The Holmes Archive of Electronic Music

The Silent Episode

Episode 91
The Silent Episode
Playlist
Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist’s collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn’t feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24
John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50
John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04
John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58
Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27
Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer’s Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41
MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50
Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26
Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53
Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38
Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02
Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35
Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39
Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57
Opening background music:
Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique.
Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
 

The Electronic Music of Ryuichi Sakamoto

Episode 90
The Electronic Music of Ryuichi Sakamoto
Playlist
Ryuichi Sakamoto and Alva Noto, “Second Dream” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Alva Noto, Ryuichi Sakamoto. 1:13
Ryuichi Sakamoto and Taylor Deupree, “Jyaku” from Disappearance (2013 Commons). Piano, Electronics, Ryuichi Sakamoto; Synthesizer, Tapes, Loops, Acoustic Guitar, Mixer, Taylor Deupree. 9:59
Alva Noto and Ryuichi Sakamoto, “Avaol” from Insen (2005 Raster-Noton). German release featuring Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 2:50
Alva Noto and Ryuichi Sakamoto, “ax Mr. L.” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 4:20
Alva Noto and Ryuichi Sakamoto, “mur” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 8:14
Ryuichi Sakamoto, “Solari” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:52
Fennesz and Sakamoto “0322” from Flumina (2011 Touch). Guitar, Laptop, Christian Fennesz; Piano, Laptop, Ryuichi Sakamoto. Recorded at Amann Studios, Vienna and KA+B Studios, NY and Japan. 5:35
Ryuichi Sakamoto, “Sunset” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. This album is listed as one of his special projects consisting of diary sketches in sound. Described as “an ambient oriented compilation of Sakamoto's music journal from 2001 after eye-witnessing 9/11 from his home NYC.” This one of his most moving essays in sound, consisting of his piano sketches treated with electronics. The progression of the album is presented in the order of the day and concludes with “Radical Fashion.” 8:47
Ryuichi Sakamoto, “Night” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 7:37
Ryuichi Sakamoto, “Radical Fashion” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 5:07
Ryuichi Sakamoto, “Zure” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:12
Ryuichi Sakamoto, “Out of Horse” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Ryuichi Sakamoto; Ondes Martenot, Motoko Oya. 3:57
Ryuichi Sakamoto, “Borom Gal” from Heartbeat (1991 Virgin). Concertmaster, strings, David Nadien; Lead vocal and words, Youssou N'Dour; Music by Ryuichi Sakamoto, Youssou N'Dour; Programmed, Performed, and mixed by Ryuichi Sakamoto. This is one of those star-studded albums that had pop appeal. Still, the electronics and digital editing of this track, especially in 1991, make this track stand out. 3:57
Ryuichi Sakamoto, “Fullmoon” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:13
Ryuichi Sakamoto, “Nuages” from Heartbeat (1991 Virgin). Lead Vocals, Houria Aichi; traditional song; Programmed, Performed, and mixed by Ryuichi Sakamoto. This little work from Heartbeat always reminded me of something you would have expected to hear in the movie Blade Runner. 2:15
Ryuichi Sakamoto, “Island of Woods” from Thousand Knives Of (1978 Better Days). On this album, not necessarily this track, Sakamoto plays Ryuichi Sakamoto plays: Moog III-C w. Roland MC-8 Micro Composer; Polymoog; Minimoog; Micro Moog; Oberheim Eight Voice Polyphonic w. Digital Programmer; ARP Odyssey; KORG PS-3100 Polyphonic; KORG VC-10 Vocoder; KORG SQ-10 Analog Sequencer; Syn-Drums; Acoustic Piano;Marimba. Recorded from 4/10 to 7/27, 1978 at Columbia Studio No.1, No.2, & No.4, Tokyo. 9:51
Ryuichi Sakamoto, “Stakra” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:41
Ryuichi Sakamoto, “Tokyo Story” from Sweet Revenge (1994 Elektra). Produced, composed, keyboards, computer programming, Ryuichi Sakamoto. Recorded at 11-K Studios, NYC, Clindton Studios, NYC, Paradise Studios, Tokyo, Unique Studios, NYC, Sedic Studios, Tokyo, Metropolis Studios, London, Westside Studios, London, Skyline Studios, NYC, Right Track Studios, NYC. 1:17
Ryuichi Sakamoto, “Plankton” (excerpt) from Plankton (Music For An Installation By Christian Sardet And Shiro Takatani) (2016 Milan). French recording of an installation piece by Sakamoto. The entire work is nearly an hour long; this is an excerpt from the beginning of that work. Mixed, produced, composed by Ryuichi Sakamoto; Producer, Lucille Reyboz, Yusuke Nakanishi; Sound programming, Satoshi Hama; Video programming, Ken Furudate, Ryo Shiraki. 7:47
Ryuichi Sakamoto, “Undercooled (Alva Noto Remodel)” from Bricolages (2006 Warner Music Japan). Rap, MC Sniper; Remix, Alva Noto. This is an interesting album of Sakamoto remixes with a rap track reimagined by the mixing of Carsten Nicolai. 4:44
Ryuichi Sakamoto, “A Wongga Dance Song” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. This is one of Sakamoto’s early explorations of the power of the digital sampler and editing. Music created for a dance performance by the company Molissa Fenley and Dancers. 10:06
Ryuichi Sakamoto, “20220214” from 12 (2023 Commons). Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.” More answers to questions by Sakamoto are found here. 9:10
Ryuichi Sakamoto, “20220304” from 12 (2023 Commons). Composed, produced, performedby Ryuichi Sakamoto using sounding objects such as stones, chimes, and fragments of pottery. 1:09
Ryuichi Sakamoto, “Life, Life” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. Sho, Ko Ishikawa; Vocals, Luca; Spoken Word, David Sylvian; Words by, Arseny Tarkovsky. 4:24
 
Opening background tracks:
Ryuichi Sakamoto, “Before Long” from Neo Geo (1987 CBS). Piano, Ryuichi Sakamoto. 1:20
Ryuichi Sakamoto, “Ulu Watu” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. Music created for a dance performance by the company Molissa Fenley and Dancers. 3:57
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.
SiteSakamoto can be found here.
The recent story about Ryuichi Sakamoto on NPR can be found here.

