The Holmes Archive of Electronic Music

Sitars and Synthesizers

Episode 29
Sitars and Synthesizers
 
Playlist
Vincent Bell With Orchestra, “Quiet Village,” from Pop Goes The Electric Sitar (1967 Decca). The Coral Electric Sitar with chorus and orchestra. Coral electric sitar, Vinnie Bell (its inventor). AKA Vincent Gambella, a popular session player, primarily on guitar.
Big Jim Sullivan, “Flower Power,” from Sitar Beat (1967 Mercury). Sitar and electric guitar, Jim Sullivan.
Ultimate Spinach, “Your Head is Reeling,” from Ultimate Spinach (1968 MGM). Vocals, Lead Guitar, Guitar Feedback, Sitar [Electric], Geoffrey Winthrop. A very brief introduction to this longer track, featuring the Coral Electric Sitar.
Enoch Light And The Light Brigade, “Marrakesh Express,” from ‎Permissive Polyphonics (1970 Project 3 Total Sound). Coral Electric Sitar, Vinnie Bell; Moog Modular Synthesizer, Dick Hyman; Electric Alto Sax, Arnie Lawrence; Bass, Julie Ruggiero; Drums, Billy LaVorgna.
Ami Dang, “Conch and Crow” from Parted Plains (2019 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang.
Ami Dang, “Souterrain” from Parted Plains (2019 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang.
Ami Dang, “Simplicity Mind Tool” from Meditations Mixtape Vol.1 (2020 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang.
Ananda Shankar, “Dance Indra,” from Ananda Shankar (1970 Reprise). Ananda Shankar is not related to Ravi Shankar, the great classical Indian sitar master. Sitar, Ananda Shankar; Keyboards, Moog Modular Synthesizer, Paul Lewinson; Tabla, Pranish Khan; Drums, Joe Pollard, Michael Botts; Bass, Jerry Scheff, Mark Tulin; Guitar, Dick Rosmini, Drake Levin. Trivia, produced by James Lowe and included Mark Tulin on bass, both members of the Electric Prunes from the late Sixties. Paul Lewison was playing a Moog owned by producer Alex Hassilev. Shankar wanted to combine Western and Indian music into a “new form” as he called it. Melodious, touching, combining modern electronics and traditional sitar. I think he succeeded. I have included two striking examples that stray a bit from the pop rock flavor of many of the tracks.
Ananda Shankar, “Raghupati,” from Ananda Shankar (1970 Reprise). Sitar, Ananda Shankar; Keyboards, Moog Modular Synthesizer, Paul Lewinson; Tabla, Pranish Khan; Drums, Joe Pollard, Michael Botts; Bass, Jerry Scheff, Mark Tulin; Guitar, Dick Rosmini, Drake Levin.
Okko Bekker, “East Indian Traffic,” Sitar & Electronics (1970 BASF). Sitar, Moog Modular Synthesizer, Tabla, Okko Bekker; Moog Modular Synthesizer, Simon Alcott (alias of British pop pianist Les Humphries); Flute, Herb Geller; Guitar, Peter Haesslein. Bekker is a Dutch sitarist, keyboardist, and producer. Indian influenced psychedelic music from the days of the Moog Modular, recorded in Germany. This came several years after the Beatles and Stones experimented with the sitar but was an early album to combine the sitar with a Moog modular synthesizer. I have no idea where he learned sitar but I do know whose Moog he used for this recording. The producer Simon Alcott had purchased some Moog modular units in 1970. Alcott is also the alias of Les Humphries. Most of the album consists of cover tunes of rock songs, such as The Beatles. I chose one of bolder Moog tunes.
Okko Bekker, “Delphin, Makarasana,” from Yoga Für Millionen (1978? Maritim). A German album of yoga instruction with musical soloist Bekker playing Sitar, Tabla, Moog Synthesizer, Flute, and Percussion. The narrator is Ulrich Brockmann.
Amon Duul II, “Wie Der Wind Am Ende Einer Strasse” from Wolf City (1972 United Artists). Bass, Lothar Meid; Drums, D. Secundus Fichelscher; Electric Guitar, John Weinzieri; Sitar, Al Sri Al Gromer; Tabla, Pandit Shankar; Tambura, Liz van Neienhoff; Organ, Synthesizer, Falk-U Rogner; Soprano Saxophone, Olaf Kübler; Timpani, Peter Leopold; Violin, Chris Karrer Paul Heyda.
Yves Hayat, “Path to Ascension” from Conversation Between the East and The West (1976 DeWolfe). Composer, sitar, guitars, bass, synthesizers, Yves Hayat; keyboards, vocals, Diane Crisanti. Produced as a record for broadcast libraries.
Cosmology, “Out of the Kiva,” from Cosmology (1977 Vanguard). Sitar, congas, percussion, Collin Walcott; Vocals, Percussion; Dawn Thompson; Acoustic Bass, Electric Bass, Rick Kilburn; Drums, Bells, Bob Jospé; Fender Rhodes, Piano, Oberheim Synthesizer, Armen Donelian; Trombone, Dave Glenn; Trumpet, Flugelhorn, Tin Whistle, Mayan Flute, Flageolet, John D'earth.
Clearlight, “Full Moon Raga,” from Visions (1978 Polydor). Bass, Philippe Melkonian; Grand Piano, ARP Odyssey, Gong, Cyrille Verdeaux; Sitar, Patrick Depaumanou; Minimoog, Luc Plouton; Tabla, Mohamed Taha; Drums, Percussion, Jacky Bouladoux; Electric Guitar, Bottleneck Cosmique, Christian Boule; Flute, Tenor Saxophone, Soprano Saxophone, Didier Malherbe; Violin, Bass Violin, Didier Lockwood; Vocals, Gérard Aumont, Gérard Gustin. The fourth album from this French progressive rock group headed by Cyrille Verdeaux on keyboards and ARP Odyssey. I have two recordings of this album. The original from 1978 had much less synthesizer. In 1992 they remixed the LP and added more synthesizer and vocals to the tracks. We are hearing the remixed version.
Electric Universe and Sitarsonic, “Dub Stanza” from Dub Stanza (2020 Sacred Technology). Electric Universe is an ambient electronic musician who teamed up with sitarist and electronic musician Sitarsonic (Paco Rodriguez) to produce this dub-flavored work. Paco is from Greece. Electric Universe is in Belgium.
Acid Mothers Temple & The Melting Paraiso UFO, “Ziggy Sitar Dust Raga,” from Ziggy Sitar Dust Raga (2003 Important Records). Vocals, Sitar, Cotton Casino; Tambura, Kawabata Makoto; Synthesizer, Higashi Hiroshi; Vocals, Tsuyama Atsushi. A psychedelic, trance-inducing treat from this inventive group of Japanese improvisers.
 
