The Holmes Archive of Electronic Music

Dub Electronic

Episode 52
Dub Electronic
Playlist
Herman Chin-Loy, “Heavy Duty” from Aquarius Dub (1973 Aquarius). Recorded in Jamaica. Backing Band, The Now Generation Band; Bass, Val Douglas; Drums, Mikey Richards; Guitar, Geoffrey Chung, Mikey Chung; Keyboards, Augustus Pablo, Earl "Wire" Lindo, Robbie Lyn; Melodica, Augustus Pablo; Producer, Herman Chin Loy. 2:56
Herman Chin-Loy, “Jah Jah Dub” from Aquarius Dub (1973 Aquarius). Recorded in Jamaica. Backing Band, The Now Generation Band; Bass, Val Douglas; Drums, Mikey Richards; Guitar, Geoffrey Chung, Mikey Chung; Keyboards, Augustus Pablo, Earl "Wire" Lindo, Robbie Lyn; Melodica, Augustus Pablo; Producer, Herman Chin Loy. 2:31
Upsetters, “African Skank” from Upsetters 14 Dub Black Board Jungle (1973 Upsetter). Recorded in Jamaica. Produced by Upsetter L. Perry. 3:16
Upsetters, “V/S Panta Rock” from Upsetters 14 Dub Black Board Jungle (1973 Upsetter). Recorded in Jamaica. Produced and Arranged By Lee Perry; Engineer, King Tubby, Lee Perry; Bass, Aston "Family Man" Barrett; Drums, Benbow; Melodica, Augustus Pablo; Organ, Touter, Winston Wright; Trombone – Ron Wilson; Trumpet – Bobby Ellis. 3:33
Derrick & The Crystalites, “Lion Dub” (theme from Shaft) from Derrick Harriott Presents Scrub A Dub Reggae (1974 Crystal Records). Recorded and mixed in Jamaica. Engineer, Brother George; Produced and written by Derrick Harriott. 3:39
Augustus Pablo, “The Big Rip Off” from Ital Dub (1974 Starapple). Recorded in Jamaica. Engineer, King Tubby, Ronald Logan, Sylvan Morris; Mixed By King Tubby (Dub Master); Produced by Tommy Cowan, Warrick Lyn; Written by, Melodica, Augustus Pablo. 3:14
Augustus Pablo, “Rockers Meets King Tubbys In A Fire House” from Rockers Meets King Tubbys In A Fire House (1980 Shanachie). Recorded in Jamaica. Backing Band, Rockers All Stars Bass, Bugsy; Junior Dan, Michael Taylor, Robby Shakespear; Drum, Albert Malawi, Leroy Wallace; Mickey Boo; Horns, Deadly Headely; Lead Guitar, Dalton Brownie, Earl (Chinna) Smith; Mixed By, Augustus Pablo, King Tubbys; Prince Jammys; Organ, Piano, String Ensemble, Melodica, Augustus Pablo; Percussion, Jah Levi, Jah Teo, Sticky; Arranged By, Augustus Pablo, H. Swaby; Michael McGeachy Rhythm Guitar, Cleon; Fazal Prendergas. 4:36
Jah Shaka, “Verse 6” from Commandments Of Dub (1982 Jah Shaka Music). Recorded in Jamaica. Bass, Hughie Issachar, Shaka; Drums, Errol Drummie, Wazair (Black Brother); Effects, Shaka; Lead Guitar, Hughie Issachar, Tony Benjamin; Mastered By, John Hassall; Melodica, Hughie Issachar; Mixed by, Jah Shaka, Neil Frazer (Professor); Organ, Errol Drummie, Wazair; Percussion, Bongos, Dan, Shaka Joseph, Wazair; Piano, Dudley, Shaka, Wazair, Produced by Jah Shaka; Rhythm Guitar, Hughie Issachar, Tony Benjamin; Xylophone, Joseph. 4:46
Mad Professor, “Beyond The Realms Of Dub” from Beyond The Realms Of Dub (Dub Me Crazy! The Second Chapter) (1982 Ariwa). Produced by Mad Professor; Bass, drums, piano, Garnett Cross; Organ, Synth, Errol Reid; Percussion – Jah Shaka. 7:13
Love Joys, “All I Can Say” from Lovers Rock Reggae Style (1983 Wackies). Recorded in Jamaica. Written by, Vocals, Claudette Brown, Sonia Abel; Backing Band, Wackie's Rhythm Force; Bass, Jah T.;Bass, Guitar, Jerry Harris; Bass Keyboards, Clive Hunt; Drums, Clive Plummer, Fabian Cooke Engineer, Levy, Barnes, Delahaye; Executive-Producer, Lloyd & Lloyd Prod. Inc.; Guitar, Keyboards, Barry V.; Horns, Rolando Alphonso; Keyboards, Owen Stewart; Percussion, Ras Menilik; Producer, Bullwackie. 8:33
Love Joys, “One Draw” from Lovers Rock Reggae Style (1983 Wackies). Recorded in Jamaica. Written by, Vocals, Claudette Brown, Sonia Abel; Backing Band, Wackie's Rhythm Force; Bass, Jah T.;Bass, Guitar, Jerry Harris; Bass Keyboards, Clive Hunt; Drums, Clive Plummer, Fabian Cooke Engineer, Levy, Barnes, Delahaye; Executive-Producer, Lloyd & Lloyd Prod. Inc.; Guitar, Keyboards, Barry V.; Horns, Rolando Alphonso; Keyboards, Owen Stewart; Percussion, Ras Menilik; Producer, Bullwackie. 7:21
Jah Shaka, “Zion Chant Dub” from Commandments Of Dub II (1984 Jah Shaka Music). Produced, Arranged by Jah Shaka; Synthesizer Mark Victor; Bass, Byron Duce, Ras Elroy; Bongos, Brother Joseph; Drums, Errol The General, Jah Bunny; Guitar, Mike Dorane, Tony Benjamin; Mastered By Felicity Hassell, John Hassell; Mixed By Mikey Campbell; Percussion, Jah Bunny, Shaka, Norman Grant; Piano, Organ Sgt. Pepper. 4:55
Jah Shaka, “Roaring Dub” from Commandments Of Dub II (1984 Jah Shaka Music). Produced, Arranged by Jah Shaka; Synthesizer Mark Victor; Bass, Byron Duce, Ras Elroy; Bongos, Brother Joseph; Drums, Errol The General, Jah Bunny; Guitar, Mike Dorane, Tony Benjamin; Mastered By Felicity Hassell, John Hassell; Mixed By Mikey Campbell; Percussion, Jah Bunny, Shaka, Norman Grant; Piano, Organ Sgt. Pepper. 4:03
Wayne Smith, “Under Me Sleng Teng” from Sleng Teng (1982 Greensleeves). Recorded in Jamaica. Musicians, Wycliffe "Steely" Johnson, Cleveland "Clevie" Browne, Super Power All-Stars*, Wayne Smith; Producer, Arranger Prince, Jammy. 4:07
Prince Jammy, “Synchro Start” from Computerised Dub (1986 Greensleeves). Recorded in Jamaica. Performers, Steelie & Cleavie, Super Power All-Stars, Wayne Smith; Producer, arranger, Prince Jammy. 2:09
Prince Jammy, “Interface” from Computerised Dub (1986 Greensleeves). Recorded in Jamaica. Performers, Steelie & Cleavie, Super Power All-Stars, Wayne Smith; Producer, arranger, Prince Jammy. 2:59
Jah Shaka All Stars, Ites Green & Gold” from Jah Shaka Presents Vivian Jones Featuring The Fasimbas, Jah Shaka All Stars ‎– Jah Works (1987 Jah Shaka Music).Producer, Bass, Arranged By, Mixed By, Composed By, Jah Shaka; Bass, Jerry Lions; Bass, Organ, Piano, Synthesizer, Guitar, Black Steel; Bongos, Percussion, The Fasimbas; Drums, Drumton; Mixing, Calvin; Recording Engineer, Leon Marsh; Guitar, Jerry Lions; Piano, Organ, Synthesizer, Gregory; Synthesizer, Organ, Piano, Pepper; Vocals, Vivian Jones; Vocals [Background], Sis Nya. 5:01
Steely & Clevie, “At The Top” from At the Top (1988 Black Solidarity). Recorded in Jamaica. Arranged By, Musician, Programmed By Steely & Clevie; Engineer, Bobby Digital, Chris Lane, Dave Kelly, Patrick Ayton, Paul Davidson, Anthony Kelly; Mixed By D. Kelly, P. Davidson; Producer, Ossie Thomas, Phillip Morgan; Saxophone, Dean Fraser; Trumpet, David Madden. 4:01
Background music:
Derrick & The Crystalites, “Dubbing the Chariot” from Derrick Harriott Presents Scrub A Dub Reggae (1974 Crystal Records). Recorded and mixed in Jamaica. Engineer, Brother George; Produced and written by Derrick Harriott. 3:57
Derrick & The Crystalites, “Medley (Train To Herbsville & Crash Dub)” from Derrick Harriott Presents Scrub A Dub Reggae (1974 Crystal Records). Recorded and mixed in Jamaica. Engineer, Brother George; Produced and written by Derrick Harriott. 3:05
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog Noise and Notations.

