The Holmes Archive of Electronic Music

Electronic Literature

Episode 31
Electronic Literature
The Marriage of Electronic Music, Poetry, and Literature
 
Playlist
Luciano Berio, "Thema (Omaggio A Joyce)," from Orient-Occident/Momenti-Omaggio A Joyce/Continuo/Transition 1 (1967 Philips). Composed by Luciano Berio at the RAI studio in Milan. Vocals, Cathy Berberian. The piece dates from 1958-59. An exploration of editing and tape composition with the voice as a key source of audio material. This is an interpretative reading of the poem "Sirens" from chapter 11 of the novel Ulysses by James Joyce. This release on the Philips Prospective 21e Siècle is shorter than the one released around the same time on the Turnabout label in America. It omits the spoken sequence at the beginning where Berberian recites the words prior to them being manipulated on tape.
John Cage/David Tudor, "Side 3" excerpt from Indeterminacy: New Aspect of Form in Instrumental And Electronic Music (1959 Folkways). John Cage reads previously prepared stories and anecdotes, David Tudor performs electronic music at the same time with no Earthly connection between the two. This was a long-standing performance practice of theirs and I saw them do this several times.
John Cage, "Part One (To Line 220)" from Roaratorio: An Irish Circus On Finnegans Wake (1992 Mode), excerpt, for speaker, Irish musicians and 62-track tape. Speaker, John Cage. Production: WDR, Köln; Süddeutscher Rundfunk, Stuttgart; Katholieke Radio Omroep, Hilversum; Technical cooperation: IRCAM, Paris. First transmission: 22 October 1979, WDR3-Hörspielstudio. This score is a means for translating any book into a performance without actors, a performance which is both literary and musical or one or the other. In this case, the book was Finnegans Wake by James Joyce. The text of Roaratorio was published separately as Writing for the Second Time Through Finnegans Wake. This was part of the evolution of Cage's interest in creating works of text for performance with music and other activities. It further evolved into his use of texts by Henry David Thoreau for which he used chance processes to derive a text for solo vocal performance.
Shakespeare, excerpt, (1962 Odhams Books Ltd.). BBC radioplay production with musique concrète by Desmond Leslie. King Henry is played by Richard Burton. Electronic music provided on tape for a set of Shakespeare play productions. This short. 2 and a half-minute segment is from Act IV, Scene 3 and gives you an idea of how the sound effects was joined with the dialog. This was a common outlet for electronic music in the UK.
Shackleton, “Music For The Quiet Hour, Part 2,” excerpt, from Music For The Quiet Hour (2012 Woe To The Septic Heart!). Vocals, words (poetry), Vengeance Tenfold; Composer, producer, A. Gerth, K. Biswas, Sam Shackleton. A collaboration between producer Shackleton and vocalist Vengeance Tenfold. Beats, bass and rhythm patterns provide a backdrop for some stark poetry. This is a portion of a longer work that whose overall length is about an hour.
Lily Greenham, “Traffic” from Lingual Music (2007 Paradigm Discs). Reissue of text-sound works made by Danish concrete poet Lily Greenham, probably between 1972-75. Hugh Davies is credited with assisting on the electronics for this work. Voice: Lily Greenham.
Anne Clark, "Swimming" and "An Ordinary Life" from The Sitting Room (1982 Red Flame). Clark is a foremost British poet who fuses her texts with electronic music. This was the first of her albums. Words, Keyboards, Electronic Percussion, Water Percussion, Anne Clark; Guitar, Effects, Voice, Gary Mundy; Keyboards, Domonic Appleton, Patrik Fitzgerald; Keyboards, Electronic Percussion, Andrea Laschetti.
Rick Wakeman, “The Journey,” excerpt, from Journey to the Center of the Earth (1974 A&M). Recorded in concert at The Royal Festival Hall London on Friday January 18th 1974. Synthesizers and other keyboards, Rick Wakeman; Narrator, David Hemmings; drums, Barney James; guitar, Mike Egan; accompanied by the London Symphony Orchestra conducted by David Measham.
Alan Parsons Project, "The Raven" from Tales of Mystery and Imagination - Edgar Allan Poe (1976 Charisma). Words from the tale of the same name by Poe. The Harmony Vocoder heard on "The Raven" was invented and built by EMI Central Research Laboratories.Keyboards, Alan Parsons, Andrew Powell, Billy Lyall, Christopher North, Eric Woolfson, Francis Monkman; Composed by Alan Parsons, Andrew Powell, and Eric Woolfson.
Silver Apples, "Dust" from Silver Apples (1968 Kapp). "INSTRUCTIONS: Play Twice Before Listening." Composed and Arranged by Dan Taylor and Simeon; Percussion, Dan Taylor; Oscillators, mixers, electronic gear (The Simeon), Simeon; Vocals, Dan Taylor, Simeon.
Alice Shields, " Study For Voice And Tape" from Columbia-Princeton Electronic Music Center 1961-1973 (1998 New World Records). Recorded Voice, Buchla synthesizer, poem by Alice Shields.
Ronald Perera, "Three Poems of Gunter Grass," part 1, “Gleisdreieck" from Music And Words (1980 CRI. Ronald Perera, electronic music on tape created in the Smith College Electronic Music Studio; soprano, Elsa Charlston; Conductor, Richard Pittman.
John Hill, "Europa" from Six Moons Of Jupiter (2009 Finders Keepers). Recorded at Sigma Sound, Philadelphia, January-August 1970, but I don't think it was ever released. Uses a Moog Modular synthesizer programmed by Walter Sear. Composed, arranged produced, Moog Modular Synthesizer, Guitar, Bass, Flute, Recorder, Hammond organ, John Hill; Drums, Percussion, Jimmy Valerio; Performer (Poetry), Susan Christie; poetry, Ian Michaels.
Ruth White, "The Clock," "Evening Harmony," "Lover's Wine," Owls," from Flowers of Evil (1969, Limelight). Composer, vocals, electronics (Moog Synthesizer), Ruth White; based on poetry by Charles Baudelaire, translated by Ruth White. Fantastic music from this singular composer who owned a Moog Modular Synthesizer. Her other music was often composed for media, television, and children’s records.
 