The Theremin Part 2: Recordings After 1970

Episode 89
The Theremin Part 2: Recordings After 1970
Playlist
Ultimate Spinach, “(Ballad of The) Hip Death Goddess” from Ultimate Spinach (1968 MGM Records). This American psychedelic rock band was from Boston, Massachusetts, although they had a sound that had more an affinity with the free spirit of San Francisco. The Theremin has a prominent part in this song, following the vocalist and filling in some interesting instrumental parts. Bass and Feedback, Richard Nese; Vocals, Drums, Tabla, Bass Drum, Bells, Chimes, Keith Lahteinen; Vocals, Electric Guitar, Guitar, Kazoo, Barbara Hudson; Vocals, Electric Piano, Electric Harpsichord, Organ, Harpsichord, Twelve-String Guitar, Sitar, Harmonica, Wood Flute, Theremin, Celesta, Ian Bruce-Douglas; Vocals, Lead Guitar, Guitar Feedback, Sitar Drone, Electric Sitar, Geoffrey Winthrop. 8:11
Hawkwind, “Paranoia Part 2” from Hawkwind (1970 Liberty). Hawkwind was a pioneering space-rock and psychedelic group from the UK. They were known to use a theremin during their early years—1969 to 1973 and revived its use on stage in later performances using a Moog Etherwave model in the 2000s. This first album features a theremin added to much of the sonic textures, sometimes overtly but often run through effects to provide a looming background, as in this song. It is sometimes difficult to distinguish, but I think there is a theremin providing some of the droning background and then sporadic bursts of tones beginning around 4:25. 14:54
McKendree Spring, “God Bless the Conspiracy” from 3 (1972 Decca). Electric Violin, Viola, Theremin, Michael Dreyfuss; Electronics (Ring Modulator), Tom Oberheim; Vocals, Acoustic Guitar, Dulcimer, Fran McKendree; Electric Bass, Larry Tucker; Electric Guitar, Martin Slutsky. This progressive band with experimental leanings was a quartet without a drummer. Dreyfus later said, “In God Bless the Conspiracy and No Regrets I was able to play viola and Theremin at the same time by bringing my body closer to the Theremin (to change pitch) while playing a harmony part on the viola,”(2006). He played a Theremin beginning 1969. He may have used a Moog theremin, such as the Troubadour. 6:53
Linda Cohen, “Horizon Jane” from Lake Of Light (1973 Poppy). Folky album from Philadelphia featuring several electronic musicians. Acoustic Guitar, Bass, Piano, Polytonic Modulator, Jefferson Cain; Classical Guitar, Composer, Linda Cohen; Flute, Stan Slotter; Producer, Electric Guitar, Matrix Electronic Drums, Modulator, Sitar, Synthesizer, Craig Anderton; Minimoog, Theremin, Charles Cohen. 3:36
Ronnie Montrose, “Space Station #5” from Montrose (1973 Warner Brothers). Ronnie Montrose added a custom-built Theremin to his equipment with the pitch antenna mounted on his aluminum (silver) Velano guitar so that he could play both at the same time. Volume for the theremin was controlled by a black box mounted on a mike stand, to which he stood nearby. He was recording with it throughout the 1970s. Here is a great live clip you where you can see how he played it. Note the end of the clip where he put the theremin guitar up against the speaker and wails on the volume control of the theremin control box. Bass, Bill Church; Drums, Denny Carmassi; Guitar, Theremin-Guitar, Ronnie Montrose; Vocals, Sam Hagar. 5:36
Arthur Brown's Kingdom Come, “Time Captives” from Journey (1974 Passport). Fender Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals, Andy Dalby; Mellotron, ARP 2600, EMS VCS 3, Piano, Theremin, Percussion, Vocals, Victor Peraino. 8:37
Michael Quatro, “Get Away” from In Collaboration with The Gods (1975 United Artists Records). Brother of Detroit rockers Suzi and Patti Quatro, he had a flare for progressive rock and electronic keyboards in the 1970s. The Theremin makes frequent appearances on this album, this track in particular. Arranger, Piano Baldwin, Electric Piano Gretsch Electro, Piano Tack Piano, Sonic Six Synthesizer, Effects Univox Phaser, Univox Stringman, EC-80 Echo, Elka Electric Piano, Hammond Organ, Minimoog Synthesizer, Univox Mini-Korg, Electroharmonix Boxes, Mellotron Violin, Cello, Flute, Effects Wah-Wah Pedals, Effects Syntha-Pedal, Bass Nova Bass, Horns, Organ Pipe Organ, Sounds Ring Modulation, Maestro Theremin, Electronic Effects, Percussion , Michael Quatro;Bass, Lead Vocals, Arranged By Arranging Assistance, Dave Kiswiney; Drums, Kirk (Arthur) Trachsel; Guitar, Teddy Hale. 4:04
Melodic Energy Commission, “Revise The Scene” from Stranger In Mystery (1979 Energy Discs). This is the first album from this Canadian space-rock, psychedelic and folk troupe from British Columbia. The Theremin was a key instrument in their ensemble and was custom-built by group member George McDonald. His Theremin would eventually be known as the Galactic Stream Theremin and would take some 25 years to build and evolve into a six antennae instrument for “tuning into the performers body motions.” During this recording, a simpler, more traditional version was used. Gas & Steam Bass, Bells, Tambourine, Mark Franklin; Dulcimer, Bowed Dulcimer, Khaen, Gongs, Flute, Randy Raine-Reusch; Hydro-electric Guitar, Custom-made Theremin, Aura, Wall Of Oscillation, George McDonald; Percussion, Tablas, Brass Tank, Glockenspiel, Roland SH5 Synthesizer, Organ, Paul Franklin; EMS Synthi AKS, Delatronics, Electric Guitar, Del Dettmar; Wordy Voice, Guitar, Piano, Organ, Roland SH 1000 Synthesizer, Gongs, Vibraphone, Kalimba, Stone Drum, Egyptian Shepherd's Pipe, Xaliman. 6:13
The Nihilist Spasm Band, “Elsinore” from Vol. 2 (1979 Music gallery Editions). Canadian group that used all hand-made instruments, including the kit-made Theremin by Bill Exley. Bass, Hugh McIntyre; Drums, Greg Curnoe; Guitar, John Clement, Murray Favro; Kazoo, John Boyle; Pratt-a-various, Art Pratten; Vocals, Theremin, Bill Exley. Recorded live at the Toronto Music Gallery, February 4th 1978. 5:14
Yuseff Yancy, Garret List, “Sweetness” Garrett List / A-1 Band, “Sweetness” from ‎Fire & Ice (1982 Lovely Music). Alto Saxophone, Byard Lancaster; Maestro Theremin, Electronics, Youseff Yancy; Vocals, Genie Sherman. 4:11.
