The Holmes Archive of Electronic Music

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.
Electone Museum online.
Electone Technology
The Organ Forum
 

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 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 secod 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.