 
 
Thanks to Ami Dang for helping me with this episode. You can explore releases of her music as well as check out her podcast at her website.
Track played during the opening: The Folkswingers Featuring Harihar Rao ‎, “Paint it Black,” Sitar Beat (1966 Fontana). Sitar, Harihar Rao; Organ, Electric Piano, Larry Knechtel; Bass, Bill Pittman; Fender Bass, Lyle Ritz; Drums, Hal Blaine; 12-string Electric Guitar, Dennis Budimir; Guitar, Herb Ellis, Howard Roberts, Tommy Tedesco.
 
Track played during the opening: Lord Sitar, “I Am the Walrus,” from Lord Sitar (1968 Columbia). Sitar, Big Jim Sullivan.
Track played behind the Ami Dang interview: Ami Dang, “Ajooni” from Meditations Mixtape Vol.1 (2020 Leaving Records).
Also from Thom Holmes:
My Book: Electronic and Experimental Music, sixth edition, Routledge 2020.
My Blog: Noise and Notations.

Symphonic Rock with Electronic Keyboards

Episode 28
Symphonic Rock with Electronic Keyboards
 
Playlist
Emerson, Lake & Palmer, “Trilogy” from Trilogy (Island 1972). Keith Emerson, Moog Modular and Minimoog synthesizers, Hammond organ, piano; Carl Palmer, drums; Greg Lake bass, guitar, vocals.
Patrick Moraz, “The Conflict” from Patrick Moraz (1978 Charisma). All instruments played by Patrick Moraz, Djalma Correia and the Percussionists of Rio de Janeiro. Electronic keyboards by Moraz include grand piano, Hammond C3 organ, Minimoog, Polymoog, Oberheim 4- and 8-voice synthesizers (custom), Computron, Yamaha CS80, Micromoog, Mellotron, ARP Pro Soloist.
King Crimson, “Cirkus (Including: Entry Of The Chameleons),” from Lizard (1970 Island). Guitar, Mellotron, EMS VCS 3, electronic devices, Robert Fripp; bass guitar, vocals, Gordon Haskell; cornet, Marc Charig; drums, Andy McCulloch; flute, saxophone, Mel Collins; oboe, cor anglaise, Robin Miller; piano, electric piano, Keith Tippet; trombone,Nick Evans. Listen to the signature sound of the Mellotron in this track.
SFF, “Sundrops” from Symphonic Pictures (1976 Brain). Bass guitar, Mellotron, Heinz Fröhling; drums, percussion, synthesizer (Minimoog), Eduard Schichke; grand piano, Moog String Ensemble, Clavinet, Mellotron, Gerhard Fü Produced by Dieter Dirks. The Mellotron is also outstanding in this track.
Linda Cohen, “Nouveau Riche,” from Lake of Light (1973 Poppy). Classical guitar, Linda Cohen; acoustic guitar, bass, piano, Polytonic Modulator, Jefferson Cain; flute, Stan Slotter; producer, composer, electric guitar, electronic Matrix Drums; modulator, sitar, synthesizer, Craig Anderton; Minimoog, Theremin, Charles Cohen; trumpet, Stan Slotter.
James Newton Howard, “Six B’s” from James Newton Howard (1974 Kama Sutra). Composed, arranged, piano and synthesizers by James Newton Howard; drums, Brie Howard. Film and TV composer in an early solo album. Can you guess the synthesizers? I think he is playing an ARP Odyssey.
The Pink Mice, “Ouvertüre ‘Dichter Und Bauern,’" from In Synthesizer Sound (1973 Europa). Arranged and played by Rainer Hecht.
Seventh Wave, “Sky Scraper” and “Metropolis,” from Things To Come (1973 Gull). Piano, electric piano, Clavinet, ARP, Moog, and EMS synthesizers, Mellotron, glockenspiel, chimes, vocals, Ken Elliott; drums, congas, bongos, bells [sleigh], cymbal [finger, crash], castanets handclaps, claves, xylophone, vibraphone, Kieran O'Connor. An early mashup of many synthesizers.
