
3. Mix of Shiro Michi, “ドナウ川の漣 (Danube Waves Waltz)” from エレクトーン 名曲アルバム (Electone Masterpiece Album)(1965 Polydor). Plus a male shigin performer accompanied by bamboo flute and koto from a Japanese collection of shigin singers (1973 Toshiba TY-40077), side 1, track 2.
04:46
13:34
4. Mix of a fragment of Shiro Michi and shigin, which I have called “Shigin Skip Organ” because of the prominence of the LP skip throughout. “ドナウ川の漣 (Danube Waves Waltz)” from エレクトーン 名曲アルバム(Electone Masterpiece Album)(1965 Polydor) plus a skipping record of a male shigin performer with koto.
04:08
18:17
5. Omoide Hatoba, “Alternative Funkaholic” from Kinsei (1995 Earthnoise).
02:30
22:24
6. Omoide Hatoba, “Satellite Groove” from Kinsei (1995 Earthnoise).
03:53
24:52
7. Neohachi, “Dog More Than Cat” from Lovecadio Hearn (2013 White Paddy Mountain). Neohachi is a Japanese female duo, formed in 2005 and featuring Lily (Shigin Vocals) and Elly (Synthesizers).
06:09
28:40
8. Neohachi, “Eternal, Eternal, Eternal” from Lovecadio Hearn (2013 White Paddy Mountain).
02:31
34:36
9. 和楽器バンド (Wagakki Band), “Akatsuki no Ito”from 八奏絵巻(Wildflowers Scroll). Bass, 亜沙 (Asa); Drums, 山葵 (Wasabi); Guitar, 町屋 (Machiya); Koto, [箏], いぶくろ聖志(Ibukuro Masashi); Shakuhachi, [尺八], 神永大輔 (Kaminaga Daisuke); Shamisen, [津軽三味線], 蜷川べに(Ninagawa Beni); Taiko, [和太鼓], 黒流 (Kurona); Shigin Vocals, 鈴華ゆう子 (Suzuhana Yuko). Suzuhana Yuko provides the shigin vocals in this convergence of hard rock and traditional Japanese music. The whole outfit is outstanding but I like the pre-eminence of female musicians. For example, check out this Japanese video of Ninagawa Beni shredding the Shamisen. Here’s a 2023 performance by Wagakki Band featuring a vocal by Yuko.
03:28
37:22
10. 和楽器バンド (Wagakki Band), “Nadeshiko Zakura” from 八奏絵巻(Wildflowers Scroll). Bass, 亜沙 (Asa); Drums, 山葵 (Wasabi); Guitar, 町屋 (Machiya); Koto, [箏], いぶくろ聖志(Ibukuro Masashi); Shakuhachi, [尺八], 神永大輔 (Kaminaga Daisuke); Shamisen, [津軽三味線], 蜷川べに(Ninagawa Beni); Taiko, [和太鼓], 黒流 (Kurona); Shigin Vocals, 鈴華ゆう子 (Suzuhana Yuko).
04:44
40:48
11. Shigenori Kamiya(神谷重徳), “ファラオの墓 (Farao (Pharaoh) No Haka)” from Digital Trip ファラオの墓 シンセサイザ ファンタジ (Digital Trip Pharaoh's Tomb Synthesizer Fantasy). Composed By, Synthesizer, Shigenori Kamiya (神谷重徳).
03:12
45:28
12. Gagaku Shigenkai, Ryōō from Unesco Collection, A Musical Anthology of the Orient: Japan II (1962 Musicaphon). "Ryōō" was recorded in Tokyo in 1962. Shigenkai, was a traditional Japanese music ensemble attached to the Imperial Household Agency, playing flutes, drums, and string instruments. I did a remix of this, adding delay and some droning tones and then double-tracking the whole piece as a way to transforms these lovely, acoustic tonalities into an electronic mélange.
07:18
48:38
13. Otomo Yoshihide (大友良英), “Film Maker From Kreuzberg,” from We Insist? (1992 Sound Factory). Turntables, Sampler, Tapes, Guitar, Otomo Yoshihide.
02:55
55:50
14. After Dinner, “An Accelerating Etude” from After Dinner (1984 Recommended Records). Engineer, Producer, Voice, Synthesizer, Tape, Koto (Miniature 13 String, Taisho-goto), Plastic Flute, Percussion, Haco. Vocalist/lyricist-composer/multi-instrumentalist/sound-artist. Album compiled for the UK release from the original Japan records known as the Glass Tube LP and an After Dinner 7.”
04:11
58:42
15. After Dinner, “Sepia-Ture II” from After Dinner (1984 Recommended Records). Alto Saxophone, Kaname Nakagawa; Arranged by, Y. Utsunomia; Bass, Drum, Miyuki Komori; Bass, Violin, Tadahiko Yokokawa; Koto (Taisho-goto), Yasushi Utsunomia; Snare, Masaaki Kawaguchi; Soprano Saxophone, Masaharu Ito; Tenor Saxophone, Seiichi Kuroda; Voice, Haco.
02:25
01:02:50
16. Wha Ha Ha, “Keiro No Hibi” and “On The Floor” from 死ぬ時は別 (It’s Different When You Die) (1981 Better Days). The second part of this combination track is a different of “On the Floor” that is sung by Mishio Ogawa. The version I am most familiar with was sung by a man so this is a refreshing variation. Computer, Takafumi Fuse; Effects [Sound Effects], Fujio Akatsuka; Engineer, Kazuhiro Tokieda, Takafumi Fuse; Guitar, Shigenori Kamiya; Keyboards, Shuichi Chino; Percussion, Kiyohiko Senba; Saxophone, Voice, Akira Sakata; Voice, Mishio Ogawa.
11:57
01:05:09
Opening background music: Ryuichi Sakamoto, “Nuages” from Heartbeat (1991 Virgin Japan). Written by Sakamoto, the vocal is delivered by the remarkable Algerian singer Houria Aichi (2:15).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Trippy Trance Music Origins, Part 2
Episode 125
Trippy Trance Music Origins, Part 2
Playlist
Track Time
Start Time
Introduction –Thom Holmes
05:01
00:00
1. Pete Namlook, “Power Supply II” from Namlook IV (1994 Fax +49-69/450464). “The music originated instinctively whilst being played live. There was no concept for the composition before, only a kaleidoscope of sounds stemming from the given instruments. The music of this CD is “dedicated” to the missing 220V power supply, the broken EMS Synthi which I dropped during the setting-up of my equipment, the SE-1 which instantly created its own sounds during the live recording and the Studio 440 with 2 faulty pads and a disk drive which had to be convinced to cooperate.”
5:00
05:16
2. Pete Namlook, “Power Supply III” from Namlook IV (1994 Fax +49-69/450464). See explanation for part II above.
5:00
10:15
3. Pete Namlook, “Power Supply IV” from Namlook IV (1994 Fax +49-69/450464). See explanation for part II above.
5:00
15:16
4. Bill Laswell and Pete Namlook, “Psychic And UFO Revelations In The Last Days” from Psychonavigation (1994 Subharmonic). Written, arranged, and played by Bill Laswell, Pete Namlook; Axiom ambient, Bill Murphy, Peter Wetherbee; Material, Inc., Tracy McKnight; Subharmonic, Robert Soares.
38:46
20:13
5. Pete Namlook, Klaus Schulze and Bill Laswell, “Obscured by Klaus, Part III” from The Dark Side Of The Moog 7 (1998 Fax +49-69/450464). Performers, Bill Laswell, Klaus Schulze, Pete Namlook; Written-by Bill Laswell .
19:01
58:54
6. Pete Namlook, Klaus Schulze and Bill Laswell, “Obscured by Klaus, Part IV” from The Dark Side Of The Moog 7 (1998 Fax +49-69/450464). Written and performed by Bill Laswell, Klaus Schulze, Pete Namlook.
06:37
01:17:54
7. Tetsu Inoue and Pete Namlook (2350 Broadway), “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Produced by Peter Kuhlmann (Pete Namlook); written and performed by Tetsu Inoue and Pete Nambook. Recorded at Bretton Hall, New York and Klanglobor Hödeshof, Germany. Linited to 500 discs.
7:00
01:24:28
8. Tetsu Inoue and Pete Namlook (2350 Broadway), “Sustained Energy” from 2350 Broadway 4 (2007 Fax +49-69/450464). Produced by Peter Kuhlmann (Pete Namlook); written and performed by Tetsu Inoue and Pete Nambook. Recorded at Bretton Hall, New York and Klanglobor Hödeshof, Germany. Linited to 500 discs.
9:35
01:31:21
Opening background music: Bill Laswell and Pete Namlook, “Black Dawn” from Psychonavigation (1994 Subharmonic). Written, arranged, and played by Bill Laswell, Pete Namlook; Axiom ambient, Bill Murphy, Peter Wetherbee; Material, Inc., Tracy McKnight; Subharmonic, Robert Soares. (21:22)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Trippy Trance Music Origins
Episode 124
Trippy Trance Music Origins
Playlist
Track Time
Start Time
Introduction –Thom Holmes
07:14
00:00
The KLF, “What Time Is Love?” from What Time Is Love? (Pure Trance 1) (1988 KLF Communications). Kopyright Liberation Front (KLF), a duo comprised of Jimmy Cauty and Bill Drummond. Cauty was born in Devon, England; Drummond was born in South Africa but grew up in the Dumfries & Galloway area of Scotland.
07:06
07:14
Sven Väth, “Ritual of Life” from Accident In Paradise (1992 Eye Q Records). Music by Sven Väth. Internationally known DJ / producer from Germany.
13:13
14:17
Sven Väth, “Caravan of Emotions” from Accident In Paradise (1992 Eye Q Records). Music by Sven Väth. Internationally known DJ / producer from Germany.
12:22
27:24
Oliver Lieb, “Dimension X” from Constellation (1993 Recycle or Die). Frankfurt based DJ & producer Oliver Lieb is involved in the production of electronic music since 1988.
16:35
39:36
Pete Namlook & Dr. Atmo, “Trip“ from Silence (1993 Rising High Records).
20:09
56:14
Pete Namlook and Tetsu Inoue, “Liquid Shade” from Shades Of Orion (1993 Fax +49-69/450464).
20:43
01:16:17
Pete Namlook and Tetsu Inoue, “Biotrip” from Shades Of Orion (1993 Fax +49-69/450464).
24:09
01:36:56
Opening background music: Pete Namlook and Tetsu Inoue, “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Composed, programmed, and played by Pete Namlook and Tetsu Inoue. (07:00)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Love Spells in Electronic Sound
Episode 123
Love Spells in Electronic Sound
Playlist
Track Time
Start Time
Introduction –Thom Holmes
06:48
00:00
1. Mystic Moods Orchestra, “Love Token” from Love Token (1969 Philips). Sound Effects, producer, sound director, Brad Miller; Vocals and vocal effects, The Mystic Moods.
04:33
06:48
2. Four Tet, “Love Cry” from There Is Love In You (2010 Domino). Written, produced, and performed by Kieran Hebden.
09:06
11:14
3. Deborah de Luca, “Love is a Losing Game (Mix Raw)” from Nina (2015 Sola_mente Records). Written, produced, and performed by Deborah de Luca.
07:14
20:16
4. Steven Halpern, “Hot Chakra” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash.
06:48
27:26
5. Steven Halpern, “Thigh Chi” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Flute, Paul Horn; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash.
05:31
34:08
6. Klaus Schulze, “Moogetique” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun.
13:12
39:34
7. Klaus Schulze, “Stardancer II” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun.
14:13
52:44
8. Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” from Events (1980 Harvest). Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMI, Liner Notes, Eberhard Schoener; Fairlight CMI, Morris Pert; Fender Rhodes, Roger Munnis; Tenor Saxophone, Olaf Kübler; Vocals, Clare Torry.
10:56
01:06:50
9. Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Written, produced, and performed by Nora En Pure.
05:48
01:17:45
10. Art Linkletter, “Narrates The Story Of Where Did You Come From?” (side 1) from Narrates The Story Of Where Did You Come From? (1963 20th Century Fox). This was an early 60s sex-education LP. Linkletter was a Canadian-American radio and television personality. I’ve intermixed this disc with tracks of rolling white sound (by me) and a track by Kazumoto Endo, “Falling In and Out of Love” from Never Gonna Make You Cry (1999 Kling Film-Records). Written, produced, and performed by Kazumoto Endo. All to present a slightly odd view of love.
19:12
01:23:32
11. Donna Summer, “Summer Fever” from Four Seasons Of Love (1976 Casablanca). Written-By Donna Summer, Giorgio Moroder, Pete Bellotte; accompanied by The Munich Machine; recorded in MusicLand Studios, Munich; mixed and produced by Giorgio Moroder.
08:12
01:42:44
Opening background music: The Love Symphony Orchestra, “Let’s Make Love in Public Spaces” from Penthouse Presents The Love Symphony Orchestra (1978 Talpro). Keyboards, Synthesizer, Clifford Carter. (03:12)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Electronic Music for Babies
Episode 122
Electronic Music for Babies
Playlist
Track Time
Start Time
Introduction –Thom Holmes
09:56
00:00
1. Raymond Scott, “Lullaby” (14:06) and “Sleepy Time” (4:25) from Soothing Sounds For Baby Volume I: 1 To 6 Months (1964 Epic). Monophonic recording. Mine includes the insert.
18:30
09:56
2. Raymond Scott, “Tempo Block” (3:15) and “The Happy Whistler” (10:45) from Soothing Sounds For Baby Volume II: 6 To 12 Months (1964 Epic). Monophonic recording. Mine includes the insert.
14:12
28:22
3. Raymond Scott, “Little Tin Soldier” (9:24) and “Little Miss Echo” (7:23) from Soothing Sounds For Baby Volume III: 12 To 18 Months (1964 Epic). Monophonic recording. Insert is missing.
17:10
42:17
4. Rosemary, “Undiscovered Island” from Rosemary And Little Andy, Lullaby From "Rosemary's Baby" (Sleep Safe And Warm) (45 RPM) (1968 Columbia). Written by, arranged and conducted by Stan Applebaum; Producer, Wally Gold. This single was not from the movie soundtrack to Rosemary’s Baby, but was inspired by the movie and featured an alternative version of the lullaby from the film. I found that track to be a little too unsettling for a podcast about music for babies, but I did find that the B side, “Undiscovered Island” had a much more calming effect. I believe the instrument heard is a Moog Modular keyboard with the glide feature. Wally Gold, who produced this album, is known to have use the Moog Modular on other recordings. Monophonic recording.
02:57
59:17
5. Steven Halpern, “Brahams Lullaby Part 3” from Lullabies & Sweet Dreams (1984 Halpern Sounds). Grand Piano, String Synthesizer, Steven Halpern; Violin, Daniel Kobialka. I couldn’t help but include a track from Steven Halpern, one of the founding fathers of new age music. As for electronics on this one, there is a string synthesizer.
02:25
01:02:21
6. Luke Slater, “Dreams of Children” from X-Tront Vol. 2 (1993 Peacefrog Records). This track is a little bit manic for relaxing babies, but it has a minimalist repetition that becomes trance-inducing. And one could find solace in that sound.
07:50
01:04:44
7. Howie B., “Music for Babies” from Music For Babies (1996 Polydor). Keyboards and treatments, Howie B.
05:27
01:12:24
8. N., Tracks 12, 19, 22, 23” from Memories From Before Being Born (2005 + Belligeranza). This is a solo work of one Davide Tozzoli, who lives in Italy. An unusual disc of glitch sounds, processed two empty tape recorders an echo machine, and minimal synthetic filters. I selected four of the more mesmerizing tracks and strung them together. “Two empty tape-recorders, one connected to the other, no sound if not the distortion produced by the tape-recorders themselves in play/rec. On this recording of Nothing the modulations of vintage analogic effects: emptied frequencies, prenatal sounds without any sonic grain, audio for a flat electroencephalogram. Memories from before being born," a possible conceptual-noize manifesto.”
05:41
01:17:41
9. Pete Namlook, Music for Babies (excerpt) from Music for Babies (2009 Fax +49-69/450464). On Christmas 2011 "Music For Babies" CD release without cover or catalog# was sent out as a give-away with orders directly from the label. All tracks written, mixed, and produced by Pete Namlook. We have hear prenatal heartbeats mixed with electronic music. Perfect!
15:39
01:23:18
10. Chris Kimbell, “Sleepwave” from Ultrasound / Sleep (2007 Pause). A mellow ambient tune but without any detectable prenatal ultrasounds, as the title might indicate to some.
11:04
01:38:50
11. Lee Rosevere, “Dreaming” from The Ambient Baby (2009 Kazoomzoom). Composed, performed, produced by Lee Rosevere. All original material designed specifically for infants from birth to about two years of age. “Little ones are engaged early on by rhythmic sounds at the start. The sounds then weave into a gentle and soothing environment to help babies fall asleep.”
05:59
01:49:50
12. Lullaby Movement, “Ru-Ru (Sleep Little Baby)” from David Holmes – LateNightTales (2016 LateNightTales). An eclectic mix of tracks from DJ David Holmes, includes this muted little lullaby with a haunting vocal.
03:55
01:55:42
13. Dana Falconberry, “Sea Stones” from Dreamland (Songs For Lulling) (2017 Not on label). Falconberry explains why she created the private recording: “Years ago, I made an album of lullabies for a friend of mine who had just had her first baby. She encouraged me to release a lullaby album to the public, since it helped her with her child so much, which was the main inspiration for this album (thanks Lisa!!). . . . People have been telling me for as long as I can remember that my voice puts them to sleep. Even more common has been fans approaching me at the merch table after a show and telling me that they use my albums to put their babies to sleep. Now, I can say that is a complicated thing for a songwriter to digest, but ok babies, I hear you, let's go. Here's a full album of songs to take you off to Dreamland.”
04:39
01:59:30
Opening background music: Pete Namlook, “Attracting Attention” and “The Womb” from Music for Babies (2009 Fax +49-69/450464). Excerpt (12:57)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Crosscurrents in Early Electronic Music of Canada, Part 2
Episode 121
Crosscurrents in Early Electronic Music of Canada, Part 2
Playlist
Track Time
Start Time
Introduction –Thom Holmes
04:32
00:00
1. John Mills-Cockell, “On The Heath” from A Third Testament (1974 True North). John Mills-Cockell is a Canadian composer from Toronto who was a very early adopter of the original Moog Synthesizer. He was part of the multi-faceted and ground-breaking work with the avant garde/poetry group Intersystems in the late 1960s and then the group Syrinx. I became acquainted with John more recently and he told me that his original Moog modules, used for Intersystems, burned up in a fire and so he turned to the use of ARP instruments around 1971. I am featuring his synthesizer work from a couple of solo albums as a representative of the independent stream of electronic music artists from Canada. John has continued to produce works for and for his numerous works for radio, television, film, ballet, and stage, and he is still active.
02:30
04:32
2. John Mills-Cockell, “North African Gladiator” from A Third Testament (1974 True North). Produced, played, engineered, organ and synthesizer, John Mills Cockell.
04:08
07:00
3. John Mills-Cockell, “Collision” from Gateway (1977 Anubis Records ). Produced, played, engineered, organ and synthesizer, John Mills Cockell.
03:32
11:03
4. Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977) from McGill Wind Ensemble (1980 McGill University Records). This collection of contemporary Canadian works was released by McGill University’s own label. This track is the only work with electronic sounds on the album, by Argentinean-born composer Lanza. Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976.
11:20
14:34
5. Dennis Patrick, “Phantasy III (Excerpt)” (1977-78) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976.
04:53
25:48
6. Barry Truax, “Arras” (1980) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Truax represented the left coast of Canada, and worked with R. Murray Schafer beginning in 1973 on the World Soundscape Project. Several of the composers in this episode came from that same environment, mixing natural acoustic sounds with electroacoustic treatments. This work was made using four computer synthesized tracks. Truax became known for his computer compositions as well as soundscapes.
10:08
30:38
7. Canadian Electronic Ensemble, “Chaconne À Son Goût” from Canadian Electronic Ensemble (1981 Centrediscs). Performers, David Grimes, David Jaeger, James Montgomery, Larry Lake. Composed by David Grimes. The ensemble was founded in Toronto in 1971 by David Grimes, David Jaeger, Jim Montgomery and Larry Lake, "to promote the live performance of electronic music and thereby the composition of new repertoire for this medium." This is another nice example of music by independent artists working in Canada.
17:21
40:34
8. Dennis Patrick, “Metasuite” (1982) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976.
07:55
57:54
9. David Keane, “Aurora” (1985) from Aurora (1985 Cambridge Street Records). A work from a fellow author, David Keane who wrote a book called Tape Music Composition in 1981 (Oxford University Press). He was born in America but became a Canadian citizen in 1974. At the time of “Aurora” Keane was a professor of music theory and director of the electronic music studio at Queen’s University in Kingston, Ontario, which I think he founded in 1970. The music was created to be played during a dance performance in which movement was seen through colored images projected on the dancers. The work was realized in the Queen’s University Electroacoustic Music Facility.
10:17
1:05:48
10. Claude Schryer, “A Kindred Spirit” (1985) from Group Of The Electronic Music Studio - McGill University (1986 McGill University Records). Bass Clarinet, Yves Adam; Cello, Andras Weber; Composed and conducted by, Claude Schryer; Flute, Jill Rothberg; Guitar Daniel Desjardins; Percussion, Helen Barclay; Piano, Laurie Radford. Recorded at McGill University Recording Studios. This work is notable for its use of the Synclavier, a high-end digital synthesizer/sampler/workstation from the mid-1980s.
16:02
1:16:04
11. Bruno Degazio, “Heatnoise” (1987) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Degazio is a composer, researcher and film sound designer based in Ontario, Canada. “Heatnoise is one of a series of algorithmic compositions applying principles of fractal geometry to music.” It uses digital synthesis.
11:24
1:32:04
12. Hildegard Westerkamp, “Cricket Voice” (1987) from from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). A super accomplished sound ecologist, Westerhamp is best known today as the creator of many works of sound art that use natural acoustic environments. She also composed many tape works. This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time.
11:09
1:43:18
13. Ann Southam, “Fluke Sound” (1989) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Southam is another female Canadian composer of note. Much of her career has been spent composing works for dance. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music.
10:22
1:54:13
14. Norma Beecroft, “Evocations: Images Of Canada (1992) (2003 Ovation Volume 3). In contrast to the earlier tape works of Beecroft featured in part 1 of this series, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer. Commissioned by the Music Department in Toronto of the Canadian Broadcasting Corp. with the purpose of utilizing their then new digital mixing facilities. The materials for this composition represent the many aspects of Canadian culture and was a statement around her concern for the “future of Canada as a unfied country.”
16:01
2:04:22
Opening background music: David Keane, “Lumina” (1988) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). For tenor voice and “digital tape recorder” to sample and manipulate the sound. Created in Keane’s studio in Scarborough, Ontario. Voice, Richard Margison. 11:46
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Crosscurrents in Early Electronic Music of Canada, Part 1
Episode 120
Crosscurrents in Early Electronic Music of Canada, Part 1
Playlist
Track Time
Start Time
Opening and Introduction (Thom Holmes)
10:36
00:00
1. Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition. I chose a recording from a CD compilation spanning the first 45 years of electroacoustic music in Canada. The original version of Dripsody was monophonic. Le Caine produced this stereophonic version in 1967 for Folkways records.
2:12
10:36
2. Maurice Blackburn / Norman McLaren, “Blinkity Blank” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Another early work of tape music from Canada, produced around the same time as “Dripsody.” As a member of the National Film Board of Canada, Blackburn created this soundtrack with Norman McLaren by hand drawing on the optical soundtrack of a short film.
5:07
12:36
3. Hugh LeCaine, “Ninety-Nine Generators” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time.
1:42
17:34
4. Hugh LeCaine, “Arcane Presents Lulu” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys.
1:50
19:14
5. Hugh LeCaine, “This Thing Called Key” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys.
1:53
21:04
6. Hugh LeCaine, “Invocation” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys.
2:21
22:56
7. Anhalt, “Electronic Composition No. 2” (1959) from Electronic Composition No. 2 ("Sine Nomine II") (1985 Radio Canada International).
8:47
25:18
8. Hugh LeCaine, “Nocturne” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). This piece was played on a conductive keyboard using printed circuit keys (designed by Rene Farley) and tape delay. Notes are sounded by the pressing of a finger on the conductive surface of the keys.
3:08
34:04
9. Norma Beecroft, “From Dreams of Brass” (1964) from Music And Musicians Of Canada Centennial Edition Vol. II / Musique Et Musiciens Du Canada Edition Du Centenaire Vol. II (1967 CBC Radio Canada). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto. As a professional composer, she was one of the first non-students to be able to experiment in the new facility. There she focused on multitrack recording and looping as an extension of existing instrumental or vocal sounds. This particular work contrasts tape sounds with sung and spoken word sounds.
15:59
37:12
10.Paul Pedersen, “Themes From The Old Testament” (1966) consisting of 1) Saul And David; 2) David And Bathsheba; 3) Lot's Wife; 4) Parable Of Trees” (1966) from Paul Pedersen – Portrait Musical – Portrait No.1 (1976 CAPAC). Excerpts of a larger work. Produced in the Electronic Music Studios of McGill University and the University of Toronto. Paul Pedersen is a Canadian composer, arts administrator, and music educator. He was head of the McGill University Electronic Music Studios from 1971-1974. Concordia University in Montreal created 'The Paul Award in Electroacoustics' to celebrate Paul Pedersen's contribution to the development of electroacoustics in Canada.
5:47
53:10
11.Anhalt, “Cento” (1967) from Istvan Anhalt (1972 Radio Canada International). “CENTO was composed in 1966 under a grant from the Centennial Commission, and its premiere performance took place in 1967, Canada's Centennial Year. The composer describes his work thus: ‘It is a work for a twelve-part mixed choir and two channels of tape-recorded sounds. Most of the sounds on the tape are also vocal, and it was my intention to blend, as much as possible, the live and the recorded voices. The effect I was seeking is that of a single choir performing in an acoustical space the character of which is partly real, partly unreal. "Much of the electronic equipment in both works was invented and built by Dr. Hugh Le Caine at the National Research Council of Canada.”
11:23
59:02
12.Norma Beecroft, “Two Went to Sleep” from Norma Beecroft – CAPAC Musical Portraits (circa 1976 CAPAC). Excerpt from a larger work, released on the Musical Portraits series of extended play 7-inch discs. This piece was written for soprano, flute, percussion, and tape with words by poet Leonard Cohen. It is a great example of the kind of work that combined instruments with tape.
2:49
1:10:24
13.Hugh LeCaine, “Music for Expo” (1967) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Produced using Le Caine’s Serial Sound Structure Generator, a device intended to provide controls for making twelve tone serial music. Tones and other parameters were created using rotary dials on the control panel. Created for Expo ’67 World Exposition in Montreal.
2:34
1:13:12
14.Peter Huse, “Space Play” (1969) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Fraser was a west coast person and composed this work while at Simon Fraser University. He was assistant director of the World Soundscape Project.
3:46
1:15:46
15.Hugh LeCaine, “Mobile” (1970) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). One of the first pieces of music to be composed on the NRC Computer Music System.
1:19:28
16.Micheline Coulombe Saint-Marcoux, “Trakadie (3 Excerpts), For Percussion And Tape” (1970) from Micheline Coulombe Saint-Marcoux: Musical Portrait (1976 CAPAC). This series of composer's Musical Portraits was initiated and sponsored by the Composers, Authors and Publishers Association of Canada. Micheline Coulombe Saint-Marcoux was a Canadian composer and music educator who played an important role in the contemporary classical music scene of Canada and France from the late 1960s through the mid-1980s. Primarily a composer of contemporary classical music, she experimented with electroacoustic music from time to time with some amazingly original and fresh results. From 1968 to 1971 she studied musique concrete with Pierre Schafer in Paris, and from this period comes this work.
4:17
1:21:20
17.Michel Longtin, “La Mort Du Pierrot” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced in the electronic music studio of McGill University.
5:21
1:25:34
18.David Paul, “Eruption” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced at the University of Toronto, using Le Caine’s equipment, this work explores sound densities and glissandi.
6:07
1:30:56
19.Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau’s and the electronic sounds were composed using Le Caine’s Polyphonic Synthesizer.
4:21
1:37:02
20.Hugh LeCaine, “Paulution” (1972) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Uses Le Caine’s Polyphonic Synthesizer, a new device created by the scientist around this time. Much of this was created in real-time with little tape manipulation.
4:09
1:41:18
21.Micheline Coulombe Saint-Marcoux, “Zones” (1972) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music.
9:02
1:45:22
Opening background music: Hugh Le Caine, Rhapsody in Blue, performed on the Electronic Sackbut (1953) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation)00:58; Hugh Le Caine, Safari: Eine Kleine Klangfarbenmelodie (1964) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation). Played on the Sonde, a Le Caine instrument that could generate 200 sine tones separated by intervals of 5 Hertz, as a demonstration of textures and densities. 3:10 (then repeated).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
Phonographic Education—a Sound Collage
Episode 119
Phonographic Education—a Sound Collage
Playlist
Because this episode is a collage of recorded sounds, there are no start times for individual selections. Enjoy the collisions, densities, and words combined with music.
Start time for collage: 03:55
Some of the musical selections heard in this collage:
- The London Philharmonic Orchestra – A Sound Spectacular Stereo Space Odyssey (1973 Stereo Gold Award). UK disc. “A Speaker to Speaker Trip in Thrilling Spacial Stereo.” The London Philharmonic Orchestra with Pipe Organ and Electronic Synthesiser Effects.
- Charles Albertine – McDonnell Douglas Physician Systems Company Presents In Concert Charles Albertine (1985 Concert). Piano, Synthesizer, Composed By, Producer, Charles Albertine. “Postage-paid card ("For information on how Concert systems can help you manage the business aspects of patient care") enclosed.”
- Various – Rumanian Folk Songs And Dances (1958 Monitor). Song And Dance Ensemble ''The Lark.''
- The Original Deutshmeisterband – The Most Beloved Marches From Austria (1978 Summit).
- Soviet Army Chorus & Band Conducted By Boris Alexandrov – Soviet Army Chorus & Band (1956 Angel).
- Jack Wilson – The Jazz Organs (1964 Vault). Bass, Leroy Vinnegar; Drums, Philly Joe Jones, Donald Bailey; Guitar, Gene Edwards, John Gray; Organ, Genghis Kyle, Henry Cain, Jack Wilson.
- Trombones Unlimited – Holiday For Trombones (1967 Libertty). Trombones, Frank Rosolino, Mike Barone.
- Костадин Варимезов – Bagpipe (1979 Балкантон). Bulgarian Bagpipe with orchestral accompaniment.
- Lightning – Lightning (1970 P.I.P. Records). Additional String Arrangement ARP Synthesizer, Herb Pilhofer.
- Enoch Light – 4 Channel Stereo (1971 Project 3 Total Sound). Compilation made specifically for Sylvania as a giveaway with their phonos.
- Terry Snyder And The All Stars – Persuasive Percussion (1959 Command). Featuring, Artie Marotti, Dick Hyman, Dominic Cortese, Jack Lesberg, Stanley Webb, Teddy Sommer, Tony Mottola, Willie Rodriguez,Terry Snyder. Producer, Enoch Light.
Some of the spoken word educational recordings heard in this collage:
-
Parakeet Training Record (1951? Hartz Mountain Products). “Your parakeet can teach itself to talk!” Presented in a carefully tested, scientific manner.