The Laughing Space

Episode 51
The Laughing Space
Playlist
Laughter in Theatre/Applause in Theatre (1935 Columbia), 78 RPM UK disc.
Applause from Spotlight On Sound Effects (1962 Design Records), US disc.
Laughter and applause from Sound Effect Record No. 20 (1968 EMI), UK disc.
Vocal effects from BBC Sound Effects (circa 1968 BBC Sound Effects Centre), UK disc.
Fanfares from Limited Edition: Production Music (circa 1968 Mark Century Corp.),
Crowds, applause, audience from The New CBS Audio-File Sound Effects Library (1977 Columbia Special Products), US disk.
Restless crowd from The New CBS Audio-File Sound Effects Library, No. 16 (1977 BBC Records), UK disc.
Applause effects from Sound Effects Volume 23 (1979 Major Records), US disc.
Applause, various size audiences from Living Sound Effects Volume 5 (1983 Bainbridge), US disc.
Laughter and applause from Comedy Sound Effects No. 28 (1983 BBC Records), UK disc.
Tags and Stingers from Limited Edition: Production Music (circa 1968 Mark Century Corp.), US disc.
Announcements, Openings, Endings, and Intros from Limited Edition: Production Music (circa 1968 Mark Century Corp.), US disc.
Plus a few misc. clips from broadcast and online sources.
Software used to process sounds: VirtualDJ, Serato DJ Pro, MetaSynth CTX (Pitch and Time effect for creating tonal patterns from laughter).
Background music:
Misc. laughter and sound effects taken from the above sources.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog Noise and Notations.
 