Symphonic Slam, “Universe” from Symphonic Slam (1976 A&M). Polyphonic Guitar Synthesizer, vocals, Timo Laine; keyboards, backing vocals, David Stone; drums, backing vocals, John Lowery. The fully polyphonic guitar synthesizer developed by Bob Easton, 360 Systems L.A., contained six synthesizers, one for each string.
Alan Parsons Project, “I Robot” from I Robot (1977 Arista). Producer, engineer, guitar, keyboards, Projectron, vocoder, backing vocals, Alan Parsons; executive-producer, keyboards, synthesizer, vocoder, backing vocals, Eric Woolfson; drums, percussion, backing vocals, Stuart Tosh; guitar, backing vocals, Ian Bairnson; keyboards, Duncan Mackay. Chorus: The New Philharmonia Chorus, The English Chorale. The Projectron was a Mellotron-like device built by Alan Parsons. It was a 24-track tape device with each playback channel addressable by a keyboard. Parsons could easily switch-out the sounds for whatever effect he wanted and play them repeatedly as a sound loop.
Alan Parsons Project, “Nucleus” from I Robot (1977 Arista). Producer, engineer, guitar, keyboards, Projectron, vocoder, backing vocals, Alan Parsons; executive-producer, keyboards, synthesizer, vocoder, backing vocals, Eric Woolfson; drums, percussion, backing vocals, Stuart Tosh; guitar, backing vocals, Ian Bairnson; keyboards, Duncan Mackay. Chorus: The New Philharmonia Chorus, The English Chorale.
The Archive Mix included the following two tracks played at the same time:
Symphonic Slam, “Summer Rain” from Symphonic Slam (1976 A&M).
Munich Machine (Giorgio Moroder), “A White Shade of Pale” from A White Shade of Pale (1978 Oasis). Vocals, Chris Bennett; electronics, synthesizers, Giorgio Moroder.
Also from Thom Holmes:
My Book: Electronic and Experimental Music, sixth edition, Routledge 2020.
My Blog: Noise and Notations.
Music used for background in this episode: Emerson, Lake & Palmer, “When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Valentine,” from Works (Volume 2) (1977 Atlantic).
 
 

Keith Emerson: An Appreciation of His Moog Musicianship

Episode 27
 
Keith Emerson and Progressive Classical Rock
 
 
Playlist
Emerson, Lake & Palmer, “Lucky Man” from Emerson, Lake & Palmer (1970 Island). 4:37.
Emerson, Lake & Palmer, “Toccata” from Brain Salad Surgery (1973 Manticore). 7:16.
Emerson, Lake & Palmer, “Aquatarkus” from Welcome Back My Friends To The Show That Never Ends (1974 Manticore).10:32
Emerson, Lake & Palmer, “Mass” from Welcome Back My Friends To The Show That Never Ends (1974 Manticore). 12:47.
Emerson, Lake & Palmer, “Mass” live, from Puerto Rico, 1972. Excerpts for contrasting the Moog solos.
Emerson, Lake & Palmer, “From the Beginning” from Trilogy (1972 Island). 4:14.
Emerson, Lake & Palmer, alternate Minimoog solo, “From the Beginning.”
 
Plus background music excepted from the following recordings:
Emerson, Lake & Palmer, “Trilogy” from Trilogy (Island 1972).
Emerson, Lake & Palmer, “Abaddon’s Bolero” from Trilogy (Island 1972).
Emerson, Lake & Palmer, “When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Valentine” from Works (1977 Volume 2).
 
From Thom Holmes:
My Book: Electronic and Experimental Music, sixth edition, Routledge 2020.
My Blog: Noise and Notations.
 