- Gertrude Behanna – God Isn't Dead! (1964 Word). “This is the story of my life . . . what occurred . . . and what life is now.”
- Lee B. Steiner – Sounds Of Self-Hypnosis Through Relaxation (1959 Folkways). Voice, Liner Notes – Lee R. Steiner. Subtitled: "a documentary recording with Mrs. Lee B. Steiner, Certified Psychologist.” "The content and timing of this recording have been validated with novices who learned the method in the process of making this recording."
- Improve Your Eyesight Without Glasses (1977 Wolf). “These techniques must be practiced daily until perfect vision is attained. The daily practice often becomes a tedious chore, thus defeating its goal: relaxation. The tedium is avoided by using this record album which combines contemporary music specially written for relaxation, with a narrative that takes the listener through the daily drills in a pleasant, relaxed way.”
- Domineau – Détente Avec Domineau (no date, no label). Concept By [Conception], Producer [Réalisation] – Domineau. Relaxation by a levitation expert.
- Michio Kushi – Spirals of Everlasting Change (1975 Inyo International). Lecture by macrobiotic expert.
- Jimmy Nelson With Comments By Danny O'Day And Farfel – Jimmy Nelson's "Instant Ventriloquism" And "Ventriloquism For The Beginner" (1964 Juro Celebrity).
- Professor J. J. Higgins, S.J., M.A., S.T.L. – Study Techniques: Relax & Concentrate (1964 Saint Louis University).
- Richard Carl Spurney – Bowl-A-Record (1961 Life Records). Relaxation And Successful Bowling Attitudes.
- Joe Wilman – Joe Wilman Shows You How To Bowl Your Best (1960 Epic).
- Park Richards – A Double-Barrel Blast (1962 Cook). “Unrehearsed Phone Conversation With Undertaker On Subject Of How Much It Costs To Get (Deceased) Uncle Willie Buried.”
- Steno Booster: Dictation Speed and Accuracy Training Course (1961 Conversa-Phone). Sample letters to dictate at various speed.
- Les Journalistes De R.T.L. / Jean-Pierre Farkas – Les Journées De Mai 68 (1968 Philips). Made in France. Recorded adaptation of a print publication highlights major events of the year.
- Adventures In Negro History Vol. 1 (1963 Highlight Radio Productions). Produced By Pepsi-Cola Co.
- John Charles Daly – The Space Age: The Age Of Reliability (1962 Raybestos-Manhattan).
- Is There A Place For Respiratory Stimulants In Anesthesiology? (1965 Excerta Medica Foundation). Professional Seminar: Advanced Investigations In Anesthesiology.
- Stephen Ettinger, D.V.M. – Canine Heart Sounds (1970? EVSCO Pharmaceutical Corp.)
- B. Barlow & W. A. Pocock – Auscultation Of The Heart (1966 London Records).
- Colette Maher – Détente (Le Sommeil Éveillé - Yoga Nidra) (1973 Select). French Canadian release.
- Russ Farnsworth – Revolutionary New Word Method To Learn Radio Code (1959 Epsilon Records).
- Russ Farnsworth – Learn Code With The AMECO Code Course (1965? AMECO Publishing Corp.)
- John P. Sykes – Sleep-Relaxation (1972 Folkways).
- Maharishi Mahesh Yogi – The Master Speaks (1967 World Pacific Recods). Narrator, Maharishi Mahesh Yogi.
- Instrument Flight (1960 Jeppesen & Co.)
- Daniel Akers, Phillip Masline – Listening & Concentration (1978 Automated Learning).
- Norman Singere – Instant Memory Power (1975 Automated Learning).
- Arthur Ashe, Learn Tennis (For Beginners & Advanced Players) (1974 Manhattan Recording Company). Vinyl, 12 ." Arthur Ashe teaches you Tennis. Comes with 8-page black/white instructional booklet.
- John Newcombe, Tennis With John Newcombe (1974 K-Tel). Limited Collectors Edition. Vinyl, 12 ." Narrator, unidentified. 12-Page Tennis tips Booklet Enclosed. Promotional item for Rawlings tennis products.
- Art by Telephone, complete transcript, Museum Of Contemporary Art Chicago (1969). An exhibition organized by the Museum of Contemporary Art under the sponsorship of the American National Bank and Trust Company of Chicago. November 1 to December 14, 1969. I have excerpted 10 minutes of the artist proposals. I couldn’t help but notice that the only contributors to the exhibit were male artists, so I apologize in advance for this slice of chauvinism from the late 1960s. Still, the conversations are interesting.
- Excerpt from an 1940s recording of the radio horror drama, Lights Out, "The Coffin in Studio B," in which actors rehearsing an episode of Lights Out are interrupted by a mysterious coffin salesman peddling his wares. I have a test pressing of the program.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Electronic Keyboards in Jazz, A Recorded History, Part 2 of 2
Playlist
Track Time
Start Time
Opening and Introduction (Thom Holmes)
11:57
00:00
1. Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order.
12:48
11:57
2. The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart.
5:33
24:44
3. Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles’ first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis.
16:59
30:14
4. Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel.
4:16
47:10
5. Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele.
2:30
51:24
6. J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968.
2:31
53:54
7. Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers.
5:06
56:22
8. Bill Evans, “I’m All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano.
5:42
1:01:24
9. Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson.
9:07
1:07:05
10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin; Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore.
2:28
1:16:12
11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw.
2:43
1:18:38
12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw.
3:34
1:21:20
Sun Ra’s flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord.
13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,’ “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson.
9:31
1:24:52
14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,’ “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra’s rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson.
2:05
1:34:25
15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,’ “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson.
2:40
1:36:30
Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey.
16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson).
9:19
1:39:08
17. Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin.
10:36
1:48:18
18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson.
7:33
1:58:46
The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s.
19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell.
6:39
2:06:19
20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis.
4:40
2:12:54
21. Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis.
2:52
2:17:32
22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company’s demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson.
2:43
2:20:24
23. Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro.
7:25
2:23:04
24. Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro.
2:00
2:30:28
25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer’s purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer.
4:29
2:32:26
26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West.
5:32
2:36:52
27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West.
4:44
2:42:22
28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner.
9:51
2:47:04
29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums, Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner.
1:12
2:56:54
30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums, Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner.
1:26
2:58:06
Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,’ “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.
Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2
Episode 117
Electronic Keyboards in Jazz, A Recorded History,
Part 1 of 2
Playlist
Length
Start Time
Introduction
05:42
00:00
1. Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer.
02:22
05:42
2. Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3.
02:44
08:04
3. Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca). Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion).
02:50
10:46
4. "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton.
03:10
13:36
5. Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds.
03:11
16:45
6. The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green.
02:41
19:54
7. Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond.
02:45
22:36
8. Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited.
02:57
25:20
9. Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937.
03:10
28:16
10. Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop.
02:37
31:27
11. Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands.
03:22
34:04
12. E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including.
03:23
37:26
13. Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith.
02:25
40:48
14. The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned.
01:56
43:12
15. Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos.
02:31
45:08
16. Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece.
02:33
47:38
17. Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections.
02:08
50:10
18. Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players.
02:02
52:17
19. Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle.
04:48
54:18
20. Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran.
03:50
59:14
21. Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick.
12:47
01:02:54
22. Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound.
02:23
01:15:40
23. Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand.
02:54
01:18:02
24. Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand.
02:38
01:20:54
25. Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s.
05:05
01:23:30
26. Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light’s productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light.
03:29
01:28:34
27. Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch.
02:58
01:32:02
28. Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light.
02:50
01:34:59
29. Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ.
07:26
01:37:49
30. Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration.
05:54
01:45:12
31. Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds.
02:50
01:51:06
32. Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen.
07:31
01:53:54
33. Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won’t be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller.
27:24
02:01:22
34. Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player.
03:33
02:28:44
35. Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track.
02:05
02:32:16
36. Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like.
01:28
02:34:20
37. Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track.
01:35
02:35:45
Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For a transcript, please see my blog, Noise and Notations.
I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com
The Sounds of Motoring
Episode 116
The Sounds of Motoring
Track Start Times
Introduction
00:00:00
Motoring Soundscape
00:04:33
Closing
01:47:48
Playlist
For this episode, I created a soundscape based mostly on vintage recordings from the Archive of automobiles, trucks, construction equipment, mopeds and motorcycles, buses, street sounds and a variety of police and ambulance sirens. The work flows from sound to sound, often in tandem, and sometimes embellished with an effect drawn from the electronic music toolbox. This edition’s playlist includes recordings from all of the following, from which I extracted and remixed hours of audio material.
- Street Traffic Noises (Recorded at a London Street Junction) (circa 1927 Columbia). 78 RPM.
- Motor Car Noises (1931 His Masters Voice). 78 RPM.
- Sound Effects, “Taxi Cab Leaving,” “Ambulance Bell (with Traffic)” (circa 1932 Columbia). 78 RPM.
- Cuban Corners: More Sports Cars in Stereo (1957 Riverside).
- Tony Schwartz, “Outdoor Sounds” from Sound Effects, Volume One, City Sounds (1958 Folkways).
- The Sound of Sounds (1961 Directional Sound).
- Documentary Sounds, Volume One (1962 Folkways).
- The Exciting Racing Sounds of Grand Prix, Challenge of Champions (1962 MGM).
- Sound Effects, Volume 5 (1963 Audio Fidelity).
- Live Mechanical Sound Effects in Stereo (1971 Realistic/Audio Fidelity).
- De Wolfe Sound Effects DWFX LP No. 9: Motorway Construction (1973 Music De Wolfe).
- De Wolfe Sound Effects DWFX LP No. 1: Rally Cars (1973 Music De Wolfe).
- SFX Sound Effects Vol. 6 (1979 Gateway Recordings).
- De Wolfe Sound Effects DWFX LP No. 21: Transport Part 2 (1982 Music De Wolfe).
- Thom Holmes, field recordings of city streets and traffic noise, including Paris traffic horns (2015), Paris, from the top of the Arc De Triomphe, “overhearing” the intersection of twelve streets (2015), Paris, backstreet from window (2017), Paris, street traffic (2017), New York, East Village, 6th (2021); and a Toronto, interior of bus ride (2016).
Opening background music: Thom Holmes, “Paris street traffic” (2017).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Radio Spirits in the Night
Episode 115
Radio Spirits in the Night
Introduction
Track Start Times
Onda, “Part 1”
10:06
Onda, “Part 2”
28:22
Onda, "Seoul"
47:26
Onda, “Köln”
1:08:03
Onda, Lewisburg”
1:11:35
Onda, “Wroclaw"
1:19:47
Holmes. “3 Open Windows, 1 Small Antenna”
1:27:36
Playlist
- Aki Onda, “Part 1” (18:16) and “Part 2” (19:04) from “Transmissions From The Radio Midnight (2023 Dinzu Artefacts). Limited Edition 12" Black Vinyl. Limited to 200 copies. “for this album, I selected some of my favorite segments from the recordings made in ten-or-so countries over the span of roughly a decade, beginning in 2008. All of the fragments are presented just as they were captured. Since frequency behavior is often unpredictable, and since the act of catching waves was done manually, the recordings capture all sorts of incidental sounds, including various kinds of static noise and radio interference.” (Aki Onda).
- Aki Onda, “Seoul” (2010, 20:37), “Köln” (2012, 3:32), “Lewisburg” (2014, 8:12), “Wroclaw” (2013, 7:49) from “Nam June's Spirit Was Speaking To Me” (2020 Recital). Includes 20-page art booklet including rare photographs of Nam June Paik from the set of Michael Snow’s film Rameau’s Nephew (1974), two essays on radio-wave phenomenon (by Onda and Marcus Gammel), and a remembrance of Paik by Yuji Agematsu from an interview conducted by Aki Onda.
- Thom Holmes. “3 Open Windows, 1 Small Antenna” (1973 Private recording). I realized this piece in the electronic music studios of Temple University in 1972-73. I recorded various shortwave radio sounds at my apartment in Philadelphia, then edited and embellished it with synthesis and modulation using the Moog Modular III synthesizer at in the Temple Music School. I was a student of Paul Epstein at the time, and he asked several of us to join him for a performance on the WBAI Free Music Store, a program radio in NYC. I developed and sketched-out some vocal parts to sing along to the tape and Paul and my friend Ed Cohen joined me for the performance in NY. The lights were dim, the mood was quiet, and we soared along on the sounds on this piece over the airwaves. A recording of that radio broadcast exists somewhere in my storage but for this instance I present the tape piece alone. 24:53.
Opening background music: Thom Holmes, “Signatures Revisited” (2023), an extended version of a piece from my album Intervals (2017), based on the experience of listening to shortwave radio. 01:07:40. Listen to the complete work on my Soundcloud channel.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Refined Noise
Episode 114
Refined Noise
Playlist
- Claus Böhmler, “Klangundkrach, Part 1” from Klangundkrach (1996) (2014 Slowscan). Recorded in Hamburg 1996. Edition of 270 copies. Böhmler was a German visual artist, video maker, and sometimes music artist. His website contains a great sampling of his visual work, texts, and writing about his work. There are not many clues as to how he made this recording except for a cover photo of several Walkman style cassette players with output cables attached. (12:46)
- David Cunningham, “Guitar Systemised” and “Water Systemised” from Grey Scale (1977 Piano). For tape recorder and guitar sounds or water sounds. These two works mimic a process used in some of his other compositions where, “The players play a repeating phrase. As soon as one player makes a mistake that mistake is made the basis of his repetition unless it is modified by a further mistake. Thus each player proceeds at his own rate to change the sound in an uncontrollable manner.” Except for in the case of these two works, the water piece and the guitar piece, the process is “analogous” to those works but “the process is automatic here, an inherent quality in the machinery used.” (03:10) and (04:06)
- Luke Fowler, “GOLD Side” from Fowl Tapes II (2013 Dekorder). Keyboards, Richard Youngs; Piano and synthesizer, Luke Fowler. Source material performed by Luke Fowler between 2009 and 2011. (17:43)
- Merzbow / Genesis P-Orridge, “Source Are Rare” from A Perfect Pain (1999 Cold Spring). Noise Electronics, BIAS Electric Drum Unit, TR606, Filters, Ring modulation, Masami Akita (Merzbow); vocals, producer, Genesis P-Orridge. Genesis P-Orridge: master DAT edited at The Armadillo Studio, Northampton, England, May 1998. Masami Akita: recorded & mixed at Bed Room, August 1998. (23:06)
- Emory Cook, “Untitled track 1” from Microfusion White Sound: Popular Combo (circa 1960 Cook). Emory Cook was known for making high fidelity location recordings and musical records from the mid-1950s to the1960s. He patented a special vinyl pressing technique called Microfusion to produce high quality records. When he wasn’t releasing sound effects such as Mexican Firecrackers or location recordings of calypso music, steel bands or a Creole Christmas, Cook managed to slip a few strange experiments into his catalog. This record, number 40850, comes from a series of five albums he produced around 1960 that combined musical tracks from his other albums with a track of pure white noise. The music would play on the left, the white sound would play at the same time on the right. I have several of these discs plus a demo album that Cook produced. The tag line for the “White Sound Series” was “analgesic sound for control of tensions.” The cover stated boldly that the album was “The new analgesic white sound to help in control of Tension, Headaches, Insomnia, Appetite, Smoking. A natural relaxant.” You be the judge as you listen to a track of a popular “cocktail combo” (called a “popular combo” on the record label, combined with white sound. “Not to be played at more than ordinary room volume level.” (03:15)
- Narwhalz Of Sound / Mincemeat Or Tenspeed, “Untitled” (3 tracks, side 2) from Doonesbury Dropout, Frasier Freedom / A Rave New World (2010 Isle of Man). This is a test pressing of what I think is this album. Side 2 is by Mincemeat Or Tenspeed, an electronic musician from Rhode Island (currently). (14:15)
- Pod Blotz, “Giving,” “Future Romance From The Past,” “Crests And Reflections,” and “Black Glass Monolith” from Glass Tears (2013 Clan Destine Records). Music project of experimental artist and musician Suzy Poling. (18:05)
Opening background music: Mika Vainio, “Lydspor (Part I)” from Lydspor One & Two (2018 Moog Recordings Library). Producer, curator, Paul Smith; Moog Technical Support, Recording Engineering, Finlay Shakespeare. Part of a limited series of Moog albums produced at Surrey University when they were home to a set of Moog Modular synthesizers and components, on arrangement with Moog Music USA. Mika Vainio was born in Helsinki, Finland and died in 2017 in France at aged 53. He was an electronic musician, composer, and producer. (19:26)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
More Electronic Music for Astral Tripping
Episode 113
More Electronic Music for Astral Tripping
Playlist
- Earthstar, “Part 1, Sirens” from French Skyline (1979 Sky records). Recorded at Klaus Schulze Studio, Hambühren, W. Germany in 1978 and 1979. Bass, Electronics, Norm Peach; Choir, Craig Wuest, Joan N., Marla T., Phil N.; Electric Guitar, Treated Guitar, Electronics (Tonewall), Dennis Rea; Flute, Woodwind, Tim Finnegan; French Horn, Flute, Marla Thomson; Producers, Craig Wuest, Klaus Schulze; Moog Modular System Programming, Technical Advice, Klaus Schulze; Sitar, Dirk Schmalenbach, Synthesizer, Sequencer, Mellotron, Biotron, Piano, Sitar, Harp, Effects, Voice, Vocoder, Bells , Percussion, Tape loops, Electronic Treatments, Craig Wuest; Violin, Phil Novak; Violin, Viola, Electronics, Louis Deponté; Violin, Electronics, Daryl Trivieri. (06:18)
- Edgar Froese, “PA 701” from Macula Transfer (1976 Brain). The material was composed during different flights during '75 and '76 while on tour with Tangerine Dream. Instruments, Composed By, Produced by, Edgar Froese. I’m not certain, but all of the tracks are named after airline flight numbers. I think this one was on Pan American. Recorded in June 1976 at Amber Studio, Berlin. (07:33)
- Beaver and Krause, “Gandharva” and “By Your Grace,” from Gandharva (1971 Warner Brothers). The Moog Modular is played by Bernie Krause, the pipe organ by Paul Beaver. Baritone Saxophone, Gerry Mulligan. Recorded at Grace Cathedral, San Francisco, February 10-11, 1971. This recording came at the height of the Moog craze (for which Beaver and Krause were largely responsible) and this music took a decidedly thoughtful turn with its jazz guests and spacious live sound recorded in a church. Having the Moog Modular in a live performance was a challenge and its presence is only apparent in the opening and several moments on this side of the album. But the organ and baritone saxophone alone provide a beautiful sonic experience. (06:29)
- イノヤマランド = Inoyama Land, “Mizue” from ダンジンダン・ポジドン = Danzindan-Pojidon (1983 Yen). Inoyama Land is Yasushi Yamashita and Makoto Inoue. Roland Jupiter 8, System-100M, MC-4, Makoto Inoue. Recorded at Private Studio, Kichijōgi & Yugawara from Jan '82 to '83. This track was made by Inoue which he described as him “playing with repetitive octave, machine-like signal sounds.” (02:31)
- Arp, “Nzuku” from Ensemble—Live! (2019 Mexican Summer). Arp is Alexis Georgopoulos, an American electronic musician, composer, and music producer based in New York. Includes music from his LP, Zebra, as well as four original tracks. Zebra saw the diverse, New York-based artist exploring Fourth World, Japanese avant-garde, minimalism, kosmische, dub, cosmic jazz and more. This album was recorded live in the studio. Limited edition of 500 copies. (06:36)
- Ariel Kalma, “Reternelle” from Ariel Kalma (1975 Astral Muse). A spacey work for dual saxophones and tape echo, played by Kalma. (12:08)
- Masuko Shinji, “Woven Music for Silver Ocean” from Woven Music (2011 Jagjaguwar). Japanese singer and guitarist. Some soothing guitar electronics bordering on noise. Let your thoughts wander. (13:50)
- イノヤマランド = Inoyama Land, “Apple Star” from ダンジンダン・ポジドン = Danzindan-Pojidon (1983 Yen). Inoyama Land is Yasushi Yamashita and Makoto Inoue. Roland Jupiter 8, System-100M, MC-4, Makoto Inoue. Recorded at Private Studio, Kichijōgi & Yugawara from Jan '82 to '83. This track by Inoue came about by his “synchronizing the Jupiter 8 auto arpeggio with the System100M analogue sequencer with the sequencer VC (voltage control), which generates a curious phrase automatically.” (05:57)
- White Gourd, “La Lune” from Hermit / La Lune (2013 Psychic Sounds). “White Gourd is the solo work of Suzanne Stone. In addition to being a visual artist, herbalist, teacher, master gardener, and beekeeper, she is well known for involvement as vocalist & saxophonist in the experimental ensemble Million Brazilians.” This recording illustrates the dreamy nature of Stone’s sound material used in her live performances; found objects, gongs, 78 player, piano and audio cassette loops. (18:10)
- Somei Satoh, “Echoes” from Emerald Tablet / Echoes (2020 WRWTFWW). Echoes taken from Somei Satoh's Echoes, Edition Omega Point (2003). It was composed for the "Mist, Sound, and Light Festival", held on May 20-19, 1981 at Kawaji, Tochigi Prefecture, Japan. Composed and performed by Somei Satoh. For this event, Satoh composed music for the 10-day event organized by the hot spring tourist association of Kawaji. The work was played at the Kawaji hot spring's Ojika river valley using 8 gigantic loudspeakers set-up on hills surrounding the stream, with music played through an 8-channel-tape system. The echoes created by the work were accentuated as they reverberated through the outdoor location. (30:27)
- Less Bells, “Bird in Hand” and “Forest Ghosts” from Solifuge (2018 Kranky). Less Bells is Julie Carpenter. All Songs by, Violin, Cello, Synthesizers, Fender Rhodes Electric Piano, Omnichord, Julie Carpenter; Optigan Electric Organ, Buchla Music Box, Moog Modular Synthesizer, Dain Luscombe; Synthesizer, mixed by, Kenneth James Gibson; Vocals, Leah Harmon. Violinist/composer Julie Carpenter “. . . weaves orchestral and electronic textures to inhabit that boundary between storm and sun.” Can you say happy astral tripping? (08:39)
Opening background music: Ariel Kalma and Richard Tinti, “Forest Ballad” from Osmose(1978 SFP). Organ, Flute, Ariel Kalma; sound effects, Richard Tinti.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Merry Moog 2023--Holiday Music Performed on the Moog and other Synthesizers
Episode 112
Merry Moog 2023
Holiday Music Performed on the Moog and other Synthesizers
Playlist
- Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
- Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54
- Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33
- Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14
- Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley.
- Emerson, Lake & Palmer, “Troika” from I Believe In Father Christmas (1995 Rhino Records). Arranged by, Emerson, Lake & Palmer. Moog and effects by Keith Emerson.
- Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
- Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
- Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
- Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer.
- Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module.
- Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin.
- Sounds Of Broadcasting 3, “Electronic Tinsel” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
- Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer.
- Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards.
- Unknown artist, “God Rest Ye Merry Gentlemen” from Electronic Computer Christmas Music (1990 Silver Bells Music). As the name suggests, this was a label dedication mostly to producing broadcast music for the holidays. They also release several albums of nature sounds. The studio musicians go unnamed.
- John Baker, “Christmas Commercial” from BBC Radiophonic Music (1968 BBC Radio Enterprises). A short piece used for broadcasting that was created by tape manipulation of the sounds of a mechanical cash register. It was part of collection of short works by BBC Radiophonic composers. “This record has been produced with the intention of entertaining rather than informing: the items chosen do not necessarily represent a survey of the music created at the BBC Radiophonic Workshop. The Workshop at the BBC Music Studios in Maida Vale, London, is equipped with tape recording machines and other electronic equipment for generating and manipulating sound. The composition and realization of this music and sound is done by a small number of specialized creative staff.”
- Christmas Baubles, “Orch” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track.
- Sounds Of Broadcasting 4, “Cutesy Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
- Michael Nyman, “Cream or Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. From Nyman’s minimalist era before he became famous for soundtracks.
- Cabaret Voltaire, “Invocation” from Eight Crepuscule Tracks (1987 Interior Music). This track was originally included on the holiday album Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule), which suggested to me that it should be in this holiday podcast. Any excuse for a CV track.
- Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer.
- Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton.
- Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album.
- Sounds Of Broadcasting 5, “Christmas Moog Choir” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
- Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s.
- Pac-Man, “Snowflakes And Frozen Lakes” from Pac-Man Christmas Album (1982 Kid Stuff Records). Produced, Written by, Dana Walden, Patrick McBride. “A collection of Pac-Man’s favorite Christmas songs.” Need I say more?
- Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise.
- Old Man Gloom, “Valhalla and Christmas Eve Parts I and II from Christmas (2004 Tortuga Recordings). Ambient/Noise band formed in New Mexico by guitarist/vocalist Aaron Turner and drummer Santos Montano. Guitar, Drum Programming, Drums, captured and organized sound, Kurt Ballou; Performed by Aaron Turner, Caleb Scofield, Luke Scarola, Nate Newton, Santos Montano.
- Sounds Of Broadcasting 6, “The Joyous Moment” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
- Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37
- John & Yoko and The Plastic Ono Band With The Harlem Community Choir (remixed by Thom Holmes in 2001), “Happy Christmas (War is Over)” (1971 Apple Records). I had a CD player that was in disrepair and decided to “perform” this remix using it. I ended up calling this the Lennon and Ono Sliding Moment remix.
Opening background music: Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Joy Electric, “Let it Snow” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Christmas Baubles, “Noisy Organ” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Before and After Ambient, Part 2
Episode 111
Before and After Ambient, Part 2
Playlist
- Midori Takada, “Mr. Henri Rousseau's Dream” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood Bell, Ocarina, Tam-tam, Midori Takada. She performed all of the instruments on this album. The album was not immediately popular but seeded the nascent ambient movement that was growing in Japan at the time.
- Midori Takada, “Trompe-l’œil” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood and clay Bells, Ocarina, Tam-tam, Cola Bottle, Reed Organ, Midori Takada. She performed all of the instruments on this album.
- Brian Eno and Harold Budd, “Their Memories” from The Pearl (1984 Editions EG). Composed by Brian Eno, Harold Budd; produced by Brian Eno and Daniel Lanois.
- David Behrman, “Interspecies Smalltalk Scene 2” (1984) from Leapday Night (1987 Lovely Music). Composed, produced, and computers by David Behrman; violin, Takehisa Kosugi. "Interspecies Smalltalk" (1984) is an interactive piece originally commissioned by the Cunningham Dance Company.
- Yutaka Hirose, “Light Which Shakes Quietly” from Nova+4 (2019 WRWTFWW Records). Bonus track on this reissued album that dates from 1986. Composed , Arranged and Computer by, Yutaka Hirose; Synthesizer, Jun Tohyama.
- Takashi Kokubo, “A Dream Sails Out To Sea - Scene 3” (2019 Light In The Attic). Originally released in 1987, this track was part of the new wave of Japanese ambient music. By that time, Kokubo was already reknown for his synthesizer skills on a part with Isao Tomita. He turned to sound design and ambient music and has been instrumental in addition to creating such sounds as the nationally-used mobile phone earthquake alert and credit card payment jingles.
- Yoichiro Yoshikawa, “Nube” from Cyprus (1988 Eastworld). Original sound track of Japanese TV program. Yoshikawa was already a reliable session musician when he acquired one of the first Phophet-5 synthesizers in Japan. He quickly became a go-to composer for television and other purposes, such as soundscapes for museum exhibitions.
- Tetsu Inoue, “Low of Vibration” from Ambiant Otaku (1994 Fax +49-69/450464). Before I met Tetsu around the year 2000, I was fascinated by music such as this which had all of the elements of ambient music—slow and forming harmonies, spatial rhythms rather than beats, and a sustained energy throughout—without sounding at all like something out of an Eno production. Produced and performed by Tetsu Inoue.
- Kenji Kawai, “Ghostdive” from Ghost in the Shell (Original Soundtrack) (1995 RCA). An ambient work from the popular movie soundtrack.Composed, Performed, Produced, Arranged, Keyboards, Instruments, Kenji Kawai; synthesizer, Hironori Houki.
- Waveform Transmission, “V 1.3” from V 1.0-1.9 (1996 Silent). Analog Tone Engineering and Realization, Recordings Of The Dead, Shortwave, Field Recordings Made During Periods Of Highly-charged Paranormal Activity, Korg MS 10, Korg MS 20, Korg MS 50, Roland System 100 Synthesizers, Home Built Analog Synthesizers, Tape, Loops, Chris Troy; Digital Audio Graphs, Granular Synthesis, Microwave Communications, Psycho-acoustics, Tape, Loops Otari MX 5050 loops, Rod Modell.
- Experimental Audio Research, “Automatic Music (For Oscillator, Ring Modulator & Filter Clusters)” from Pestrepeller (1999 Ochre Records). UK release, limited to 1000 copies. Engineer, Serge Modular Music System, Sonic Boom (Pete Kember). Some interesting modular synthesizer ambience.
- John Foxx and Harold Budd, “Raindust” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx.
- John Foxx and Harold Budd, “Some Way Through All the Cities” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx.
- Pete Namlook, Tetsu Inoue, “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Composed, produced, and performed by Pete Namlook, Tetsu Inoue. Recorded at Bretton Hall, New York and Klanglobor Hödeshof. Tetsu was an endless collaborator. Here he and the wondrous Pete Namlook wove some ambient magic.
- Tetsu Inoue, “Kaze” from Inland (2007 Fax +49-69/450464). Written, performed and produced by Tetsu Inoue. This was his post-glitch faze, which brought together, strangely enough, element so his earlier ambient work and glitch music for computers.
- Masuko Shinji, “Woven Music for Blue Steppe” from Woven Music (2011 Jagjaguwar). All music, vocals and guitar, 増子真二 (Shinji Masuko). This is a project by Masuko, who sometimes works with the Boredoms. It has a characteristic high but sustained energy level that flirts with the outer reaches of the ambient music concept.
- Caroline Park, “Grain 5” from Grain (2011 Private Chronology). This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed, and mixed between May 2010 and January 2011 in Los Angeles and Boston.
- Sarah Davachi, “First Cadence” from Antiphonals (2021 Late Music). Composed, Recorded, Performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. A recent ambient work by this contemporary experimenter.
In the background: An example of ambient music from the program Droneo by Henry Lowengard, which produces self-generating ambient music on a smart phone. “Droneo 1.5 vanDelay and Ape,” (5:25).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Before and After Ambient, Part 1
Episode 110
Before and After Ambient, Part 1
Playlist
- Erik Satie, “Vexations” (1893-94), First, we will hear two piano versions (1 and 4) of this short work that was intended to be played repeatedly in one sitting 840 times in succession. The piano version was performed by Jeroen van Veen on the album Satie, Complete Piano Music (2016 Brilliant Classics). Then, we will hear an electronic version by Bhutan from Vexations (2016 Venado). Argentinean group Bhutan realized this electronic version of the Erik Satie piece in 2016. I thought it would be fitting to open the program with this because Satie’s was one of the first works to be recognized in recent times as a kind of proto ambient composition. Satie preferred the term “furniture music” and thought that it would be suitable for background sound during a dinner party. The Bhutan version, realized in electronic instrumentation, is a fitting bridge of the old and the new when it comes to ambient compositions.