Todd Clark, “Into the Vision” from Into The Vision (1984 T.M.I. Productions). Guitar, Cheetah Chrome; Theremin, Bat-wing Guitar with ARP Avatar, Todd Clark; Found Vocals, William Burroughs. 8:38
Danielle Dax, “Yummer Yummer Man” from Yummer Yummer Man (1985 Awesome). UK artist Danielle Dax. Wah Guitar, Steve Reeves; Guitar, Slide Guitar, Organ, David Knight; Producer, arranger, lyrics, Vocals, Theremin, Tapes, Danielle Dax; Drums, Martyn Watts; Music by Danielle Dax, David Knight. Dax is an experimental English musician, artist, and producer, born as Danielle Gardner. 3:16
Mars Everywhere, “Attack of the Giant Squid” from Visitor Parking (1989 Audiofile Tapes). Cassette release from this space-rock band from the 1980s. Electric Guitar, Electronics, Tape, Ernie Falcone; Synthesizer, Theremin, Keyboards, Tom Fenwick. 5:03
Jon Spencer Blues Explosion, “Vacuum of Loneliness” from The Jon Spencer Blues Explosion (1992 Caroline). This NY band uses an original Moog Vanguard (circa 1960). This rock and blues band was active from 1991 until 2016. Baritone Saxophone, John Linnell; Drums, Russell Simins; Guitar, Vocals, Judah Bauer; Tenor Saxophone, Kurt Hoffman; Trumpet, Frank London; Vocals, Guitar, Moog Vanguard Theremin, Jon Spencer. Here is a video of a live performance of The Jon Spencer Blues Explosion with a Moog Vanguard Theremin (just after the 39-minute mark). 3:02
Calvin Owens and His Blues Orchestra, “Vincent Van Gogh” from That’s Your Booty (1996 Sawdust Alley). Trumpet solo and vocals, Calvin Owens; Maestro Theremin, Youseff Yancy; Alto Saxophone, Tenor Saxophone, Eddy De Vos, Kurt van Herck, Peter Vandendriessche; Backing Vocals, B. J. Scott, Frank Deruytter, Mieke Belange, Yan De Bryun; Baritone Saxophone, Bo Vander Werf, Johan Vandendriessche; Bass, Ban Buls, Roman Korohek; Cello, B. Piatkowski, X. Gao; Drums, Cesar Janssens, Laurent Mercier; Guitar, Marty Townsend, Yan De Bryun; Keyboards, Rafael Van Goubergen; Organ, Peter Van Bogart; Saxophone, Jimmy Heath; Tenor Saxophone, David "Fathead" Newman, Shelly Caroll Paul; Trombone, Marc Godfroid, Yan De Breker; Trumpet, Andy Haderer, Rüdiger Baldauf; Violin, D. Ivanov, E. Kouyoumdjian; Vocals, Archie Bell, Otis Clay, Ruby Wilson. 6:23.
David Simons, “Music For Theremin And Gamelan (1998-1999), parts I and II” from Fung Sha Noon (2009 Tzadik). Theremin, Rob Schwimmer; Gamelan, Theremin, Sampler, MIDI Controller, Percussion, Marimba, Zoomoozophone, 43 Pitch Zither, Harmonic Canon, Slide Guitar, Chromelodeon harmonium, David Simons; Gamelan, Barbara Benary, Denman Maroney, John Morton, Laura Liben. 6:09 (part I) and 6:29 (part II)
Lydia Kavina, “Voice of the Theremin,” composed by Vladimir Komarov from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina. Arranged, mixed, performed by Lydia Kavina. 8:11
Lydia Kavina, “Free Music #1,” composed by Percy Grainger from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina; mixed and spatialized, Steve Puntolillo. This work was originally written for theremin although Grainger had many ideas around how this type of “free music” should be played. This native Australian was fascinated by the sounds of the real world and invented a mechanical machine for making such sounds. In 1938, Grainger said, "...Out in nature we hear all kinds of lovely and touching 'free' (non-harmonic) combinations of tones, yet we are unable to take up these beauties and expressiveness into the art of music because of our archaic notions of harmony.” His adaptation of free music for theremin was an attempt to create sounds that were new to music. This version was multitracked by Kavina and an old acquaintance of mine, sound engineer Steve Puntolillo, to recreate the parts for four theremins. 1:19
The Kurstins, “Sunshine” from Gymnopedie (2000 Rouge Records). Composed by Roy Ayers; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:47
The Kurstins, “Outside” from Gymnopedie (2000 Rouge Records). Composed by Greg Kurstin; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:55
Hecate’s Angels, “Shrink-Wrapped Soul” from Saints And Scoundrels (2004 redFLY Records). Los Angeles-based Pietra Wexstun is a composer, singer, keyboard and theremin player. Vocals, Farfisa organ, piano, theremin, sound effects, Pietra Wexstun; bass, Bill Blatt; guitar, Stan Ridgway; drums, Elmo Smith. 3:52
Pamelia Kurstin, “Barrow In Furness” from Thinking Out Loud (2007 Tzadik). From Kurstin first solo record. Composed, Produced, Theremin With L6 Looping Pedals and Microsynth Pedal, Guitar, Piano, Pamelia Kurstin. She played the Etherwave Pro Theremin by Moog fo this recording. Pamelia Kurstin, video with she and Bob Moogdiscussing the Etherwave Pro when it was introduced. Kurstin uses the Etherwave Pro Theremin by Moog Music. 5:12
Barbara Bucholtz, “SixEight” from Moonstruck (2008 Intuition Records). Bucholtz was a German theremin player and composer. She played a TVox Tour model theremin. Drums, Sebastian Merk; Music By, Contrabass Flute, Sampler, programmed, engineered, produced, and recorded by Tilmann Dehnhard; Trumpet, Arve Henriksen. 4:01
Herb Deutsch, “Longing” from Theremin One Hundred Years (2020 Electronic Sound). Composer, Herb Deutsch; Piano, Nancy Deutsch; Moog Melodia Theremin, Daryl Kubian. Recording from 2012. The beloved Herb Deutsch, who died recently at age 90, was an early collaborator with Bob Moog on the creation of the synthesizer. Herb became acquainted with Bob by purchasing a Theremin kit—a Moog Melodia model, in the early 1960s. He was primarily responsible for convincing Moog to add a keyboard to his modular unit. Also, this is taken from a terrific compilation of modern Theremin artists to benefit the New York Theremin Society. Check it out. 3:38
M83, “Sitting” from M83 (2016 Lowlands Festival). This is a live recording from Holland. “Sitting” was a song on M83’s first album in 2001. But it didn’t have a theremin part until they decided to spice-up the live interpretation of the song in 2016. Jordan Lawlor uses a Moog Theremini when M83 performs this in concert. He puts down his guitar, grabs some drum sticks, beats a rhythm on some electronic drums while dancing in place and moving his hands around a theremin. You can hear the theremin in this track but don’t mistake it for the keyboard tones that Gonzalez is playing on his modular system. A longer sequence of theremin begins at 1:38 in the audio. You can view the video here, beginning at 26:54 into the show. M83 is a French electronica band founded in 1999 by Anthony Gonzalez, who remains the only sole member from the original outfit. Performing members on this live tour included: Anthony Gonzalez, lead vocals, modular synthesizers, keyboards, guitars, piano, bass, drums, percussion, programming, arrangement, mixer, production; Loïc Maurin, drums, percussion, guitar, bass, keyboards; Jordan Lawlor, guitars, vocals, multi-instrumentalist; Kaela Sinclair, Dave Smith and M-Audio keyboards, vocals; Joe Berry, piano, synthesizers, electronic wind instrument, saxophone. 4:03