Reggae Loves Electronic Keyboards

Episode 50
Reggae Loves Electronic Keyboards
 
Playlist
The Wailers, “Lonsome Feelings” (sp) from The Wailers, The Mighty Vikings ‎– Lonsome Feelings/There She Goes (1964 Wincox). 45 RPM. Combo organ.
Glen Adams, “Warming Up The Scene” from Roy Shirley/Glen Adams ‎– Warming Up The Scene/Lonely Girl (1968 Giant) 45 RPM. Combo organ.
The Mellotones, “Uncle Desmond” from Sir Lord Comic & The Upsetters/The Mellotones ‎– Bronco (Django Shoots First)/Uncle Desmond (1968 Upsetter). 45 RPM. Combo organ.
Lester Sterling, “Reggie In The Wind” from Lester Sterling/The Soul Set (3) ‎– Reggie In The Wind/Try Me One More Time (1968 Gas). 45 RPM. Combo organ riffs. A reggae version of Dylan’s “Blowing in the Wind” by Jamaican saxophonist Sterling.
The Upsetters, “Soul Juice” from Dave Barker/The Upsetters ‎– Prisoner Of Love/Soul Juice (1968 Upsetter) 45 RPM. Piano and combo organ.
Eric Barnet, “The Horse” from Eric Barnet ‎– The Horse/Action Line (1968 Gas). 45 RPM. Combo organ, chords and riffs.
Winston Wright and King Stitt, “Fire Corner” from The Dynamites ‎– Fire Corner (1969 Trojan). LP featuring keyboardist Wright. Likely a Hammond organ.
The Upsetters, “Medical Operation” from The Upsetters ‎– Night Doctor/Medical Operation (1969 Upsetter). 45 RPM. Produced by Lee Perry. Probably a Hammond organ.
Reggaeites, “Harris Wheel” from Derrick Morgan/Reggaeites ‎– Moon Hop/Harris Wheel (1969 Crab). 45 RPM. Combo organ.
Upsetters, “Drugs And Poison” from Upsetters ‎– Stranger On The Shore/Drugs And Poison (1969 Upsetter). Probably a Hammond Organ. Winston Wright? Produced by Lee Perry.
Ansel Collins, “Night Of Love” from Derrick Morgan/Ansel Collins ‎– Copy Cat/Night Of Love (1969 Beverley’s Records). 45 RPM. Hammond organ.
Ansel Collins, “Staccatto” from Pam Brooks/Ansell Collins ‎– Oh Me Oh My/Staccatto (1970 Big). 45 RPM. Hammond organ.
Joe Gibbs, “Common People Reggae” from Nicky Thomas/Joe Gibbs ‎– Don't Touch Me/Common People Reggae (1970 Jogibs). 45 RPM. Produced by Joe Gibbs. The B side is a Hammond organ instrumental of “Love Of The Common People” by Nicky Thomas.
Lord Comic, “Rhythm Rebellion” from Lord Comic/Roy Richards ‎– Rhythm Rebellion/Reggae Reggae Children (1970 Coxsone). 45 RPM. Hammond organ. I love the rap-like rhymes in the vocal.
Bob Marley & The Wailers, “Soul Rebel” from Soul Rebels (1970 Trojan). LP. Produced by Lee Perry. Maybe Glen Adams on combo organ.
Zorro Five, “Reggae Meadowlands”from Zorro Five ‎– Reggae Shhh!/Reggae Meadowlands (1970 Decca). 45 RPM. Combo organ.
Lee Perry & The Upsetters, “Son Of Thunder” from Bob Marley & The Wailers/Lee Perry & The Upsetters ‎– My Cup/Son Of Thunder (1970 Upsetter). 45 RPM. Produced by Lee Perry, with lots of reverb for the voice and a bubbling organ part.
The Maytals, “Peeping Tom” from The Maytals/Beverley's All-Stars* ‎– Peeping Tom (1970 Beverley’s Records). 45 RPM. Combo organ. This piece plays twice but is part of an original single—the second part is instrumental and the organ is prominent.
Robert Lynn & Sound Dimension, “Zip Code” from Robert Lynn & Sound Dimension/Carl Bryan & Sound Dimension ‎– Zip Code/Cover Charge (1971 Banana). Hammond organ, around the time that the reggae synthesizer appeared.
Vulcans, “Joe Kidd” from Star Trek (1972 Trojan). LP. Guitar, Trevor Starr; keyboards, Joe Sinclair; Minimoog and ARP synthesizers, Ken Elliot.
Vulcans, “Journey into Space” from Star Trek (1972 Trojan). LP. Guitar, Trevor Starr; keyboards, Joe Sinclair; Minimoog and ARP synthesizers, Ken Elliot.
Vulcans, “Star Trek” from Star Trek (1972 Trojan). LP. Guitar, Trevor Starr; keyboards, Joe Sinclair; Minimoog and ARP synthesizers, Ken Elliot.
Colonel Elliott & The Lunatics, “Guns Of The Martian Giants (Guns Of Navarone)” from Interstellar Reggae Drive (1973 Rhino). LP. Synthesizers, Ken Elliot.