- John Cage, “In A Landscape” (1948) from In A Landscape played by Victoria Jordanova (2007 Arpaviva Recordings). This early Cage work was originally arranged either for piano or harp. It is very much the interpretation that makes this akin to ambient music. I selected this version for electric harp because it maintains the original’s sense of suspended time and energy. I also like William Orbit’s version but he took the orchestration to greater lengths and transforming it into something not so ambient. There is also a really quiet piano version by Stephen Drury which remains true to Cage’s original intent of being “soft and meditative” with “resonances” being sustained by depressing both pedals throughout the performance. But I included this version for electric harp by Jordanova because it is more in tune with the electronic nature of the music we feature in this program.
- Morton Feldman, “Projection 1” (1950) from Arne Deforce, Yutaka Oya, Patterns In A Chromatic Field (2009 Aeon). Cello, Arne Deforce; Piano, Yutaka Oya; composed by, Morton Feldman. This is an acoustic work by Feldman (I couldn’t find any electronic renditions) but I include it to draw similarities to the work of Harold Budd, also a pianist. In fact, Feldman was a long-standing favorite of Budd.
- Raymond Scott, “Sleepy Time” from Soothing Sounds for Baby, Volume 1 (1964 Epic). This legendary work is from a set of electronic and ambient records that Scott produced in the early 1960s as background music to help babies go to sleep. The electronic music was produced with his own creation, the Electronium, a from-scratch built custom synthesizer that combines electronic sequencing with tone generation and various filters.
- Eliane Radigue, “Vice - Versa, Etc. (Mix 1)” (1970) from (2013 Vice - Versa, Etc.). Processed tape reorder feedback. Realized at the composer's studio in Paris. Premiered in 1970 at Galerie Lara Vincy in Paris, on the occasion of a group exhibition. The stereo synthesis presented here was made in Lyon at Studio Fluorescent between 2010 and 2011 by Emmanuel Holterbach. Produced, composed, recorded using feedback by Eliane Radigue. Originally conceived as a sound installation, using several reel-to-reel tape players controlled through a mixing desk. The tapes could be played at different speeds, either forward or backward, right channel only, left channel only or simultaneously. The audience could create their own mix.
- Teresa Rampazzi (N.P.S.), “Environ” (1970) from Musica Endoscopica (2008 Die Schachtel). Created in 1970, this work represents a kind of reproduction in electronic sound of an ambient environment, peppered with noise and even voice. Rampazzi was a pioneering female composer of electronic music who founded the N.P.S. (Nuove Proposte Sonore) group and studio, where this was realized.
- Harmonia, “Hausmusik” from Harmonia (1974 Brain). Recorded and produced June - November '73 in the Harmonia home studio. Guitar, Piano, Organ, electronic percussion, Michael Rother; Organ, Keyboards, Guitar, electronic percussion, J. Roedelius; Synthesizer, Guitar, electronic percussion, D. Moebius.
- Brian Eno, “Discreet Music” (excerpt) from Discreet Music (1976 Obscure). Synthesizer with Digital Recall System, Graphic Equalizer, Echo Unit, Delay, Tape, Brian Eno. Brian Eno (b. 1948) worked with tape delay much in the manner defined by Oliveros for I of However, he expressed a somewhat indifferent attitude toward the outcome. He described the realization of Discreet Music (1975): “Since I have always preferred making plans to executing them, I have gravitated toward situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend toward the roles of planner and programmer, and then become an audience to the results.” Eno’s composition consisted of a diagram of the devices used to generate the music. His approach was identical to that of Oliveros except that the sound material was specifically melodic and he did not modify or interact with the sound once the process was set in motion. The result in Discreet Music is the gradual transformation of a recognizable musical phrase. These 10 minutes are excerpted from the beginning of the extended work lasting 31 minutes.
- Brian Eno, “Through Hollow Lands (For Harold Budd)” from Before and After Science (1977 Island). Bass, Paul Rudolph; Vocals, Bell, Mini-Moog, CS80, AKS synthesizers, piano, guitar, Brian Eno. This is one of the only tracks that I would consider to be ambient from this album.
- Robert Ashley, “Automatic Writing” (excerpt) (1974–79) from Automatic Writing (1979 Lovely Music). This work was much talked about when it was released on record by Lovely Music Ltd. in 1979. Ashley wrote it over a five-year period after having just come back from his self-imposed exile from composing in the early 1970s. He performed it many times in various formative stages with the Sonic Arts Union before finally committing it to disc. It does indeed have a vocal, but it is also imbued with quiet, ASMR kinds of sounds that mesmerize. The basic musical material of Automatic Writing was the spoken voice, closely miked, uttering what Ashley characterized as “involuntary speech”: random, seemingly rational comments that might not make sense at all, depending on the context in which they were heard. These 10 minutes are excerpted from the beginning of the extended work lasting 46 minutes.
- Sri Dinesh, “Le Chant Des Étoiles” from Para Symphonie (1978 Alain Grima). French album of music to accompany meditation. It consists largely of short, repeated organ patterns and falls within the frame of mind for which ambient music was intended.
- Brian Eno, “2/2” from Ambient 1: Music for Airports (1978). Engineer, Conny Plank (yes, the producer of Kraftwerk). Composed, conceptualized, produced and engineered by Brian Eno.
- Theresa Rampazzi, “Atmen Noch” (1980) from from Musica Endoscopica (2008 Die Schachtel).
- Conrad Schnitzler, “Control B” from Control (1981 Dys). Edition of 1000 copies. An electronic work by Schnitzler, who played the devices, produced, and recorded the music.
Opening background music: Brian Eno and Peter Chilvers, Bloom 3.2 (10) (2014 Opal Ltd.). Bloom is a generative music application that composes ambient music. This recording was made using Bloom running in “Classic” mode on a Macbook Pro running Ventura 13.5.2.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Part 2 of The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium
Episode 109
Part 2 of The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium
Playlist
- Oskar Sala, “Elektronische Tanzsuite (Für Mixturtrautonium Solo Und Mixturorchester (Tonband) In Fünf Sätzen)” (1955) from My Fascinating Instrument (1990 Erdenklang). 24:28
- Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” (1988-89)from My Fascinating Instrument (1990 Erdenklang). Composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 21:47
- Oskar Sala, “Subharmonische Mixturen III”(1995) from Subharmonic Mixtures (1997 Erdenklang). 8:57
- Oskar Sala, “Nr. 2” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 3:27
- Oskar Sala, “Nr. 3” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 6:45
- Oskar Sala, “Nr. 4” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 2:30
- Oskar Sala, “Nr. 7” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 4:28
- Oskar Sala, “Nr. 9” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 3:21
- Caprice With Variations (1992-95) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 12:35
- Oskar Sala, “Chaconne Electronique” (1995-96) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 7:42
- Oskar Sala, “Glissando-Caprice” (1992-95) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 4:35
- Oskar Sala, “The Box,” a score for a short film 2001 (2001 Red Cat Films). This Canadian film production hired Oskar Sala to contribute to the score using the Mixtur-Trautonium. Any electronic sounds that you hear were created by Sala. This may have been his last completed film work before his death at age 92 the following year. 9:05
- Surf Riders, “The Birds” from Blues For The Birds / The Birds (1963 Decca). What better way to promote a movie than by issuing a 45 rpm single by a surf group from California? "Inspired by the Alfred Hitchcock Production 'The Birds' A Universal Release and featuring sound effects from the original soundtrack." 1:49
- Surf Riders, “Blues For The Birds” from Blues For The Birds / The Birds (1963 Decca). "Inspired by the Alfred Hitchcock Production 'The Birds' A Universal Release and featuring sound effects from the original soundtrack." 2:38
Opening background music: Oskar Sala, “Der Würger Von Schloß Blackmoor” (1963 Soundtrack)” from Subharmonic Mixtures (1997 Erdenklang). This was a full-length feature with electronic music and sound effects by Sala. The track included here is a version containing essential electronic elements from the motion picture. The German film was a murder mystery with horror undertones, a perfect platform for Sala’s spooky sounds and incidental music. Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 12.31.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, Part 1
Episode 108
The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, part 1
Playlist
- Oskar Sala, “Demonstration” from My Fascinating Instrument (1990 Erdenklang). Demonstration of the Mixtur-Trautonium by Sala, providing a sampling of the many various effects that he could create in real-time without magnetic tape tricks. In addition to the audio track, here is a terrific video from 1993 showing Sala playing the newer, fully transistorized version of the Mixtur-Trautonium in his home studio. Note the dexterity needed to press the little “tongues” of the instrument and press them from side to side to enable note expression. If you were only listening, you would assume that he was playing a keyboard. This view reveals why playing the instrument was quite different than any other. There are, of course, many other videos available showing Sala and his instrument over the years. But I thought this one illustrated the performance aspects of the Mixtur-Trautonium that make it a remarkable, and unique, electronic music instrument. 7:14.
- Paul Hindemith, Oskar Sala, “7 Triostücke Für 3 Trautonien (1930) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Oskar Sala of one of the very first concert pieces composed for the original Trautonium. This later performance from 1977 used the Mixtur-Trautonium and multi-tracking of Sala as he performed all three parts of this trio. In 1930, the other two players on the three Trautoniums were Paul Hindemith and Rudolph Schmidt. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 1:21.
- Paul Hindemith, Oskar Sala, “Konzertstück Für Trautonium Mit Begleitung Des Streichorchesters (1931) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Sala at the Mixtur-Trautonium. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 3:02.
- Harald Genzmer with Oskar Sala, “Konzert Für Trautonium Und Orchester” (1938-39) (excerpt) (1942 DGG). Early performance of this work for the Concert Trautonium, performed by Sala and composed by Genzmer. Performed by the Städtisches Orchester Berlin under the direction Helmuth Thierfelder. The complete work was in the vicinity of 30 minutes long. 7:00.
- Paul Hindemith, Oskar Sala, “Langsames Stück Und Rondo Für Trautonium” (1935) from Subharmonic Mixtures (1997 Erdenklang). A newer performance by Sala of this early work by Hindemith. Originally written for the Radio Trautonium, this version was performed on the Mixtur-Trautonium. This was recorded in 1985. 5:29.
- Oskar Sala, Großes Tanzorchester, Frank Fux, “Bezaubernde Melodien” (1941 Telefunken). This German popular music disc features an early solo by Sala using the Concert Trautonium. You can hear its distinctive melodies, reminiscent of a flute or clarinet, but clearly different. 2:56.
- Oskar Sala, “Poor Hansi” (1943). This animated short film included a singing canary, the voice of which was provided by Oskar Sala using the Concert Trautonium. The instrument also provided some miscellaneous sound effects such as the squeaking cage door. 3:04.
- Fritz Kreisler, Oskar Sala, “Scherzo im Stile von Carl Ditters von Dittersdorf” (1946) from Das Konzertrautonium Wandlungen (2011 Der Trautonist). Concert Trautonium, Oskar Sala; piano, Gerhard Schael. This recent recording (not Sala) was made in 2011 using the third incarnation of the Trautonium, the Concert Trautonium (1938). 3:29.
- Oskar Sala, “A Fleur D´eau ( In wechselndem Gefälle)” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:22.
- Oskar Sala, “Der Fluch Der Gelben Schlange” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:39.
- Oskar Sala, “Intro, The Birds” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). This UK collection features the electronic sounds created for the film by Oskar Sala on the Mixtur-Trautonium. Occationally, you may hear some ambient bird sounds in the soundtrack mix, but the truly eerie, intimidating bird sounds are those produced by Sala. An original “soundtrack” was never released at the time primarily because, despite the popularity of the movie, no music was orchestrated for the movie other than the eerie electronic music sounds of birds created by Oskar Sala. 1:33.
- Oskar Sala, “Bird's Attack/After Explosion” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 2:01.
- Oskar Sala, “The Crows Again/Annie Is Dead” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 0:35.
- Oskar Sala, “The End” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 4:26.
- Henrich Heine, Oskar Sala, excerpts from “Denk Ich An Deutschland - Eine Politische Reportage Über "Deutschland - Ein Wintermärchen" (1966 Electrola). Sala contributed music and sound effects made on the Mixtur-Trautonium for this drama production. 4:41.
- Oskar Sala, “Rede Des Toten Christus Vom Weltgebäude Herab, Dass Kein Gott Sei” (1986) from My Fascinating Instrument (1990 Erdenklang). Mixtur-Trautonium, Oskar Sala; narrator, Friedrich Schönfelder; words, Jean Paul (1797). 12:52.
Opening background music: Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” from My Fascinating Instrument (1990 Erdenklang). Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 10:38.
Timeline of the Trautonium
This timeline shows the evolution of the Trautonium and Mixtur-Trautonium, all played by Oskar Sala (1910-2002).
- 1929-30: Trautonium (Friedriech Trautwein). One manual.
- 1935: Radio-Trautonium. Two manuals, two pedals.
- 1938: Konzerttrautonium (Concert Trautonium, a portable model. Two manuals, two pedals.
- 1952: Mixturtrautonium (Mixtur-Trautonium). Two manuals, two pedals.
1988: Micro-Electronic Mixtur-Trautonium (transistorized model). Two manuals, two pedals.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Crosscurrents in Early Electronic Music of Norway
Episode 107
Crosscurrents in Early Electronic Music of Norway
Playlist
- Arne Nordheim, “Epitaffio” (1963) for orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic sound material on the tape are taken from the end of the performance, but played during the opening section. It fuses the acoustic instruments and voices with electronics, filtering and speed changes. This recording is 10:15
- Alfred Janson, “Canon” (1964) for chamber orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. In this piece, two tape recorders were used in performance. The first records for about four minutes and the, half a minute later, begins to play back what was recorded. The second tape recorder begins to record after the first tape machine ends, and then plays back what was recorded after another half minute, creating, in a sense, the structure of a canon. 12:27
- Arne Nordheim, “Response I” (1966) for 2 percussion groups and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. Two percussionists respond to electronic sounds such as filtered white noise, sine waves and the filtered sounds of organ and metallic clanging distributed throughout the score. 18:09
- Björn Fongaard, “Homo Sapiens” (1966) for magnetic tape from Poul Rovsing Olsen • Thorkell Sigurbjörnsson • Arne Mellnäs • Björn Fongaard – Nordiska Musikdagar 1968 Nordic Music Days Vol.3 (1969 His Master's Voice). Realized at the Norsk Riksringkastings studio, Oslo. 9:20
- Bjørn Fongaard, “Galaxy” for 3 electric guitars in quarter-tones from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic part makes use of audio filtering, changing tape speed, and editing to treat some unorthodoxed playing on the guitar. 12:05
- Kåre Kolberg, “Keiserens Nye Slips - Electronic Music” from Kåre Kolberg – Contemporary Music From Norway (1980 Philips). A foray in computer composed music synthesis realized in the Electronic Music Studios in Stockholm using a PDP 15/40 computer; it was programmed in the EMS-1 computer language developed in the same studio. 9:54
- Jan Bang, “Artificial Reeves” from from Narrative From The Subtropics (2013 Jazzland). Norwegian release of the Norweigian electronic musician and composer Jan Bang. Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang. 3:05
- Jan Bang, “Funeral Voyage” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Bass, Eivind Aarset; Guitar, Eivind Aarset; Synthesizer, Erik Honoré; Trumpet, Nils Petter Molvær. 5:26
- Jan Bang, “Melee of Suitcases” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Piano, Electronics, Dai Fujikura; Vocals, Sidsel Endresen. 4:03
- Safariari, “Fetsild” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic music project of Jon Furuheim. 2:16
- Remington Super 60, “RS60 And Milano In Space (Remix)” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic pop rock group, from Fredrikstad, Norway, founded late 1998. 6:07
Opening background music: Arne Nordheim, “Caliban's Warning” (excerpt) from The Tempest (Suite From The Ballet) (1980 Philips). An abrupt moment of electronic sound blended into the instrumentation. The electronic realization was done in the Studio Eksperymentalne, Warsaw, Poland. The Tempest was commissioned by the Schwetzinger Festival and first performed by Ballet Rambert at the Rokokotheater, Schwetzingen on 3. May 1979. 7:35
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Electronic Music of Dune
Episode 106
Electronic Music of Dune
Playlist
- Toto, “Main Title,” “Robot Fight,” and “Dune (Desert Theme)” from Main Title / Robot Fight / Dune (Desert Theme) (1984 Polydor). A single produced from the soundtrack of the David Lynch film version of Dune (1984). Toto, with its big synthesizers, created most of the soundtrack, although Brian Eno, Roger Eno and Daniel Lanois had one track (included later in this podcast). Bass, David Hungate; Drums, Percussion, Jeff Porcaro; Guitar, Steve Lukather; Keyboards, David Paich, Steve Porcaro. 6:36
- David Matthews, “Part I: Arrakis,” “Part II: Sandworms,” “Part III: Song Of The Bene Gesserit,” “Part IV: Muad'Dib” from Dune (1977 CTI Records). Arranged by David Matthews and produced by Creed Taylor for his CTI jazz label, this was an extended work inspired by the novel by Frank Herbert. Cliff Carter plays the solo synth (mini-Moog?) on the first track and other places. The work is jazz with bits of electronic music blended into the instrumentation. It remains an interesting artifact partly because of the legal problems CTI faced once they released the album. Because CTI had not secured writer Frank Herbert’s authorization to use his novel Dune as the thematic center piece for the album, Herbert filed a law suit against CTI and won, forcing the label to delete it from catalog. For this reason, that interesting album was never reissued in the USA. Enjoy. Alto Saxophone, David Sanborn; Bass, Mark Egan; Bass Trombone, Dave Taylor; Concertmaster, Sanford Allen; Drums, Andy Newmark, Steve Gadd; Flute, Piccolo Flute, Dave Tofani; Guitar, Eric Gale, Hiram Bullock; Keyboards, Cliff Carter; Oboe, Clarinet, Lew Del Gatto; Percussion, Gordon Gottlieb, Sue Evans; Tenor Saxophone, Soprano Saxophone, Grover Washington, Jr.; Trombone, Jerry Chamberlain*, Sam Burtis, Tom Malone, Wayne Andre; Trumpet, Flugelhorn, Burt Collins, Jim Bossy, Joe Shepley, John Gatchell, Jon Faddis, Lew Soloff, Randy Brecker; Vocals, Googie Coppola. Recorded at Electric Lady Studios, June 1977. The first side is the Dune suite, the second side features interpretations of other sci fi film themes (Silent Running, Star Wars, etc.). 20:29
- Frank Herbert reading Dune from Dune, The Banquet Scene (1977 Caedmon Records) combined with a track by Alan R. Splet, “Space Travel W/ Changing Choral Textures” (2003 Sub Rosa) from An Anthology Of Noise & Electronic Music / Second A-Chronology 1936-2003. The recording of Herbert was made at the height of the Dune craze, the late 1970s. When David Lynch made his film for release in 1984, he was working with Splet who is not credited by whom may have contributed some electronic and ambient sounds. This track appears to confirm that and I’ve combined it with the Herbert reading. 5:07
- Brian Eno, Roger Eno and Daniel Lanois, “Prophecy Theme” from Dune (Original Soundtrack Recording) (1984 Polydor). This little track was the only one that remained of Eno’s contributions to the Dune soundtrack, although he reportedly composed an entire movie’s worth of music for the film. Some was used as incidental music. 4:21
- Zheani, “The Litany Against Fear” from Eight (2018 Sleepcvlt). Cassette release from this Australian rapper, electronic musician, model and actress.This is a famous quote from Herbert’s Dune and seemed fitting to have it represented by a musician for the podcast. 0:36
- Klaus Schulze, “Dune” from Dune (1979 Brain). Yes, Schulze, too, was infected with the Dune craze and created this ambitious 30-minute work to acknowledge it. This is a truly lovely electronic work from those days when Schulze was largely still working analog synthesis, and synthesize voices and orchestral sounds, much like his earlier album X. The cello is played by Wolfgang Tiepold, produced by and all keyboards by Klaus Schulze. The first side comprises the piece called Dune and the second side features an unrelated work with vocals by Arthur Brown. An intriguing album all around! 30:05
- Graeme Revell & The City Of Prague Philharmonic, “Seduction” from Frank Herbert's Dune (Original Soundtrack From The Sci-Fi Channel Mini Series) (2001 GNP Cresendo). Composed by Graeme Revell; executive producer, Neil Norman; orchestra, chorus, The City Of Prague Philharmonic. This is the soundtrack for a Sci Fi channel mini-series back in 2001. The music is primarily orchestral, being performed in the Czech Republic and arranged by Neil Norman, Hollywood veteran of science fiction films. But Revell did compose it and there are a few tracks, such as the one featured here, that have clearly electronic elements that stand out. 1:51
- Grimes, “Caladan” from Geidi Primes (2011 No Pain in Pop). Grimes’ first album was a concept album based on Frank Herbert's novel Dune and David Lynch's 1984 film adaptation of the book. This track is about the fictional home planet of the Atreides, the protagonist clan in the novel. Produced by, written by, played by Grimes. She used relatively simple sounds, overdubs, and interesting vocal mixes to tell these tales. 2:23
- Kurt Stenzel, “Parallel World” (1:42), “Parallel World (Outro)” (1:04), “Leap Of Faith” (0:43), “Time And Space” (2:04), “Optical World” (2:56), “Nebula” (2:26), and “Invitation” (excerpt) from Jodorowsky's Dune (Original Motion Picture Soundtrack) (2014 Cinewax). This is a bit of a side-hustle because Alejandro Jodorowsky’s much hyped film version of Dune, which he sought to make in the 1970s, does not exist. It is one of the most famous movies that never existed. Still, the Chilean-French film director, producer, composer, actor stuck with the idea for quite some time until the David Lynch movie was produced in the 1980s and sucked all of the available Dune oxygen out of the room. But Jodorowsky’s passion for the project inspired others, including guitarist and synthesist Stenzel who produced this soundtrack to a 2014 documentary about Jodorowsky and the ill-fated project. Stenzel composed music inspired by the book. This double LP has 33 tracks and I focused on a selection of connected synth tracks from the first album. Moog Source, CZ-101s, Roland Juno 6, toy Concertmate organ, Ninendo DS, voice, Kurt Stenzel. 11:56
- Klause Schulze, “Side E—"Der Hauch Des Lebens (The Breath of Life) Pt #1” from Deus Arrakis (2022 SPV Recordings). Dune remained a lifelong source of fascination for Schulze. This, his final album, was also inspired by the novel he loved so well. This is a three-LP set, but the first LP is single-sided. Because of his ill health, Schulze knew that this might be his final project. In the liner notes he wrote directly to his fans, saying, “Thank you for your great support over all these years. This is for you! May the spice be with you. Always.” Recorded and written by Klaus Schulze; Cello, Wolfgang Tiepold; Voice, Eva-Maria Kagermann. 16:24
- Han Zimmer, “Arrakis” from The Art And Soul Of Dune (Companion Book Music) (2021 WaterTower Music). Zimmer composed the soundtrack for the Denis Villeneuve released in 2021. Villeneuve has praised Zimmer’s work on the film and that he had spent,"months and months creating new instruments, defining, creating, and seeking new sounds, pushing the envelope." In addition to a soundtrack for the film itself, Zimmer released two companion releases that provide an extended listen to the sounds and experiments that were created for the project. Three albums were released for the film by WaterTower Music, including The Dune Sketchbook (Music from the Soundtrack), Dune (Original Motion Picture Soundtrack), and The Art and Soul of Dune on September 3, September 17, and October 22, 2021, respectively. This work is from the reading companion to the film. 13:28
Opening background music: Hans Zimmer, “The Shortening Of The Way” from The Dune Sketchbook (Music from the Soundtrack) (2021 WaterTower Music). This track is from a companion 2-CD set that accompanied the actual soundtrack. Zimmer called these sketches and they represent his sound experiments as he formulated the music for the film. This grand combination of acoustic instruments and synth sounds from Zimmer’s private studio is stunning in its scope and virtuosity and highly recommended. Synth programming by Hans Zimmer. 11:14
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
The 2023 US Open Tennis Soundscape
Episode 105
The 2023 US Open Tennis Soundscape
Playlist
This podcast comprises an amorphous blend of sounds of the US Open tennis championships, vintage recordings of tennis instructions, a little electronic music, and lots of audio processing. All the sounds of the US Open grounds were made by me and include crowds, the fountain in front of Arthur Ashe stadium (the largest tennis venue in the world), rain, grounds equipment, jet airplane flyovers, chair umpires delivering scores, and many tennis players hitting, playing, and practicing.
Sounds of the tennis facility and players: Novak Djokovic, Varvara Lepchenko, Alexander Zverev, Andy Murray, Dan Evans, Kwiatkowski, Thai-Son, Stan Wawrinka, Matteo Berrettini, Taylor Fritz, Vasek Pospisil, Ilya Ivashka plus many other unidentified male and female players captured during my walks around the grounds. The ambience of various courts is also present, including Louis Armstrong stadium, the Grandstand, and a variety of outer courts. These all differ in the kind of containing structures, and range from the enclosed (Armstrong) to the wide open (outside courts).
Vintage Instructional recordings used:
- Arthur Ashe, Learn Tennis (For Beginners & Advanced Players) (1974 Manhattan Recording Company). Vinyl, 12 ." Arthur Ashe teaches you Tennis. Comes with 8-page black/white instructional booklet.
- John Newcombe, Tennis With John Newcombe (1974 K-Tel). Limited Collectors Edition. Vinyl, 12 ." Narrator, unidentified. 12-Page Tennis tips Booklet Enclosed. Promotional item for Rawlings tennis products.
- Evonne Goolagong, Tennis Tips By Evonne Goolagong (1975 Fleetwood Records). Vinyl, 7", 33 ⅓ RPM. Narrated with questions by Bud Collins.
Audio processing. I love repetition. Loops are kind of my happy place. I have created many textures around the loops from the vintage recordings, some more dense than others, some with added beats and electronically generated sound. I also did several treatments of audio tracks using MetaSynth CTX 1.2, the Effects Room, particularly the inertia and shuffler features. I also processed some sections of the soundscape in real-time using Virtual DJ and added it to the final mix.
I have developed a technique for processing natural sounds and transforming them into drones. For this soundscape, I did this using the sounds of tennis balls being hit, which accounts for the loud pings that color the drone. There are two sections. They begin around 26:00 and 47:00 of the soundscape. The first is a single drone, the second comprises multiple drones created with different tonal centers and played simultaneously.
While I curate the individual sounds and apply treatments separately, overall the mix is largely based on the chance encounters of different sounds across the soundscape. I generally decide on techniques to apply to given sections and then let the pieces fall where they may to see what happens. I auditioned numerous mixes for the podcast before deciding on this one. This is a mixdown of 33 tracks with over 131 individual sounds included in the mix, which also includes a composite track from Virtual DJ including manipulation of a half dozen tracks recorded in real-time.
Opening background music: Sounds of tennis. Unidentified rally hitters, Stan Wawrinka drone sequence, Vasek Pospisil and Ilya Ivashka gameplay.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Experimental Music for Pipe Organ, The Original Synthesizer
Episode 104
Experimental Music for Pipe Organ
Playlist
- Bengt Hambraeus, “Doppelrohr II” (1956) from Cologne - WDR: Early Electronic Music (1992 BV Haast Records). All compositions are productions of the 'Studio für elektronische Musik des Westdeutschen Rundfunks Köln.’ The earliest work I can find that combines electronic music on tape with sounds created using a pipe organ. 3:54
- Bengt Hambraeus, “Constellations II For Organ Sounds” (1959) from Constellations & Interferences (1968 Limelight). Composed and played on the pipe organ by Bengt Hambraeus. 16:02
- Bengt Hambraeus, “Responsorier For Two Organs, Solo Voice, Mixed Choir And Church Bells” (1964, final section) from Max Reger Och Bengt Hambræus (1970 SR Records). Swedish release conducted by Eric Erickson. Composed by, Organ, Bengt Hambræus; Choir, Kammarkören, Radiokören; Organ, Karl-Erik Welin; Tenor Vocals, Christer Solén.11:14
- Christian Wolff, “For 1, 2 or 3 People” (1964) from A Second Wind For Organ (1968 Odyssey). Baroque Organ by David Tudor, Liner Notes by Richard Teitelbaum; Produced by David Behrman. 9:37
- Hans Otte, “Touches” (1965) from Gerd Zacher, Organ (1970 Heliodor). Composed by Hans Otte; pipe organ, Gerd Zacher. 12:46
- Mauricio Kagel, “Improvisation Ajoutée” (1966) from A Second Wind For Organ (1968 Odyssey). Organ by David Tudor; Liner Notes by Richard Teitelbaum; Produced by David Behrman. 13:41
- Juan Allende-Blin, “Sons Brisés - In Memoriam Lothar Schreyer” (1967) from Gerd Zacher, Organ (1970 Heliodor). Composed by Juan Allende-Blin; pipe organ, Gerd Zacher. 12:36
- György Ligeti, “Etude No. 1 "Harmonies" (1967)” from Aventures - Nouvelles Aventures / Volumina / Etude No. 1 "Harmonies" (1969 Candide). Organ of The Kaiser-Wilhelm Gedächtniskirche, Berlin, Gerd Zacher. 6:51
- Morton Feldman, “Intersection 3” (1953/1969) played by Gerd Zacher from Gerd Zacher, Orgel (1970 DGG). Zacher was an accomplished organist who had a reputation for interpreting contemporary works. This work is a realization for organ of a work from 1953, which Feldman offered to Zacher for this project. The work was originally intended for piano and written with David Tudor in mind. The original Intersection was written in 1952 and was created as part of John Cage’s project for works on magnetic tape. 2:36
- Gerd Zacher, “Ré” (1969) from Gerd Zacher, Orgel (1970 DGG). Composed and performed by Gerd Zacher; vocals, Juan Allende-Blin. 8:35
- Diane Bish, “Laudation” from Bish, Bach & Baroque (1978 Suncoast). Interesting, oddball combination of pipe organ and synthesizer. Ms. Bish was an accomplished American organist, composer, conductor, author, organ designer, television producer and television host. Written by Diane Bish and played on pipe organ (117-rank Ruffatti pipe organ made in Padua, Italy) and ARP Pro Soloist synthesizer mounted above the organ manuals. 5:25
- Sarah Davachi, “For Organ” (2015) from All My Circles Run (2017 Students of Decay). Davachi is a Canadian electroacoustic musician based in Los Angeles, primarily working with organ, piano, synthesizer, strings, woodwinds. This work is for solo pipe organ and was recorded live at Knox United Church, Calgary, Alberta, Canada on June 14, 2017. 8:02
- Jonas Olesen and Sandra Boss, Teaser (excerpt) from New Works for Organ (2016 private). Work for pneumatic church organ, MIDI controlled pipe organ and prepared pump organ. Premiere at Koncertkirken, Copenhagen DK. Friday May 27th, 2016. 1:43
Opening background music: György Ligeti, “Volumina (Original Version 1961/62)” from Aventures - Nouvelles Aventures / Volumina / Etude No. 1 "Harmonies" (1969 Candide). Organ of The Kaiser-Wilhelm Gedächtniskirche, Berlin, Gerd Zacher. 16:57
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Crosscurrents in Early Electronic Music of Japan
Episode 103
Crosscurrents in Early Electronic Music: Japan
Playlist
Experimental Music of Japan (1968 Victor)
Album produced and recorded at the NHK Electronic Studio and supervised by K. Akiyama and W. Uenami. The tracks have been slightly reordered to represent the correct chronology of the works.