 
Archive Mix
In which I play two records at the same time to see what happens. The recordings were:
Lily Greenham, “ABC in Sound” from Lingual Music (1968/2007 Paradigm Discs). Recording from 1968 and includes the words of poet Bob Cobbing.
Arif Mardin, “The Prophet,” excerpt from side 1, from The Prophet (1974 Atlantic). Narrator Richard Harris; keyboards, Bob James, Pat Rebillot, and Ken Bichel (ARP 2600). Poetry by Kahlil Gibran.
 
 
The opening montage consists of excerpts from Milt Gabler and a reading of “The People Yes (Excerpt)” by Carl Sandburg and some saxophone music from Avant Slant (1968 Decca); James Joyce reading “Anna Livia Plurabelle” (1929 The Orthographic Institute); John Cage and David Tudor, Indeterminacy (1959 Folkways); Alice Shields, Dance Piece No. 3 from Columbia-Princeton Electronic Music Center 1961-1973 (1998 New World Records); Luciano Berio, "Thema (Omaggio A Joyce)," from Electronic Music III (1967 Turnabout);  Anne Clark, "The Sitting Room " from The Sitting Room (1982 Red Flame); Arif Mardin, “The Prophet,” excerpt from The Prophet (1974 Atlantic); Ruth White, "Owls" from Flowers of Evil (1969, Limelight).
 
Background music is excerpted from Shackleton, “Music For The Quiet Hour, Part 2,” from Music For The Quiet Hour (2012 Woe To The Septic Heart!).
 
Opening and closing sequences voiced by Anne Benkovitz.
 
 
 