Jimmy Cliff, “World of Peace” from Unlimited (1973 EMI). LP. Hammond organ, Winston Wright; Mellotron, Flute, Strings, Cello, Synthesizer, Leslie Butler; Bass, Jackie Jackson; Drums, Winston Grennan; Piano; Gladstone Anderson; Lead Guitar, Hux Brown ; Percussion, Bingi Bunny, Bongo Herman, Denzil Laing, Sticky; Rhythm Guitar; Hux Brown; Tenor Saxophone, Flute, Tommy McCook Trombone, Alto Saxophone, Ron Wilson; Trumpet, Bobby Ellis; Backing Vocals, Bob Taylor, Glenton Taylor, Jean Watt, Judy Mowatt, Nora Dean, Ralston Webb, Rita Marley, Tesfa McDonald, The Heptones, Zoot Simms.
Jimmy Cliff, “I've Been Dead 400 Years” from House Of Exile (1974 EMI). LP. Bass, Jackie Jackson; Hammond organ, Synthesizer, Clavinet, Winston Wright; Guitar, Hux Brown, Dad (Duggy) Bryan; Piano, Gladstone Anderson; Saxophone, Flute, Tommy McCook; Trumpet, Bobby Ellis.
Ansel Collins, ‎”Far East Special” from The Admirals/Ansel Collins ‎– Natty Should Be Free/Far East Special (1975 Angen). This sounds like a synth and a Clavinet using a Wah Wah and echo. Very cool, Ansel.
Bob Marley & The Wailers, “Positive Vibration” from Rastaman Vibration (1976 Island). LP. Backing Vocals, I Threes; Bass, Guitar, Percussion, Aston "Family Man" Barrett; Drums, Percussion, Carlton Barrett; Engineer, Alex Sadkin, Errol Thompson, Jack Nuber; Keyboards, possibly a Wurlitzer Omni 6500 dual keyboard synthesizer, Bass, Percussion, Backing Vocals, Tyrone Downie; Lead Guitar, Donald Kinsey; Lead Guitar, Rhythm Guitar, Percussion, Earl Smith*; Lead Vocals, Rhythm Guitar, Acoustic Guitar, Percussion, Bob Marley; Mixed By, Aston Barrett*, Chris Blackwell; Percussion, Alvin "Seeco" Patterson; Producer, Bob Marley & The Wailers.
Third World, “Sun Won’t Shine” from Third World (1976 Island). Bass, Richie; Drums, Cornel; Keyboards and synthesizers, Ibo; Lead Guitar, Cat; Lead Vocals, Prilly; Percussion, Carrot.
Culture, “Two Sevens Clash” from Two Sevens Clash (1977 Joe Gibbs Record Globe). Alto Saxophone; Herman Marquis; Arranged by Errol T., Joe Gibbs; Bass, Lloyd Parks; Drums,  Noel Dunbar (Sly); Guitar,  Eric Lamout, Lennox Gordon, Robert Shakespear; Keyboards,  Errol Nelson, Franklyn Waul, Harold Butler; Percussion,  Sticky; Producer,  Errol T., Joe Gibbs; Tenor Saxophone,  Tommy McCook; Trombone,  Vin Gordon; Trumpet,  Bobby Ellis.
Babatunde Tony Ellis, “Ire” from Babatunde Tony Ellis ‎– Disco Baby/Ire (1980 MNW). Backing Vocals, Monica Bring; Bass, Backing Vocals, Virimuje "Willie" Mbuende; Drums, Performer [Siren], Backing Vocals, Bosse Skoglund; Guitar, Minimoog, Hammond Organ, Clavinet, Piano, Percussion, Vocals; Tony Ellis; Percussion; Per Cussion; Trombone;  Anders Nordkvist, Renzo Spinetti; Trumpet, Tomas Sjögren.
Delroy Wilson, “Hard to Say I’m Sorry” from Reggae Classics (1984 top Rank). ; Synthesizer, Robert Lyn; Backing Vocals, Dean Fraser, Dessie Roots, Junior Chin, Rudy Thomas; Bass,  Derrick Barnett, Lloyd Parkes; Drums,  Sly Dunbar; Horn,  Dean Fraser, Junior Chin; Lead Guitar,  Willie Lindo; Lead Vocals,  Delroy Wilson; Organ,  Robert Lyn, Winston Wright; Piano,  Robert Lyn; Rhythm Guitar,  Willie Lindo.
Burning Spear, “Resistance” from Resistance (1985 Wea International). LP. Synthesizer; Richard Johnson, Robby Lyn; Written-By, Co-producer, Vocals, Drums [Akete]; Winston Rodney; Bass;  Anthony Bradshaw; Lead Guitar;  Lenford Richards*; Percussion;  Alvin Haughton; Piano, Organ, Keyboards [Casio Mt40 & Fender Rhodes];  Richard Johnson (2); Rhythm Guitar;  Devon Bradshaw; Saxophone;  Dean Frazer*; Trombone;  Nambo Robinson*; Trumpet;  Bobby Ellis, David Madden.
Keith Sterling & The Turbos, “Computer Broom” from Computer (1985 Sunset Records). LP. Synthesizers, Keith Stirling. Collection of cover versions using the “Sleng Teng Riddim,” originally a Rock preset on the 1985 Casiotone MT-40 keyboard. It helped bring reggae into the digital era. This is an entire album of variations using the preset.
Background music:
The Dynamites, “John Public (Tom Hark)” from Trojan Records Instrumental Reggae Volume 1 (2015 Trojan). Originally released as a single in 1969.
The Beverley's All Stars, “The Monster” from Trojan Records Instrumental Reggae Volume 1 (2015 Trojan). Originally released as a single in 1970.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog Noise and Notations.