- Toshiro Mayuzumi and Makoto Moroi, “Variations Sur” (1956) from (1968 Victor). On this album, this piece was called the first work of electronic tape music produced in Japan. Not so. I know of five earlier works (by the NHK Studio engineers, Mayuzumi, and Shibata) dating back to 1954-1956. This work is also known as “Variations on the Numerical Principle of Seven” and actually dates to 1956, unlike what the liner notes tell us. I have two of those works in the archive and will feature them in a future episode. 14:54
- Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958) from Experimental Music Of Japan (1968 Victor). 3:22
- Joji Yuasa, “Projection Esemplastic (For White-Noise)” (1964) from Experimental Music Of Japan (1968 Victor). 7:40
- Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965) from Experimental Music Of Japan (1968 Victor). 9:53
- Toshi Ichiyanagi, “Situation (For Biwa, Koto, Violin, Double Bass, Piano and Multiplier)” (1966) from Experimental Music Of Japan (1968 Victor). 6:31
- Toshiro Mayuzumi, “Campanology (For Multi-Piano)” (1967) from Experimental Music Of Japan (1968 Victor). 8:01
Group Ongaku (2011 Seer Sound Archive)
Remastered at Inoue Onkyo Kikaku by Kazuya Sakagami, Yukio Fujimoto.
- Group Ongaku, “Automatism” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno’s house. This is the recording of a live performance for which the players used a piano, a pedal organ, a cello, alto saxophone and various everyday objects such as a vacuum cleaner, radio, an oil drum, dolls, and a set of dishes. The music was spontaneously created and recorded in real-time. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 26:20
- Group Ongaku, “Object” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno’s house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 7:34
- Group Ongaku, “Metaplasm 9-15” Parts 1 and 2 (1961) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on September 15, 1961, at Sogetsu Kaikan Hall, Tokyo. Performers: Cello, Mikio Tojima; Cello, Drums, Tape, Shukou Mizuno; Guitar, Genichi Tsuge; Piano, Chieko Shiomi; Saxophone, Tape, Yasunao Tone; Violin, Saxophone, Tape, Takehisa Kosugi. Part 1, 14:16; Part 2, 11:26.
Opening background music, Makoto Moroi, “Shōsanke” for electronic sounds and Japanese traditional instruments (1968) from Experimental Music Of Japan '69 (no. 2) (1969 Victor). Issued also as part of the Prospective 21e siècle series, both Electronic Panorama: Paris, Tokyo, Utrecht, Warszawa Box-Set and self-contained Japanese Electronic Music LP. 13:20.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
The BBC Shipping Forecast Soundscape
Episode 102
The BBC Shipping Forecast Soundscape
Playlist
Thom Holmes, “The Shipping Forecast Soundscape” (2023 Thom Holmes). This single soundscape consists of random selections of BBC Shipping Forecasts from the past two years plus electronic sounds and audio treatments. BBC Shipping Forecasts are ©copyright BBC and located at the BBC Radio 4 Website. Electronic sounds, treatments, curating, editing, and mixing by Thom Holmes. 1:38:32
Presenters of the Shipping Forecasts heard in this podcast: Neil Nunes; Tina Ritchie; Lou Tottenham; Helen Willis.
Opening background music: Sounds of the sea from three vintage sound effects records, remixed by Thom Holmes: “At Sea in Foul Weather” from Sounds of the Sea and Ships (1965 Argo Transacord), a monophonic recording from England; “The Sea” (excerpt) from The Sounds of the Storm & the Sea (1974 Bainbridge), a stereophonic recording recorded and produced by Brad Miller; and “The Psychologically Ultimate Seashore” from Environments (1969 SR Records), a stereophonic recording, the first in the Environments series.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Links for The BBC Shipping Forecast:
Website from BBC Radio 4 for clips of The Shipping Forecast.
From the BBC: What does the Shipping Forecast Mean?
Script Guidelines for the Shipping Forecast from the Met Office
Crosscurrents in Early Electronic Music in Italy—Part 2
Episode 101
Crosscurrents in Early Electronic Music in Italy—Part 2
Playlist
Pietro Grossi, Studio Di Fonologia Musicale Di Firenze (S 2F M)
- Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961) (1961 RAI). Pietro Grossi began experimenting with electronic sound while visiting the RAI in the early 1960s. During this time, he became fascinated with algorithmic manipulations of sine waves and produced the piece Progetto 2-3 (1961) which mathematically managed the slowly intersecting trajectories of six audio signals. This is an excerpt from the original 30-minute work. 2:56
- Pietro Grossi, S2 F M: A1, “Primavera,” “Estate,” Autunno,’ “Inverno,’ “Alba,’ “Tramonto,’ “Notte,’ “Temporale,’ “Arcobaleno,” “Suspense N. 1,” “Suspense N. 2,” “Suspense N. 3,” “Suspense N. 4” and “Thrilling” from Electronic Soundtracks (1965 Cooper Recordes). Works composed at the Studio di Fonologia Musicale (S 2F M) in Florence. This is the first example of broadcast library music that Grossi was engaged in for many of the following years, presumably to keep his S2FM Studio funded. 9:24
- Pietro Grossi, “Battimenti A Due Frequenze” (1965) from Battimenti (2003 Ants). From the inside cover: "94 sets of beats with 2, 3, 4, 5 frequencies taken from a catalogue of sound events that I and my collaborators have created in the electronic music studio S 2F M around the year 1965. These sound events were meant to be used for various compositional purposes. Each set of beats lasts approximately 30 seconds; they are arranged as follows: 10 sets with two frequencies, 25 with three frequencies, 31 with four frequencies, 28 with five frequencies. Listening at low level is suggested. P.G." Interestingly, this experiment in four parts required about 54 minutes to hear in total. This part is the shortest. 5:50
- Pietro Grossi, “Collage” (1968) from Musicautomatica (2003 Die Schachtel). A change of pace from other works at this studio, this collage piece is an electroacoustic work largely based on naturally occuring sounds that have been distorted and modified. 13:52
- Pietro Grossi, “Citta' Sommersa,” from Atmosfera & Elettronica (1972 Lupus records). Another broadcast library album of interesting, electronic atmospheres. 2:59
- Studio Di Fonologia Musicale Di Firenze, “Mixed Paganini,” “Permutations Of Five Sounds,” “Continuous,” (1967) from GE-115 - Computer Concerto. Imagine hyour surprise if you were a recipient of this 7-inch disc that was distributed in 1967 as a New Year’s gift by Olivetti company. “Transcriptions for the central processor unit of a GE-115 computer of short excerpts of Paganini & Bach music scores and original works as well.” I chose to present side 2 of the disc which features early computer works with a flare for the rapid-fire articulation of notes by the computer. These examples vary significantly from the more traditional classical arrangements found on side 1. Realized at Studio di Fonologia musicale di Firenze (Italy). 5:04
Enore Zaffiri, Studio di Musica Elettronica di Torino (SMET)
- Enore Zaffiri, “Musica Per Un Anno”(1968, excerpt) from Musica Per Un Anno (2008 Die Schachtel). Early work from this studio was mostly abstract and experimental. This piece is a terrific representation. All of the frequencies, their amplitude and durations were determined based on the mathematical analysis of 12 geometric figures derived around the 12 hours on a clock face. From the liner notes: “This electronic music is intended as a sound track for ambients. It develops over a duration of one year's time. The sound events change imperceptibly but continuously, in relation to the months, days, hours and minutes. Every instant has its unique music, which merges with the light, and the air of the ambient.” The original is 60 minutes long. 13:41
- Lorenzo Ferrero, “Immigrati” (1971) from Musica Elettronica - Computer Music (1972 Compagnia Editoriale Pianeta). The third major Italian electronic music was the Studio Di Musica Elettronica located in Torino and founded in 1964 by Enore Zaffiri. This piece was recorded in 1971 after they had acquired and EMS Synthi. 6:22
Teresa Rampazzi, Gruppo Nuove Proposte Sonore (NPS), Padua
- Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. The reverberation of this work was created by putting a loudspeaker in a stairwell. There is also the unwanted thud of a door still in the work. 5:46
- Gruppo NPS (Rampazzi, Marega, Mazurek), “Modulo 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. Experiments on signal impulses and their changing attacks and decay. of 3:48
- Gruppo NPS (Rampazzi, Marega), “Freq. Mod. 2” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Short bands of frequencies modulated by low-level signals abd brief, “violent impulses.” 6:26
- Gruppo NPS (Rampazzi, Gracis), “Insiemi” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). A more lyrical, rather than systematic composition process is shown in this work. Adjectives such as calm, cathartic, and conflict were used to describe the outcome. 7:33
Opening background music: Pietro Grossi, “Unicum” from Musicautomatica (2003 Die Schachtel), excerpt.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Crosscurrents in Early Electronic Music: Italy—Part 1
Episode 100
Crosscurrents in Early Electronic Music: Italy—Part 1
Playlist
Berio, Maderna, Nono, Zuccheri, RAI Studio di Fonologia Musicale (RAI), Milan
- Luciano Berio, “Mutazioni” (1955) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). The first complete tape work by Berio at the newly founded RAI studio, which he was running with composer Bruno Maderna. Sound engineering by Marino Zuccheri. Berio and Maderna kept an open mind about the music that would be produced under its roof. They did not align themselves aesthetically with either the musique concrète approach taken in Paris or the serialist, rules-based composing style of Cologne. “Bruno and I immediately agreed,” explained Berio, “that our work should not be directed in a systematic way, either toward recording acoustic sounds or toward a systematic serialism based on discrete pitches.”[1] As a consequence, Alfredo Lietti Marino Zuccheri, engineers for the studio, filled it with equipment that appealed to a wide spectrum of compositional needs. In 1956, studio no. 3 at RAI had a custom-built cabinet with six vertical racks consisting of audio generators (9 sine wave oscillators, 1 white noise generator, 1 pulse generator), sound modifiers (plate reverb, octave filter, high pass filter, low-pass filter, variable band-pass filter, third-octave filter, ring and amplitude modulators), and a mixing panel. Several tape recorders were available mix and match sounds. You can almost sense the excitement of the creation of these foundational works as each composer brought their own individualism to the sound a translated that into electronic music. 3:36
- Berio & Maderna, “Ritatto di Città (poema radiofonico)” (1955) (1955 RAI). File from the RAI Archives. This is an excerpt from a radiophonic production that was 26’ long. 6:05
- Bruno Maderna, “Notturno” (1956) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). Maderna’s first official solo tape work produced at the RAI studio. From an original disc released by the RAI in 1956. 3:24
- Luciano Berio, “Perspectives” from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). An eight-part work of experiments in transforming musical sounds and rhythms with electronic manipulation. 6:36
- Bruno Maderna, “Música su Due Dimensioni” from História da Música Eletroacústica (1958). 7:10
- Luciano Berio, “Momenti”(1960) from Images Fantastiques (Electronic Experimental Music) (1968 Limelight). This release was an American collection of European electronic music released on the Limelight label, a subsidiary of Philips. Although released a few years after “Momenti” was available elsewhere, this was an album that captivated my imagination at the time. You hear Berio’s innate sense for fashioning unique sounds and rhythms with this sound material, adding some reverb to give it depth, producing audio that is reminiscent of natural sounds, but transformed to give it an other-worldly quality. 7:02
- Bruno Maderna, “Dimensioni II (Inventione su Una Voce)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Anyone familiar with Italian new music will know the name of Cathy Berberian. She was an American operatic mezzo-soprano and for a time (1950-64) was married to Luciano Berio. She was a kind of muse for the modern composers at the Milan studio, lending her incredible vocal capabilities to tracks that could then be transformed into electronic music. One such famous piece, not included here because it is so familiar, is “Thema (Omaggio a Joyce)” by Berio. Instead, I wanted to feature another tape piece, this one by Maderna, because he not only transforms Berberian’s voice using electronic techniques but allows her to express herself as well in some unmodified sections. This marks a period where Maderna was longer magnetic tape pieces, ten minutes or more each. Unlike his shorter, more frenetic works, these longer pieces gave him time to develop themes, apply long silences, and structure his works around variations on his audio materials. 10:52
- Luigi Nono, “Omaggio a Vedova” (1960) (1976 Wergo). A magnetic tape work by another outstanding contributor to electronic music in Italy, Luigi Nono. Like Berio, Nono went on to be better known for his instrumental and vocal compositions. This work is an homage to artist Emelie Vedova. Note that we feature another homage to Vedova from 1967 later in the podcast, “Parete 1967 _1” by Marino Zuccheri. 4:52
- Niccolò Castiglioni, “Divertimento” (1960) from Elektron 3 (1967 Sugar Music). Produced at the Studio di Fonologia Musicale di Milano. Castiglioni was an Italian composer, born in Milan who later came to the United States to teach composition at the University of Michigan. This work sounds a bit like chirping insects and is the only tape piece he produced at the RAI. 2:38
- Bruno Maderna, “Le Rire” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Another long-form tape piece by Maderna. The voices heard and processed are those of Maderna, Cathy Berberian, and the sound designer Marino Zuccheri. The sounds in the beginning are modulated by sine waves and filters, plus some occasional ambient sounds like footsteps and rain. The second part of the work, beginning around the 11-minute mark, switches to more traditional musique concrete sounds reminiscent of drums, flutes, as well as white noise. 15:53
- Luigi Nono, “La Fabbrica Illuminata” for voice and magnetic tape (1964) from Luigi Nono La Fabbrica Illuminata (1968 Wergo). Nono was also expanding his use of electronic sounds and wrapping them in vocal music. This work combines sounds created at the RAI with vocals written for a choir ( Chor Der RAI Mailand) and sopranos (Carla Henius). Marino Zuccheri helped Nono with the tape music. 16:28
- Jon Hassell, “Music for Two Vibraphones” (1965) (1965 RAI). Yes, this is the Jon Hassell, the American composer and trumpeter. I know he is American, but I couldn’t resist including this brief track that he recorded while in Milan in 1965. To my ears, this has an especially digital sound, especially when you consider how time consuming it must have been to assemble the opening sequence using tape editing. It is also a work of contrasts, with the explosive opening section giving way to about a minute of extremely quiet, almost ambient sound to close the work. 2:43
- Marino Zuccheri, “Parete 1967 _1” (1967) from Parete '67 Per Emilio Vedova (2018 Die Schachtel). The sound mixer and designer at the RAI studio, Zuccheri often appears as a credit on works created in the studio. Working as a sound technician after World War II, Zuccheri was transferred to the RAI headquarters in Milan where he met Luciano Berio. He was instrumental in developing the system and layout of the Studio di Fonologia Musicale, where he worked until 1983. His close collaboration with the composers working at the Studio, above all Berio, Maderna and Nono, gave rise most of their notable tape pieces. Visitors, such as John Cage, were quick to acknowledge his steady hand as chief orchestrator of sound and engineering at the studio. He was often asked to provide electronic music for broadcast and film productions, of which this is one, a collaboration with Emilio Vedova for the preparation of the Italian pavilion of the Montreal Expo. 15:03
- Luigi Nono, “Contrappunto Dialettico Alla Mente” (For Magnetic Tape)(1968) from Roland Kayn / Luigi Nono – Cybernetics III / Contrappunto Dialettico Alla Mente (1970 DGG). Another one of Nono’s exquisite works combining vocals and electronic music on magnetic tape, recorded at RAI. In this work you can see how Nono complements the sound palette of the usual RAI sounds with sounds that are uniquely presented by human voices. Chorus, Coro Da Camera Della RAI; Conductor, Nino Antonellini; Soprano Vocals, Liliana Poli; Other Voices, Cadigia Bove, Elena Vicini, Marisa Mazzoni, Umberto Troni. 19:48
Opening background music: Bruno Maderna, “Serenata III” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). 11:20
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
[1] Joel Chadabe, Electric Sound: The Past and Promise of Electronic Music (Upper Saddle River, NJ: Prentice Hall, 1997), 48
Crosscurrents in Electronic Tape Music in the United States
Episode 99
Crosscurrents in Electronic Tape Music in the United States
Playlist
- Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59
- John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42
- Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer’s Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54
- Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer’s Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51
- Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer’s Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34
- Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29
- Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15
- Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer’s conception of the music.” 5:26
- Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41
- Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader’s music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24
- Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It’s funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00
- Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen’s Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58
- Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer’s disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12
- Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05
- Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14
- Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52
- Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich’s lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich’s last work for tape before he transitioned to writing instrumental music. 10:43
- Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer’s use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56
- Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18
- Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59
Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage’s Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.”
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Women in Synthesis, Part 1: Managing Their Musical Identities
Episode 98
Women in Synthesis, Part 1: Managing their Musical Identities
Playlist
- Daphne Oram, “Four Aspects” from Oramics (2007 Paradigm Discs). This piece was composed in 1960 after Oram left the BBC Radiophonic Workshop and was running her own start-up. Four Aspects uses the Oramics instrument that she invented. It demonstrated her interest in creating works that were longer than the short snippets of music that she had produced for radio and television themes. The piece was patiently crafted and is strikingly harmonic, exploring a rich tone field that lacked the herky-jerky nature of other tape music of the time. You will hear the development of musical chords and harmonic fields from monophonic tone generators that she combined during mixing, developing gradually shifting texture employing filtering and loops. 8:06
- Daphne Oram, “Pulse Persephone” (1965) from Oramics (2007 Paradigm Discs). Composed, realized, and produced by Daphne Oram. This was produced for the Treasures of the Commonwealth exhibition at the Royal Academy of the Arts. 4:03
- Daphne Oram, “Costain Suite” (1965) from Oramics (2007 Paradigm Discs). Composed, realized, and produced by Daphne Oram. Music for a film production, circa 1970. 13:17
- Teresa Rampazzi, “Immagini Per Diana Baylon” side a (1972), from Immagini Per Diana Baylon (2016 Die Schachtel). Music realized using analogue equipment, Teresa Rampazzi. One of her three known soundtracks for art installations. The analog work she completed at her Nuove Proposte Sonore (NPS) studio had striking parallels to the work of Daphne Oram in the UK. This piece was intended to be looped for 180 minutes while visitors perused an exhibit of abstract sculptures by Diana Baylon. 16:15
- Teresa Rampazzi, “With the Light Pen” (1976) from Musica Endoscopica (2008 Die Schachtel). Composed and realized by Teresa Rampazzi at the Centro di Calcolo di Ateneo, Università di Padova. This was the first work realized with the Interactive Computer Music System (ICMS), in real-time. “The timbre, made by additive synthesis, adding frequencies in algebraic sequence, was sometimes acoustically harsh. On the other hand train pulses with regular rhythms were sweetened by long harmonic, dissolving tails.” (Rampazzi). 8:43
- Teresa Rampazzi, “Atmen Noch”(1980) from Musica Endoscopica (2008 Die Schachtel). Stereophonic version (quadraphonic original) realized at the CSC (Centro di Sonologia Computazionale dell'Università di Padova). Composed in 1980 at the CSC Computer Music Center in Padova. Winner of the second prize at the VIII Concours International de Musique Électroacoustique, Bourges. Based on the mathematical analysis of “intersection sets, the elements of which were timbres. It was preceded by five months of research on timbres that were obtained from multitudinous ratios between the carrier and the modulating signals and inverted relationships with the ICMS program by Graziato Tisato.” (Rampazzi). This work will not immediately strike you as computer music, which is part of its beauty and uniqueness for all time. 15:16
- Ruth White, “Wings Clipped (Too Many External Involvements / Flight Stopped” from 7 Trumps From The Tarot Cards And Pinions (1969 Limelight). Produced and realized by Ruth White. Clavichord, Harpsichord, Organ, Piano, Moog Modular Synthesizer, tape operations, Ruth White. 6:04
- Ruth White, “Wanting Wings (Limited Capacity / No Flight Possible” from 7 Trumps From The Tarot Cards And Pinions (1969 Limelight). Produced and realized by Ruth White. Clavichord, Harpsichord, Organ, Piano, Moog Modular Synthesizer, tape operations, Ruth White. 3:42
- Ruth White, “Love Gives Wings (With Wings)” from 7 Trumps From The Tarot Cards And Pinions (1969 Limelight). Produced and realized by Ruth White. Clavichord, Harpsichord, Organ, Piano, Moog Modular Synthesizer, tape operations, Ruth White. 8:48
Opening background music: Daphe Oram, “Introduction” and “Power Tools” from Oramics (2007 Paradigm Discs). Voice and electronic realization, Daphne Oram. Ruth White, “The Litanies Of Satan” from Flowers of Evil (1969 Limelight). Ruth White, all instruments including the Moog Modular Synthesizer. Realized by Ruth White. 6:56
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Crosscurrents in Elektronische Musik of Germany
Episode 97
Crosscurrents in Elektronische Musik from Germany
Playlist
- Josef Anton Riedl, “Studie 1b, 1a” (1951) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Early example of German tape composition, categorized as musique concrète as it includes more than purely electronic sounds, but the edited and processed sounds of human voices and instruments (a harp, string bass) as well. But it’s the vocal utterances and the way they were edited for effect with unpredictable silences that makes this work stand out for me. Riedl completed this after visiting and hearing musique concrète in France. After that, the Cologne studio came into existence and provided a new means to create electronic music not with microphones, but directly through electronic signals on tape. Riedl switched from making musique concrète to elektronische music. Realization by Riedl in association with the Studio für elektronische Musik des Westdeutschen Rundfunks, Köln (WDR, West German Radio in Cologne). 5:34
- Karlheinz Stockhausen, “Étude” (1952) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). Realized by Stockhausen during a stay to ORTF, Paris, where he learned the basics of musique concrète, which is how he categorized the piece before working purely electronic music at WDR. 2:56
- Karlheinz Stockhausen, “Studie I” (1953) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). One of two purely electronic “studies” composed by Stockhausen at the WDR. His serialist approach dictated all aspects of the sound and he composed the works using a graphical approach to depict the shapes and values of the volume, duration, pitch, and timbres of the sound. “Studie I” is among the first works of electronic music composed entirely for sine waves. Although the means for creating “Studie I” are readily available today using computer synthesis, its composition in 1953 required much manual intervention and ingenuity by Stockhausen. “Studie I” was a completely serialized composition in which the composer applied the mathematical analysis of tones and timbres to the way in which he generated, shaped, and edited sounds for a tape composition. With electronic tone generators and tape recorders at his disposal, Stockhausen felt that it was possible to “compose, in the true sense of the word, the timbres in music,” allowing him to synthesize from base elements such as sine waves the structure of a composition, its tone selection, and all of the audio dynamics such as amplitude, attack, duration, and the timbre of the sounds. He approached the composition by first recording a series of electronic tones that met certain pitch and timbral requirements that he prescribed and then using serial techniques to devise an organizational plan that determined the order and duration of the sounds as he edited them together. 9:23
- Karlheinz Stockhausen, “Studie II” (1954) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). The second of two purely electronic “studies” composed by Stockhausen at the WDR. For “Studie II,” Stockhausen extended his experiments with sine waves begun on “Studie I” by exploring the use of attack and decay characteristics as elements of composition. “Studie II” is one of the first post-war tape works to have a written score, albeit a graphic one in which overlapping translucent geometric shapes are used to denote the occurrence of a tone of a given amplitude in a given frequency with specific attack and decay characteristics. For “Studie II,” Stockhausen defined a set of frequencies based on the same ratio, resulting in an 81-tone scale of tones divided into one-tenth octave steps. The loudness and attack characteristics of the tones were divided into five stages. Tones based on such equal divisions of the frequency spectrum proved to be more harmonic when mixed. Stockhausen recorded short passages of the given tones and spliced them together in a loop that could be played repeatedly. These loops were then played through a reverberation system and then recorded to provide the final material with which the composer worked. Stockhausen’s extensive use of reverberation added body and a noise quality to the sounds that embellished the raw sine tones. Using serial techniques to determine how to edit the material together, Stockhausen varied the attack characteristics and then also played some of the sounds backward to create a ramping decay that would abruptly cut off. His application of attack and decay characteristics in five prescribed stages of amplitude resulted in passages that were highly articulated by cascading, irregular rhythms. 2:59
- Herbert Eimert, “Fünf Stücke” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization, H. Schütz, Herbert Eimert. Produced in the WDR studios, Cologne. Like Pierre Schaffer in France, Eimert had a background in creating music and sound for radio. He was one of the founding directors of the Cologne studio. Of the works included here, this one is a good example of his serialist approach that incorporated constantly changing combinations of defined sounds. 12:31
- Gottfried Michael Koenig, “Klangfiguren II” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by Gottfried Michael Koenig. Produced in the WDR studios,Cologne. Koenig was with the WDR Studio for ten years from 1954 to 1964. There he experienced the fundamental aspects of creating works with electronic sound devices, most of which had never been intended to make music. His work led him directly to computer music composition in the 1960s. In “Klangfiguren II” “every sound goes through several working steps, and both the original sound and the various intermediate results of the transformation process are heard.” 10:13
- Karlheinz Stockhausen, “Gesang Der Jünglinge” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by Gottfried Michael Koenig, Karlheinz Stockhausen. Produced in the WDR studios, Cologne. “Gesang der Jünglinge” was begun three years before Varèse completed “Poème électronique.” Like the Varèse work, “Gesang der Jünglinge” was produced using a host of electronic music production techniques cultivated earlier at the WDR studios. Stockhausen’s approach was to fuse the sonic components of recorded passages of a youth choir with equivalent tones and timbres produced electronically. Stylistically, Stockhausen avoided the choppy, sharply contrasting effects that were so evident in many early magnetic tape pieces, instead weaving his sound sources together into a single, fluid musical element. He practiced his newly formed principles of electronic music composition, setting forth a plan that required the modification of the “speed, length, loudness, softness, density and complexity, the width and narrowness of pitch intervals and differentiations of timbre” in an exact and precise manner. The piece was painstakingly crafted from a visual score specifying the placement of sounds and their dynamic elements over the course of the work 13:03
- Hermann Heiss, “Elektronische Komposition 1” (1956) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by H. Schütz, Hermann Heiss. Produced in the WDR studios,Cologne.One does not often hear the name Heiss in relation to electronic music, although he went on the direct the Studio für Elektronische Komposition at the Kranichstein Music Instutute. At the time of this composition, he was focused on adapting electronic sounds to serial composition, for which he thought they were ideally suited. 5:11
- Herbert Eimert, “Selection I” (1959) from Panorama Électronique: Electronic Experimental Music (1968 Limelight). For electronic and concrete sounds. 10:03
- Herbert Eimert, “Sechs Studien” from Epitaph Für Aikichi Kuboyama (2005 Creel Pone). “Sechs Studien” was composed 1962 & realized by Leopold von Knobelsdorff and released in 1962 on the Wergo label. For electronic and concrete sounds. Interestingly, Eimert was also branching out with the addition of keyboards and what sounds like a theremin (although it might have been an Ondes martenot). The WDR studio had a keyboard instrument built by Harald Bode in 1953, the Melochord, along with a a Monochard made by Friedrich Trautwein. 17:48
- Karlheinz Stockhausen, “Kontakte”(1959-60), parts 1 and 2 from the album Gesang Der Jünglinge / Kontakte (1962 Deutsche Grammophon). Composed and realized by Karlheinz Stockhausen. Produced in the WDR studios,Cologne. This work was adapted for phonograph from a 4-track original tape composition. Given that the album could only hold about 25 minutes of sound per side, they divided this piece in two and presented it as parts 1 and 2. I’ve joined the two parts together for the podcast. Note the experiments in sound movement between the speakers, a facet of electronic music about which Stockhausen was captivated. Around this time, he began using contraptions invented for the Cologne studio that would, for example, rotate a loudspeaker in space from which fixed microphones could pick up fluctuating signals based on the frequency of the speaker rotation. He would eventually use this same technique with live performances and 4 or more speakers to enable the sound to, in effect, rotate around the audience. By the time her wrote the liner notes for this recoding in 1962, he had “publicly performed” the work “more than thirty times in all large European cities as well as in Canada, the USA, and Brazil, and broadcast by most radio stations in both versions” (stereo and radio mixes). Stockhausen’s sound palette had also grown more sophisticated by this point and contained many seemingly organic elements that stood out from the earlier, purely electronic music output of the WDR. It is also one of his last electronic works to exploit “total serialism” in which he painstakingly composed around the parameters of sound to “bring all properties” such as timbre, pitch, intensity, and duration under a single control." In 1981, music scholar David Toop looked back on this work and noted that Kontakte was really the culmination of Stockhausen’s attempts to apply serialism technique to electronic music and succeeded only at the broadest level. Many other composers by this time had discovered that the fundamental nature of electronic music was to deal with the basic elements of sound and calling it serialism seemed quite meaningless. After all, the structures and tonalities were only as interesting as the listener found them to be. In his case, Stockhausen’s uniquely vibrant and organic music, tinged with introspection and shocking contrasts, provided an emotional impact that serialism had never intended. Don’t miss hearing the sequence beginning around 17 minutes in that presents a sequence of pulsing electronic tones that are sped up, at first, to sound like a smooth waveform but then lowered in frequency so that you hear the component particles and beats that comprise the faster tone. This was quite a trick using tape manipulation, probably requiring several playbacks of the sound at different speeds and then some eloquent mixing to join the pieces together. 34:33