Additional Links
Brian Kehew (and his book, Recording the Beatles).
Here’s a link to the story of the Emerson Moog Modular System from 2014 in which Brian figured prominently.
The Electronic Music Education and Preservation Project (EMEAPP), where the Emerson Moog Modular is currently housed.
Brian Kehew and Keith Emerson in the video documentary, 50th Anniversary of the Moog Modular Synthesizer.Published on Oct 11, 2014.

Not Tangerine Dream--Revisited

Episode 26
 
Not Tangerine Dream--Revisited
German Electronic Groups and Connections in the 1970s
 
Playlist
Eberhard Schoener, “Polonaise” in three parts, from Destruction Of Harmony - The Living Sound Of Synthesizer Based On Bach & Vivaldi (1971 Ariola). Composed/interpreted by, arranged by, Moog Modular synthesizer, Eberhard Schoener.
Wolfgang Riechmann, “Abendlicht” from Wunderbar (1978 Sky). Voice, electric violin, guitar, electric piano, bass, ARP 2600, ARP Odyssey, ARP Sequencer, Röhrophon, electronic drums, Wolfgang Riechmann.
Kraftwerk “Heimatklänge” from Ralf & Florian (1973 Philips). Vocals, keyboards, strings, wind instruments, drums, electronics, Florian Schneider, Ralf Hütter.
Stockhausen, “Side IV, Groups II and III” from Sternklang (Park-Music For Five Groups). For vocalists, instruments and electronics. From the notes: “The composition is written for groups of singers and instrumentalists, which are widely separated from each other spatially. The groups should be able to hear each other, above all, when a group has a pause. The musicians must also be able to regulate the overtones of the played and sung sounds, as these are described exactly. We therefore ask the listening participants to keep the silence that is necessary for the musicians.”
Kraftwerk “Tongebirge” from Ralf & Florian (1973 Philips). Vocals, keyboards, strings, wind instruments, drums, electronics, Florian Schneider, Ralf Hütter.
Peter Baumann, “Meadow Of Infinity (Part 2)” from Romance 76 (1976 Virgin). Composed, produced, and played by Peter Baumann. Used a custom-built synthesizer provided by Projekt Electronic Berlin.
Cluster, “Seltsame Gegend” from Curiosum (1981 Sky). Music by, produced, and played by Dieter Moebius and Hans-Joachim Roedelius.
Wolfgang Riechmann, “Weltweit” from Wunderbar (1978 Sky). Voice, electric violin, guitar, electric piano, bass, ARP 2600, ARP Odyssey, ARP Sequencer, Röhrophon, electronic drums, Wolfgang Riechmann. Produced by Conny Plank.
Cluster, “Helle Melange” from Curiosum (1981 Sky). Music by, produced, and played by Dieter Moebius and Hans-Joachim Roedelius.
Klaus Schulze, “Neuronengesang”, side four of Cyborg (1973/76 Brain). Music by, organ, synthesizer, vocals, percussion, Klaus Schulze.
 
Archive Mix
In which I play two tracks at the same time to see what happens.
Eberhard Schoener, “Overture” from Destruction Of Harmony - The Living Sound Of Synthesizer Based On Bach & Vivaldi (1971 Ariola). Composed/interpreted by, arranged by, Moog Modular synthesizer, Eberhard Schoener.
Peter Baumann, “Meadow Of Infinity (Part 1)” from Romance 76 (1976 Virgin). Composed, produced, and played by Peter Baumann. Used a custom-built synthesizer provided by Projekt Electronic Berlin. “Meadow Of Infinity Part 1” included members of the Philharmonic Orchestra Munich, conducted by H. Baumann.