Computer Music Murmurs in the UK: Peter Zinovieff and EMS

Episode 49
 
Computer Music Murmurs in the UK: Peter Zinovieff and EMS
 
Playlist
Peter Zinovieff, “Agnus Dei (Excerpt)” from Electronic Calendar - The EMS Tapes (2015 Space Age Recordings). Early sound sampling, circa 1968. Note the briefness of the digital samples of the voice. 5:33
Peter Zinovieff, “January Tensions” from Cybernetic Serendipity Music (1968 ICA). Zinovieff’s notes, from the album: “Computer composed and performed. This piece is very much for computer both in its realization and composition. The rules are straightforward. The computer may begin by improvising slowly on whatever material is firs chooses. However, once the initial choices are made then these must influence the whole of the rest of the composition. The original sounds must occasionally be remembered and illustrated but a more and more rigid structure is imposed on the randomness. The piece was electronically realized and composed in real time by an 8K PDP8/S and electronic music peripherals.” 9:48
Harrison Birtwistle and Peter Zinovieff, “Chronometer” (1975 Argo). "Chronometer", for electronic tape, was composed in 1971, and realized by Peter Zinovieff at EMS Putney. From the liner notes: “Chronometer is entirely made up from the sounds of clock mechanisms which have been computer-analyzed and regenerated onto 8 tracks (reduced in this recording to two.)” Air and contact microphones were used to collect sounds from widely different sources, Big Ben being a primary one. The program used to reinterpret the graphic and numerical music score was MUSYS by EMS. 24:19
Audio Past Present & Future - Presented with Audio Magazine (1972, IPC Magazines flexi-disc). A flexi-disc narrated by Richard Baker that was produced in EMS studios and includes a snipper of “A Lollipop for Papa” by Peter Zinovieff, various synthesized instrumental examples, and an excerpt of “Ultra-Vivaldi” by Francis Monkman of Curved Air. 6:48
Curved Air, “Ultra-Vivaldi” from Phantasmagoria (1972 Warner Brothers). Francis Monkman playing the EMS Synthi 100. Recorded at EMS studios. 1:31
Curved Air, “Whose Shoulder Are You Looking Over Anyway” from Phantasmagoria (1972 Warner Brothers). Francis Monkman playing the EMS Synthi 100. Recorded at EMS studios. This track consists of tapes of Sonja's voice analyzed and processed by a PDP8/L computer and a Synthi 100 synthesizer. The final tapes were edited and prepared for performance by Francis Monkman and Robert Carvell. This is a good example of sound sampling that is more advanced than heard on the earlier track, “Agnus Dei.” 3:31
Peter Zinovieff, “A Lollipop For Papa” from Electronic Calendar - The EMS Tapes (2015 Space Age Recordings). From 1974. 6:26
Peter Zinovieff, “Raasay Digitised” from Electronic Calendar - The EMS Tapes (2015 Space Age Recordings). Even more voice sampling, blended deftly with electronic sounds. Circa 1975. 2:20
Peter Zinovieff, “Now’s The Time To Say Goodbye” from Electronic Calendar - The EMS Tapes (2015 Space Age Recordings). . Circa 1975. 4:11
Background music:
Peter Zinovieff and Alan Sutcliffe, “ZASP Parts 1 To 3” from Electronic Calendar - The EMS Tapes (2015 Space Age Recordings). A more sophisticated example of early music programming by Alan Sutcliffe using a Dutch computer, the ICL 1905 made by International Computers Limited (ICL). 5:11
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog Noise and Notations.

An East River Park Sound Walk in New York

Episode 48
An East River Park Sound Walk in New York
 
Playlist
East River Park Sound Walk, New York City, June 26, 2021. The sound of a single recording made while circling the park. It is heard simultaneously on three tracks: 1) the unadulterated recording; 2) the recording played through a transducer and an antique gasoline can; and 3) the recording played through a transducer and a one-gallon ceramic preservation crock. Each of the versions has its own character of sound that highlights different frequency bands.
Peter Kilham and Alfred L. Hawkes, Side 2 of The Swamp In June (1964 Droll Yankees Inc.). Monophonic LP. Recording by Peter Kilham, narration (side 1) by Alfred L. Hawkes. Recorded on Joe Ranger's swamp, North Pomfret, Vermont. From the liner notes: “On this recording you will hear the sounds of swamp citizens ranging from the buzzing of flies through the pained groaning of pickerel frogs to the mewing of baby beavers in their lodge, and the startling splashes of their parents. Birds provide the melody in the background, while insects add rhythm and continuity. The narrator identifies the sounds, and comments on swamp life on one side of the record. The bizarre swamp chorus is heard alone on the reverse side.”
RCOA Stereo Systems Test Record, side 1 (1974 Yorkshire Records). Art Direction, Lucie Leniston; Producer, Harold L. O'Neal Jr. From the liner notes: “The Ultimate High-Fidelity Test Record.” Side 1 includes: Reference Tone 1kHz; White Noise For Channel Identification; Left & Right; Channel Identification; Channel Balance Test; Left Channel Frequency Test 50, 100, 200, 400, 700, 1,000, 2,000, 4,000, 6,000, 8,000, 10,000; Spot Checks; 30Hz - 2kHz Sweep; Right Channel Frequency Test (Same As Left Channel); Cartridge Tracking Test (Tone Bursts With Specific Frequency With Noise); Anti-Skating Test.
Background music: A mix of Shirley Bassey singing “Light My Fire” (1970 United Artists Records) and city sounds recorded by Thom Holmes, including sounds of the handball court at First Avenue and Houston St. and the sounds of the fountain area behind Village View apartments on First Avenue.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog Noise and Notations.