- Mauricio Kagel, “Transicion I” (1958) from Panorama Électronique: Electronic Experimental Music (1968 Limelight). This is one of several reissues of the work that was originally released by Philips (who owned Limelight, its US label). I have several versions of this work and this was in the best shape. Realization by Gottfried Michael Koenig, Mauricio Kagel. Produced in the WDR studios, Cologne. “Transicion I” for electronic sounds (1958) was composed when Kagel first traveled to Cologne, where he remained for the rest of his career. Clearly influenced by the Cologne school of serialism, “Transicion II” was characterized by an exploration of the many aural possibilities of his sound sources set to an arrhythmic, seemingly formless sequence of sonic exclamations without pattern. These works were similar in effect to some of Stockhausen’s instrumental pieces of the same period, but radically different from the German’s evolving approach to methodical tape composition. 12:49
Opening background music: Four short sections of “Kontakte” (1959-60) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). These are not presented in their original order, but comprise Struktur parts 11, 12, 13a and 13b. the CD release on Stockhausen Verlag presents “Kontakte” not a one uniform track but as a set of parts originally created and edited together by Stockhausen.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Crosscurrents of Musique Concrète
Episode 96
Crosscurrents of Musique Concrète
Playlist
- Pierre Henry, “Final Du Concerto Des Ambiguités (Final Of The Ambiguities Concerto)” (1950) from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, tape editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 3:15
- Pierre Henry, “Expressionisme (1951) Musique Sans Titre – 5e et 6e Mouvements (Untitled Music – 5th and 6th Movements)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Early piece of musique concrete during a time of transition at the RTF, when the composers were moving from using turntables and disc lathes to magnetic tape as a composition medium. This work has evidence of both. Composition, sound editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:59
- Philippe Arthuys, “Boîte À Musique (Musical Box)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, sound editing, and audio production by Philippe Arthuys. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:53
- Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Composition, sound editing, and audio production by Mireille Kyrou. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française", directed by Pierre Schaeffer. Kyrou is the rare example of a woman composer using the French studio. This is her only work released on record. However, according to Hugh Davies’ International Electronic Music Catalog, I find several other compositions dating from this period that, hopefully, will one day be released by the GRM. There were three additional works from 1960-61, all done for film, totaling in time to about 31 minutes. 5:09
- Henri Pousseur, “Trois Visages De Liège” (1961) from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). This is a reissued version of Pousseur’s work from 1961 and originally released on a Columbia disc in 1967. But this version is several minutes longer than that release. This album also features a bonus track of sound elements used for the work before being fully composed. Composition, tape editing, and audio production by Henri Pousseur. Pousseur was Belgian and worked in the Studio de Musique Electronique de Bruxelles in a musique concrète style. 20:32
- Bernard Parmegiani, “Danse” (1961) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Bernard Parmegiani. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. Parmegiani was one of the GRM’s most prolific composers, working on individual works but also numerous pieces for stage, dance, and, most importantly film and commercials, producing early music videos, soundtracks, and commercials for companies like Renault. His music was inventive and imaginative, and he became a chief craftsman of electronic music for decades. Until 1992, he produced most of his music at GRM, but was frequently on commission to work at institutions in other countries. In 1992, Parmegiani left the GRM and set up his own studio in Saint-Rémy-de-Provence. 4:08
- Luc Ferrari, “Tautologos I” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings realized in the studios of Gravesano (directed by Hermann Scherchen). Reissue of 1964 release. Composition, tape editing, and audio production by Luc Ferrari. 4:19
- Philippe Carson, “Turmac” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by Philippe Carson. 9:43
- Luc Ferrari, “Tête Et Queue Du Dragon” (Second Version) (1962) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Luc Ferrari. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 9:07
- François-Bernard Mâche, “Terre De Feu (Second Version)” (1963) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by François-Bernard Mâche. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 6:52
- François Bayle, “Vapeur” (1964) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by François Bayle. 4:44
- Bernard Parmegiani, “Récession” (1966) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for theatre. 2:25
- Bernard Parmegiani, “La Ville En Haut De La Colline II” (1968) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 1:30
- Bernard Parmegiani, “Outremer” (1968) and “Trois Canons En Hommage À Galilée”(1969) from Arlette Sibon-Simonovitch Avec Le Concours De Sylvio Gualda Œuvres De: Parmegiani, Mestres-Quadreny – Espaces Sonores N°1 (1975 La Voix De Son Maître). Ondes Martenot, Arlette Sibon-Simonovitch. Composition, tape editing, and audio production by Bernard Parmegiani. Work for Ondes Martenot and four tracks of magnetic tape. 21:02
- Bernard Parmegiani, “Je Tu Elles” (1969) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 2:59
- Roger Roger, “Le Type Beurré” from Musique Idiote (1970 Neuilly). Another experiment with the Moog Synthesizer by composer Roger Roger, maker of broadcast library music. 1:38
- Roger Roger, “La Nana Siphonée” from Musique Idiote (1970 Neuilly). Enter the Moog Synthesizer. Here are some early works for Moog by composer Roger Roger, maker of broadcast library music. 1:39
Opening background music: Henri Pousseur, “Éléments De Trois Visages De Liège” from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). Composition, tape editing, and audio production by Henry Pousseur. 3:10
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Early Intersections of Rock and Electronic Music
Episode 95
Early Intersections of Rock and Electronic Music
Playlist
- Frank Zappa, The Mothers of Invention, “The Return of the Son Of Monster Magnet (Unfinished Ballet In Two Tableaus)” from Freak Out! (1966 Verve). Bass, Guitarrón, Soprano Vocals, Roy Estrada; Drums, Jimmy Carl Black; Guitar, Vocals, Arranged By, Written-By, Leader, Musical Director, Frank Zappa; Lead Guitar, Rhythm Guitar, Elliot Ingber; Vocals, Harmonica, Tambourine, Finger Cymbals, Ray Collins. Having been gifted a copy of the Mother’s album Freak Out! In 1966, it was apparently this song that stuck in Paul McCartney’s mind, inspiring the “Carnival of Light” recording to follow. 12:15
- The Beatles, “Carnival of Light” an unreleased track that was commissioned by the Million Volt Light and Sound Rave, an event held at the Roundhouse in London on January 28 and February 4, 1967. Recorded during a session for the song "Penny Lane" in January 1967. Working with the recording studio as a creative tool, this was a project brought to band by Paul McCartney who had been asked by the festival sponsors to create a tape to be featured at the event. It was reported later that McCartney explained the exercise to his bandmates by saying, "This is a bit indulgent, but would you mind giving me 10 minutes? I've been asked to do this thing. All I want you to do is just wander round all of the stuff and bang it, shout, play it." The result was this sound piece. The Beatles were already conditioned for turning out spectacular sound effects in the studio. This was before the Moog Synthesizer came to Abbey Road. Nonetheless, they had access to all manner of guitar effects, echo, reverb, a Mellotron, electronic piano, organ, Lesley speakers and other devices with which to improvise. 13:08
- The Riders Of The Mark, “The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg” from The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg/Gotta Find Somebody (1967 20th Century Fox). I wish I knew more about this band, but I don’t. They had this one single. It has sometimes been included on compilation of psychedelia. Rock music, tape reversal, tape echo, fuzz tones, guitars. 2:13
- Pink Floyd, “Interstellar Overdrive” from The Piper At The Gates Of Dawn (1967 Columbia). UK release of the formidable Pink Floyd, then making an impact with their first LP. No synthesizers, but there were electronic rock instruments galore and some imaginative stereo imaging, a benefit of working with tape in those days. Bass Guitar, Vocals, Roger Waters; Lead Guitar, Vocals, Syd Barrett; Drums, Nicky Mason; Piano, Organ, Rick Wright. 9:40
- Bernard Parmegiani, “Pop’eclectic (1968)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Parmegiani was one of the lesser-known composers associated with the French musique concrete school, although he was no less prolific in many genres, including electronic music for commercials. He was adept at experimenting across genres, providing musique concrete vividness to works for jazz and rock music. I always find his work to be refreshing and uncluttered by musical cliches. 11:03
- (Frank Zappa) The Mothers of Invention, “Are You Hung Up?” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 1:30
- Silver Apples, “Velvet Cave” from Silver Apples (1968 Kapp). Composed and Arranged by, Dan Taylor, Simeon; Percussion, Dan Taylor; The Simeon (oscillators, filters), Simeon; Vocals, Dan Taylor, Simeon. “INSTRUCTIONS: Play Twice Before Listening.” This two-man group used a genius combination of drums and oscillators, a match made in heaven. 3:27
- (Frank Zappa) The Mothers of Invention, “Nasal Retentive Calliope Music” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 2:03
- The United States of America, “The American Metaphysical Circus” from The United States of America (1968 Columbia). While the entire psychedelic scene in America was adding tape manipulation, fuzz tones, and echo to their recordings, The United States of America brought a blend of rock musicianship and serious tape collage work to the fore. The tape effects in their music were not the usual brief hooks or the sake of novelty, but fully composed blocks of electronic and found sounds integrated in the core of their tunes. Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. 5:07
- The United States of America, “Hard Coming Love” from The United States of America (1968 Columbia). Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. No synthesizers as such, but Tom Oberheim built ring modulators and other devices for them. 4:48
- Bernard Parmegiani, “Du Pop À L'âne (1969)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Of special interest on this track is a sampled chunk of a song by the Doors that appears about 6 minutes in, altered and accompanied by editing and effects. This use of sampling speaks to the liberties that musique concrete musicians were taking with found materials. 10:14
- Pierre Henry & Michel Colombier, “Prologue,” “Psyché Rock,” “Jéricho Jerk,” and “Teen Tonic” from Mass For Today / The Green Queen (1969 Limelight). Compilation of earlier works first released in 1967. These four works were part of “Mass for Today,” an electronic rock ballet.” This is a decent collection, with selections from other Henry musique concrete works. The electronic sounds and tape effects seem somewhat heavy-handed now, but at that time, this was what one could do without a synthesizer. Henry was already a maestro of musique concrete by that time so it’s especially interesting to see what sounds he added without seeming trite or cliched. Réalisation Sonore, Pierre Henry; Written by, Michel Colombier, Pierre Henry. 9:54
- Spooky Tooth and Pierre Henry, “Have Mercy” from Ceremony: An Electronic Mass (1969 Island). Bass Guitar, Andy Leigh; Composed by Gary Wright, Pierre Henry; Drums, Mike Kellie; Electronics, Realisation Sonore, Pierre Henry; Lead Guitar, Luther Grosvenor; Lead Vocals, Mike Harrison; Lead Vocals, Keyboards, Gary Wright. 8:10
- The Free Pop Electronic Concept, “Pish! Pshaw!” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 4:47
- The Free Pop Electronic Concept, “Cosmos Rhythms” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 3:01
- Tommy James and the Shondells, “Cellophane Symphony” from Cellophane Symphony (1969 Roulette). This title track was a rare instrumental from this group normally associated with rock vocal hits. This is the only track in this podcast featuring the Moog Modular Synthesizer. There were certainly other examples of the Moog since it was first used in 1967, but I wanted to choose an example of how the synthesizer could be used by a rock band, rather than a pop artist such as Jean Jacques Perrey or Mort Garson. This is a terrific example that I would bet many of my listeners have never heard before. Tommy James, lead vocals, guitars, keyboards; Eddie Gray, lead guitar, backing vocals; Ronnie Rosman – keyboards, backing vocals; Mike Vale, bass guitar, backing vocals; Pete Lucia, drums, percussion, backing vocals. 9:37
- West Coast Pop Art Experimental Band, “As Kind as Summer” from Vol. 3 - A Child's Guide To Good & Evil (1968 Reprise). American psychedelic rock band, formed in Los Angeles in 1965, broke up in 1969. Three teens (brothers Dan and Shaun Harris and their friend Michael Lloyd) teamed up with 30-year old Bob Markley, who got them a record deal with Reprise. Each of their albums was most bizarre, combining hummable pop tunes and spacey production. I included this particular track because it starkly demonstrates the use of tape loops and sound reversal. 1:10
- Toshi Ichiyanagi, The Flowers, "Electric Chant” and “The Flowers (内田裕也とザ・フラワーズ)” from Opera "From The Works Of Tadanori Yokoo (1969 The End Record). Composed by Toshi Ichiyanagi and performed by the Japanese rock group The Flowers: Bass, Takeshi Hashimoto; Drums, Joji Wada; Guitar, Vocals, Remi Aso; Percussion, Backing Vocals, Yuya Uchida; Steel Guitar, Katsuhiko Kobayashi; Vocals, Hiroshi Chiba, Kento Nakamura. I’m including two pieces from this opera from 1969. The first, “Electric Chant” is electronic and includes tape collage while the second, “The Flowers” was performed by the Japanese pop rock band The Flowers and is loaded with distortion, echo, feedback, and reverberation, transforming the simple rock format into a discourse in electronic sound. 5:17 & 7:18
- Tim Buckley, “Starsailor” from Starsailor (1970 Bizarre). Engineer, Stan Agol; Vocals, Producer, Written by, Tim Buckley. According to Larry Beckett, Buckley’s chief lyricist and collaborator, who was there when they recorded this track, Buckley had a basic lyric track to which he recorded 18 additional vocals tracks on top of it. “He didn’t write it out as a classical musician does, but it was thoroughly composed.” From the standpoint of rock music, this was more akin to composing with tone clusters than chord progressions. 4:34
Opening background music: Luc Ferrari, “Dialogue Ordinaire Avec La Machine (1984)” from Dialogue Ordinaire Avec La Machine / Sexolidad (2019 Elica). Composed and performed by Luc Ferrari.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Electronic Drone Music
Episode 94
Electronic Drone Music
Playlist
- Yves Klein, “Monotone-Silence Symphony” written in 1947. I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this drone work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I’ve examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on.
- La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” from 31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta (1969 Edition X). Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct.
- Tony Conrad, “Process Four of Fantastic Glissando” from Fantastic Glissando (2006 Table of The Elements). Dating from 1969, this recording contains various versions of the same sound piece, each processed slightly differently. “Process Four” accumulates the processed applied to the previous three processes. The first glissando recording was made using a sine wave oscillator processed through pump counter with a stereo-phase glissando. Recorded December 12, 1969, on a Revox reel-to-reel tape recorder set at 3¾ ips. Conrad was in LaMonte Young’s circle of friends and performers and joined him on many productions of The Theatre of Eternal Music.
- Teresa Rampazzi , “Duodeno normale” and “Duodeno Patologico” from Musica Endoscopica (1972). Here we have two short electronic works from this remarkable women composer that emphasize the drone. The pulsing tones and textures were played manually using audio oscillators. Music produced by the N.P.S. (Nuove Proposte Sonore) group for the documentary entitled "Gastroscopia" (Gastroscopy) realized in 1972 by Prof. Domenico Oselladore, University of Padova, in collaboration with Istituto De Angeli s.p.a., Milan. This documentary was presented at the Scientific Film Festival, Policlinico Universitario di Padova, 1972. “Duodeno Normale” begins with a drone consisting of two continuous tones: a low-pitched buzz from a sawtooth wave accompanied by a pulsating higher-pitched tone. The drone is joined at the 11-second mark by a high-pitched ringing tone played on a third oscillator. This ringing tone is repeated every 5–8 seconds and sustained for two or more seconds each time. The irregular timing of the tone suggests that Rampazzi was manually playing it by turning the dial of an oscillators. The ringing tone is sustained for the duration of the piece, creating a three-part drone. The drones fade out, beginning with the lower buzzing tone. “Duodeno Patologico” uses a similar process.
- The Taj-Mahal Travelers, “The Taj-Mahal Travelers Between 6:20~6:46P.M.” from July 15, 1972 (1972 CBS/Sony). Released in Japan. Early album by the group founded by experimental electronic musician and violinist Takehisa Kosugi. Electronic Contrabass, Suntool, Harmonica, Performer Sheet Iron, Ryo Koike; Guitar Electronic Quiter, Percussion, Michihiro Kimura; Electronic Trumpet, Harmonica, Castanets, Seiji Nagai; Vibraphone, Santoor Suntool, Yukio Tsuchiya; Electronic Violin, Electronics, Radio Oscillators, Voice, Takehisa Kosugi; Vocals, Tokio Hasegawa. This album was recorded live at Sohgetsu Hall, Tokyo, Japan, July, 1972. Originally released using Sony's SQ quadraphonic system.
- Yoshi Wada, “Earth Horns with Electronic Drone”(1974) from Earth Horns with Electronic Drone (2009 EM Records). Recorded at Everson Museum of Art, Syracuse, New York, February 24, 1974. Electronics, Liz Phillips; Pipehorn Players, Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada; Electronic equipment designed by, Liz Phillips, Yoshi Wada; Pipehorns constructed by, composed by, recorded by, Yoshi Wada. Combining four of Wada's self-made "pipehorns" (constructed of plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early drone/minimalism. The performance filled the space with complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone.
- Lou Reed, “Metal Machine Music” (1975 RCA). All music and electronics by Lou Reed. Inspired by LaMonte Young, this is what I would call a noise drone! Reed himself points to the influence of Young in his lean liner notes. "SPECIFICATIONS: No Synthesizers, No ARP, No Instruments?” Sony 1/2 track; Uher 1/4 track; Pioneer 1/4 track; 5 piggyback Marshall Tube Amps in series; Arbitor distortor (Jimi's); Marantz Preamps; Marantz Amps; Altec Voice of America Monitor Speakers; Sennheiser Headphones; Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music; Rock orientation, melodically disguised, i.e. drag; Avoidance of any type of atonality.; Electro-Voice high filter microphones; Fender Tremolo Unit; Sunn Tremolo Unit; Ring Modulator/Octave Relay Jump; Fender Dual Showman Bass Amp with Reverb Unit (Pre-Columbia) white.
- Eliane Radigue, “Triptypch” Part 2” (1978). (2009 Important Records). Electronic Instrumentation: ARP 2500 modular synthesizer and analog, multitrack tape composition. The piece uses real-time ARP programming, tape loops, and recorded acoustic sounds. This piece is characteristic of Radigue’s fervent exploration of gradually changing layers of harmonically intersecting tones. It is the kind of drone work that can easily dip the listener into a pool of trance and is one of the composer’s many works grounded by her dedication to Tibetan Buddhism. Note the overall slowly evolving changes formed by overlapping sustained tones presented without any clearly articulated beginnings and endings.
- John Cage, Gary Verkade, “Organ2/ASLSP” from The Works for Organ (2013 Mode). John Cage composed “Organ2/ASLSP” in 1987 for solo organ. This piece has been realized at a variety of lengths, from about 30 minutes, to 8 hours, and what is arguably the longest interpretation of music ever played, now 23 years into its projected run of 639-years being performed now in Halberstadt Cathedral, Germany where a special organ was created to perform the piece unattended until a chord change is called for. This work is not electronic, although the pipe organ may be thought of by some, including me, as the first synthesizer. Although I won’t be playing this work except in the background of this introduction, I needed to mention it because of its significance in the canon of drone music. “This composition consists, like Cage’s ASLSP, of 8 pieces. Unlike ASLSP, however, all pieces here should be played. Any of the 8 pieces may be repeated, and these repetitions may be played subsequent to any of the other pieces. The published score consists of a title page, brief instructions, and 4 leaves with music. Each page contains 2 pieces.”
- Phill Niblock, “Guitar, too, for four—The Massed Version” from G2,44+/x2 (2002 Moikai). 24-track mix of guitar samples from Rafael Toral, Robert Poss, Susan Stenger, David First. Guitarists adding 2 live parts each to the 24 track mix version: Kevin Drumm, Lee Ranaldo, Thurston Moore, Robert Poss, Alan Licht. Niblock’s usually works with acoustic instruments, so this venture with electric guitar is somewhat unique in his body of work. He asks musicians to play parts that are first recorded and then reworked in the mixing and editing process, largely to eradicate pauses and silences so that the sounds can be blended without such interruptions.
- Pauline Oliveros and Reynols, "Half a Dove in New York, Half a Dove in Buenos Aires" (1999) (2022 Smalltown Supersound). Reynols is an Argentinian experimental band that began in 1993 as Burt Reynols Ensamble. Band member Alan Courtis wrote to me, saying, “First of all, thanks a lot for mentioning our Pauline Oliveros in the arms of Reynols collaboration in your book Electronic & Experimental Music. She was a great musician/composer and friend.” After which he pointed me to a “recent release of an old project we made with Pauline back in 1999.” This is it!
Opening background music: Tony Conrad, Arnold Dreyblatt, Jim O'Rourke, “Side 1” from Tonic 19-01-2001 (2023 Black Truffle). Performers, Arnold Dreyblatt, Jim O'Rourke, Tony Conrad. Recorded January 19,2001 at Tonic, New York City.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
New Arrivals to the Archives—Part 2: Noise Music, Improvisations, and Atmospheres
Episode 93
Playlist for Part 2
Noise and Improvisations
I found a mother lode of noise and experimental music hiding in the crates of my local New York record store.
- Corum, “Effigy Mounds: Ceremonial Music For Spore Alter” side a from Effigy Mounds: Ceremonial Music For Spore Alter” (2014 Psychic Sounds). Effigy Mounds is the second album of the Beguiling Isles Trilogy (Born of Earth's Torments / Effigy Mounds / Magic Mirror). This LP is about spore modification, the rise of the puffs, and juice modification. All with tabletop electronics and found sounds. Played and recorded 2012/2013. 20:07
- Crumer-Franco, “Agony In The Zodiac” from Agony In The Zodiac (2008 Ahaziah). Vinyl, 12", Single Sided, Limited Edition. Droning, beautiful noise, hums, and crackling. Collaborative recording by Jason Crumer and Matt Franco made during the "American Band" sessions. Limited to 100 copies. 13:17
- Noise Nomads, “Side B” from Ernest Thrasher (2013 Feeding Tube Records). Vinyl, 12", Album, Limited Edition. Noise and rhythmic noise by Jeff Hartford. Using Tascam 424 With Greenwood Electronics 2012 - 2013. 14:07
- Jojo Hiroshige, Pika, Paal Nilssen-Love, Lasse Marhaug, Osaka Fortune (2013 Premier Sang). French release of noise/jazz improvisation. More Drums, Paal Nilssen-Love; Drums, Pika; Guitar, Jojo Hiroshige; Noises, Lasse Marhaug. Recorded at Osaka Chika-Ikkai, February 10th 2011. This noise romp is side two of this record. It begins with a supplementary drum track that sounds like mono to which Pika adds her own crashing, continual rhythms in stereo. 14:58
- Pod Blotz, The Swamp Command (2006 Fish Pies). Vinyl, LP, Limited Edition. Pod Blotz is the electronic, experimental noise project of Suzy Poling, started in 2002. Limited to 320 numbered copies. 7:00
- Rodger Stella, Kites, “Untitled” (side 1). from Interior Moon (2011 Mutter Wild). Both sides of the LP end in a locked groove. Rhythmic noise that is modulated in real time to gradually shift the timbres of the piece from beginning to end. 17:56
- UW OWL, “Black Flag” from Thorn Elemental (2006 Phaserphone). Vinyl, LP, Limited Edition Recorded in 2003 on a broken, dust-filled concrete basement floor in Bushwick, NY. Die-cut record sleeve with letter-pressed inner tip-on. Copy 118 of edition of 333. Electronics and drum machines. Reminiscent of early Cabaret Voltaire. 3:13
Atmospheres
Among the new arrival finds were several tracks that I categorize as atmospheric or ambient.
- Skanfrom, “A Fax” from Split 12" (2000 A.D.S.R.). Now defunct electro synthpop label from Germany run by Skanfrom. Limited to 800 hand numbered copies. Mine is number 676. Skanfrom is Roger Semsroth. 3:15
- AGE, “Landscape” and “Electronics” from Landscapes (1980 Gamm Records). Emmanuel D'haeyere and Guy Vachaudez, a Belgian EM duo with an affinity for ominous electronics. 9:12
- AGE, “Hymalaya” from Landscapes (1980 Gamm Records). Emmanuel D'haeyere and Guy Vachaudez, a Belgian EM duo. I wanted contrast this soothing electronic sound with the previous tracks from this group. 2:34
- Tangerine Dream, “Ride on the Ray” from Underwater Sunlight (1986 Relativity). Composed, Performed, Produced by Chris Franke, Edgar Froese, Paul Haslinger. Recorded April 1986, Berlin, West Germany. Another entry into the TG catalog. This album has some sounds and textures quite like Le Parc from 1985. 5:31
- Nobuyoshi Koshibe (越部信義), Takashi Kokubo (小久保隆), “Midnight Submarine” (ミッドナイト・サブマリ) from Urashiman Synthesizer Fantasy (未来警察ウラシマン シンセサイザー・ファンタジー) (1983 Columbia). Continuing the water theme, some nicely produced Japanese synth music. 5:44
Opening background music: Thom Holmes, “Blader-WW1” (2019 no label). 16:36
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
New Arrivals to the Archives—Part 1: Early and Symphonic Electronic Music
New-Old Recordings Making it into the Archive.
Playlist
Symphonic Electronic Rock
Symphonic electronic is always a favorite of listeners of the podcast. I note these additions, including a scarce soundtrack recording of interest.
- Jeff Bruner, “Try To Escape,” “Night Saucer,” “Larry And Diane Go To Hell,” “On The Beach,” “The Investigator,” “Vic's Flashback,” “End” from (side 2) from Foes (Original Motion Picture Soundtrack) (1977 Not on Label). This interesting soundtrack combined electronic music with orchestral sounds for this little seen motion picture. Recorded and mixed at Santa Barbara Sound. Music composed and conducted by Jeff Bruner; electronic music production, Doug Scott; electronic music realized by Jeff Bruner and Doug Scott. I picked this up on a trip to Boston According to Jeff Bruner himself, this record was pressed for the movie staff only and there are less than 20 copies. “The music on this record is a perfect balance of rational sounds that you’ve heard before and even more rational sounds which because you’ve never heard them before seem quite irrational. 19:36
- Claude Denjean, “Memories Of Moody Blues” from Moods (1976 London Records). A few years after the initial wave of albums produced using the Moog Modular synthesizer, Denjean returned to the instrument to make this collection of classic pop tunes in an electronic symphonic vein. This song seems to touch on every other note of the classic “Nights in White Satin” without actually causing any copyright issues, I imagine. This album is a new copy added to the archive. How could I resist? 4:09
- Hugo Montenegro, “MacArthur Park (Allegro Part III)” from Moog Power (1969 RCA Victor). A rockin’ album of symphonic pop tunes from the heyday of Moog Modular recordings. Montenegro had the magic touch for arranging such pop songs. He was aided by Moog programming by none other than Paul Beaver and playing by Mike Melvoin. This is an old copy from my collection that I unsealed just for this podcast. Only this one track has been played on this album. 3:21
- Raymond Lefèvre Et Son Grand Orchestre, “Mille Colombes” from Love In Stereo Nº 1 (1978 Barclay). This German release of French album is one of many by keyboard player and arranger Lefèvre. This one features a variety of electronic music instruments used in conjunction with an orchestra. Bass, Dave Markee; Drums, Barry Morgan; Keyboards, Alan Hawkshaw; Percussion, Ray Cooper; Synthesizer players, Guy Boyer, Maurice Vander, Raymond Lefèvre. Synthesizers used: RMI Computer, Moog 3 P, Arp DGX, Omni Polyphonic, Korg 1000, Korg 2000, Ems/Arp Sequencer. Rhythm section recorded at Lansdowne Recording Studios, London. Strings recorded at Barclay Hoche, Paris. Synthesizers recorded at Studio Damiens. 3:10
Early Electronic Music
Several recordings featuring vintage tape compositions and performances using the Moog Modular synthesizer were among our newest arrivals to the archive.
- Ralph Lundsten. “Snowstorm” (1967/68) from Shangri-La (1975 His Master’s Voice). Swedish release of composer Lundsten music for Shangri-La, a commissioned work for Swedish Radio. However, the album also presents several early tape works, including Winter Music, a suite of works for the season of this which this one is a part. “Suddenly, a sleigh with lit-up torches emerges out of the whirling snowstorm. … Was it for real or just a dream?” 2:30
- Jean Jacques Perrey, “The Alien Planet” from Musique Electronique Du Cosmos (Electronic Music From Outer Space) (1962 MusiCues). An earlier disc of Perrey, later known as the wizard of electronic pop sounds. He was using the Ondioline for this track, an early monophonic organ, and tape manipulation to provide effects. This was a recording of broadcast library sounds. 1:02
- Jean Jacques Perrey, “Space Light” from Musique Electronique Du Cosmos (Electronic Music From Outer Space) (1962 MusiCues). Another early track from Perrey. 1:03
- Jean Jacques Perrey, “Intercestial Tabulator” from Musique Electronique Du Cosmos (Electronic Music From Outer Space) (1962 MusiCues). Another early tape compositionfrom Perrey that might be his imagining what a future computer would sound like. 1:03
- Jean Jacques Perrey, “Barnyard in Orbit” from Musique Electronique Du Cosmos (Electronic Music From Outer Space) (1962 MusiCues). Another early track from Perrey that shows his innate sense of humor that we would hear much more of in his music yet to come. 2:17
- Jean Jacques Perrey, “Micro Cosmic PL 1” from Musique Electronique A Caractere Special Pour Illustrations Sonores Et Effets Speciaux (2017 Wah Wah Records). Spanish release of an original acetate disc of Perrey demonstration tracks and original compositions. I think these were made around 1967 after Perrey had begun using the Moog Modular synthesizer. 5:19
- Doug McKechnie, “The First Exploration @ SF Radical Laboratories, 1968” (2020 VG+ Records). Recently released recordings of an original tapes made in 1968 from an early Moog composer and performer. McKechnie famously played a live Moog Modular set at the Altamont performance in 1969 by the Rolling Stones. He is ever-so briefly heard and seen the film Gimme Shelter (1970). In any event, McKechnie was a pioneer who used an instrument owned by one Bruce Hatch (not Bruce Haack). He worked with the instrument for about four years before Hatch sold it to Tangerine Dream around 1972. With that came the end of one musician’s dreams and the beginning of someone else’s. I am so happy that Doug was able to release this recording of his early work because so many of us have been curious to hear it. This track represents some clever droning with the sequencer and one can imagine this being performed in real-time. 8:30
- Hydroelectric Streetcar, “I Realize” from The Cool-Aid Benefit Album Vol. 1 (1970 Arthfor Special Products). I was searching for this Canadian benefit disc for a long time so that I could add it to my collection of Moog Modular Synthesizer recordings. The Moog in this case was owned by my acquaintance Johns Mills Cockell who played in several rock bands and avant garde performance groups during this time. Remember Intersystems? In this case, he was playing as a sideman for Hydro Electric Streetcar, a folk-rock band to which he added synthesis. Bass, Vocals, Lee Stephens; Drums, Stan Tait; Guitar, Al Wiebe; Lead Vocals, Danny McInnes; Moog Modular Synthesizer, John Mills-Cockell. 3:48
Robots
A few tracks in this batch of new arrivals worked around the theme of robots, machines, and synthesized voices.
- Skanfrom, “Mr. Robot Is Dead” from Split 12" (2000 A.D.S.R.). Now defunct electro synthpop label from Germany run by Skanfrom. Limited to 800 hand numbered copies. Mine is number 676. Skanfrom is Roger Semsroth. 3:25
- I., “Gro Stadtleben” from Split 12" (2000 A.D.S.R.). Now defunct electro synthpop label from Germany run by Skanfrom. Limited to 800 hand numbered copies. Mine is number 676. B.I. (Bakterielle Infektion) was founded in Berlin in 1995, disbanded 2011. 2:34
- Dee D. Jackson, “Automatic Lover” from Automatic Lover (1978 Jupiter Records). German release, 7” 45 RPM. Dee D. Jackson (Deirdre Elaine Cozier) is an English singer-songwriter, She was primarily a space disco/Italo disco concept artist, moving to Italy in the mid-1980s. The computer voice in this tune sounds like a person speaking monotone with some filtering. No artificial intelligence involved here. 3:54
- Ralph Lundsten. “Robbie is Dancing the Waltz” (1975) from Shangri-La (1975 His Master’s Voice). Swedish release of composer Lundsten music for Shangri-La, a commissioned work for Swedish Radio. It also includes his Heaven by Night suite from which this song comes. The robotic voice appears to be one that is amplitude modulated to provide a wavering tremolo effect. No vocoder here. 4:06
Odds and Ends
Recordings that are becoming part of the archive as representative examples of the odd and curious in electronic sounds.