Radio Science Orchestra, “Theme from Doctor Who” (2019). This UK-based band unites theremin, ondes martenot, Moog and modular electronics, for its performances. They’ve played such events as the TEDSummit, the British Library, and Glastonbury Festival. They made a concert recording with Lydia Kavina in 2009 of the Theme from Doctor Who. This version was made more recently and appears to also include Kavina. She plays the TVox Tour model theremin made by her husband G. Pavlov. 2:18
Thorwald Jørgensen, Kamilla Bystrova, “Moderato” from Air électrique: Original Music For Theremin And Piano (2020 Zefir). Jørgensen is an accomplished Dutch classical theremin player. Piano, Kamilla Bystrova; Liner Notes, Design, Moog Etherwave Pro Theremin, Thorwald Jørgensen. 2:10
Dorit Chrysler, “A Happy Place” from Theremin One Hundred Years (2020 Electronic Sound). Issued with the magazine’s 7” vinyl and magazine bundle Electronic Sound Magazine, issue 70. Written, produced, and performed by Dorit Chrysler. 2:06
Dorit Chrysler, “Calder Plays Theremin Side A” from Calder Plays Theremin (2023 NY Theremin Society/Fridman Gallery) Written for Theremin Orchestra in 5 Movements, Chrysler’s work is based on a commissioned sound piece by The Museum of Modern Art in conjunction with the exhibition Alexander Calder: Modern from the Start. Chrysler identified two of Alexander Calder’s sculptures, Snow Flurry, I (1948) and Man-Eater with Pennants (1945), to interact and “play” multiple Theremins on site. I believe the Theremin are various Moog models. Calder Plays Theremin is a co-release of the NY Theremin Society and Fridman Gallery. 8:48
 
Opening background tracks:
Ronnie Montrose, “Open Fire” (excerpt) from Open Fire (1978 Warner Brothers). Bass, Alan Fitzgerald; Drums, Rick Shlosser; Guitar, Custom-built Theremin mpounted to his electric guitar, Ronnie Montrose; composed by Edgar Winter, Ronnie Montrose. 2:09
Hooverphonic, “‎L'Odeur Animale” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Maestro Theremin, trumpet, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 3:46.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.

The Theremin Part 1: From the Beginning to 1970

Episode 88
The Theremin Part 1: From the Beginning to 1970
Playlist
Leon Theremin, “Deep Night” (1930 Les Actualités françaises). Soundtrack from a short, early sound film of Leon Theremin playing an RCA production model Theremin.
Zinaida Hanenfeldt, Nathaniel Shilkret, Victor Salon Orchestra, “Love (Your Spell is Everywhere)” (1930 Victor). RCA theremin, Zinaida Hanenfeldt; Victor Salon Orchestra conducted by Nathaniel Shilkret. The earliest records made with the Theremin were recorded in 1930 to highlight the release of the RCA Theremin. This was one of the first. This recording session dates from January 17, 1930 and was made in New York at the 28 West 44th St. studio. Billed as a recording of “Orchestra, with theremin soloist,” this was most likely made as a demonstration of the newly introduced RCA Theremin. Seven months later, Lennington Shewell (see next listing) took up making several demonstration records produced by his father, RCA VP G. Dunbar Shewell in the Camden, NJ recording studios.
Lennington H. Shewell, “Dancing with Tears in My Eyes” (1930 Victor). Recorced on July 21, 1930, in Camden, NJ Studio 1. Theremin solo, Lennington H. Shewell; piano accompaniment, Edward C. Harsch. Noted as "R.C.A. theremin: Instructions and exercises for playing" and "G. Dunbar Shewell, present."
Lennington H. Shewell, “In a Monastery Garden” from “Love Sends A Gift Of Roses” / “In A Monastery Garden” (1935 Victor). Shewell was an American pianist songwriter and Thereminist. He recorded several discs for RCA . Shewell was employed by RCA to travel around the USA demonstrating the Theremin as part of its marketing campaign. His father was George Dunbar Shewell, who was a vice-president of RCA for a time.
Clara Rockmore, “The Swan” from Theremin (1977 Delos). Piano, Nadia Reisenberg; Produced by Robert Moog, Shirleigh Moog; Theremin, Clara Rockmore. Rockmore, of course, was the key master of the Theremin back in the 1930s and 40s, having originally learned from Leon Theremin himself. These recordings were later produced by the Moogs in the 1970s and feature some dazzling, virtuoso performances by Rockmore as she interprets many of her favorite classical works. “The Swan” was composed in by Camille Saint-Saëns (1983-1921) that was usually a showcase for a cellist and, with Rockmore’s brilliant interpretation, became a much-loved work by Thereminists. Even Samuel Hoffman made a recording of it.
Clara Rockmore, “Berceuse” from Theremin (1977 Delos). Piano, Nadia Reisenberg; Produced by Robert Moog, Shirleigh Moog; Theremin, Clara Rockmore. Here Rockmore interprets a piece by Pyotr Ilyich Tchaikovsky (1840-1893).
Lucie Bigelow Rosen, “Concerto in F” b Mortimer Browning (1940, privately recorded practice session). Ms. Rosen recorded this rehearsal in preparation for a live performance. Of great interest is that you can hear her speaking at the beginning and end of the session, and her playing is quite sophisticated.
Lucie Bigelow Rosen, “The Old Refrain” by Fritz Kreisler (circa 1940 privately recorded session). Another privately recorded session by Ms. Rosen.
Miklós Rózsa, Suite from The Lost Weekend (excerpt) from The Lost Weekend (The Classic Film Score) (1945 privately issued). Conducted, composed by Miklós Rózsa; Theremin, Dr. Samuel J. Hoffman. “This is a limited-edition recording, produced for the promotional purposes of the composer and is not licensed for public sale. The music was transferred to tape from the original acetate masters.” This was not a score released on a conventional soundtrack. This recording comes from a privately issued disc commissioned by the composer and I date it to around 1970. I wanted to include it because it a notably obscure soundtrack recording Theremin playing by Hoffman from the same era as the more famous and widely distributed Spellbound soundtrack.