The Hammond Novachord—An Early Synthesizer

Episode 25
The Hammond Novachord—An Early Synthesizer
 
Playlist
Milt Herth, “Basin Street Blues” from Basin Street Blues / Twelfth Street Rag (1937 Decca). Organ solo played on the Hammond Electric Organ. An example of the electro-mechanical organ sound, for comparison to the other tracks recorded using the Novachord.
Public Domain. “Intermission Music,” Gone With The Wind (Music From The Original Motion Picture Soundtrack As Monophonically Recorded In 1939), Max Steiner. This comprises two short works, one for the beginning of intermission (when the lights went up and everyone headed for the concession stand and bathrooms) and one for the end of intermission (when the lights went down). The music was recorded in 1939 for the movie theater.
Vera Lynn (vocal), “Wish Me Luck (As You Wave Me Goodbye)” from A Mother's Prayer At Twilight / Wish Me Luck (As You Wave Me Goodbye) (1939 Decca). UK recording with Arthur Young on the Novachord. A dexterous recording by Young who explored the rhythmic textures that were possible on the instrument.
Collins H. Driggs, “In a Persian Market” from Cascades Of Melody (1941 Victor). Novachord solo.
Collins H. Driggs, “The Blue Room” from Cascades Of Melody (1941 Victor). Novachord solo.
Collins H. Driggs, “Song of the Islands” from The Magic of the Novachord (1941 Victor). Novachord solo.
Fred Feibel, “Rose Room,” from Novachord Solos (circa 1941 Columbia). Novachord solo.
Herb Kern and Lloyd Sloop, “Dancing Tambourine” from Treasure Chests of Transcriptions for the Home (1949 Tempo). Hammond Electric Organ, Herb Kern; Hammond Novachord, Lloyd Sloop.
Herb Kern and Lloyd Sloop, “Twelfth Street Rag” from Treasure Chests of Transcriptions for the Home (1949 Tempo). Hammond Electric Organ, Herb Kern; Hammond Novachord, Lloyd Sloop.
Jerry Goldsmith, “It's Gotta Be A World's Record” from Our Man Flint (Original Motion Picture Score) (1966 20thCentury Fox). Novachord being put through at least four types of voicings as the tune progresses. The sounds are distinctly presented as solos.
Jerry Goldsmith, “Lost in Space” from In Like Flint (Original Motion Picture Score) (1967 20th Century Fox). The Novachord is heard for a short sequence about 16 seconds into this track and then again beginning at about 1:16 where is consists of a rhythmic bed for the rest of the track. A theremin is heard in the closing seconds.
Christopher Komeda, “The Coven” from Rosemary's Baby (Music From The Motion Picture Score) (1968 Dot). Paul Beaver played the Novachord on many tracks, mostly for effects. In this case, the Novachord plays a persistent drone rhythm throughout the track with other instruments played on top of the mix. It is sometimes hard to tell the effects that can be attributed to the Novachord once we get to this era of multitrack recording and studio effects.
The Mystic Moods Orchestra, “Sunny Goodge Street” from Emotions (1968 Philips). Paul Beaver’s Novachord (calliope sound) played by Lincoln Mayorga. You may also hear a harpsichord, Clavinet, piano, and celeste.
Phil Cirocco, “Music of the Electron” from ‎The Novachord Restoration Project: Music Of The Electron (2007 C.M.S.). Phil Cirocco at a restored Novachord.
Phil Cirocco, “The Inner Sanctum” from ‎The Novachord Restoration Project: Music Of The Electron (2007 C.M.S.). Phil Cirocco at a restored Novachord.
Phil Cirocco, “Spark” from ‎The Novachord Restoration Project: Music Of The Electron (2007 C.M.S.). Phil Cirocco at a restored Novachord.
Phil Cirocco, “The Floating” from ‎The Novachord Restoration Project: Music Of The Electron (2007 C.M.S.). Phil Cirocco at a restored Novachord.
Steve Howell and Dan Wilson, “NovaBerlin” from the UK Novachord Restoration Project (2010 Hollow Sun). Sample Novachord sounds using modern studio techniques. Although the Novachord did not have sequencing capability, the sounds can effectively be looped and repeated to create such sequences.
Steve Howell and Dan Wilson, “Strings Galore” from the UK Novachord Restoration Project (2010 Hollow Sun). Sample Novachord sounds using modern studio techniques. Demonstrates the string ensemble potential of the Novachord.
Steve Howell and Dan Wilson, “Montage” from the UK Novachord Restoration Project (2010 Hollow Sun). Sample Novachord sounds using modern studio techniques. Demonstrates a variety of musical styles using the Novachord.
Basia Bulat , “Time” from Good Advice (2015 Secret City). Vocals, Hammond Novachord, RMI Electra Piano, Piano, Synthesizer, Marxophone, Mellotron, Basia Bulat; bass guitar, electric guitar, Jim James; cello, Charlie Patton; drums, Dave Givan; violin, Scott Moore.
 
The Archive Mix
Two tracks played at the same time to see what happens.
Herb Kern, Lloyd Sloop, Warren Arey, “Silent Night” (1949 Tempo). chimes, vibraphone, vibraharp, Warren Arey; Hammond Electric Organ, Herb Kern; Hammond Novachord, Lloyd Sloop.
Milt Herth, “Twelfth Street Rag” from Basin Street Blues / Twelfth Street Rag (1937 Decca).
 
 
Links:
The US Novachord Restoration Project by Phil Cirocco.
Check out Hammond Novachord Sightings in movies and television assembled by Phil Cirocco.
The UK Novachord restoration project by Steve Howell and Dan Wilson.
National Music Centre of Canada/Centre de National Musique description of its Novachord.