- The Marvelletes, “I Want a Guy” (1961 Tamla). Single featuring a Musitron played by Raynoma Liles Gordy (producer, arranger, musician and ex-wife of Motown executive Barry Gordy); Lead vocals by Wanda Young Rogers; background vocals by Gladys Horton, Georgeanna Tillman, Wyanetta "Juanita" Cowart, and Katherine Anderson; Other instrumentation by the Funk Brothers included Bass by James Jamerson, Drums by Benny Benjamin, Guitar by Eddie Willis, Piano by Marvin Gaye,Tenor saxophone by Hank Cosby, Baritone saxophone by Andrew "Mike" Terry. The Musitron was a modified, monophonic electric organ invented by Max Crook and featured on such well-known songs as Del Shannon’s “Hats Off to Larry” and “Runaway.” Crook was the keyboard player in Del Shannon’s band and they made that sound a key novelty in Shannon’s songs beginning in 1961, the same year as “I Want a Guy.” 2:38
- Living Shakespeare, “King Lear” excerpt from King Lear (1962 Living Shakespeare Inc.). US compilation release of various excerpts from the Living Shakespeare series. This was a series of recordings of the plays of William Shakespeare, adapted for recording and made in England. This series was available in various combinations of discs and usually featured some sort of incidental electronic music produced by a BBC Radiophonic-associated composer. I have a complete set of discs as packaged for the US market. But I came across this sampler disc and thought to include an example of the scene from King Lear where the King (as acted by Donald Wolfit) “calls down the rage of heaven in a violent thunderstorm,” with the storm sounds all being electronic. Text adapted by Fiona Bentley, Morys Aberdare; Directed by Sir Donald Wolfit; Musique Concrete and sound patterns composed by Desmond Leslie. 2:24
- K-Tel, “Hit, Flop, Break Even” from K-Tel Super Star Chance-a-Tune (1973 K-Tel). 7” 45-rpm single. A triple-grooved record. (also known as 'Parallel', 'Mystery', or 'Trick-Track' record). Originally packaged as part of the board game "K-Tel Superstar Game.” The same tracks are pressed on both sides. “Players are rock stars” and collected gold records to win. Rolled the dice to move through the board. Squares had events for players to collect or lose money or release an album, which were subject to being a Hit, Flop, or Break-even by playing the disc. The game came with this Chance-A-Tune 45 RPM record which was played when a player landed on an album release square. The player drops the needle to see which of the tracks, and verdicts, comes up. The single only includes the three phrases I’ve edited here for the podcast. In reality, you could never tell which track would play with each drop of the needle. 0:29
- Adams & Fleisner, “Surrounded In Mystery And Magic (Sounds Of The Inside)” from Space Effects Vol. 2 (1988 BCM). German recording of sound effects. I chose this one primarily because at 1:25 it was by far the longest track on this broadcast library record. 1:54
- Yuri Rasovsky, “Interplanetary Adventurer” from The Chicago Language Tape And Other Aberations of El Fiendo In Glorious Mono (1979 Not on Label). A curious comedy record led by Yuri Rasovsky that consists primarily of sketches that are acted out and produced as would be a radio program. There is one piece of electronic music that might interest you: Hans Wurman, venerable Moog synthesist, contributed the opening music to this story that features the Moog Modular. I suspect that this was the last recorded Moog piece that Hans produced before laying down his golden patch cords. Musician, music by Hans Wurman; Voice Actor, Dick Simpson, Don Vogel, Gary Gears, Joan Lazzerini, John Hultman, Keneth Northcott, Mell Zellman, Michelle M. Faith, Yuri Rasovsky. I chose to reproduced only this musical segment, surrounded by some of the spoken parts for context. 1:46.
Originals
A few recordings are just unnecessarily difficult to categorize.
- Joakim, “Teenage Kiss (Dub)” from Transe / Teenage Kiss (2005 Kitsune). French, 12” maxi-single. Danceable, yet strange. Written by, Performed, and produced by Joakim Bouaziz. 4:58
- Landscape, “From The Tea-Rooms Of Mars .... To The Hell-Holes Of Uranus” from From The Tea-Rooms Of Mars .... To The Hell-Holes Of Uranus (1981 RCA). English electro/pop/jazz band from London. This is the title track and features some electronic tunes in the dance styles of the beguine, mambo, and tango. Which seemed to go with the other dance related tracks I found in this batch of new-old records. Electronic trombone, Trombone, Vocals, Peter Thoms; Vocals, Keyboards, Grand Piano, Fender Rhodes, Christopher Heaton; Vocals, Programmed By, Electronic Drums, Electronic Percussion, Synthesizer, Drums, Richard James Burgess; Bass Guitar, Synthesizer Bass, Vocals, Andy Pask. 7:53
- Ralph Lundsten. “Cosma Nova” (1975) from Shangri-La (1975 His Master’s Voice). Another track from Mr. Lundsten, commissioned for Swedish Radio. From the Heaven by Night suite, this is a dreamy dance tune. 3:18
- Allen Ravenstine, “Going Upriver,” “110 In The Underpass,” and “5@28” from Electron Music / Shore Leave (2020 Waveshaper). This recent Canadian release is a collection of Ravenstine”s work for electronic and instrumental media. Ravenstine was the electronics and synthesizer player in the original lineup of Pere Ubu. He has continued to make eclectic, highly original and thoughtful music over the years. 16:11
- Don Voegeli, “A Piece Of Bubble Gum” from Instant Production Music/Volume 18: Fine (1980 University Of Wisconsin-Extension). This was the final disc Voegeli made in the Electrosonic Studio for NPR, saying, “Fine . . . used as the title for this record to signal another termination, the end of the CPB and NPR funded project which over the years has brought you a total of twenty-six records of special production music.” Intended for private use by and for public (non-commercial) radio and TV facilities, this was one of the many broadcast library records that Voegeli created in a well-equipped electronic music studio that included a Moog Modular III. 1:07
- Don Voegeli, “Follow the Leader” from Instant Production Music/Volume 18: Fine (1980 University Of Wisconsin-Extension). Produced by the Electrosonic Studio. 1:52
Opening background music: Barton McLean, “Dimensions I For Single Instrument And Tape” (excerpt) from American Society Of University Composers (1979 Advance Recordings). Tape composition and recording engineer, Barton McLean; Violin, Stephen Clapp. Compositions From Volume VII Of The ASUC Journal Of Music Scores. Composed while McLean was director the Electronic Music Center at the University of Texas at Austin. 13:38
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
The Silent Episode
Episode 91
The Silent Episode
Playlist
- Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist’s collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn’t feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24
- John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50
- John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04
- John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58
- Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27
- Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer’s Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41
- MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50
- Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26
- Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53
- Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38
- Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02
- Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35
- Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39
- Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57
Opening background music:
Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique.
Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
The Electronic Music of Ryuichi Sakamoto
Episode 90
The Electronic Music of Ryuichi Sakamoto
Playlist
- Ryuichi Sakamoto and Alva Noto, “Second Dream” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Alva Noto, Ryuichi Sakamoto. 1:13
- Ryuichi Sakamoto and Taylor Deupree, “Jyaku” from Disappearance (2013 Commons). Piano, Electronics, Ryuichi Sakamoto; Synthesizer, Tapes, Loops, Acoustic Guitar, Mixer, Taylor Deupree. 9:59
- Alva Noto and Ryuichi Sakamoto, “Avaol” from Insen (2005 Raster-Noton). German release featuring Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 2:50
- Alva Noto and Ryuichi Sakamoto, “ax Mr. L.” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 4:20
- Alva Noto and Ryuichi Sakamoto, “mur” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 8:14
- Ryuichi Sakamoto, “Solari” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:52
- Fennesz and Sakamoto “0322” from Flumina (2011 Touch). Guitar, Laptop, Christian Fennesz; Piano, Laptop, Ryuichi Sakamoto. Recorded at Amann Studios, Vienna and KA+B Studios, NY and Japan. 5:35
- Ryuichi Sakamoto, “Sunset” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. This album is listed as one of his special projects consisting of diary sketches in sound. Described as “an ambient oriented compilation of Sakamoto's music journal from 2001 after eye-witnessing 9/11 from his home NYC.” This one of his most moving essays in sound, consisting of his piano sketches treated with electronics. The progression of the album is presented in the order of the day and concludes with “Radical Fashion.” 8:47
- Ryuichi Sakamoto, “Night” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 7:37
- Ryuichi Sakamoto, “Radical Fashion” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 5:07
- Ryuichi Sakamoto, “Zure” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:12
- Ryuichi Sakamoto, “Out of Horse” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Ryuichi Sakamoto; Ondes Martenot, Motoko Oya. 3:57
- Ryuichi Sakamoto, “Borom Gal” from Heartbeat (1991 Virgin). Concertmaster, strings, David Nadien; Lead vocal and words, Youssou N'Dour; Music by Ryuichi Sakamoto, Youssou N'Dour; Programmed, Performed, and mixed by Ryuichi Sakamoto. This is one of those star-studded albums that had pop appeal. Still, the electronics and digital editing of this track, especially in 1991, make this track stand out. 3:57
- Ryuichi Sakamoto, “Fullmoon” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:13
- Ryuichi Sakamoto, “Nuages” from Heartbeat (1991 Virgin). Lead Vocals, Houria Aichi; traditional song; Programmed, Performed, and mixed by Ryuichi Sakamoto. This little work from Heartbeat always reminded me of something you would have expected to hear in the movie Blade Runner. 2:15
- Ryuichi Sakamoto, “Island of Woods” from Thousand Knives Of (1978 Better Days). On this album, not necessarily this track, Sakamoto plays Ryuichi Sakamoto plays: Moog III-C w. Roland MC-8 Micro Composer; Polymoog; Minimoog; Micro Moog; Oberheim Eight Voice Polyphonic w. Digital Programmer; ARP Odyssey; KORG PS-3100 Polyphonic; KORG VC-10 Vocoder; KORG SQ-10 Analog Sequencer; Syn-Drums; Acoustic Piano;Marimba. Recorded from 4/10 to 7/27, 1978 at Columbia Studio No.1, No.2, & No.4, Tokyo. 9:51
- Ryuichi Sakamoto, “Stakra” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:41
- Ryuichi Sakamoto, “Tokyo Story” from Sweet Revenge (1994 Elektra). Produced, composed, keyboards, computer programming, Ryuichi Sakamoto. Recorded at 11-K Studios, NYC, Clindton Studios, NYC, Paradise Studios, Tokyo, Unique Studios, NYC, Sedic Studios, Tokyo, Metropolis Studios, London, Westside Studios, London, Skyline Studios, NYC, Right Track Studios, NYC. 1:17
- Ryuichi Sakamoto, “Plankton” (excerpt) from Plankton (Music For An Installation By Christian Sardet And Shiro Takatani) (2016 Milan). French recording of an installation piece by Sakamoto. The entire work is nearly an hour long; this is an excerpt from the beginning of that work. Mixed, produced, composed by Ryuichi Sakamoto; Producer, Lucille Reyboz, Yusuke Nakanishi; Sound programming, Satoshi Hama; Video programming, Ken Furudate, Ryo Shiraki. 7:47
- Ryuichi Sakamoto, “Undercooled (Alva Noto Remodel)” from Bricolages (2006 Warner Music Japan). Rap, MC Sniper; Remix, Alva Noto. This is an interesting album of Sakamoto remixes with a rap track reimagined by the mixing of Carsten Nicolai. 4:44
- Ryuichi Sakamoto, “A Wongga Dance Song” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. This is one of Sakamoto’s early explorations of the power of the digital sampler and editing. Music created for a dance performance by the company Molissa Fenley and Dancers. 10:06
- Ryuichi Sakamoto, “20220214” from 12 (2023 Commons). Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.” More answers to questions by Sakamoto are found here. 9:10
- Ryuichi Sakamoto, “20220304” from 12 (2023 Commons). Composed, produced, performedby Ryuichi Sakamoto using sounding objects such as stones, chimes, and fragments of pottery. 1:09
- Ryuichi Sakamoto, “Life, Life” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. Sho, Ko Ishikawa; Vocals, Luca; Spoken Word, David Sylvian; Words by, Arseny Tarkovsky. 4:24
Opening background tracks:
- Ryuichi Sakamoto, “Before Long” from Neo Geo (1987 CBS). Piano, Ryuichi Sakamoto. 1:20
- Ryuichi Sakamoto, “Ulu Watu” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. Music created for a dance performance by the company Molissa Fenley and Dancers. 3:57
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
SiteSakamoto can be found here.
The recent story about Ryuichi Sakamoto on NPR can be found here.
The Theremin Part 2: Recordings After 1970
Episode 89
The Theremin Part 2: Recordings After 1970
Playlist
- Ultimate Spinach, “(Ballad of The) Hip Death Goddess” from Ultimate Spinach (1968 MGM Records). This American psychedelic rock band was from Boston, Massachusetts, although they had a sound that had more an affinity with the free spirit of San Francisco. The Theremin has a prominent part in this song, following the vocalist and filling in some interesting instrumental parts. Bass and Feedback, Richard Nese; Vocals, Drums, Tabla, Bass Drum, Bells, Chimes, Keith Lahteinen; Vocals, Electric Guitar, Guitar, Kazoo, Barbara Hudson; Vocals, Electric Piano, Electric Harpsichord, Organ, Harpsichord, Twelve-String Guitar, Sitar, Harmonica, Wood Flute, Theremin, Celesta, Ian Bruce-Douglas; Vocals, Lead Guitar, Guitar Feedback, Sitar Drone, Electric Sitar, Geoffrey Winthrop. 8:11
- Hawkwind, “Paranoia Part 2” from Hawkwind (1970 Liberty). Hawkwind was a pioneering space-rock and psychedelic group from the UK. They were known to use a theremin during their early years—1969 to 1973 and revived its use on stage in later performances using a Moog Etherwave model in the 2000s. This first album features a theremin added to much of the sonic textures, sometimes overtly but often run through effects to provide a looming background, as in this song. It is sometimes difficult to distinguish, but I think there is a theremin providing some of the droning background and then sporadic bursts of tones beginning around 4:25. 14:54
- McKendree Spring, “God Bless the Conspiracy” from 3 (1972 Decca). Electric Violin, Viola, Theremin, Michael Dreyfuss; Electronics (Ring Modulator), Tom Oberheim; Vocals, Acoustic Guitar, Dulcimer, Fran McKendree; Electric Bass, Larry Tucker; Electric Guitar, Martin Slutsky. This progressive band with experimental leanings was a quartet without a drummer. Dreyfus later said, “In God Bless the Conspiracy and No Regrets I was able to play viola and Theremin at the same time by bringing my body closer to the Theremin (to change pitch) while playing a harmony part on the viola,”(2006). He played a Theremin beginning 1969. He may have used a Moog theremin, such as the Troubadour. 6:53
- Linda Cohen, “Horizon Jane” from Lake Of Light (1973 Poppy). Folky album from Philadelphia featuring several electronic musicians. Acoustic Guitar, Bass, Piano, Polytonic Modulator, Jefferson Cain; Classical Guitar, Composer, Linda Cohen; Flute, Stan Slotter; Producer, Electric Guitar, Matrix Electronic Drums, Modulator, Sitar, Synthesizer, Craig Anderton; Minimoog, Theremin, Charles Cohen. 3:36
- Ronnie Montrose, “Space Station #5” from Montrose (1973 Warner Brothers). Ronnie Montrose added a custom-built Theremin to his equipment with the pitch antenna mounted on his aluminum (silver) Velano guitar so that he could play both at the same time. Volume for the theremin was controlled by a black box mounted on a mike stand, to which he stood nearby. He was recording with it throughout the 1970s. Here is a great live clip you where you can see how he played it. Note the end of the clip where he put the theremin guitar up against the speaker and wails on the volume control of the theremin control box. Bass, Bill Church; Drums, Denny Carmassi; Guitar, Theremin-Guitar, Ronnie Montrose; Vocals, Sam Hagar. 5:36
- Arthur Brown's Kingdom Come, “Time Captives” from Journey (1974 Passport). Fender Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals, Andy Dalby; Mellotron, ARP 2600, EMS VCS 3, Piano, Theremin, Percussion, Vocals, Victor Peraino. 8:37
- Michael Quatro, “Get Away” from In Collaboration with The Gods (1975 United Artists Records). Brother of Detroit rockers Suzi and Patti Quatro, he had a flare for progressive rock and electronic keyboards in the 1970s. The Theremin makes frequent appearances on this album, this track in particular. Arranger, Piano Baldwin, Electric Piano Gretsch Electro, Piano Tack Piano, Sonic Six Synthesizer, Effects Univox Phaser, Univox Stringman, EC-80 Echo, Elka Electric Piano, Hammond Organ, Minimoog Synthesizer, Univox Mini-Korg, Electroharmonix Boxes, Mellotron Violin, Cello, Flute, Effects Wah-Wah Pedals, Effects Syntha-Pedal, Bass Nova Bass, Horns, Organ Pipe Organ, Sounds Ring Modulation, Maestro Theremin, Electronic Effects, Percussion , Michael Quatro;Bass, Lead Vocals, Arranged By Arranging Assistance, Dave Kiswiney; Drums, Kirk (Arthur) Trachsel; Guitar, Teddy Hale. 4:04
- Melodic Energy Commission, “Revise The Scene” from Stranger In Mystery (1979 Energy Discs). This is the first album from this Canadian space-rock, psychedelic and folk troupe from British Columbia. The Theremin was a key instrument in their ensemble and was custom-built by group member George McDonald. His Theremin would eventually be known as the Galactic Stream Theremin and would take some 25 years to build and evolve into a six antennae instrument for “tuning into the performers body motions.” During this recording, a simpler, more traditional version was used. Gas & Steam Bass, Bells, Tambourine, Mark Franklin; Dulcimer, Bowed Dulcimer, Khaen, Gongs, Flute, Randy Raine-Reusch; Hydro-electric Guitar, Custom-made Theremin, Aura, Wall Of Oscillation, George McDonald; Percussion, Tablas, Brass Tank, Glockenspiel, Roland SH5 Synthesizer, Organ, Paul Franklin; EMS Synthi AKS, Delatronics, Electric Guitar, Del Dettmar; Wordy Voice, Guitar, Piano, Organ, Roland SH 1000 Synthesizer, Gongs, Vibraphone, Kalimba, Stone Drum, Egyptian Shepherd's Pipe, Xaliman. 6:13
- The Nihilist Spasm Band, “Elsinore” from Vol. 2 (1979 Music gallery Editions). Canadian group that used all hand-made instruments, including the kit-made Theremin by Bill Exley. Bass, Hugh McIntyre; Drums, Greg Curnoe; Guitar, John Clement, Murray Favro; Kazoo, John Boyle; Pratt-a-various, Art Pratten; Vocals, Theremin, Bill Exley. Recorded live at the Toronto Music Gallery, February 4th 1978. 5:14
- Yuseff Yancy, Garret List, “Sweetness” Garrett List / A-1 Band, “Sweetness” from Fire & Ice (1982 Lovely Music). Alto Saxophone, Byard Lancaster; Maestro Theremin, Electronics, Youseff Yancy; Vocals, Genie Sherman. 4:11.
- Todd Clark, “Into the Vision” from Into The Vision (1984 T.M.I. Productions). Guitar, Cheetah Chrome; Theremin, Bat-wing Guitar with ARP Avatar, Todd Clark; Found Vocals, William Burroughs. 8:38
- Danielle Dax, “Yummer Yummer Man” from Yummer Yummer Man (1985 Awesome). UK artist Danielle Dax. Wah Guitar, Steve Reeves; Guitar, Slide Guitar, Organ, David Knight; Producer, arranger, lyrics, Vocals, Theremin, Tapes, Danielle Dax; Drums, Martyn Watts; Music by Danielle Dax, David Knight. Dax is an experimental English musician, artist, and producer, born as Danielle Gardner. 3:16
- Mars Everywhere, “Attack of the Giant Squid” from Visitor Parking (1989 Audiofile Tapes). Cassette release from this space-rock band from the 1980s. Electric Guitar, Electronics, Tape, Ernie Falcone; Synthesizer, Theremin, Keyboards, Tom Fenwick. 5:03
- Jon Spencer Blues Explosion, “Vacuum of Loneliness” from The Jon Spencer Blues Explosion (1992 Caroline). This NY band uses an original Moog Vanguard (circa 1960). This rock and blues band was active from 1991 until 2016. Baritone Saxophone, John Linnell; Drums, Russell Simins; Guitar, Vocals, Judah Bauer; Tenor Saxophone, Kurt Hoffman; Trumpet, Frank London; Vocals, Guitar, Moog Vanguard Theremin, Jon Spencer. Here is a video of a live performance of The Jon Spencer Blues Explosion with a Moog Vanguard Theremin (just after the 39-minute mark). 3:02
- Calvin Owens and His Blues Orchestra, “Vincent Van Gogh” from That’s Your Booty (1996 Sawdust Alley). Trumpet solo and vocals, Calvin Owens; Maestro Theremin, Youseff Yancy; Alto Saxophone, Tenor Saxophone, Eddy De Vos, Kurt van Herck, Peter Vandendriessche; Backing Vocals, B. J. Scott, Frank Deruytter, Mieke Belange, Yan De Bryun; Baritone Saxophone, Bo Vander Werf, Johan Vandendriessche; Bass, Ban Buls, Roman Korohek; Cello, B. Piatkowski, X. Gao; Drums, Cesar Janssens, Laurent Mercier; Guitar, Marty Townsend, Yan De Bryun; Keyboards, Rafael Van Goubergen; Organ, Peter Van Bogart; Saxophone, Jimmy Heath; Tenor Saxophone, David "Fathead" Newman, Shelly Caroll Paul; Trombone, Marc Godfroid, Yan De Breker; Trumpet, Andy Haderer, Rüdiger Baldauf; Violin, D. Ivanov, E. Kouyoumdjian; Vocals, Archie Bell, Otis Clay, Ruby Wilson. 6:23.
- David Simons, “Music For Theremin And Gamelan (1998-1999), parts I and II” from Fung Sha Noon (2009 Tzadik). Theremin, Rob Schwimmer; Gamelan, Theremin, Sampler, MIDI Controller, Percussion, Marimba, Zoomoozophone, 43 Pitch Zither, Harmonic Canon, Slide Guitar, Chromelodeon harmonium, David Simons; Gamelan, Barbara Benary, Denman Maroney, John Morton, Laura Liben. 6:09 (part I) and 6:29 (part II)
- Lydia Kavina, “Voice of the Theremin,” composed by Vladimir Komarov from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina. Arranged, mixed, performed by Lydia Kavina. 8:11
- Lydia Kavina, “Free Music #1,” composed by Percy Grainger from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina; mixed and spatialized, Steve Puntolillo. This work was originally written for theremin although Grainger had many ideas around how this type of “free music” should be played. This native Australian was fascinated by the sounds of the real world and invented a mechanical machine for making such sounds. In 1938, Grainger said, "...Out in nature we hear all kinds of lovely and touching 'free' (non-harmonic) combinations of tones, yet we are unable to take up these beauties and expressiveness into the art of music because of our archaic notions of harmony.” His adaptation of free music for theremin was an attempt to create sounds that were new to music. This version was multitracked by Kavina and an old acquaintance of mine, sound engineer Steve Puntolillo, to recreate the parts for four theremins. 1:19
- The Kurstins, “Sunshine” from Gymnopedie (2000 Rouge Records). Composed by Roy Ayers; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:47
- The Kurstins, “Outside” from Gymnopedie (2000 Rouge Records). Composed by Greg Kurstin; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:55
- Hecate’s Angels, “Shrink-Wrapped Soul” from Saints And Scoundrels (2004 redFLY Records). Los Angeles-based Pietra Wexstun is a composer, singer, keyboard and theremin player. Vocals, Farfisa organ, piano, theremin, sound effects, Pietra Wexstun; bass, Bill Blatt; guitar, Stan Ridgway; drums, Elmo Smith. 3:52
- Pamelia Kurstin, “Barrow In Furness” from Thinking Out Loud (2007 Tzadik). From Kurstin first solo record. Composed, Produced, Theremin With L6 Looping Pedals and Microsynth Pedal, Guitar, Piano, Pamelia Kurstin. She played the Etherwave Pro Theremin by Moog fo this recording. Pamelia Kurstin, video with she and Bob Moogdiscussing the Etherwave Pro when it was introduced. Kurstin uses the Etherwave Pro Theremin by Moog Music. 5:12
- Barbara Bucholtz, “SixEight” from Moonstruck (2008 Intuition Records). Bucholtz was a German theremin player and composer. She played a TVox Tour model theremin. Drums, Sebastian Merk; Music By, Contrabass Flute, Sampler, programmed, engineered, produced, and recorded by Tilmann Dehnhard; Trumpet, Arve Henriksen. 4:01
- Herb Deutsch, “Longing” from Theremin One Hundred Years (2020 Electronic Sound). Composer, Herb Deutsch; Piano, Nancy Deutsch; Moog Melodia Theremin, Daryl Kubian. Recording from 2012. The beloved Herb Deutsch, who died recently at age 90, was an early collaborator with Bob Moog on the creation of the synthesizer. Herb became acquainted with Bob by purchasing a Theremin kit—a Moog Melodia model, in the early 1960s. He was primarily responsible for convincing Moog to add a keyboard to his modular unit. Also, this is taken from a terrific compilation of modern Theremin artists to benefit the New York Theremin Society. Check it out. 3:38
- M83, “Sitting” from M83 (2016 Lowlands Festival). This is a live recording from Holland. “Sitting” was a song on M83’s first album in 2001. But it didn’t have a theremin part until they decided to spice-up the live interpretation of the song in 2016. Jordan Lawlor uses a Moog Theremini when M83 performs this in concert. He puts down his guitar, grabs some drum sticks, beats a rhythm on some electronic drums while dancing in place and moving his hands around a theremin. You can hear the theremin in this track but don’t mistake it for the keyboard tones that Gonzalez is playing on his modular system. A longer sequence of theremin begins at 1:38 in the audio. You can view the video here, beginning at 26:54 into the show. M83 is a French electronica band founded in 1999 by Anthony Gonzalez, who remains the only sole member from the original outfit. Performing members on this live tour included: Anthony Gonzalez, lead vocals, modular synthesizers, keyboards, guitars, piano, bass, drums, percussion, programming, arrangement, mixer, production; Loïc Maurin, drums, percussion, guitar, bass, keyboards; Jordan Lawlor, guitars, vocals, multi-instrumentalist; Kaela Sinclair, Dave Smith and M-Audio keyboards, vocals; Joe Berry, piano, synthesizers, electronic wind instrument, saxophone. 4:03
- Radio Science Orchestra, “Theme from Doctor Who” (2019). This UK-based band unites theremin, ondes martenot, Moog and modular electronics, for its performances. They’ve played such events as the TEDSummit, the British Library, and Glastonbury Festival. They made a concert recording with Lydia Kavina in 2009 of the Theme from Doctor Who. This version was made more recently and appears to also include Kavina. She plays the TVox Tour model theremin made by her husband G. Pavlov. 2:18
- Thorwald Jørgensen, Kamilla Bystrova, “Moderato” from Air électrique: Original Music For Theremin And Piano (2020 Zefir). Jørgensen is an accomplished Dutch classical theremin player. Piano, Kamilla Bystrova; Liner Notes, Design, Moog Etherwave Pro Theremin, Thorwald Jørgensen. 2:10
- Dorit Chrysler, “A Happy Place” from Theremin One Hundred Years (2020 Electronic Sound). Issued with the magazine’s 7” vinyl and magazine bundle Electronic Sound Magazine, issue 70. Written, produced, and performed by Dorit Chrysler. 2:06
- Dorit Chrysler, “Calder Plays Theremin Side A” from Calder Plays Theremin (2023 NY Theremin Society/Fridman Gallery) Written for Theremin Orchestra in 5 Movements, Chrysler’s work is based on a commissioned sound piece by The Museum of Modern Art in conjunction with the exhibition Alexander Calder: Modern from the Start. Chrysler identified two of Alexander Calder’s sculptures, Snow Flurry, I (1948) and Man-Eater with Pennants (1945), to interact and “play” multiple Theremins on site. I believe the Theremin are various Moog models. Calder Plays Theremin is a co-release of the NY Theremin Society and Fridman Gallery. 8:48
Opening background tracks:
- Ronnie Montrose, “Open Fire” (excerpt) from Open Fire (1978 Warner Brothers). Bass, Alan Fitzgerald; Drums, Rick Shlosser; Guitar, Custom-built Theremin mpounted to his electric guitar, Ronnie Montrose; composed by Edgar Winter, Ronnie Montrose. 2:09
- Hooverphonic, “L'Odeur Animale” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Maestro Theremin, trumpet, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 3:46.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
The Theremin Part 1: From the Beginning to 1970
Episode 88
The Theremin Part 1: From the Beginning to 1970
Playlist
- Leon Theremin, “Deep Night” (1930 Les Actualités françaises). Soundtrack from a short, early sound film of Leon Theremin playing an RCA production model Theremin.
- Zinaida Hanenfeldt, Nathaniel Shilkret, Victor Salon Orchestra, “Love (Your Spell is Everywhere)” (1930 Victor). RCA theremin, Zinaida Hanenfeldt; Victor Salon Orchestra conducted by Nathaniel Shilkret. The earliest records made with the Theremin were recorded in 1930 to highlight the release of the RCA Theremin. This was one of the first. This recording session dates from January 17, 1930 and was made in New York at the 28 West 44th St. studio. Billed as a recording of “Orchestra, with theremin soloist,” this was most likely made as a demonstration of the newly introduced RCA Theremin. Seven months later, Lennington Shewell (see next listing) took up making several demonstration records produced by his father, RCA VP G. Dunbar Shewell in the Camden, NJ recording studios.
- Lennington H. Shewell, “Dancing with Tears in My Eyes” (1930 Victor). Recorced on July 21, 1930, in Camden, NJ Studio 1. Theremin solo, Lennington H. Shewell; piano accompaniment, Edward C. Harsch. Noted as "R.C.A. theremin: Instructions and exercises for playing" and "G. Dunbar Shewell, present."
- Lennington H. Shewell, “In a Monastery Garden” from “Love Sends A Gift Of Roses” / “In A Monastery Garden” (1935 Victor). Shewell was an American pianist songwriter and Thereminist. He recorded several discs for RCA . Shewell was employed by RCA to travel around the USA demonstrating the Theremin as part of its marketing campaign. His father was George Dunbar Shewell, who was a vice-president of RCA for a time.
- Clara Rockmore, “The Swan” from Theremin (1977 Delos). Piano, Nadia Reisenberg; Produced by Robert Moog, Shirleigh Moog; Theremin, Clara Rockmore. Rockmore, of course, was the key master of the Theremin back in the 1930s and 40s, having originally learned from Leon Theremin himself. These recordings were later produced by the Moogs in the 1970s and feature some dazzling, virtuoso performances by Rockmore as she interprets many of her favorite classical works. “The Swan” was composed in by Camille Saint-Saëns (1983-1921) that was usually a showcase for a cellist and, with Rockmore’s brilliant interpretation, became a much-loved work by Thereminists. Even Samuel Hoffman made a recording of it.
- Clara Rockmore, “Berceuse” from Theremin (1977 Delos). Piano, Nadia Reisenberg; Produced by Robert Moog, Shirleigh Moog; Theremin, Clara Rockmore. Here Rockmore interprets a piece by Pyotr Ilyich Tchaikovsky (1840-1893).
- Lucie Bigelow Rosen, “Concerto in F” b Mortimer Browning (1940, privately recorded practice session). Ms. Rosen recorded this rehearsal in preparation for a live performance. Of great interest is that you can hear her speaking at the beginning and end of the session, and her playing is quite sophisticated.
- Lucie Bigelow Rosen, “The Old Refrain” by Fritz Kreisler (circa 1940 privately recorded session). Another privately recorded session by Ms. Rosen.
- Miklós Rózsa, Suite from The Lost Weekend (excerpt) from The Lost Weekend (The Classic Film Score) (1945 privately issued). Conducted, composed by Miklós Rózsa; Theremin, Dr. Samuel J. Hoffman. “This is a limited-edition recording, produced for the promotional purposes of the composer and is not licensed for public sale. The music was transferred to tape from the original acetate masters.” This was not a score released on a conventional soundtrack. This recording comes from a privately issued disc commissioned by the composer and I date it to around 1970. I wanted to include it because it a notably obscure soundtrack recording Theremin playing by Hoffman from the same era as the more famous and widely distributed Spellbound soundtrack.