The French Love Their Synthesizers

Episode 47
The French Love Their Synthesizers
Playlist
Roger Roger (Cecil Leuter), “Duetto (La Concierge Et Le Monsieur Du Premier)” and “Rondeau Cucu” from Musique Idiote (1970 Neuilly). I believe this is the first library music record that he composed for Moog Modular synthesizer. The tunes are pretty simple, either one track or two tracks recorded in a multitracked sequence. 1:33 and 1:41
Jean-Pierre Ferland, “It Ain't Fair” from ‎Jaune (1970 Barclay). This song has English lyrics on an album that includes tunes in both French and English. This album was recorded in Montreal during the early days of synthesizer use at Andre Perry’s studio. Perry’s uncredited Moog Modular synthesizer adds little touches throughout, especially on this song. Ferland was a widely popular French-Canadian singer/songwriter. 2:03
Heldon, “Zind” from Electronique Guerilla (1974 Disjuncta). Bass Guitar, Pierrot Roussel; Drums, Coco Roussel; Guitar, Alain Renaud; Piano, EMS VCS 3 Synthesizer, Patrick Gauthier; EMS VCS 3 Synthesizer, Georges Grumblatt; Vocals, Gilles Deleuze; Written by Richard Pinhas. 2:18
Heldon, “Back to Heldon” from Electronique Guerilla (1974 Disjuncta). Bass Guitar, Pierrot Roussel; Drums, Coco Roussel; Guitar, Alain Renaud; Piano, EMS VCS 3 Synthesizer, Patrick Gauthier; EMS VCS 3 Synthesizer, Georges Grumblatt; Vocals, Gilles Deleuze; Written by Richard Pinhas. 8:31
Heldon, “Ouais, Marchais, Mieux Qu'en 68 (Ex : Le Voyageur)” from Electronique Guerilla (1974 Disjuncta). Bass Guitar, Pierrot Roussel; Drums, Coco Roussel; Guitar, Alain Renaud; Piano, EMS VCS 3 Synthesizer, Patrick Gauthier; EMS VCS 3 Synthesizer, Georges Grumblatt; Vocals, Gilles Deleuze; Written by Richard Pinhas. 4:22
Philippe Grancher, “Birds, Birds” from 3000 Miles Away (1975 PÔLE 0014). Composed, Arranged by, Piano, Electric Piano, Synthesizer (String Ensemble), Mellotron, Organ, Effects, Philippe Grancher; Synthesizer, Jean-Louis Rizet; Bass, Gérard Bouquin; Drums – Pascal X; Electric Guitar, Arnaud Chevalier. 8:27
Henri Roger, “‎Asyle Cosmique” from Images...(1975 Pôle Records). Composed and performed by, instruments, Mini Korg Synthesizer, Elka Rhapsodie, Yamaha YC 45 D organ, Electric Guitar, Henri Roger. 10:25
Michel Madore, "Stanley” from Le Komuso À Cordes (1976 Barclay). Another product of Montreal. Guitar, Keyboards, Synthesizer, Piano, Cimbalom [Cymbalom], Ocarina, Producer, Arranged By, Written-By, Michel Madore; Drums, Tubular Bells, Gong, Percussion, Mathieu Léger; Electric Bass, Contrabass, Errol Walters; Electric Piano, Piano, Phillippe Beck; Saxophone, Synthesizer, Ocarina, Percussion, Arranged By, Ron Proby. 3:52
Space Art, “Psychosomatique,” from Trip In The Center Head (1977 IF Records). Music by Dominique Perrier, Roger Rizzitelli playing the following Instruments: Polymoog, Minimoog, Hammond Organ, Fender Piano, Piano, Drums, Clavinette, Arp Odyssey, Eminent, Violon électrique Flanger, Guitare électrique, Vibraphone, Bell-Trees, Gong, Timbales, Grosse caisse symphonique, Korg, Mellotron. 10:38
Jean Michel Jarre, "Oxygène Parts 1, 2, 3” from Oxygène (1977 Polydor). Composed By, Producer, ARP Odyssey synthesizer, EMS A.K.S. and V.C.S. 3 Synthesizers, R.M.I. Harmonic synthesizer, Farfisa organ, Eminent organ, Mellotron, Rhythmin' Computer, Jean-Michel Jarre. 18:41
Clearlight, “Spirale D'Amour” from Visions (1978 Polydor). Arranged by Clearlight, Cyrille Verdeaux; Bass, Philippe Melkonian; Drums, Percussion, Jacky Bouladoux; Electric Bottleneck Guitar Cosmique, Christian Boule; Flute, Tenor Saxophone, Soprano Saxophone, Didier Malherbe; Grand Piano, ARP Odyssey Synthesizer, Gong, produced by Cyrille Verdeaux; Synth Programmed by Francis Mandin; Minimoog Synthesizer, Luc Plouton; Violin, Bass Violin, Didier Lockwood. 7:33
Richard Pinhas, “Iceland Parts 1 and 2” from Iceland (1979 Polydor). Composed By, Performed By, Electronics, Guitar, Richard Pinhas. Pinhas was also a member of Heldon, whose music combined rock and electronic. 10:43
Tai Phong, “Thirteenth Space” from Last Flight (1979 Warner Brothers). Piano, (Acoustic, Electric), Synthesizer, Celesta, written by Pascal Wuthrich and Michaël Jones; Drums, Stephan Caussarieu; Engineer, Khanh; Guitar, Bass, Vocals, Michaël Jones. 4:56
Tai Phong, “Last Flight” from Last Flight (1979 Warner Brothers). Piano (Acoustic, Electric), Moog Synthesizer. EML synthesizer, Pascal Wuthrich; Vocals, Electric Guitar, and written by, Khanh; Drums, Stephan Caussarieu; Engineer, Khanh; Guitar, Bass, Vocals, Michaël Jones. 9:58
Szajner, “Brute Reason” from Brute Reason (1983 Island). Composed By electronics, keyboards, Bernard Szajner; Bass, Felipe Maujardo; Drums, Kirt Rust. Guitar, Xavier Geronimi; Saxophone, Schroeder; Vocals, Percussion, Joji Hirota. Szajner is also the man who invented the laser harp, used by Jarre in performance. 5:18
 