The Sonic Suitcase Edition--Harbors

Episode 24
The Sonic Suitcase Edition—Harbors
 
Playlist
Thom Holmes, contact microphone on an expresso machine (2021 Connecticut).
Cook Laboratories, “Coffee Percolating” and “Pouring,” from Cook Sound Effects Vol 2 (1961 Cook).
Cook Laboratories, “Power Sawing.” From Cook Sound Effects Vol 2 (1961 Cook).
Cook Laboratories, “Water Dripping.” From Cook Sound Effects Vol 2 (1961 Cook).
Argo Transacord, “Evening in Harbour,” from Sounds of the Sea and Ships (1965, Argo).
Leo Hurwitz, Charles Pratt, “ Ocean Into Inland Waters” from Here At The Waters' Edge 1 (1962 Folkways).
Audio Fidelity, “Sawmill Scene” from Sound Effects Volume 14 (1972 Audio Fidelity).
Major Records, “Chopping Tree” from Major Records 5045B (1950).
Audio Fidelity, “Hammering Nail and Electric Saw” from Sound Effects Volume 1 (1960 Audio Fidelity).
Cook Laboratories, “Water going down noisy drain” from Cook Sound Effects Vol 2 (1961 Cook).
BBC, “Heavy Seawash” from Sound Effects No. 1 (1969 BBC).
BBC, “Seagulls” from Sound Effects No. 1 (1969 BBC).
Thom Holmes, contact microphone on an espresso machine frother (2021 Connecticut).
BBC, “Diving, 1 splash” from Sound Effects No. 1 (1969 BBC).
BBC, “Diving, double splash” from Sound Effects No. 1 (1969 BBC).
BBC, “Threshing water” from Sound Effects No. 1 (1969 BBC).
Mcintosh, “Alarm Clocks“ from Thru The Sound Barrier With McIntosh (1955 McIntosh Music).
Audio Fidelity, “National Cash Register Electronic Adding Machine” from Sound Effects Volume 1 (1960 Audio Fidelity).
Philip S. Gross, random morse codes without vocal instruction (1962 Folkways).
Philip S. Gross, vocal instruction without morse code (1962 Folkways).
Audio Fidelity, “IBM Electric Typewriter” from Sound Effects Volume 1 (1960 Audio Fidelity).
Audio Fidelity, “Royal Typewriter” from Sound Effects Volume 1 (1960 Audio Fidelity).
Cook Laboratories, “Power lawnmower.” From Cook Sound Effects Vol 2 (1961 Cook).
BBC, “Fireworks - General Display” from Sound Effects No. 1 (1969 BBC).
Speedy Sound Effects, “News Effects No. 11: Receiving from a Teletype Machine” from Sound Effects No. G-14 (1950 Speedy).
Audio Fidelity, “Railroad Telegraph” from Sound Effects Volume 1 (1960 Audio Fidelity).
Major Records, “Space Computer” from Sound Effects Volume 21 (1978 Major).
Audio Fidelity, “Serenity: The Silent Surf” from Ambience One (An Adventure In Environmental Sound) (1970 Audio Fidelity).
Thom Holmes, rain and thunder (2017 Connecticut).
Thom Holmes, chicken coop (2017 Upstate New York).
Audio Fidelity, “Fire Island Ferry” from Sound Effects Volume 14 (1972 Audio Fidelity).
Mel Kaiser, “Medium Freq. Sweeps (With Echo Re-Verb & Pulses, Drones)” from Science Fiction Sound Effects Record (1958 Folkways).
Mel Kaiser, “Low Freq. Sweeps” from Science Fiction Sound Effects Record (1958 Folkways).
Mel Kaiser, “Frequency Sweep - Dual” from Science Fiction Sound Effects Record (1958 Folkways).
Thom Holmes, bonfire (2017 Upstate New York).
Brad Miller, “The Sounds of the Storm” from Nature's Mystic Moods - The Sounds Of The Storm And The Sea (1974 Bainbridge).
Thom Holmes, rain drone study (2016 Connecticut).
Audio Fidelity, “Sunday Cycling, Central Park” from Sound Effects Volume 14 (1972 Audio Fidelity).
Thom Holmes, “Study for Interference (opening)” (2017, Connecticut).
Thom Holmes, electronic crickets and birds (2016-17 Connecticut).
Mcintosh, “Machinery Sounds“ from Thru The Sound Barrier With McIntosh (1955 McIntosh Music).
Cook Laboratories, “Festival” (excerpt) from Mexican Firecrackers (1956 Cook).
 