Music of the Body

Episode 30
Music of the Body
 
Playlist
 
The Heart
Orphx, “Biorhythm” from The Living Tissue (2001 Hands Productions). Rich Oddie and Christina Sealey, modular and analog synthesizers, software, location recordings and feedback circuits. Includes the modified sounds of the heartbeat, breath and synthesizer.
The Brain
Alvin Lucier, “Music for Solo Performer” from Music for Solo Performer (1982 Lovely Music). Performance by Pauline Oliveros. Percussion Arrangement, Ron Kuivila; Engineers, Jack Stang, Nicolas Collins; Producer, Alvin Lucier. Recorded January 21-24, 1982 at Nickel Recording, Hartford, CT. Reportedly, the first musical work in history to use brain waves to generate sound (whereas the sonification of brain waves has been around since the 1930s). Composed by Lucier during the winter of 1964-65 and first performed with the help of physicist Edmond Dewan on May 5, 1965. Lucier had the brilliant idea to let the amplified brain wave signals create music through sympathetically vibrating various percussion surfaces and objects through loudspeakers. For this recording, Nic Collins also created a number of voltage-driven solonoids to act as “electric drumsticks” to play various metal instruments and small drums, all controlled by the Alpha waves generated by the brain of the performer.
Pierre Henry, “Levitation” from Mise En Musique Du Corticalart De Roger Lafosse (1971 Philips). Live improvisations recorded Feb. 15-21, 1971 by Pierre Henry from Roger Lafosse's Corticalart device, allowing to transcribe the electric cortex waves in electronic signals for further raw manipulations.
The Human Voice
Orphx, “Mother Tongue” from The Living Tissue (2001 Hands Productions). Rich Oddie and Christina Sealey, modular and analog synthesizers, software, location recordings and feedback circuits. Includes the modified sounds of the human body and voice.
Ben Patterson, “A Fluxus Elegy” (excerpt) from A Fluxus Elegy (2006 Alga Marghen). Limited edition of 345 copies. Patterson, a double bass player, was an original member of the Fluxus movement of the 1960s. This elegy to Fluxus artists consists of the initials of the names of key Fluxus artists, encoded into basic Morse code and then performed using a Yamaha DJX keyboard (voice pattern setting) connected to a Digitech JamMan Looper (over-dub setting) connected to a Eurorack MX 602 mixer.
The Breath, Lungs
Johan Timman, “The Windpipe” and “The Lungs” from Trip Into the Body (1981 Fleet). Composed, performed, recorded, and mixed by Johan Timman. Timman had a massive private studio consisting of Moog synthesizers, some privately made, plus other electronic music instruments. Brands represented include Moog, Oberheim, Roland, EMS, and Synton (vocoder). His was an elaborate analog studio on the eve of the digital revolution.
Roger Waters and Ron Geesin, “Body Transport” from Music From the Body (1970 Harvest). Roger Waters and Ron Geesin, guitars, body sounds, field recordings, tape composition. Geesin was a composer and tape music technician who worked with Pink Floyd on 1970’s Atom Heart Mother. He collaborated with Waters on this set of songs inspired by the human body, the most tuneful of which were used in a 30-minute television production. The rest of the material not used for the TV production included this piece for clapping, vocal and other sounds.
Endoscopy
Teresa Rampazzi, “Musica Endoscopica” (1972/2008 Die Schachtel) in entirety. Teresa Rampazzi was an Italian pianist and composer of electronic music. After meeting John Cage in 1958 she devoted herself to developing electronic music. In 1965 she founded the Gruppo NPS (Nuove Proposte Sonore) in Padua which also experimented with computer music. This is a soundtrack made in 1972 for a documentary film called Gastroscopia. Rampazzi wove the actual sound of “gloomy sound blocks and textures of convulsive rhythms” into electronic works for each stage of the digestive system. The sequence is named after sections of the digestive tract: Fibre Ottiche, Laringe, Stomaco, Esofago, Stomaco, Esofago, Stomaco, Stomaco Più Esofago, Stomaco Operato, Duodeno Normale, Duodeno Patologico, and Papille Di F. E Altro (optical fibres).
 
The Archive Mix—where two tracks are played at the same time to see what happens.
Frank Zappa and the Mothers of Invention, Nasal Retentive Caliope Music (1968 Verve).
Johan Timman, “Heart” from Trip Into the Body (1981 Fleet). Composed, performed, recorded, and mixed by Johan Timman.
 
Other Notes
Opening track: Roger Waters and Ron Geesin, “Our Song” (excerpt) from Music From the Body (1970 Harvest). Roger Waters and Ron Geesin, guitars, body sounds, field recordings, tape composition.
 
Also heard from time to time, excerpts from Auscultation Of The Heart (1966 London) by J. B. Barlow* & W. A. Pocock, narration by Stephen O'Reilly. A medical reference recording with discussion and examples of various heartbeats and pathologies. “Provided as a service to medical students as a part of the Medical School Program of Warner-Chilcott Laboratories.”
 
I encourage you to pick up a copy of Alvin Lucier’s Music 109: Notes on Experimental Music. This is the most digestible and thoughtful book about the avant garde since Cage’s Silence and it is grounded by Lucier’s real-world experience teaching and mentoring musicians for his many years at Wesleyan.
 
Opening and closing sequences were voiced by Anne Benkovitz.
 

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).