Harry Revel and Leslie Baxter with Dr. Samuel J. Hoffman, “Lunar Rhapsody” from Music Out Of The Moon: Music Unusual Featuring The Theremin (1947 Capitol). Hoffman, a foot doctor by profession, was one of the best-known Theremin players of his time. Not as persnickety as Rockmore about playing “spooky sounds,” he basically filled a gap in Theremin playing in popular music that Clara Rockmore refused to fill. He played one of the RCA production model Theremins from 1930. His most famous contributions included collaborations with Les Baxter, Miklos Rozsa, Harry Revel, and Bernard Herrmann, and his momentous movie music for Spellbound (1945) and The Day the Earth Stood Still (1951). He was initially a classically trained violinist, and at age 14 he began playing the violin professionally in New York City. By 1936, he had taken up the Theremin and begun featuring it in publicity for his engagements. He quickly gained notoriety using the electronic instrument and he became one of the world's most famous Theremin players.
Harry Revel and Leslie Baxter with Dr. Samuel J. Hoffman, “Radar Blues” from Music Out Of The Moon: Music Unusual Featuring The Theremin (1947 Capitol).
Harry Revel, Leslie Baxter & Dr. Samuel J. Hoffman, “Fame” from Perfume Set to Music (1948 RCA Victor). Composed by Harry Revel; Orchestra Chorus conducted by Leslie Baxter; Theremin, Dr. Samuel J. Hoffman. "As interpreted by the British-born composer, Harry Revel, in a musical suite describing six exotic Corday fragrances."
Harry Revel, Leslie Baxter & Dr. Samuel J. Hoffman, “Obsession” from Perfume Set to Music (1948 RCA Victor). Composed by Harry Revel; Orchestra Chorus conducted by Leslie Baxter; Theremin, Dr. Samuel J. Hoffman. "As interpreted by the British-born composer, Harry Revel, in a musical suite describing six exotic Corday fragrances."
Elliot Lawrence and His Orchestra, featuring Lucie Bigelow Rosen, “Gigolette” (1949 Columbia). An attempt to bring the Theremin into popular music, this recording by Elliot Lawrence and his Orchestra made at the Columbia 30th Street Studio in Midtown Manhattan features Lucie Bigelow Rosen. Ms. Rosen and her husband Walter were instrumental in providing offices for Leon Theremin to work in New York during the 1930s. The inventor personally made two instruments for her. She was a practiced enthusiast and did much concertizing with the Theremin from about 1935 to 1940.
Samuel J. Hoffman, “Remembering Your Lips” from Music for Peace of Mind (1950 Capitol). Orchestra conducted by Billy May; composed by Harry Revel; Theremin, Dr. Samuel J. Hoffman. “Music for PEACE OF MIND featuring the THEREMIN with orchestra.”
Samuel J. Hoffman, “This Room Is My Castle of Quiet” from Music for Peace of Mind (1950 Capitol). Orchestra conducted by Billy May; composed by Harry Revel; Theremin, Dr. Samuel J. Hoffman. “Music for PEACE OF MIND featuring the THEREMIN with orchestra.”
Bernard Herrmann, Dr. Samuel J. Hoffman, “Gort,” “The Visor,” “The Telescope” from The Day the Earth Stood Still (Original Motion Picture Soundtrack) (1951 20th Century Fox). Soundtrack recorded at the Twentieth Century Fox Scoring Stage August 1951, reissued in 1993. Composed by Bernard Herrmann; Conducted by Alfred Newman, Bernard Herrmann, Lionel Newman; Theremin by Dr. Samuel J. Hoffman. Hoffmnan played one of the RCA production model Theremins from 1930 but by this time around 1950 had modified it to include an external speaker connection for improved recording of the instrument during studio sessions.
Samuel J. Hoffman, “Moonlight Sonata” (Theremin Solo with Piano Accompaniment) (1951 Capitol).
Eddie Layton, “Laura”, from Organ Moods in Hi-Fi (1955 Mercury). This song is noted as including the “Ethereal sound of the theremin.” Layton was a popular Hammond organ player, later on in his career he played the organ at old Yankee Stadium for nearly 40 years, earning him membership in the New York Sports Hall of Fame. This is his first album, one many, and is notable for using some early organ electronics. “It must be stated that all of the sounds in this album were created by Eddie Layton solely on the Hammond Organ including the rhythm sounds of the bass and guitar, by means of special imported electronic recording devices and microphones.” With the exception of the Theremin, I would add. An unknown Theremin model, most likely vacuum-tube driven, possibly an original RCA model.
Monty Kelly And His Orchestra with Dr. Samuel J. Hoffman, “Blue Mirage” from “Blue Mirage”/ “That Sweetheart of Mine” (1955 Essex). Single release from this Orchestra led by Monty Kelly and featuring Hoffman on Theremin.
Unknown Artist, “The Fiend Who Walked the West” lobby recording (1958). Theremin or musical saw? This is from an LP recording I have that was used in movie lobbies to entice people to come and see the horror film, The Fiend Who Walked the West (1958). Could this be a Theremin, or a musical saw? I think the latter. I have no information on who played the instrument, but it makes for some curious listening from days gone by while acknowledging one of the key sources of confusion for those who collect Theremin recordings.
Sonny Moon And His Orchestra, “Countdown” from “Rememb'ring”/ “Countdown” (1958 Warner Brothers). A 45-RPM single from this short-lived group od the late 1950s. Includes an uncredited Theremin performance.
Milton Grayson and Dr. Samuel J. Hoffman Theremin and Orchestra, “I Paid the Penalty” (1960 Royalty Recording Co.). A 45-RPM single about capital punishment. On one side of the record a San Francisco Attorney speaks about capital punishment. On the other side is this vocal by Grayson that dramatizes the subject. This appears to be some sort of public service announcement, but the disc itself bears no clues. This is the only release on this label. The vocal by Grayson is part sermon, part monolog, part song, with the threatening aura of the Theremin provided by Dr. Hoffman. It is undated, so I’m guessing around 1960 when Grayson was most active.
Lew Davies And His Orchestra, “Riders in the Sky” from Strange Interlude (1961 Command). From the early sixties comes this wonderful amalgamation of exotica and space-age instruments. The Theremin is played by none other than Walter Sear, later the manager of the Sear Sound Studio in New York and an influential programmer (and sometimes player) of the Moog Modular Synthesizer. Several members of this band also became associated with the Moog Modular, including Bobby Byrne, Sy Mann, and producer Enoch Light. Bass, Bob Haggart, Jack Lesberg; Cimbalom, Michael Szittai; Drums, George Devens, Phil Kraus; Executive Producer, Enoch Light; French Horn, Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Ondioline, Sy Mann; Theremin, Paul Lippman, Walter Sear; Trombone, Bobby Byrne, Dick Hixon, Urbie Green.