Music for Space Travelers

Episode 23
Music for Space Travelers
Lingering Sounds from the Atomic Age
 
Playlist
Hamilton O'Hara And Charlie Dobson Featuring Satellite Singers and Orchestra, Directed by, written by Jim Timmens, “With A Great Big Noise Like Thunder (Rocket Into Space),” from Journey to the Moon and More about Outer Space (1974, Golden Records). Excerpt.
Eric Siday, “Challenge of Space” from “The Ultra Sonic Perception” (1961 Conroy). Magnetic tape music and effects by Eric Siday for this album of library music for broadcast.
The Tornadoes, “Telstar” from The Sounds Of The Tornadoes (1962 London), written and produced by Joe Meek. The record was named after the Telstar communications satellite which was launched into orbit on July 10, 1962. It featured the Clavioline.
Toru Hatano, “Solaris” from Space Adventure (1978 Mu Land). Musical Instruments: KORG Polyphonic Ensemble 1000, KORG Polyphonic Ensemble "Orchestra" 2000, KORG Synthesizer 800DV, KORG Synthesizer 770, Rhythm Machine-mini pops 120P, Drums, Electric Guitar, Strings Ensemble.
Tom Dissevelt, “Moon Maid” from Song of the Second Moon (1968 Limelight). This was a North American reissue of a track from 1962 called “Drifting” recorded in the Netherlands at the Philips electronic music laboratory.
Dick Raaijmakers, “The Ray Makers” from Song of the Second Moon (1968 Limelight). This was a North American reissue of a track from 1962 called “Mechanical Motions” recorded in the Netherlands at the Philips electronic music laboratory. The US song title is a play on the last name of the composer, which is pronounced “Ray-makers.”
Hugues Dufourt, Ensemble D'Instruments Électroniques De L'Itinéraire, Peter Eötvös, “Saturne, Part C (1978),” from Saturne (1980 Sappho). The work was conceived for an ensemble of wind instruments (12 performers), a group of percussion (6 performers) and an ensemble of electrical instruments (4 performers). Saturne was recorded in the Espace de Projection of the IRCAM centre Pompidou on 1st and 2nd December 1979. The first public performance of the work was made on the same place on the 3rd December 1979. Composed by Hugues Dufourt. Ensemble D'Instruments Électroniques De L'Itinéraire, electric guitar and synthesizer, Claude Pavy, François Bousch.
Peter Huse, “Space Play (1969)” from Carrefour (Musique, Électro-Acoustique/Electroacoustic Music, Canada) (1972, Radio Canada International). Made in the Sonic Research Studio at Simon Fraser University. Huse was assistant director of the World Soundscape Project around this time. About this work he said, “Science fiction cinema taught me to regard all sounds and physical space as materials for music.” This play of sound in space was created using magnetic tape composition.
Eric Siday, “Galaxy” from “The Ultra Sonic Perception” (1961 Conroy). Magnetic tape music and effects by Eric Siday for this album of library music for broadcast.
John Keating, “Earthshine” from Space Experience 2 (1975 EMI). Produced by John Keating. Keyboards by Francis Monkman. All electronic instruments by ARP including 2600, Odysseynsemble, Pro Soloist, String Ensemble.
Claude Dubois, “Une Guitare Des Ondes Et Leur Machine” from Fable D'espace (1978 Pingouin). Music and lyrics, produced by Claude Dubois; Synthesizer, Jean-Yves Labat; Drums, John Wilcox; Guitar, Percussion, Synthesizer, Engineer, John Holbrook; Piano, Clavinet, Bass, Electric Piano Richard Bell.
Spirit, “Space Child,” from Twelve Dreams of Dr. Sardonicus (1970 Epic). Composer, keyboards, Moog Synthesizer, John Locke; vocals, guitar, Randy California; vocals, percussion, Jay Ferguson; drums, percussion, Ed Cassidy; bass, vocals, Mark Andes; produced by David Briggs.
Lothar and the Hand People, “Space Hymn” from “Space Hymn” (1969 Capitol). ''All electronic music on this album was created and realized by the Hand People on Moog Synthesizer and Lothar, the Theremin.'' Lothar and the Hand People: John Emelin, Kim King, Paul Conly, Rusty Ford, Tom Flye. Written by Tom Flye. Produced by Nickolas Venet.
Sun Ra, “Cosmic Explorer (1970)” excerpt, from Nuits De La Fondation Maeght Volume 1 (1971 Shandar). “Intergalactic instruments played by Sun Ra.” Recorded live at Saint Paul de Vence, France, 3/5 August 1970. Compositions by Sun Ra. Minimoog solos by Sun Ra. Percussion by Nimrod Hunt, Lex Humphries, and John Goldsmith. I’ve included over eight minutes of this 20-minute piece.
Isao Tomita, “The Sea Named ‘Solaris’ (Bach, Three-Part Invention No. 2 in C Minor-Chorale)," from Kosmos (1978 RCA). This is the complete version of the work that was shortened for use with the Cosmos television series and various greatest hits albums. " Music electronically created by Isao Tomita.
Vangelis, “Pulstar” from Albedo 0.39 (1976 RCA). Keyboards, synthesizers, drums, bass, Vangelis. Speaking Clock: Post Office Telecommunications. The term “albedo” refers to the reflecting power of a planet or other non-luminous body.
Isao Tomita, “The Earth - A Hollow Vessel” (Tomita: “Dororo”), from The Bermuda Triangle (1979 RCA). Music electronically created by Isao Tomita.
Isao Tomita, “The Song Of Venus (Prokofiev: Violin Concerto No. 1, First Movement),” from The Bermuda Triangle (1979 RCA). Music electronically created by Isao Tomita.
Archive Mix (two tracks played at the same time).
Dick Raaijmakers, “Song of the Second Moon” from Song of the Second Moon (1968 Limelight). Recorded in the Netherlands at the Philips electronic music laboratory in 1962.
Sun Ra, “The Star Gazers” (1970)” from Nuits De La Fondation Maeght Volume 1 (1971 Shandar). “Intergalactic instruments played by Sun Ra.” Recorded live at Saint Paul de Vence, France, 3/5 August 1970. Compositions by Sun Ra. Synthesizer [Moog], piano, electric piano, organ [electric], Sun Ra; vocal by Verta Grosvenor.