Background music:
Space Art, “Speedway,” from Trip In The Center Head (1977 IF Records). Music by Dominique Perrier, Roger Rizzitelli playing the following Instruments: Polymoog, Minimoog, Hammond Organ, Fender Piano, Piano, Drums, Clavinette, Arp Odyssey, Eminent, Violon électrique Flanger, Guitare électrique, Vibraphone, Bell-Trees, Gong, Timbales, Grosse caisse symphonique, Korg, Mellotron. 2:54
Szajner, “Without Leaving” from Brute Reason (1983 Island). Composed By electronics, keyboards, Bernard Szajner; Bass, Felipe Maujardo; Drums, Kirt Rust. 3:46
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog Noise and Notations.

The Electro-Acoustic Sounds of Tennis

Episode 46
The Electro-Acoustic Sounds of Tennis
Playlist
“USOpen2016”—electro-acoustic work for ambient sounds, audio processing, and synthesis. Included are the following sounds, roughly in this sequence (names denote players we hear exchanging shots either in practice or in actual play): Coco Vandeweghe and Simona Halep; Andy Murray and Dan Evans, practicing volleys; Stan Wawrinka, ground strokes; Juan Martin Del Potro and David Goffin, ground strokes; rain on my microphone; F-train subway; dripping rain; court squeegee workers; Ivo Karlovic and Donald Young, match play. 39:32
“USOpen2017b and beats”­—electro-acoustic work combining drumbeats with ambient and processed tennis sounds, roughly in this sequence (names denote players we hear exchanging shots either in practice or in actual play): Andy Murray and Thai-Son Kwiatkowski practicing; Rafa Nadal and Fernando Verdasco practicing; walking behind a custodial cart; Maria Sharapova, practicing solo; outdoor handball court, Houston and First Ave.; Andrea Petkovic practicing doubles; 9:55.
 
Background music:
Included are ambient sounds roughly in this sequence (names denote players we hear exchanging shots either in practice or in actual play): Ivo Karlovic playing Donald Young; Caroline Wozniacki, practicing alone with her coach; sounds of a match on the Grandstand; sounds of a match at Court 11; crickets on the grounds; badminton sound; squash sound; platform tennis sound; racquetball sound; ping pong sound; the F Train (subway) on the way to the US Open; Andy Murray practicing with Dan Evans; Novak Djokovic practicing with Alexander Zverev;  and Juan Martin DelPotro practicing with David Goffin.
 
Opening and closing sequences voiced by Anne Benkovitz.
 
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog Noise and Notations.