- Harry Revel and Leslie Baxter with Dr. Samuel J. Hoffman, “Lunar Rhapsody” from Music Out Of The Moon: Music Unusual Featuring The Theremin (1947 Capitol). Hoffman, a foot doctor by profession, was one of the best-known Theremin players of his time. Not as persnickety as Rockmore about playing “spooky sounds,” he basically filled a gap in Theremin playing in popular music that Clara Rockmore refused to fill. He played one of the RCA production model Theremins from 1930. His most famous contributions included collaborations with Les Baxter, Miklos Rozsa, Harry Revel, and Bernard Herrmann, and his momentous movie music for Spellbound (1945) and The Day the Earth Stood Still (1951). He was initially a classically trained violinist, and at age 14 he began playing the violin professionally in New York City. By 1936, he had taken up the Theremin and begun featuring it in publicity for his engagements. He quickly gained notoriety using the electronic instrument and he became one of the world's most famous Theremin players.
- Harry Revel and Leslie Baxter with Dr. Samuel J. Hoffman, “Radar Blues” from Music Out Of The Moon: Music Unusual Featuring The Theremin (1947 Capitol).
- Harry Revel, Leslie Baxter & Dr. Samuel J. Hoffman, “Fame” from Perfume Set to Music (1948 RCA Victor). Composed by Harry Revel; Orchestra Chorus conducted by Leslie Baxter; Theremin, Dr. Samuel J. Hoffman. "As interpreted by the British-born composer, Harry Revel, in a musical suite describing six exotic Corday fragrances."
- Harry Revel, Leslie Baxter & Dr. Samuel J. Hoffman, “Obsession” from Perfume Set to Music (1948 RCA Victor). Composed by Harry Revel; Orchestra Chorus conducted by Leslie Baxter; Theremin, Dr. Samuel J. Hoffman. "As interpreted by the British-born composer, Harry Revel, in a musical suite describing six exotic Corday fragrances."
- Elliot Lawrence and His Orchestra, featuring Lucie Bigelow Rosen, “Gigolette” (1949 Columbia). An attempt to bring the Theremin into popular music, this recording by Elliot Lawrence and his Orchestra made at the Columbia 30th Street Studio in Midtown Manhattan features Lucie Bigelow Rosen. Ms. Rosen and her husband Walter were instrumental in providing offices for Leon Theremin to work in New York during the 1930s. The inventor personally made two instruments for her. She was a practiced enthusiast and did much concertizing with the Theremin from about 1935 to 1940.
- Samuel J. Hoffman, “Remembering Your Lips” from Music for Peace of Mind (1950 Capitol). Orchestra conducted by Billy May; composed by Harry Revel; Theremin, Dr. Samuel J. Hoffman. “Music for PEACE OF MIND featuring the THEREMIN with orchestra.”
- Samuel J. Hoffman, “This Room Is My Castle of Quiet” from Music for Peace of Mind (1950 Capitol). Orchestra conducted by Billy May; composed by Harry Revel; Theremin, Dr. Samuel J. Hoffman. “Music for PEACE OF MIND featuring the THEREMIN with orchestra.”
- Bernard Herrmann, Dr. Samuel J. Hoffman, “Gort,” “The Visor,” “The Telescope” from The Day the Earth Stood Still (Original Motion Picture Soundtrack) (1951 20th Century Fox). Soundtrack recorded at the Twentieth Century Fox Scoring Stage August 1951, reissued in 1993. Composed by Bernard Herrmann; Conducted by Alfred Newman, Bernard Herrmann, Lionel Newman; Theremin by Dr. Samuel J. Hoffman. Hoffmnan played one of the RCA production model Theremins from 1930 but by this time around 1950 had modified it to include an external speaker connection for improved recording of the instrument during studio sessions.
- Samuel J. Hoffman, “Moonlight Sonata” (Theremin Solo with Piano Accompaniment) (1951 Capitol).
- Eddie Layton, “Laura”, from Organ Moods in Hi-Fi (1955 Mercury). This song is noted as including the “Ethereal sound of the theremin.” Layton was a popular Hammond organ player, later on in his career he played the organ at old Yankee Stadium for nearly 40 years, earning him membership in the New York Sports Hall of Fame. This is his first album, one many, and is notable for using some early organ electronics. “It must be stated that all of the sounds in this album were created by Eddie Layton solely on the Hammond Organ including the rhythm sounds of the bass and guitar, by means of special imported electronic recording devices and microphones.” With the exception of the Theremin, I would add. An unknown Theremin model, most likely vacuum-tube driven, possibly an original RCA model.
- Monty Kelly And His Orchestra with Dr. Samuel J. Hoffman, “Blue Mirage” from “Blue Mirage”/ “That Sweetheart of Mine” (1955 Essex). Single release from this Orchestra led by Monty Kelly and featuring Hoffman on Theremin.
- Unknown Artist, “The Fiend Who Walked the West” lobby recording (1958). Theremin or musical saw? This is from an LP recording I have that was used in movie lobbies to entice people to come and see the horror film, The Fiend Who Walked the West (1958). Could this be a Theremin, or a musical saw? I think the latter. I have no information on who played the instrument, but it makes for some curious listening from days gone by while acknowledging one of the key sources of confusion for those who collect Theremin recordings.
- Sonny Moon And His Orchestra, “Countdown” from “Rememb'ring”/ “Countdown” (1958 Warner Brothers). A 45-RPM single from this short-lived group od the late 1950s. Includes an uncredited Theremin performance.
- Milton Grayson and Dr. Samuel J. Hoffman Theremin and Orchestra, “I Paid the Penalty” (1960 Royalty Recording Co.). A 45-RPM single about capital punishment. On one side of the record a San Francisco Attorney speaks about capital punishment. On the other side is this vocal by Grayson that dramatizes the subject. This appears to be some sort of public service announcement, but the disc itself bears no clues. This is the only release on this label. The vocal by Grayson is part sermon, part monolog, part song, with the threatening aura of the Theremin provided by Dr. Hoffman. It is undated, so I’m guessing around 1960 when Grayson was most active.
- Lew Davies And His Orchestra, “Riders in the Sky” from Strange Interlude (1961 Command). From the early sixties comes this wonderful amalgamation of exotica and space-age instruments. The Theremin is played by none other than Walter Sear, later the manager of the Sear Sound Studio in New York and an influential programmer (and sometimes player) of the Moog Modular Synthesizer. Several members of this band also became associated with the Moog Modular, including Bobby Byrne, Sy Mann, and producer Enoch Light. Bass, Bob Haggart, Jack Lesberg; Cimbalom, Michael Szittai; Drums, George Devens, Phil Kraus; Executive Producer, Enoch Light; French Horn, Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Ondioline, Sy Mann; Theremin, Paul Lippman, Walter Sear; Trombone, Bobby Byrne, Dick Hixon, Urbie Green.
- Yusef Lateef, “Sound Wave,” from A Flat, G Flat And C (1966 Impulse!). An innovative first from Mr. Lateef who foresaw the possibilities of the Theremin for new jazz. Lateef was known for his multi-instrumental talent on Tenor Saxophone, Alto Saxophone, Flute, Oboe and a variety of wooden flutes. Using the Theremin on this one track—I’ve never heard anything else he recorded with the Theremin—shows how a skilled jazz improviser can use the Theremin for self-expression. I would guess that this Theremin was made by Moog. Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson; Produced by Bob Thiele.
- Captain Beefheart And His Magic Band, “Electricity” from Safe as Milk (1967 Buddah). The Theremin in this case was played by none other than Samuel J. Hoffman using his souped-up RCA Theremin model Theremin. It was perhaps the last appearance on record by Hoffman, who died later in 1967. Apparently, the record company hated the track so much that it led to their being dropped from the label, at which point Frank Zappa came to the rescue.
- Fifty Foot Hose, “War is Over” (1967) from Ingredients (1997 compilation Del Val). Psychedelic rock group from San Francisco, formed in 1967, disbanded in 1970 and re-formed in 1995. Drums, Gary Duos; Guitar, David Blossom; Theremin, Electronics, Audio Generator, Siren, Cork Marcheschi. Recorded in 1966 in San Francisco.
- Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet Concept). Unknown Theremin player, although the producers at Cadet/Chess were known to add the instrument to a session, such as those by Rotary Connection. Recorded at Ter Mar Studios, Chicago, February 1968. The song was written by producer Richard Evans, then the go-to producer and de facto label head for Chess Records’ jazz imprint Cadet. Perhaps he also played the Theremin, which was probably a Moog Troubadour.
- The First Theremin Era, “The Barnabas Theme from Dark Shadows" / “Sunset In Siberia” (1969 Epic). "Dark Shadows" was super-popular daytime drama about a vampire on ABC-TV. This record was not an official release of the television show, but an interpretation of the theme that is seldom heard. I thought it’s exotic funky treatment was especially worth hearing. The soundtrack for the TV show also included Theremin, possibly played by composer Robert Cobert, but in its more traditional spooky role. This record was produced and arranged by Charlie Calello, a well-known producer who had worked with the Four Seasons (singing group) and later would produce such super stars as Frank Sinatra, Neil Diamond, Bruce Springsteen, Laura Nyro, and Barbra Streisand.
- Mutantes, “Banho De Lua (Tintarella Di Luna)” from Mutantes (1969 Polydor). Brazilian folk-rock-psychedelic group that featured the Theremin blended with many other instruments, both acoustic and electronic. Arranged by, Mutantes; Drums, Sir Ronaldo I. Du Rancharia; Theremin, electronic Instruments, Claudio Régulus. This innovative pop trio from Brazil also collaborated with other artists such as Caetano Veloso and Gilberto Gil and were threatened by the military government of Brazil. What Theremin did they use? Several Moog models would have been available, but they also may have built their own. One photo I’ve seen suggested that they built their own.
- Lothar and the Hand People, “It Comes on Anyhow” from Machines: Amherst 1969 (2020 Modern Harmonic). Live recording from 1969 featuring the Moog Modular Synthesizer played by Paul Conly and the Moog Theremin played by vocalist John Emelin. On this track, the synthesizer and Theremin sounds are intermingled, making it a fun challenge to distinguish between the two of them. Bass, Rusty Ford; Drums, Tom Flye; Guitar, Kim King; Keyboards, Moog Modular Synthesizer, Paul Conly; Vocals, Moog Troubadour Theremin (“Lothar”), John Emelin.
- Lothar and the Hand People, “Today Is Only Yesterday’s Tomorrow” from Machines: Amherst 1969 (2020 Modern Harmonic). This track was recorded live in 1969. John Emelin starts by introducing the Moog Theremin, called “Lothar.” Bass, Rusty Ford; Drums, Tom Flye; Guitar, Kim King; Keyboards, Moog Modular Synthesizer, Paul Conly; Vocals, Moog Troubadour Theremin (“Lothar”), John Emelin.
Opening background tracks:
- Bernard Herrmann, Dr. Samuel J. Hoffman, “Prelude, Outer Space” (excerpt), from The Day the Earth Stood Still (Original Motion Picture Soundtrack) (1951 20th Century Fox). Soundtrack recorded at the Twentieth Century Fox Scoring Stage August 1951, reissued in 1993. Composed by Bernard Herrmann; Conducted by Alfred Newman, Bernard Herrmann, Lionel Newman; Theremin by Dr. Samuel J. Hoffman.
- Zinaida Hanenfeldt, Nathaniel Shilkret, Victor Salon Orchestra, “(I'm a dreamer) Aren't we all?” (1930 Victor). “Orchestra, with theremin soloist.” Theremin, Zinaida Hanenfeldt. Recorded January 17, 1930 in New York at the 28 West 44th St. studio.
- Samuel J. Hoffman, “The Swan”( Saint-Saens) from “Moonlight Sonata” / “The Swan” (1951 Capitol). Arranged and performed on the Theremin by “Dr. Hoffman.”
- Orchestra and Chorus Under the Direction Of Leslie Baxter, Dr. Samuel Hoffman, “Struttin’ with Clayton” from “Jet” / “Struttin' With Clayton” (1950 RCA Victor). Theremin, Dr. Samuel J. Hoffman.
- Miklós Rózsa, “Dementia” from The Lost Weekend (The Classic Film Score) (1945 privately issued). Conducted, composed by Miklós Rózsa; Theremin, Dr. Samuel J. Hoffman.
This podcast is not intended as a thorough history of the Theremin itself. There are many excellent resources that provide that, including my own book on the history of electronic music, the Bob Moog Foundation website, Albert Glinsky’s wonderful book about Leon Theremin, and the entire Theremin World website that is devoted to everything Theremin. I urgently suggest that you consult those resources for more detail on the actual history of the instrument and the people behind it.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
Telephone Love
Episode 87
Telephone Love
Playlist
- June Carol Lodge, Telephone Love from the 12” 45 Telephone Love (1988 Pow Wow). Produced in Jamaica and featuring Reggae singer, actress and fine artist Lodge. 6:17
- Laurie Anderson, “Telephone Song” from United States Live (1984 Warner Bros.). United States Live was recorded live at the Brooklyn Academy of Music, New York City, Feb. 7-10, 1983. Voice and electronics (telephone), Laurie Anderson. 1:27
- Helen Myers, Telephone (1950) from Let’s Play (1950 Victor). A 78 RPM shellac double disc set billed as, “Exciting action games with true-to-life sound effects.” “We dial the operator with our imaginary phone and there she is!” intones the instructions. This simulated telephone operator places a long distance call, sends a telegram, and connects for a call to South America. 3:40
- Bell Telephone Systems youth commercial, 1969. 0:35
- Barney Bernard, “Cohen At The Telephone” from Cohen At The Telephone / Goldstein Goes In The Railroad Business (1916 Victor). 3:23
- A∀A∀A, “Telephone Song” from A∀A∀A (1991 A5 records). UK release featuring Bass Guitar, Andy Pile; Composed by, musician, producer, Derek Timms; Guitar, Voice, Dzal Martin; Noises, Producer, Steg Read; Percussion, Kwaku Dzozornu; Piano, John Jolliffe; Voice, Barny James, Cid Bishop, Ellen Parry, Steve Norchi; Voice, Bass Trombone, Trombone, Lol Cottle; Voice, Drums, Gary Ferguson. 5:41
- Kraftwerk, “House Phone” from The Telephone Call (1987 Warner Bros.). 45 RPM EP with three variations of The Telephone Call from the album Electric Café (1986 Warner Bros). This song has some variations on the phone sounds and is quite a different compostion entirely. Synclavier programming, John Mahoney; written by Schneider, Bartos, Hutter. 4:56
- AT&T, Telephone Tunes: Pre-Recorded Outgoing Announcements for Telephone Answering Systems (1992 AT&T). Cassette of pre-recorded novelty answering machine messages. The tape begins with instructions then plays two of the eight tones I’ve selected (“No Bones Rap” and “Phone Blues”). 1:20
- Art by Telephone, complete transcript, Museum Of Contemporary Art Chicago (1969). From the liner notes: "Shortly after its opening, the Museum of Contemporary Art planned an exhibition to record the trend, incipient then and pervasive today, toward conceptualization of art. This exhibition, scheduled for the spring of 1968 and abandoned because of technical difficulties, consisted of works in different media, conceived by artists in this country and Europe and executed in Chicago on their behalf. The telephone was designated the most fitting means of communication in relaying instructions to those entrusted with fabrication of the artists' projects or enactment of their ideas. To heighten the challenge of a wholly verbal exchange, drawings, blueprints or written descriptions were avoided. A key role in producing this exhibition has been played by the museum's curator, David H. Katzive. He not only conducted and edited the crucial telephone conversations but directed the production and enactment of the works in the exhibition." (Jan van der Marck, from liner notes). An exhibition organised by the Museum of Contemporary Art under the sponsorship of the American National Bank and Trust Company of Chicago. November 1 to December 14, 1969. I have excerpted 10 minutes of the artist proposals. I couldn’t help but notice that the only contributors to the exhibit were male artists, so I apologize in advance for this slice of chauvinism from the late 1960s. Still, the conversations are interesting. 9:44
- Thom Holmes, “Telephone Work” (2022 Privately Issued). I thought it would be fun to gather some telephone sounds from the 70s, 80, and 90s and remix them into a piece of music. All of the sounds originated with the extensive library of archival sounds collected by Evan Doorbell and made available on the Telephone World website. I worked with various network sounds from different generations of phones and networks plus many examples of operator voices, especially that of Jane Barbe, the most frequently used recorder of general operator messages for AT&T. 5:08
- Matteo Uggeri, “Upside Down” by Comaneci from The Telephone (2022 Grey Sparkle). Matteo Uggeri is an Italian visual designer and composer from Milan. Uggeri made phone calls to a variety of musicians and asked them to sing a song on the telephone. This is one result. The album was released in three formats, from an extremely limited to 15 copies "Dial Box Edition", that includes a real old hacked (but working) phone handset with a true 3.5mm audio jack; a limited CDr with 85 different black and white postcards covers included; and an edition of 30 cassettes. 3:32
- Hal McGee, “Kitchen Sink Sinfonietta” from Tapegerm Collection Volume Five (2007 HalTapes). Loops Didgeridoo, Voice & Guitar, Ed Drury; Loops Organ, Hebephrenic; Music By "xxxxx", The Joke Project; Noises Collab Fragments, Zan Hoffman; Noises Miscellaneous Audio Fragments From Videotapes, Andrew Chadwick, Blast, Brandon Abell, Charles Smith, Christopher Miller, Gina Vivinetto, Jen Abell, Ron Palachik, Tom Miller; Noises Sound Files, Cjjbrozt; Theremin, Keyboards Casio Va-10, Jen Abell; Vocals 1986 Telephone Conversation, Charlie Goff, Debbie Jaffe, Hal McGee. 11:17
- Yoko Ono, “Telephone Piece” from Fly (1971 Apple) 1:01. The closing track on this double-LP by Yoko. 0:32
- D.C. (Techno Dance Club), “Your Telephone (Radio Edit)” from Technonation (1994 Anima Vox). Russian techno dance music with the telephone theme. T.D.C. is performed, arranged, and mixed by Вадим Угрюмов, Дмитрий Машуков (Vadim Ugryumov, Dmitry Mashukov). 4:08
- X-Ctasy, “Call Me Mr. Telephone” from Call Me Mr Telephone (1990 Smile Production). Italian release written and produced by L Nicolosi, Tony Carrasco. 6:09
- Phil Milstein, “Telephone Symphony” from Tapeworm: SFX By Phil Milstein (1990 50,000,000,000,000,000,000,000,000,000,000 Watts Records). US-based artist and tape manipulator, Phil Milstein. 1:01
- Kraftwerk, “The Telephone Call Remix” from The Telephone Call (1987 Warner Bros.). Synclavier programming, John Mahoney; written by Schneider, Bartos, Hutter; Remix by Francois Kevorkian, Kraftwerk, Ron St. Germain. This is an extended version of the original album track and includes different languages and other operator messages not heard in the original. 8:12
Opening background sounds: Network sounds originally recorded by Evan Doorbell and arranged/edited by Thom Holmes.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
Merry Moog 2022
Episode 86
Merry Moog 2022
Vintage Holiday Music Performed on the Moog and other Synthesizers
Playlist
- Frank Luther with Zora Layman, “Christmas Bells” from Christmas In Song (1939 Decca). This is the original 78 RPM release featuring a vocal quartet, bells, and music played on the Hammond Novachord. 0:38
- Frank Luther with Zora Layman, “Christmas Day in the Morning” from Christmas In Song (1958 Vocalion). This is a reissue of the 1939 release featuring a vocal quartet, Zora Layman, bells, and music played on the Hammond Novachord. The stereo is simulated. There are some nice moments for the Novachord on this record. 3:12
- Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). This rare disc features Tanner playing the Electro-theremin, an imitation of the Theremin that was a box with an audio oscillator inside and a rotary dial to control the pitch. Tanner, a renown studio musician and trombone player, later provided the sound of the Electro-theremin on the Beach Boys hit Good Vibrations (1966). 4:16
- Greg Lake, Emerson, Lake & Palmer, “I Believe In Father Christmas” from I Believe in Father Christmas (1995 Rhino). Produced by Keith Olsen; written by Greg Lake, Peter Sinfield; vocals, Bass, Acoustic Guitar, Electric Guitar, Greg Lake; Drums, Percussion, Carl Palmer; Hammond organ, Piano, Moog Synthesizer, Keith Emerson. This is the original version released in 1975 with a choir and Moog Modular. It differs significantly from the stripped-down mix, also included on this CD, originally appearing on Works Vol. 2 in 1977 and then later in 1994. Rhino Records was kind enough to package all of ELP’s X-Mas related tunes onto a CD EP in 1995, from which this version comes. 3:34
- Keith Emerson, “Troika (From Prokofiev's Lieutenant Kije Suite)” from The Christmas Album (1995 Rhino). This is the Prokofiev composition that Greg Lake adapted into “I Believe in Father Christmas.” Later on, Emerson released this interpretation of the Prokofiev piece on The Christmas Album” that appeared in the US in 1995. It doesn’t appear on the original UK version in 1988. And again, this is taken from the nifty holiday CD EP also released in 1995 by Rhino. This album was made with instruments from Korg, Ensoniq, Alesis, and Opcode. 4:19
- Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:44
- Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 4:46
- Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:52
- Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Don wrote the original synthesized version of the NPR “All Things Considered” theme. It was created in his Electronic Studio of the University of Wisconsin. He used a Moog Modular Synthesizer plus a Fender Rhodes, Polymoog, and ARP string synthesizer and 16-track recorder. 1:02
- Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:34
- Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. Leedy was an American composer, performer and music scholar. He founded the electronic music studio at UCLA where he had access to both Moog Modular and Buchla synthesizers, and it was during this period from about 1969-71 that he was commissioned to create several albums of electronic music. His training as a minimalist and experimental composer always flavored his music with unexpected sounds and patterns. 3:05
- Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). Moog Modular Synthesizer. 2:43
- Armen Ra (Armen Hovanesian), “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). Moog Etherwave Pro Theremin. Armen Ra is an American artist and performer of Iranian-Armenian descent. He plays Theremin. His music fuses Armenian folk music with modern instrumentation, along with melodic lounge standards and classical arias. 4:43
- Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01
- Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. 3:21
- Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:58
- Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:12
- Андрій Кок (Andriy Kok), “Небо І Земля” (“Heaven and Earth”) from Різдво На Галичині. Колядки (Christmas in Galicia. Christmas carols) (2006 Ліда). Folk singer, accordion and synth player Andriy Kok has recorded many albums of Ukrainian folk music in addition to a number of holiday songs and carols. 5:00
- Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 1:14
- Bernie Krause, Philip Aaberg, “Deck the Halls” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. He later turned his attention to audio ecology and the recording of nature sounds, particularly of animals. This very special Holiday recording is composed entirely of animal sounds. Some you'll recognize as the natural animal voices themselves. Others may sound like instruments, but they are actually digitally transformed animal sounds. Wild Sanctuary Productions invites you to enjoy a truly unique celebration of both the wild kingdom and Holiday Spirit. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (K 2000/Emulator III) Phil Aaberg. 8:12
- The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Conductor, Paul Freeman; synthesizers, The Chicago Synthesizer-Rhythm Ensemble; Orchestra, The Royal Philharmonic Orchestra. Keyboards & Synthesizer Concepts: Ed Tossing; Electric Bass, Steve Rodby or Bob Lizik; Drums, Tom Tadke; Guitars, Ross Traut and Bill Ruppert; Percussion, Russ Knutson. 4:08
- Montana Sextet, “Little Drummer Boy Jam” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor And Bass Drum, Gene Leone. 8:46
- Montana Sextet, “Have Yourself a Merry Little Christmas” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor and Bass Drum, Gene Leone. 4:56
- Mannheim Steamroller, “Good King Wenceslas” from Christmas (1984 American Gramaphone). Arranged, conducted, produced by, Chip Davis; Drums, Percussion, Soloist Recorder, Black Oak Hammered Dulcimer, Soprano Dulcian, Crumhorn, Bells, Vocals, Dry Ice, Chip Davis; Lute, Bass, Eric Hansen; Baldwin SD-10 Synthesizer, Harpsichord, Clavichord, Toy Piano, Prophet 5 Synthesizer, Fender Rhodes, Vocals, Bells, Jackson Berkey; Classical Guitar, Twelve-String Guitar, Ron Cooley; Flute, Willis Ann Ross; French Horn, David (High D) Kappy; Harp, Mary Walter; Oboe, Bobby Jenkins; Strings, Bill Ritchie, Grace Granata, Michael Strauss, Michelle Brill, Richard Altenbach, Richard Lohmann, Roxanne Adams, Wayne Anderson. 3:39
- Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:56
- Don Voegeli, “Lully, Lullay - The Coventry Carol” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01
- Fossergrim, “Ave Maria” (2020 Bandcamp). Fossegrim is billed as “Dungeon Synth music from the Adirondack Mountains.” In Scandinavian folklore, Fossergrim is is described as an exceptionally talented fiddler. No fiddles here. I think Fossergrim is one Ian Nichols of Albany, New York. Check out his Bandcamp presence. 3:54
- Phillip Fraser, “Rub A Dub Christmas” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. 2:53
- Phillip Fraser, “The Lord Will Provide” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. There is some crazy synth material on this track. Despite it being recorded in 1985, it sounds quite analog for a synth. 3:17
- Unconditional Loathing, “Carol, with the bells” from Holiday Mood (2018 Bandcamp). Every artist dreams of releasing an album of hit holiday songs that will surprise the world and bring great wealth. This is not that album. But it is remarkably noisy and dark. Check out Unconditional Loathing, from Fargo North Dakota, on Bandcamp. Self-described as “A footnote in the history of Midwestern noise that refuses to completely go away.” 1:51
- The Smurfs, “Deck the Halls” from Merry Christmas With The Smurfs (1983 Dureco Benelux). This album is in English from the Netherlands. 2:17
- Vatto Lofi, “Holiday Lofi” from A Merry Lofi Christmas EP (2021 Bandcamp). Providing a low-fidelity tune for the holidays, but I don’t know if “lofi” refers to the low-fidelity sound that is currently a thing (and it does sound like that) or is the actual name of this Icelandic musician. 2:21
- Rotary Connection, “Silent Night” from Peace (1968 Cadet Concept). I think this holiday album from the famed psychedelic soul ensemble was perhaps only their second album. Produced by Charles Stepney and Marshall Chess, I’ve included this track not only because it features some crazy electric guitar but also because Minnie Riperton’s five-1/2-octave vocal range could effectively imitate a Theremin, which begins in this track around 1:30 into it. In an interview I once heard her say that one of her childhood fascinations was imitating that “science fiction stuff” with her voice. Interestingly, Charles Stepney also included a Moog synthesizer, used sparingly, on some Rotary Connection tracks, but I’ve heard none on this album. Co-producer Marshall Chess often added Theremin to Rotary songs but this is not one of them. It’s pure Ripperton. The Rotary Connection vocalists: Bobby Simms, Jim Donlinger, Jim Nyeholt, Minnie Riperton, Mitch Aliota, Sidney Barnes, Tom Donlinger; The studio band, Leader, David Chausow; Bill Bradley, electronic effects; guitar, Bobby Christian; bass, Louis Satterfield; bass, Phil Upchurch; bass vocals, Chuck Barksdale. 3:52
- Klaus Wunderlich, “Sleigh Ride” from Multi Orchestral Organ Sound (1982 Teldec). Wunderlich was a prolific musician who mastered the Hammond Organ. Occasionally, he performed with a synthesizer and this track comes from an album not of holiday music but of various favorites, performed in the style of the original artists. This is a Leroy Anderson song arranged in the Anderson style. The MOOS (Multi Orchestral Organ Sound) was produced by the Wersi organ company in Germany. This organ/synth/drum machine hybrid was also known as the Wersi Galad and play both synth and traditional organ sounds. There is a current musician advocate for this instrument in Florian Hutter (listen to the next track), of Germany. 3:11
- Florian Hutter, “Frosty the Snowman” privately released (2022 No Label). Florian is a living master of the vintage Wersi Delta and Atlantis synthesizer/organ hybrids with a built-in rhythm box. In recent years he has begun to release his music on Spotify. This is taken from the first or second day of his Christmas Special 2022 during which he releases a new tune every day. I don’t normally feature tracks recorded from YouTube, but this was too good to pass by and it fits with the vintage music played in the previous track by Wunderlich. Check him out. 2:34
- Edwin Hawkins, “The Christmas Song” from The Edwin Hawkins Christmas Album (1985 Birthright). Produced when the Yamaha DX-7 became the top selling synthesizer on the planet, this is a great example of its tidy, digital sound. Richard Smallwood, keyboards, synthesizer; Edwin Hawkins, keyboards, synthesizer; Joel Smith, Drums and Fender bass; Kenneth Nash, percussion. Sounds like one or two Yamaha DX-7s. 3:57
- Ryuichi Sakamoto (坂本龍), “Father Christmas” from Merry Christmas Mr. Lawrence (戦場のメ)(1983 Virgin). Music By, Composed By, Performer, Ryuichi Sakamoto. Our best wishes to Mr. Sakamoto who is suffering from Stage 4 cancer. In June he said, “Since I have made it this far in life, I hope to be able to make music until my last moment, like Bach and Debussy whom I adore.” 2:06
- Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. 1:46
- Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54
- Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33
- Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14
- Keith Emerson, Emerson Lake & Palmer, “Nutrocker” (live) from Pictures at an Exhibition (1972 Cotillion). A fitting reworking of Tchaikovsky arranged by Kim Fowley and performed live, Newcastle City Hall, 26 March 1971. Hammond C3 and L100 organs, Moog modular synthesizer, Minimoog, Clavinet, Keith Emerson; bass guitar, acoustic guitar, vocals, Greg Lake; drums, percussion, Carl Palmer. "Nut Rocker", a rock adaptation of The Nutcracker originally arranged by Kim Fowley and recorded by B. Bumble and the Stingers in 1962. 3:48
- Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. 3:32
- Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37
Opening background music:
- Jean Jacques Perrey and Sy Mann, “Rudolf the Red-Nosed Reindeer” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 2:16
- Moog Machine, “Twelve Days Of Christmas” from Christmas Becomes Electric (1970 Columbia). Arranged by Alan Foust; Synthesizer Tuner, Norman Dolph; Moog Modular Synthesizer, Kenny Ascher. 3:55
- Jean Jacques Perrey and Sy Mann, “Silent Night” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 1:52
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the
For additional notes, please see my blog, Noise and Notations.