Music from the Dark--In Memory of Harold Budd

Episode 22
Music from the Dark–In Memory of Harold Budd
Playlist
Harold Budd, “Style Is,” an interview excerpt (with music) (cassette, 1983 Les Disques Du Crépuscule). Part of a longer production by Wim Mertens for the New Musical Festival in Chicago, July 1982, featuring music and interviews (by Mertens). The festival featured performances by Peter Gordon, Jon Gibson, Meredith Monk, Jill Kroesen, Glenn Branca and others. The recording was dedicated to John Cage, and intended to be released on his 70th birthday, 1982.
Harold Budd, “Noyo” (1970 unreleased), excerpt. From a late-night electronic music mix produced by the editorial staff of Source Magazine--Music of the Avant Garde. Harold Budd, voice, Buchla Modular synthesizer, jazz ensemble (uncredited).
Harold Budd, “The Oak of The Golden Dreams” (1971 Advance), for Buchla modular synthesizer from the California Institute of the Arts, based on the Balinese 'Slendro' scale, a five-note scale and the older of the two most common scales used in Indonesian gamelan music.
Harold Budd, “The Plateaux Of Mirror” from Ambient 2 (The Plateaux Of Mirror) (1980 Editions EG). Composed by Harold Budd and Brian Eno; acoustic and electric piano, Harold Budd; other instruments and treatments, produced by Brian Eno.
Harold Budd, “The Serpent (In Quicksilver)” from The Serpent (In Quicksilver) (1981 Cantil). Bass, Eugene Bowen; Electric Piano [Yamaha Electric Piano], Grand Piano [Bosendorfer], Organ [Hammond Organ] and producer, Harold Budd.
Harold Budd, “On Performing,” an interview excerpt (with music) (cassette, 1983 Les Disques Du Crépuscule).
Harold Budd, “A Stream with Bright Fish” from The Pearl (1984 Editions EG). Composed by Harold Budd and Brian Eno. Produced by Brian Eno and Daniel Lanois.
Harold Budd, “Against the Sky” from The Pearl (1984 Editions EG). Composed by Harold Budd and Brian Eno. Produced by Brian Eno and Daniel Lanois.
Harold Budd, “Abandoned Cities” excerpt from Abandoned Cities (1984 Cantil). Composed, performed and produced by Harold Budd. Guitar Eugene Bowen.
Harold Budd, “Flowered Knife Shadows (For Simon Raymonde)” from Lovely Thunder (1986 Editions EG). Composed and performed by Harold Budd. Produced by Harold Budd and Michael Hoenig.
Harold Budd, “The White Arcades” from The White Arcades (1988 Opal). Composed, performed and produced by Harold Budd
Harold Budd, “Advent” from By The Dawn's Early Light (1991 Opal). Piano, Organ [Hammond B3], Synthesizer, Vocals, Artwork, Written-By [Poems], Composed By, Producer, Harold Budd; Electric Guitar, Acoustic Guitar, Bill Nelson; Harp, Susan Allen; Steel Guitar, BJ Cole; Viola, Mabel Wong.
Harold Budd, “Paul McCarthy” from Luxa (1996 All Saints). Composer, performer, producer, Harold Budd.
Harold Budd, “The Room of Ancillary Dreams” from The Room (2000 Atlantic). Composer, performer, producer, Harold Budd.
Harold Budd, “Arabesque 3” from Avalon Sutra (2004 Samadhisound). Composer, performer, producer, Harold Budd. Composer and sopranino saxophone, Jon Gibson.
Harold Budd, “It’s Steeper Near the Roses (for David Sylvian)” from Avalon Sutra (2004 Samadhisound). Composer, performer, producer, Harold Budd. Cello,Marston Smith; Viola, James Acevedo; Violins, James Sitterly and Peter Kent.
Harold Budd, “Jane 1” from Jane 1-11 (2014 Darla). Composer, performer, producer, Harold Budd.
Harold Budd, “As Long as I can Hold My Breath” from Avalon Sutra (2004 Samadhisound). Composer, performer, producer, Harold Budd.
 
Archive Mix (two tracks played at the same time).
Harold Budd, “Jane 11” from Jane 1-11 (2014 Darla). Composer, performer, producer, Harold Budd.
Harold Budd, “As Long as I can Hold My Breath” (excerpt of longer version) from Avalon Sutra (2004 Samadhisound). Composer, performer, producer, Harold Budd.