Yusef Lateef, “Sound Wave,” from A Flat, G Flat And C (1966 Impulse!). An innovative first from Mr. Lateef who foresaw the possibilities of the Theremin for new jazz. Lateef was known for his multi-instrumental talent on Tenor Saxophone, Alto Saxophone, Flute, Oboe and a variety of wooden flutes. Using the Theremin on this one track—I’ve never heard anything else he recorded with the Theremin—shows how a skilled jazz improviser can use the Theremin for self-expression. I would guess that this Theremin was made by Moog. Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson; Produced by Bob Thiele.
Captain Beefheart And His Magic Band, “Electricity” from Safe as Milk (1967 Buddah). The Theremin in this case was played by none other than Samuel J. Hoffman using his souped-up RCA Theremin model Theremin. It was perhaps the last appearance on record by Hoffman, who died later in 1967. Apparently, the record company hated the track so much that it led to their being dropped from the label, at which point Frank Zappa came to the rescue.
Fifty Foot Hose, “War is Over” (1967) from Ingredients (1997 compilation Del Val). Psychedelic rock group from San Francisco, formed in 1967, disbanded in 1970 and re-formed in 1995. Drums, Gary Duos; Guitar, David Blossom; Theremin, Electronics, Audio Generator, Siren, Cork Marcheschi. Recorded in 1966 in San Francisco.
Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet Concept). Unknown Theremin player, although the producers at Cadet/Chess were known to add the instrument to a session, such as those by Rotary Connection. Recorded at Ter Mar Studios, Chicago, February 1968. The song was written by producer Richard Evans, then the go-to producer and de facto label head for Chess Records’ jazz imprint Cadet. Perhaps he also played the Theremin, which was probably a Moog Troubadour.
The First Theremin Era, “The Barnabas Theme from Dark Shadows" / “Sunset In Siberia” (1969 Epic). "Dark Shadows" was super-popular daytime drama about a vampire on ABC-TV. This record was not an official release of the television show, but an interpretation of the theme that is seldom heard. I thought it’s exotic funky treatment was especially worth hearing. The soundtrack for the TV show also included Theremin, possibly played by composer Robert Cobert, but in its more traditional spooky role. This record was produced and arranged by Charlie Calello, a well-known producer who had worked with the Four Seasons (singing group) and later would produce such super stars as Frank Sinatra, Neil Diamond, Bruce Springsteen, Laura Nyro, and Barbra Streisand.
Mutantes, “Banho De Lua (Tintarella Di Luna)” from Mutantes (1969 Polydor). Brazilian folk-rock-psychedelic group that featured the Theremin blended with many other instruments, both acoustic and electronic. Arranged by, Mutantes; Drums, Sir Ronaldo I. Du Rancharia; Theremin, electronic Instruments, Claudio Régulus. This innovative pop trio from Brazil also collaborated with other artists such as Caetano Veloso and Gilberto Gil and were threatened by the military government of Brazil. What Theremin did they use? Several Moog models would have been available, but they also may have built their own. One photo I’ve seen suggested that they built their own.
Lothar and the Hand People, “It Comes on Anyhow” from Machines: Amherst 1969 (2020 Modern Harmonic). Live recording from 1969 featuring the Moog Modular Synthesizer played by Paul Conly and the Moog Theremin played by vocalist John Emelin. On this track, the synthesizer and Theremin sounds are intermingled, making it a fun challenge to distinguish between the two of them. Bass, Rusty Ford; Drums, Tom Flye; Guitar, Kim King; Keyboards, Moog Modular Synthesizer, Paul Conly; Vocals, Moog Troubadour Theremin (“Lothar”), John Emelin.
Lothar and the Hand People, “Today Is Only Yesterday’s Tomorrow” from Machines: Amherst 1969 (2020 Modern Harmonic). This track was recorded live in 1969. John Emelin starts by introducing the Moog Theremin, called “Lothar.” Bass, Rusty Ford; Drums, Tom Flye; Guitar, Kim King; Keyboards, Moog Modular Synthesizer, Paul Conly; Vocals, Moog Troubadour Theremin (“Lothar”), John Emelin.
Opening background tracks:
Bernard Herrmann, Dr. Samuel J. Hoffman, “Prelude, Outer Space” (excerpt), from The Day the Earth Stood Still (Original Motion Picture Soundtrack) (1951 20th Century Fox). Soundtrack recorded at the Twentieth Century Fox Scoring Stage August 1951, reissued in 1993. Composed by Bernard Herrmann; Conducted by Alfred Newman, Bernard Herrmann, Lionel Newman; Theremin by Dr. Samuel J. Hoffman.
Zinaida Hanenfeldt, Nathaniel Shilkret, Victor Salon Orchestra, “(I'm a dreamer) Aren't we all?” (1930 Victor). “Orchestra, with theremin soloist.” Theremin, Zinaida Hanenfeldt. Recorded January 17, 1930 in New York at the 28 West 44th St. studio.
Samuel J. Hoffman, “The Swan”( Saint-Saens) from “Moonlight Sonata” / “The Swan” (1951 Capitol). Arranged and performed on the Theremin by “Dr. Hoffman.”
Orchestra and Chorus Under the Direction Of Leslie Baxter, Dr. Samuel Hoffman, “Struttin’ with Clayton” from “Jet” / “Struttin' With Clayton” (1950 RCA Victor). Theremin, Dr. Samuel J. Hoffman.
Miklós Rózsa, “Dementia” from The Lost Weekend (The Classic Film Score) (1945 privately issued). Conducted, composed by Miklós Rózsa; Theremin, Dr. Samuel J. Hoffman.
This podcast is not intended as a thorough history of the Theremin itself. There are many excellent resources that provide that, including my own book on the history of electronic music, the Bob Moog Foundation website, Albert Glinsky’s wonderful book about Leon Theremin, and the entire Theremin World website that is devoted to everything Theremin. I urgently suggest that you consult those resources for more detail on the actual history of the instrument and the people behind it.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.