Rain Music
Episode 85
Rain Music
Playlist
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- Dean Evenson, “Thunder Intro” from Forest Rain (1993 Soundings of the Planet). 0:28
- Ulrich Schnauss, “Molfsee” from Far Away Trains Passing By (2002 City Centre Offices). Written and produced by German artists Ulrich Schnauss. Schnauss is also a current member of Tangerine Dream, joining in 2014 and working with a renewed lineup since the death of original TG member Edgar Frose in 2015. 8:07
- Ana Roxanne, “It's A Rainy Day On The Cosmic Shore” from ~ ~ ~ (2019 Leaving Records). Limited edition cassette release. Ana Roxanne is an intersex Southeast Asian musician born and raised in the Bay area. Some low-fi and hi-fi rain sounds and synthesis. 5:03
- Paul Beaver and Bernard Krause, “Ragnarök” from Ragnarök (1969 Limelight). The duo’s first album of electronic music following the release of their Nonesuch Guide to Electronic Music (1968). They feature the Moog Modular synthesizer throughout and use it to synthesize the sounds of rain and thunder on this track. 3:22
- Dean Evenson, “Thunder Streams” from Forest Rain (1993 Soundings of the Planet). Everson has been producing soothing electronic and flute sounds for many years, this example is from 1993 and includes rain and thunder effects. Native and silver flutes, keyboards, Dean Evenson; harp, Dudley Evenson; cello, Jonathan Kramer; guitar, Tim McHugh; percussion, Stuart Glasser. 6:20
- Mystic Moods Orchestra, introductory sounds of the storm and the sea from One Stormy Night (1966 Phillips). 0:52
- Steve Birchall, “Summer Memories” from Reality Gates (1973 Poseidon Electronic Music Studio). An obscure and interesting album of privately produced electronic music from the early 1970s. Billed as "electronic meditations by Steve Birchall." Equipment used was a potpourri of systems, effects, and an EMS VCS-3 synthesizer: Ampex mm 1000 16 track recorder; DBX noise reduction; Spectrasonics console; Studer A-80 recorder; Eventide Clockworks Instant Phaser; Cooper Time Cube; EMT reverb; Neumann VMS 70-SX68 computerized lathe; EMS VCS-3 (Putney) synthesizer. 10:49
- Agostino Nirodh Fortini (Nirodh), “Aquatic Round” from Suoni Immaginari (2020 Black Sweat Records). Italian artist and release. Composed, recorded, and produced by Agostino Nirodh Fortini. 2:52
- Mystic Moods Orchestra, “A Dream" from One Stormy Night (1966 Phillips). In the mid-sixties, recording engineer and sound recordist Brad Miller had the brilliant idea of combining the recorded sounds of nature with sweeping, orchestral renditions of popular music. This was a series of albums intended as background mood music for couples. The subtitle on the cover of One Stormy Night is “Whoever you are, you hold in your heart the memory of…One Stormy Night.” On the back cover, it says, “A spectacular thunderstorm, the sound of rain and romantic music combine to create One Stormy Night. The Mystic Moods Orchestra has many releases in to the early 1970s, at least two of which utilized the Moog Modular synthesizer. This album, however, is pure field recordings creatively combined with music. 4:16
- Sanford Ponder, “Frontier” from Etosha - Private Music In The Land Of Dry Water (1985 Private Music). Arranged, produced, written, Fairlight CMI Synthesizer, Yamaha DX-7 Synthesizer, Roland GR-707 Synthesizer, Sanford Ponder; piano, Clyde Criner. 9:37
- D. Emmanuel, “Rain Forest Music” from Rain Forest Music (1981 North Star Productions). Private recording of electronic and acoustical music with field recording sound effects. Composed, arranged, performed, recorded by, Yairi Acoustical Guitar, Effects, 3 Sequential Circuits Pro-One Synthesizers, Crumar organ, J. D. Emmanuel. Recorded at Emmanuel's studio in Houston. Tropical birds were recorded at Houston Zoo Tropical Bird Aviary. “Rain and surf, gifts from Mother Nature. This music can be used for deep relaxation, meditation and as background for massage and counseling.” 22:00
- Thom Holmes, thunder record skip from a Mystic Moods Orchestra album. 0:55
- Hans-Joachim Roedelius, “Regenmacher” from Durch Die Wüste (Through the Desert) (1978 Sky Records). Percussion, Bass, Keyboards, Hans-Joachim Roedelius; Synthesizer (Synthesizermelodie), Möbius; EMS Synthi, Percussion, Konrad Plank. Recorded and mixed with Konrad Plank in his studio in May 1976, small changes made in January 1978 prior to release. A German electronic composer and member of Cluster in this first solo album transitions to a period of acoustic music, but there are synths being used on this track. 6:36
- Thom Holmes, rolling, distant thunder, field recording. 0:59
- Yavomag, Rubikdice & Chilx, “Tokyo Rain” from The Ronin EP (2022 Yavomag, Rubikdice & Chilx). House music with a rainy vibe. 2:23
- Thom Holmes, crack of thunder field recording.0:52
- Dean Elliott And His Orchestra, “Rain” from Zounds! What Sounds! (1962 Capitol). A funny relic from the days when mixing sounds effects into music was a fresh idea. Very cleverly edited by Phil Kaye; Producer, John Palladino. 2:49
- Thom Holmes, “Rain Drone” an alternate version and test for a track I later released called Requiem for the Rain (2016 not released). In this piece, I started with the sound of rainfall that I recorded and then processed it using the synthesizer component of MetaSynth to transform the raindrops and downpour into drones and harmonic points. All of the sounds in this work are derived from processing the sound of rain. 12:29
- Thom Holmes, thunder, field recording. 1:15
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Hans Zimmer and Benjamin Wallfisch, “Rain” from Blade Runner 2049 (Original Motion Picture Soundtrack)(2017 Epic). Cello, Simone Vitucci, Vocals, Tristan Schulze; Guitar, Owen Gurry; exotic instruments, Chas Smith; Musical Assistance, Cynthia Park; Soundtrack Album Produced By, Ashley Culp, Kayla Morrison, Michael Hodges; Synth Programming, Hans Zimmer; Sampling Team, Raul Vega; Digital Instruments Design, Mark Wherry; Synth Design, Howard Scarr; Vocals, Avi Kaplan. 2:26
Opening and closing messages voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes.
See my blog for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
Psychedelic Japan, Part 3
Episode 84
Psychedelic Japan, Part 3
Playlist
- Boredoms, “Super Going” from Super æ (1998 Birdman). Boredoms (ボアダムス), alternatively known as V∞redoms, is a Japanese experimental/noise/space rock/tribal drumming band from Osaka, founded in 1986 by Yamatsuka Eye. Known for their extended jams and heavy drumming, it is remarkable that they had some mainstream success in the 1990s. Bass, Hira; Drums, EDA; Drums, Vocals, Yoshimi P-We; Guitar, Yamamotor; Music by, Boredoms; Words By, Vocals, Tibetan Bell, Effects (EQ-phasing), Electronics, Eye. 12:26.
- Boredoms, “7-(Ewe Remix)” from Super Roots 7 (1998 WEA). Bass, Effects, Hilah; Drums, Percussion (Electronic), E~Da; Drums, Sampler (Samples), Percussion, ATR; Drums, Vocals, Tape (Bird Flying Sound), Keyboards (Casiotone), Yoshimi P-We; Guitar (Guitars), Yamamotor; Sampler, Synth, Kiyoshi Izumi; Vocals, Synth, Tape (Open Reel), Electronics (Vacuum Cleaner), Bell, Effects, Sounds, Electronics, Tape (Insects, Bird), Eye. 4:05
- OOIOO, “Oizumio” from Feather Float (1999 Polystar). Pronounced OH-EE-OH, Band formed by trumpeter and drummer for the Boredoms on a whim as the result of a photo shoot she once did. Bass, Handclaps, Maki; Drums, Handclaps, Yoshiko; Guitar, Vocals, Djembe, Bongos, Roland Juno and Casiotone synthesizers; Piano, Jew's Harp, Talking Drum, Scratches, Noises (Birds), Yoshimi; Guitar, Vocals, Handclaps, Kyoko; Producer, Yoshimi. 3:39
- OOIOO, “1000 Frogs And 3 Sun In A House” from Feather Float (1999 Polystar). Bass, Handclaps, Maki; Drums, Handclaps, Yoshiko; Guitar, Vocals, Djembe, Bongos, Roland Juno and Casiotone synthesizers; Piano, Jew's Harp, Talking Drum, Scratches, Noises (Birds), Yoshimi; Guitar, Vocals, Handclaps, Kyoko; Producer, Yoshimi. 10:28
- Boredoms, “"Ҩ" (Spiral)” from Vision Creation Newsun (2001 Birdman). There have been some live performances of this music from Vision Creation Newsun where Eye has recruited as many as twenty drummers to join the fray, all positioned in a circle with Eye conducting from the middle. And it’s said that this is not one of his most extreme performance setups. Bass, Effects, Vocals, Hilah; Drums, Percussion, Electronic Drums (Electric Pad), Vocals, ATR, E-Da; Drums, Percussion, Keyboards (Casiotone), Vocals, Yoshimi; Guitar, Vocals, Yamamotor; Vocals, Synth, Sampler (Samples), Turntables, Tape (Open Reel), Vocoder, Computer, Electronics, Edited, mixed by, Eye. 6:33
- Boredoms, “"↑" (Arrow Up)” from Vision Creation Newsun (2001 Birdman). Bass, Effects, Vocals (Vox), Hilah; Drums, Percussion, Electronic Drums (Electric Pad), Vocals, ATR, E-Da; Drums, Percussion, Keyboards (Casiotone), Vocals, Yoshimi; Guitar, Vocals, Yamamotor; Vocals, Synth, Sampler (Samples), Turntables, Tape (Open Reel), Vocoder, Computer, Electronics, Edited, mixed by, Eye. 6:26
- Adachi Tomomi, “Gamp” (2001 unofficial release). Adachi Tomomi is a performer/composer from Tokyo, Japan. He plays improvised music with voice, computer, and self-made instruments. 2:35
- Acid Mothers Temple & The Melting Paraiso U.F.O., “The Creation Of The Human Race” from 41st Century Splendid Man (2002 tUMULt). Bass synthesizer, bass harmonica, Tsuyama Atsushi; Drums, Yoshida Tatsuya; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Effects RDS 900, Synthesizer, Kawabata Makoto; Cosmic Companion, Ayano; Space Phone girl, Yoko; Synthesizer, Higashi Hiroshi; Vocals, Cotton Casino. From a picture disc version of this recording. 9:12
- Acid Mothers Temple & The Melting Paraiso U.F.O., “Dalai Gama” from 41st Century Splendid Man (2002 tUMULt). Bass synthesizer, bass harmonica, Tsuyama Atsushi; Drums, Yoshida Tatsuya; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Effects RDS 900, Synthesizer, Kawabata Makoto; Cosmic Companion, Ayano; Space Phone girl, Yoko; Synthesizer, Higashi Hiroshi; Vocals, Cotton Casino. From a picture disc version of this recording. 4:32
- Merzbow, “Argus” from Karasu: 13 Japanese Birds Pt. 4 (2009 Important Records). Music by Masami Akita. We included a cassette release from Akita in part 2 of this series. That was from early days for Merzbow, 1984. It seems fitting that we include a more recent CD by him here. Limited edition of 1,000 copies. Recorded and mixed in Tokyo, Feb 2009. 19:40
Opening background music: Far East Family Band, “Parallel World” from Parallel World (1976 MU Land). Music by, arranged by, Far East Family Band. Produced, recorded, computer mix by, Klaus Schulze. Recorded November 15th to December 5th 1976 at the Manor Studio, UK.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.
See my blog for the Bob Moog Foundation.
The Ambient Spaceship Soundscape
Episode 83
The Ambient Spaceship Soundscape
Playlist
This soundscape is divided into the following sections:
1:13-6:50--Hyperspace sleep chamber, where the sound of a clock and synthetic white noise reminiscent of crickets are always present to soothe the unconscious minds of the sleeping crew members.
7:00-17:24--Mechanicals room
17:25-22:18--Bridge and control deck
37:12-41:18--Greenhouse and aqua culture space
42:22-53:02--Power Generator and engine room
53:02-58:34—Observation deck
Total length: 1:04
Connecting these are various sections of passageways, walking on soft and hard textured surfaces, and various computer-controlled monitors and timers heard along the way.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.
Psychedelic Japan, Part 2
Episode 82
Psychedelic Japan, Part 2
Playlist
- Wha Ha Ha, “On the Floor” from Wha Ha Ha (1983 Recommended Records). This group released three records in 1981, all in Japan. Recommended Records, the UK-based record maker, released this compilation of tracks taken from all three of those records. The group Wha Ha Ha ended at that point but its four principle members went on to varied musical careers. Akira Sakata is an alto saxophonist, Kiyohiko Semba is a percussionist, Mishio Ogawa is a vocalist, and Shuichi Chino is a keyboardist and electronic musician. 10:08
- Merzbow, “Untitled 1” from Material Action for Two Microphone (sp) (2nd version) (1984 artist cassette). Masami Akita is one of my long-time favorite Japanese electronic/noise practitioners. He would send me cassettes back in the 1980s and I’ve always tried to keep up with him. Not strictly a Japanese psychedelic artist, I include him here primarily because, like some of the other artists in this podcast, he has widespread influence on other genres of Japanese electronic music. This prolific Japanese noise artist has released over 500 recordings since 1979.Recorded at Merzbau. Tape, Recorder, Synth, Effects, Kiyoshi Mizutani; Tape, Violin, Electronics, Effects, Masami Akita. Early cassette by Akita. 22:30
- Yoshiaki Kinno, track 4 from unknown cassette, 1984.Japanese guitar and saxophone improviser. In the 1980's he established a cassette label featuring a wide range of improvised music. 3:32
- Boredoms, “Boil Out UFO” from Boretronix 88' (1988 Mega Scum Groove Inc.). I think this is their first cassette release, going back to 1988. Boredoms (ボアダムス), alternatively known as V∞redoms, is a Japanese experimental/noise/space rock/tribal drumming band from Osaka, founded in 1986 by Yamatsuka Eye. Known for their extended jams and heavy drumming, it is remarkable that they had some mainstream success in the 1990s. Bass, Hira; Drums, EDA; Drums, Vocals, Yoshimi P-We; Guitar, Yamamotor; Music by, Boredoms; Words By, Vocals, Tibetan Bell, Effects (EQ-phasing), cassette tape manipulation, electronics, Eye. 2:18
- Boredoms, “Untitled” (excerpt) from Boretronix 3 (1990 Ltd.). Another early cassette release from Yamatsuka Eye on his private label. This cassette consists of remixes of unreleased Boredoms material and fully explores the noise and rhythmic aspects of their work. This is an interesting prelude to their latter, more cohesive works. Bass, Hira; Drums, EDA; Drums, Vocals, Yoshimi P-We; Guitar, Yamamotor; Music by, Boredoms; Words By, Vocals, Effects (EQ-phasing), cassette tape manipulation, electronics, Eye. 12:01
- Otomo Yoshihide, “We Insist? A) Rinko-Gun; b) x-Day” from We Insist? (1992 Sound Factory). Japanese experimental musician, turntablist and guitarist. Additional musicians on these tracks, Bass, vocals, Numata Jun; Guitar, Saito Ken-ichi; Vocals, performer (Junk), Lim Soowoong. 5:37
- Omoide Hatoba, “Satellite Groove” from Kinsei (1996 Birdman). Japanese psychedelic, alternative, experimental -rock band. Alto Saxophone Isamu Kawamura, Yoshimi Yamazaki, Bass, Vocals, Drums, Percussion, Synthesizer, Drum Machine, Atsushi Tsuyama, Drums, Takashi Ogushi; Drums, Computer, Tape, Chew Hasegawa, Guitar, Vocals, Violin, Percussion, Piano, Synthesizer, Drum Machine, Seiichi Yamamoto, Tenor Saxophone, Satoshi Kawanishi, Trumpet, Yoshimi, Written by, Omoide-Hatoba. 3:53.
- Omoide Hatoba, “Alternative Funkaholic” from Kinsei (1996 Birdman). A&R, David Katznelson; Alto Saxophone Isamu Kawamura, Yoshimi Yamazaki, Bass, Vocals, Drums, Percussion, Synthesizer, Drum Machine, Atsushi Tsuyama, Drums, Takashi Ogushi; Drums, Computer, Tape, Chew Hasegawa, Guitar, Vocals, Violin, Percussion, Piano, Synthesizer, Drum Machine, Seiichi Yamamoto, Tenor Saxophone, Satoshi Kawanishi, Trumpet, Yoshimi, Written by, Omoide-Hatoba. 2:30
- Yasunao Tone, “Part I” from Solo for Wounded CD (1997 Tzadik). Yasunao Tone was one of the founding members of Japan's Fluxus movement and has also been an organizer and participant in many important music and performance groups such as Group Ongaku, Team Random (the first computer art group organized in Japan). He is a pioneer in the use of prepared CDs of which this work is a prime example. All sounds used were from scratched CD's. 14:28
- Changing Hands, “Spaced” from Changing Hands (1997 Medium Productions Ltd.). Written, performed, produced by, Nobukazu Takemura, Richard Barbieri, Steve Jansen. Takemura is a Japanese electronic DJ, producer, and artist. Richard Barbieri is a keyboardist, engineer (once a member of the group Japan). Steve Jansen is an engineer, drum programmer/percussionist and DJ (and brother of David Sylvian). 6:54
- Melt Banana, “Section Eight” from Charlie (1998 A-Zap Records). Melt-Banana is a band from Tokyo, Japan. They were formed around 1991/1992 by singer Yasuko Onuki who later recruited guitarist Ichirou Agata and added the bassist Rika. Additional drummer, Natsume. 3:49
- Melt Banana, “Taen Taen Taen (?)” from Charlie (1998 A-Zap Records). Melt-Banana includes singer Yasuko Onuki, guitarist Ichirou Agata, and bass player Rika. Additional musician, electronics, Oshima. 0:45OOIOO, “1000 Frogs And 3 Sun In A House” from Feather Float (1999 Polystar). Bass, Handclaps, Maki; Drums, Handclaps, Yoshiko; Guitar, Vocals, Djembe, Bongos, Roland Juno and Casiotone synthesizers; Piano, Jew's Harp, Talking Drum, Scratches, Noises (Birds), Yoshimi; Guitar, Vocals, Handclaps, Kyoko; Producer, Yoshimi. 10:28
Opening background music: Junji Hirose + Yoshihide Otomo, “Noise From Far East” and “The Time to Live and the Time to Die” from Silanganan Ingay (1989 Tanga-tanga). Self-Made Instruments, Toy Rhythm Box, Toy (Voice-Changer), Toy Autoharp, Tenor Saxophone, Junji Hirose; Turntables, Cassette Tape, Hand-Made Guitar, Small Instruments, Toys, Otomo Yoshihide.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.
Psychedelic Japan, Part 1
Episode 81
Psychedelic Japan, Part 1
Playlist
- Flower Travellin’ Band, “Satori Part 2” from Satori (1971 Atlantic). Japanese rock band formed in 1970 which broke up in 1973 and reformed in 2008. Guitarist Hideki Ishima is a founding member. Moving from Sapporo to Tokyo in the mid-sixties, he played with the Group Sounds band The Outlaws from 1966 to 1969. Following that he joined The Flowers, who later became Flower Travellin' Band. He is also known for inventing the sitarla, a cross between an electric guitar and a sitar. 7:04 English translation of the lyrics:
There is no up or down
Your truth is the only master
Death is made by the living
Pain is only intense to you
The sun shines every day
The sun shines every day
Freedom, freedom!
- The Taj-Mahal Travelers “Between 7:03~7:15P.M.” from July 15, 1972 (1972 CBS/sony). This album was recorded live at Sohgetsu Hall, Tokyo, Japan, July, 1972. Formed in 1969 this group produced entirely improvised music with a remarkably celestial sound. The ensemble regularly played throughout Japan. In 1971, on the way back from touring Europe, they financed a trip to India to see the Taj-Mahal. Upon returning, they played a benefit concert on July 15, 1972 to help pay for their return to U.K. The track heard hear was part of that live performance. Electronic Contrabass, Santoor (Suntool), Harmonica, Sheet Iron, Ryo Koike; Guitar, Percussion, Michihiro Kimura; Electronic Trumpet, Harmonica, Castanets, Seiji Nagai; Vibraphone, Santoor (Suntool), Yukio Tsuchiya; Electronic Violin, Radio Oscillators, Voice, Takehisa Kosugi; Vocals, Tokio Hasegawa. 11:17
- Far East Family Band, “Entering/Times” from Parallel World (1976 Mu Land). Far East Family Band was a Japanese Psychedelic-Progressive-Rock band, founded 1975. Psychedelia with synths. Recorded November 15th to December 5th 1976 at the Manor Studio, UK. Music By, Arranged By, Far East Family Band; Music producer, Fumio Miyashita; Recording producer, Recorded and computer mix by, Klaus Schulze. Band included keyboardist Kitaro until this, their third album produced by Schulze. Kitaro was inspired to venture out into solo electronic work after this album. 15:26
- Les Rallizes Denudes (Lay RAL-lees DEN-yoo-day) “Strung Out Deeper Than The Night,” recorded live in 1977. From a bootleg recording of “Heavier Than a Death in the Family” (2002 Not on Label). This Japanese experimental rock band formed in November 1967 at Doshisha University in Kyoto, moved to Tokyo, and was led by Takashi Mizutani (1948-2019). Performed their last gig in October 1996. 15:28 English translation of the lyrics for this song:
Deeper than the night, darker than the darkness
You woke up with blood and madness
Spread your black wings under the burning sky
You are what I want After the black sun rises
I'll meet you every time I go in the flames of ice
midnight white venom
A white horse runs through my body
The hungry beast that died in the rain
fly out the window
you shatter the mirror
you shatter the night
A whispering angel surrounds you
I send my blue breath to your center
You're what I want After the black sun rises
Enveloping you, your breath
send to your center
Deeper than night and darker than darkness
When you woke up, you took death and madness
- Fushitsusha, “3. すきにやればいい” (“Do It When You Want”) from Invincible (First Live)/不失者 (1989 P.S.F. Records). Guitarist Keiji Haino founded Fushitsusha in 1978. This undated track is probably from 1978 and is part of a double album of live performances spanning the previous ten years that he released in 1989. Guitar, harmonica, Keiji Haino; drums, Seijiro Muryama; drums, Akui; bass, Yasushi Ozawa; guitar, Maki Miura. 11:36
- High Rise “Induced Depression” from Psychedelic Speed Freaks (1984 P.S.F. Records). First recording, bootleg album. Japanese psychedelic rock band. Formed in 1982 by Asahito Nanjo and Munehiro Narita under the name Psychedelic Speed Freaks. They changed their name to High Rise when the group released their debut album in 1984. Bass, Vocals, Asahito Nanjo; Guitar (Motorcycle Fuzztone), Munehiro Narita. 3:13
- Ghost, “Escaped And Lost Down In Medina” from Hypnotic Underworld (2004 Drag City). Japanese experimental rock and improvisation group formed in Tokyo in 1984 and disbanded in 2014.Their gradual evolution from a guitar-based band with assorted acoustic instruments (e.g., oboe, cello, recorder) and atmosphere (e.g., water, wind) to the inclusion of electronics began in the early 2000s. I think this is their first album that actually credits synthesizers and other electronics. Acoustic Guitar (6- and 12-String), Vocals, Masaki Batoh; Drums, Tabla, Percussion, Junzo Tateiwa; Electric Bass, Contrabass, Cello, Takuyuki Moriya; Electric Guitar, Michio Kurihara; Piano, Mellotron, Korg MS-20 Synthesizer, Organ, Lute, Recorder, Celtic Harp, Kazuo Ogino; Theremin, Flute, Saxophone, Tin Whistle, Bouzouki, Other, Producer, Taishi Takizawa; Written by Ghost. 7:10
- Ghost, “Aramaic Barbarous Dawn” from Hypnotic Underworld (2004 Drag City). 3:15
- Acid Mothers Temple & The Melting Paraiso U.F.O., “In C” from In C (2001 Eclipse Records). Japanese psychedelic rock band founded in 1995 and which exists as a kind of collective with many guests. This unique entry in the Acid Mothers catalog feature an interpretation of the famous Terry Riley minimalist landmark “In C” (1968 Columbia). This version is full of the psychedelic appurtenances you would expect of Acid Mothers and somewhat follows the original score, though much of the scored piece serves as a bed for the other wonderful sounds that swirl about. Bass (Monster), Tsuyama Atsushi; Drums, Ichiraku Yoshimitsu; Electric Guitar, Synthesizer, Higashi Hiroshi; Electric Guitar, Violin, Zuruna, Synthesizer, Kawabata Makoto; Producer, Engineer, Kawabata Makoto; Vibraphone, Glockenspiel, Terukina Noriko; Voice, Cotton Casino. 20:28
- Kikagaku Moyo, “Kodama“ from Forest Of Lost Children (2014 Beyond Beyond Is Beyond Records). Japanese psychedelic rock band formed by Tomo Katsurada and Go Kurosawa in 2012. Bass, Kotsuguy; Drums, Vocals, Go Kurosawa; Engineer, Yui Kimijima; Guitar, Daoud Popal; Sitar, Ryu Kurosawa; Theremin, Voice, Angie Gotopo; Vocals, Guitar, Tomo Katsurada; Written-By Go Kurosawa. Another one of the acclaimed bands in the Japanese progressive psych genre, the word is they are breaking up and play their last show in Tokyo in December 2022. 4:21
Opening background music: Les Rallizes Denudes, “Oz Days (1:33)” and “Wilderness of False Flowers”(7:36) from The Oz Tapes (1973 OZ Records). Recorded at OZ, Kichijoji, Tokyo 1973. Bass, Makoto Kubota; Drums, Shunichiro Shoda; Guitar, Takeshi Nakamura; Vocals, Guitar, Takashi Mizutani.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.
Electronic Music for Astral Tripping
Episode 80
Electronic Music for Astral Tripping
Or, Better Music Through Pharmacology
Playlist
- Hal Blaine, “Flashes” from Psychedelic Percussion (1967 Dunhill). Drums, Hal Blaine; Electronics (Moog), Paul Beaver; Keyboards, Organ, Electric Piano, Mike Lang; Percussion, Emil Richards, Gary Coleman. 2:22
- Raymond Scott, “LSD”public service announcement for the film, The Trip (1967), plus some electronic music snippets from Electronium (2007 Electronium). I’m not sure who the voice of the announcer is but the recording was produced by Raymond Scott and and I sandwiched the PSA between two snippets of Scott’s electronic music. Let this be a warning to you. 1:58
- Mort Garson, “Astral Projection” from Ataraxia–The Unexplained (Electronic Musical Impressions Of The Occult) (1975 RCA). Composed with an electronic music score (Moog Modular) by Mort Garson. 5:12
- Pierre Henry, “Electro-Genèse” from Mise En Musique Du Corticalart De Roger Lafosse (1971 Philips). Live improvisations recorded Feb. 15-21, 1971 by Pierre Henry using Roger Lafosse's Corticalart device, allowing one to transform brainwaves into electronic signals for further raw manipulations. Technical realization by Groupe Artec (Bordeaux) with electroacoustic equipment from Apsome and J. Heuze. I thought that we needed at least one piece that tapped directly into brain waves. 7:39
- Ron Jacobs, “Eating Food” and “Listening to Music” from A Child's Garden Of Grass (A Pre-Legalization Comedy) (1971 Elektra). Timely yet instantly dated, this relic capitalized on explaining marijuana to squares. The Electronic Music was by Alex Hassilev, which probably means that Paul Beaver did the synthesizer patchwork (both were involved in 1967 on the Zodiac Cosmic Sounds by Garson). 3:31
- Nik Raicevik, “Methedrine” from Numbers (1970 Narco). Although Raicevik went by the name 107-34-8933 for the initial release of this record on his Narco label, it was re-released by Buddha Records under the title Head by Nik Raicevik. Buddha dropped him and Raicevik went on to create several more crazy electronic albums for his Narco label. This was primarily a Moog Modular album. 5:59
- Steve Hillage, “Hurdy Gurdy Glissando” from L (1976 Atlantic). This album was produced by Todd Rundgren and featured some of his Utopia bandmates, Kasim Sulton (bass) and the mind-blowing Roger Powell on synthesizers (R.M.I. Keyboard Computer, Minimoog). But the star is guitarist Steve Hillage (Guitar, Guitar-synthesizer, ARP, EMS, Voice) and a 15th Century Hurdy Gurdy by Sonja Malkine. This is an extrapolation of the Donovan Leitch song, “Hurdy Gurdy Man,” also featured on the album. 8:54
- Eberhard Schoener and the Secret Society, “Trance-Formation” from Trance-Formation (1977 Harvest). Bass Guitar, Hansi Ströer; Choir, Members Of The Tölzer Knabenchor; Guitar, Andy Summers; Keyboards, Raimund Elleder; Orchestra, Orchestra of the Munich Chamber-Opera; Percussion, Nippi; Moog Synthesizer, Organ, Piano, Mellotron, Conductor Orchestra Conducted By, Composed By, Arranged By, Produced By, Sleeve Notes, Eberhard Schoener; Vocals, Mary Gregoriy, Monks Of The Monastery of Sama. 11:42
- Kitaro, “Astral Trip” from 天界 = Ten Kai / Astral Trip (1978 Wergo). Shakuhachi, Biwa, Ryusuke Seto; Sitar, Lavi; Moog, Korg, ARP, and Roland synthesizers, Koto, Mandolin, Acoustic Guitar, Drums, Percussion, Bass, Kitaro. Written and Arranged by Kitaro. 7:40
- Ozric Tentacles, “Lull Your Skull” from There Is Nothing (1986 Self-Released). Bass, Adam Mace; Drums, Nick Van Gelder; Guitar, Keyboards, Ed Wynne; Keyboards, Joie Hinton. 3:00
- Bill Nelson, “Opium” from Sounding The Ritual Echo (Atmospheres For Dreaming) (1985 Cocteau Records). "Sounding the Ritual Echo was recorded in the privacy of my own home on broken or faulty tape machines & speakers, each track possessing its own technological deformity. For this I offer no apology as the music owes its existence to a very personal & selfish obsession. As a direct result, some pieces will require a little patience.” Bill Nelson. 1:44
- Michael Magne, “Trip Psychiatrique” from Elements Nº 1 "La Terre" (1978 Egg). Bongos, Percussion, Grégori Czerkinsky; R.M.I. Keyboard Computer, ARP Odyssey, ARP Omni Polyphonique, ARP 2600, and Minimoog synthesizers, Clavinet D6, Electric Piano (Fender and Yamaha, composed, adapted, arranged by Michel Magne; Drums, Syn-drums, Jean-Paul Batailley. 4:35
- Pure Energy, “Spaced Out” from Spaced Out (12” vinyl) (1983 Say What!? Records). From the Netherlands. Need I say more? I’m not sure if this was about space or being spaced-out but it is definitely psychologically disorienting. This is the long version. 7:35
- Acid Mothers Temple & The Melting Paraiso U.F.O., “Stone Stoner” from Absolutely Freak Out (Zap Your Mind!!). Bass Monster Bass, Acoustic Guitar, Vocals, Other Cosmic Joker, Tsuyama Atsushi; Drums, Ichiraku Yoshimitsu; Drums, Percussion, Other Sleeping Monk, Koizumi Hajime; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Violin, Tambura, Effects Cosmic Ringmodulator, Rds900, Synthesizer, Organ, Electric Harpsichord, Vocals, Other Speed Guru, Producer, Engineer, Kawabata Makoto; Jew's Harp, Electric Guitar, Other Erotic Underground, Magic Aum Gigi; Narrator Cosmic Narration, Other Freak Power, Wellens Johan; Saxophone, Mano Kazuhiko; Vocals, Suzuki Chisen; Vocals, Synthesizer, Acoustic Guitar, Other Beer and Cigarettes, Cotton CasinoVoice, Other Cosmos, Ginestet Audrey; Recorded at Acid Mothers Temple and FTF Studio, May to July, 2000. Yes, this is what psychedelic music should sound like. I promise to do an entire podcast around Japanese psychedelic music soon. 16:19
Opening background music: Steve Hillage, “Hurdy Gurdy Man” (edit) from L (1976 Atlantic). Steve Hillage (Guitar, Guitar-synthesizer, ARP, EMS, Voice) and a 15th Century Hurdy Gurdy by Sonja Malkine. This is a cover version of the Donovan Leitch song, “Hurdy Gurdy Man.”
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.
Fler poddar
Podcasten The Holmes Archive of Electronic Music är skapad av Thom Holmes. Podcastens innehåll och bilderna på den här sidan hämtas med hjälp av det offentliga podcastflödet (RSS).
En liten tjänst av I'm With Friends. Finns även på engelska.