Made at Home—Electronic Music Basement Tapes

Episode 45
Made at Home—Electronic Music Basement Tapes
Playlist
Jean-Michel Jarre, “Happiness is a Sad Song” from Rarities (2011 Disques Dreyfus). This track is from 1968, before Jarre began studying at the GRM music program directed by Pierre Schaefer. This piece was composed at home using only a microphone, two tape recorders, and splicing tape and was included on this collection of his early works. 5:49
Deuter, “Der Turm/FluchtPunkt” from D (1971 Kuckuck). Home recordings of music composed and played by Georg Deuter. Lots of echo applied to ambient sounds, instrumental drones, and percussion. 4:29
Geodesium, “Free Fall” from Geodesium (1977 Loch Ness Monsters Productions). EMS Synthi AKS synthesizer, Mellotron, Mark C. Petersen. Music composed, self-produced and recorded at home. This music was featured in shows at the Fiske Planetarium at the University of Colorado. 5:20
Don Slepian, “Glimmerings” from Electronic Music From The Rainbow Isle (1978 Don Slepian self-released cassette). EML 400/401 Sequencer, double-speed piano, ARP Odyssey, bass, phase-shifted lap steel guitar, strings, Don Slepian; drums, Ron Jacobs. Don produced this music for a dance by Akiko Masuda and released it on a 7-inch vinyl in 1981. Slepian came from Santa Monica, California and released several albums on cassette until the late 1980s. 3:31
Don Schertz, “Mockin’ Bird Hill” from BITS.AND.BYTES (Bach, Binary & Boolean) (1978 Schertz Computer Music). LP programmed by Donald Schertz and synthesizer builder John Pratt. This is a fascinating computer music album dating from the very dawn of home computing used for music making. The music was written in software to be performed by the Altair 8800A using three identical voice circuits and used control techniques of the voltage-controlled synthesis. Storage and routines were loaded using cassette. The timing of the notes and the assignment of scales are completely variable, which gives this experiment such a funky and complex sound. From Monterey, California. 1:20
Archie Ulm, “MacArthur Park” from Experience (1979 Archie Ulm self-released album). Yamaha EX-1 electronic keyboard, mixing, production, Archie Ulm. After Hugo Montenegro’s Moog rendition of this Jimmy Webb song, I like this one. The EX-1 was one of the most expensive and rarest of synthesizers, costing about $35,000 in 1977 when Archie Ulm used it. The EX-1 featured two five-octave fully polyphonic keyboards, organ style tabs and polyphonic analog synthesizer sounds, which could be slaved; a topmost three octave mini-keyboard for monophonic synthesizer which could also be slaved to the upper organ manual; and a monophonic analog synthesizer bass played by pedals or slaved to the lower keyboard. It also featured a drum machine, arpeggiator, and chord accompaniment. Ulm was connected to various Yamaha keyboard competitions and took this instrument on the road for his night club act. I think Archie is still active. I have seen notices of his organ playing for churches and wine tastings from Colorado to California. 4:32
Men-Eject, “Apologize” from Apologize/Draw (1980 Men/Eject self-released 7” 45). The only known recording from this New York group with the Cabaret Voltaire sound. I don’t know who was actually in the group. The single came packaged with a photocopy sleeve and oversized lyric sheet stuffed inside. Engineered by Takashi Tsuruta and Naka Suzuki. 3:38
Zach Swagger, “Empty Highways” and “Going Going Gone” from Empty Highways (1980 It’s Gone). Privately released 7-inch 45 by Zach Swagger. All sounds and effects by Zach Swagger. Ambient sounds, tape loops, verging on noise/industrial style. 3:20 and 3:29
Delta, “Mr. E. Chaos” from Diagrams Of Women (1981 Classified Records 7-inch 45). Synthesizer, Melodica, Vocals, Dee McCandless; Synthesizer, Gene Menger; Bass, Rude B.; Guitar, Vocals, Jonathan Hearn. Versions with triangle shaped picture sleeve. 3:07
Hidden Combo, “Driving Through Frankie Valley” from King Of Siam/Music From A Sophomore (1981 Phantom Plaything 7-inch 33-1/3). Bass Guitar, Bob Dickie; Guitar, Jacy Webster; Buchla Electric Music Box, Charles Cohen. Comes in an oversized folder-style picture sleeve, with folded insert. This track was recorded “live at home.” 3:01
Wrinklemüzik, “Rein” from Wrinklemüzik: A Move To The Right (1981 Kenn Lowy self-released 7-inch 33-1/3). Synthesizers, electronic guitar, energy bow, rhythm machine, Kenn Lowy. Recorded live at the “public access synthesizer studio,” New York City. 6:33
Tone Poets, “Pente” from Pente/No Work Today! (1983 Millet Music). A Self-released, single-sided flexi-disc by David Mandl. Flexi-disc made by Eva-tone, which was an affordable alternative to vinyl releases. Drum programming, synthesizer, David Mandl. According to a note from Mr. Mandl at the time, this was “recorded in my home 8-track studio and is available for $1.00.” 2:49
Vox Populi, “Ectoplasmies II, I, III, IV” from Ectoplasmies (1983 VP 231). Self-produced 7-inch 33-1/3 from France. Synthesizer, Effects, Tape, Voice, Percussion, Flute, Bass, Gnouf Tap; synthesizer, B. Wolf. Four synth tracks from this French industrial-leaning group. 6:47
Projekt Electronic Amerika, “Round Trip (Reprise)” and “Year 90-10” from Tanzmusik (1985 Projekt). Limited private release LP of 250 copies. This was an elaborate solo project by artist Sam Rosenthal who played all of the instruments and recorded the music. He also drew the cover art. Equipment used: Korg Poly-61 (non-MIDI); Realistic Moog synthesizer on the track “Round Trip (Reprises);” Boss DR-110 Dr. Rhythm Graphic; Aphex Aural Exiter; Roland SDE-1000 and SDE-2000 digital delays; Forman Reverb. 1:51 and 5:30
Conrad Schnitzler, “Die Rebellen Haben Sich In Den Bergen Versteckt” from Blau (1974 Conrad Schnitzler self-released album). Electronic rhythms, manual filtering, modular synthesis, phase effects on tape. Minimalist and original. Schnitzler kept it simple, no elaborate embellishments or musical arrangements needed. 18:45
Background music used during this episode (excerpts):
Conrad Schnitzler, “Untitled” from The Red Cassette (1973 Conrad Schnitzler self-released cassette). Electronic rhythms, manual filtering, modular synthesis, phase effects on tape. Excerpt.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog Noise and Notations.