Telephone Love

Episode 87
Telephone Love
Playlist
June Carol Lodge, Telephone Love from the 12” 45 Telephone Love (1988 Pow Wow). Produced in Jamaica and featuring Reggae singer, actress and fine artist Lodge. 6:17
Laurie Anderson, “Telephone Song” from United States Live (1984 Warner Bros.). United States Live was recorded live at the Brooklyn Academy of Music, New York City, Feb. 7-10, 1983. Voice and electronics (telephone), Laurie Anderson. 1:27
Helen Myers, Telephone (1950) from Let’s Play (1950 Victor). A 78 RPM shellac double disc set billed as, “Exciting action games with true-to-life sound effects.” “We dial the operator with our imaginary phone and there she is!” intones the instructions. This simulated telephone operator places a long distance call, sends a telegram, and connects for a call to South America. 3:40
Bell Telephone Systems youth commercial, 1969. 0:35
Barney Bernard, “Cohen At The Telephone” from Cohen At The Telephone / Goldstein Goes In The Railroad Business (1916 Victor). 3:23
A∀A∀A, “Telephone Song” from A∀A∀A (1991 A5 records). UK release featuring Bass Guitar, Andy Pile; Composed by, musician, producer, Derek Timms; Guitar, Voice, Dzal Martin; Noises, Producer, Steg Read; Percussion, Kwaku Dzozornu; Piano, John Jolliffe; Voice, Barny James, Cid Bishop, Ellen Parry, Steve Norchi; Voice, Bass Trombone, Trombone, Lol Cottle; Voice, Drums, Gary Ferguson. 5:41
Kraftwerk, “House Phone” from The Telephone Call (1987 Warner Bros.). 45 RPM EP with three variations of The Telephone Call from the album Electric Café (1986 Warner Bros). This song has some variations on the phone sounds and is quite a different compostion entirely. Synclavier programming, John Mahoney; written by Schneider, Bartos, Hutter. 4:56
AT&T, Telephone Tunes: Pre-Recorded Outgoing Announcements for Telephone Answering Systems (1992 AT&T). Cassette of pre-recorded novelty answering machine messages. The tape begins with instructions then plays two of the eight tones I’ve selected (“No Bones Rap” and “Phone Blues”). 1:20
Art by Telephone, complete transcript, Museum Of Contemporary Art Chicago (1969). From the liner notes: "Shortly after its opening, the Museum of Contemporary Art planned an exhibition to record the trend, incipient then and pervasive today, toward conceptualization of art. This exhibition, scheduled for the spring of 1968 and abandoned because of technical difficulties, consisted of works in different media, conceived by artists in this country and Europe and executed in Chicago on their behalf. The telephone was designated the most fitting means of communication in relaying instructions to those entrusted with fabrication of the artists' projects or enactment of their ideas. To heighten the challenge of a wholly verbal exchange, drawings, blueprints or written descriptions were avoided. A key role in producing this exhibition has been played by the museum's curator, David H. Katzive. He not only conducted and edited the crucial telephone conversations but directed the production and enactment of the works in the exhibition." (Jan van der Marck, from liner notes). An exhibition organised by the Museum of Contemporary Art under the sponsorship of the American National Bank and Trust Company of Chicago. November 1 to December 14, 1969. I have excerpted 10 minutes of the artist proposals. I couldn’t help but notice that the only contributors to the exhibit were male artists, so I apologize in advance for this slice of chauvinism from the late 1960s. Still, the conversations are interesting. 9:44
Thom Holmes, “Telephone Work” (2022 Privately Issued). I thought it would be fun to gather some telephone sounds from the 70s, 80, and 90s and remix them into a piece of music. All of the sounds originated with the extensive library of archival sounds collected by Evan Doorbell and made available on the Telephone World website. I worked with various network sounds from different generations of phones and networks plus many examples of operator voices, especially that of Jane Barbe, the most frequently used recorder of general operator messages for AT&T. 5:08
Matteo Uggeri, “Upside Down” by Comaneci from The Telephone (2022 Grey Sparkle). Matteo Uggeri is an Italian visual designer and composer from Milan. Uggeri made phone calls to a variety of musicians and asked them to sing a song on the telephone. This is one result. The album was released in three formats, from an extremely limited to 15 copies "Dial Box Edition", that includes a real old hacked (but working) phone handset with a true 3.5mm audio jack; a limited CDr with 85 different black and white postcards covers included; and an edition of 30 cassettes. 3:32
Hal McGee, “Kitchen Sink Sinfonietta” from Tapegerm Collection Volume Five (2007 HalTapes). Loops Didgeridoo, Voice & Guitar, Ed Drury; Loops Organ, Hebephrenic; Music By "xxxxx", The Joke Project; Noises Collab Fragments, Zan Hoffman; Noises Miscellaneous Audio Fragments From Videotapes, Andrew Chadwick, Blast, Brandon Abell, Charles Smith, Christopher Miller, Gina Vivinetto, Jen Abell, Ron Palachik, Tom Miller; Noises Sound Files, Cjjbrozt; Theremin, Keyboards Casio Va-10, Jen Abell; Vocals 1986 Telephone Conversation, Charlie Goff, Debbie Jaffe, Hal McGee. 11:17
Yoko Ono, “Telephone Piece” from Fly (1971 Apple) 1:01. The closing track on this double-LP by Yoko. 0:32
D.C. (Techno Dance Club), “Your Telephone (Radio Edit)” from Technonation (1994 Anima Vox). Russian techno dance music with the telephone theme. T.D.C. is performed, arranged, and mixed by Вадим Угрюмов, Дмитрий Машуков (Vadim Ugryumov, Dmitry Mashukov). 4:08
X-Ctasy, “Call Me Mr. Telephone” from Call Me Mr Telephone (1990 Smile Production). Italian release written and produced by L Nicolosi, Tony Carrasco. 6:09
Phil Milstein, “Telephone Symphony” from Tapeworm: SFX By Phil Milstein (1990 50,000,000,000,000,000,000,000,000,000,000 Watts Records). US-based artist and tape manipulator, Phil Milstein. 1:01
Kraftwerk, “The Telephone Call Remix” from The Telephone Call (1987 Warner Bros.). Synclavier programming, John Mahoney; written by Schneider, Bartos, Hutter; Remix by Francois Kevorkian, Kraftwerk, Ron St. Germain. This is an extended version of the original album track and includes different languages and other operator messages not heard in the original. 8:12
Opening background sounds: Network sounds originally recorded by Evan Doorbell and arranged/edited by Thom Holmes.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
For additional notes, please see my blog, Noise and Notations.

Merry Moog 2022

Episode 86
Merry Moog 2022
Vintage Holiday Music Performed on the Moog and other Synthesizers
Playlist
Frank Luther with Zora Layman, “Christmas Bells” from Christmas In Song (1939 Decca). This is the original 78 RPM release featuring a vocal quartet, bells, and music played on the Hammond Novachord. 0:38
Frank Luther with Zora Layman, “Christmas Day in the Morning” from Christmas In Song (1958 Vocalion). This is a reissue of the 1939 release featuring a vocal quartet, Zora Layman, bells, and music played on the Hammond Novachord. The stereo is simulated. There are some nice moments for the Novachord on this record. 3:12
Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). This rare disc features Tanner playing the Electro-theremin, an imitation of the Theremin that was a box with an audio oscillator inside and a rotary dial to control the pitch. Tanner, a renown studio musician and trombone player, later provided the sound of the Electro-theremin on the Beach Boys hit Good Vibrations (1966). 4:16
Greg Lake, Emerson, Lake & Palmer, “I Believe In Father Christmas” from I Believe in Father Christmas (1995 Rhino). Produced by Keith Olsen; written by Greg Lake, Peter Sinfield; vocals, Bass, Acoustic Guitar, Electric Guitar, Greg Lake; Drums, Percussion, Carl Palmer; Hammond organ, Piano, Moog Synthesizer, Keith Emerson. This is the original version released in 1975 with a choir and Moog Modular. It differs significantly from the stripped-down mix, also included on this CD, originally appearing on Works Vol. 2 in 1977 and then later in 1994. Rhino Records was kind enough to package all of ELP’s X-Mas related tunes onto a CD EP in 1995, from which this version comes. 3:34
Keith Emerson, “Troika (From Prokofiev's Lieutenant Kije Suite)” from The Christmas Album (1995 Rhino). This is the Prokofiev composition that Greg Lake adapted into “I Believe in Father Christmas.” Later on, Emerson released this interpretation of the Prokofiev piece on The Christmas Album” that appeared in the US in 1995. It doesn’t appear on the original UK version in 1988. And again, this is taken from the nifty holiday CD EP also released in 1995 by Rhino. This album was made with instruments from Korg, Ensoniq, Alesis, and Opcode. 4:19
Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:44
Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 4:46
Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:52
Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Don wrote the original synthesized version of the NPR “All Things Considered” theme. It was created in his Electronic Studio of the University of Wisconsin. He used a Moog Modular Synthesizer plus a Fender Rhodes, Polymoog, and ARP string synthesizer and 16-track recorder. 1:02
Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:34
Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. Leedy was an American composer, performer and music scholar. He founded the electronic music studio at UCLA where he had access to both Moog Modular and Buchla synthesizers, and it was during this period from about 1969-71 that he was commissioned to create several albums of electronic music. His training as a minimalist and experimental composer always flavored his music with unexpected sounds and patterns. 3:05
Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). Moog Modular Synthesizer. 2:43
Armen Ra (Armen Hovanesian), “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). Moog Etherwave Pro Theremin. Armen Ra is an American artist and performer of Iranian-Armenian descent. He plays Theremin. His music fuses Armenian folk music with modern instrumentation, along with melodic lounge standards and classical arias. 4:43
Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01
Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. 3:21
Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:58
Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:12
Андрій Кок (Andriy Kok), “Небо І Земля” (“Heaven and Earth”) from Різдво На Галичині. Колядки (Christmas in Galicia. Christmas carols) (2006 Ліда). Folk singer, accordion and synth player Andriy Kok has recorded many albums of Ukrainian folk music in addition to a number of holiday songs and carols. 5:00
Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 1:14
Bernie Krause, Philip Aaberg, “Deck the Halls” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. He later turned his attention to audio ecology and the recording of nature sounds, particularly of animals. This very special Holiday recording is composed entirely of animal sounds. Some you'll recognize as the natural animal voices themselves. Others may sound like instruments, but they are actually digitally transformed animal sounds. Wild Sanctuary Productions invites you to enjoy a truly unique celebration of both the wild kingdom and Holiday Spirit. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (K 2000/Emulator III) Phil Aaberg. 8:12
The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Conductor, Paul Freeman; synthesizers, The Chicago Synthesizer-Rhythm Ensemble; Orchestra, The Royal Philharmonic Orchestra. Keyboards & Synthesizer Concepts: Ed Tossing; Electric Bass, Steve Rodby or Bob Lizik; Drums, Tom Tadke; Guitars, Ross Traut and Bill Ruppert; Percussion, Russ Knutson. 4:08
Montana Sextet, “Little Drummer Boy Jam” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor And Bass Drum, Gene Leone. 8:46
Montana Sextet, “Have Yourself a Merry Little Christmas” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor and Bass Drum, Gene Leone. 4:56
Mannheim Steamroller, “Good King Wenceslas” from Christmas (1984 American Gramaphone). Arranged, conducted, produced by, Chip Davis; Drums, Percussion, Soloist Recorder, Black Oak Hammered Dulcimer, Soprano Dulcian, Crumhorn, Bells, Vocals, Dry Ice, Chip Davis; Lute, Bass, Eric Hansen; Baldwin SD-10 Synthesizer, Harpsichord, Clavichord, Toy Piano, Prophet 5 Synthesizer, Fender Rhodes, Vocals, Bells, Jackson Berkey; Classical Guitar, Twelve-String Guitar, Ron Cooley; Flute, Willis Ann Ross; French Horn, David (High D) Kappy; Harp, Mary Walter; Oboe, Bobby Jenkins; Strings, Bill Ritchie, Grace Granata, Michael Strauss, Michelle Brill, Richard Altenbach, Richard Lohmann, Roxanne Adams, Wayne Anderson. 3:39
Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:56
Don Voegeli, “Lully, Lullay - The Coventry Carol” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01
Fossergrim, “Ave Maria” (2020 Bandcamp). Fossegrim is billed as “Dungeon Synth music from the Adirondack Mountains.” In Scandinavian folklore, Fossergrim is is described as an exceptionally talented fiddler. No fiddles here. I think Fossergrim is one Ian Nichols of Albany, New York. Check out his Bandcamp presence. 3:54
Phillip Fraser, “Rub A Dub Christmas” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. 2:53
Phillip Fraser, “The Lord Will Provide” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. There is some crazy synth material on this track. Despite it being recorded in 1985, it sounds quite analog for a synth. 3:17
Unconditional Loathing, “Carol, with the bells” from Holiday Mood (2018 Bandcamp). Every artist dreams of releasing an album of hit holiday songs that will surprise the world and bring great wealth. This is not that album. But it is remarkably noisy and dark. Check out Unconditional Loathing, from Fargo North Dakota, on Bandcamp. Self-described as “A footnote in the history of Midwestern noise that refuses to completely go away.” 1:51
The Smurfs, “Deck the Halls” from Merry Christmas With The Smurfs (1983 Dureco Benelux). This album is in English from the Netherlands. 2:17
Vatto Lofi, “Holiday Lofi” from A Merry Lofi Christmas EP (2021 Bandcamp). Providing a low-fidelity tune for the holidays, but I don’t know if “lofi” refers to the low-fidelity sound that is currently a thing (and it does sound like that) or is the actual name of this Icelandic musician. 2:21
Rotary Connection, “Silent Night” from Peace (1968 Cadet Concept). I think this holiday album from the famed psychedelic soul ensemble was perhaps only their second album. Produced by Charles Stepney and Marshall Chess, I’ve included this track not only because it features some crazy electric guitar but also because Minnie Riperton’s five-1/2-octave vocal range could effectively imitate a Theremin, which begins in this track around 1:30 into it. In an interview I once heard her say that one of her childhood fascinations was imitating that “science fiction stuff” with her voice. Interestingly, Charles Stepney also included a Moog synthesizer, used sparingly, on some Rotary Connection tracks, but I’ve heard none on this album. Co-producer Marshall Chess often added Theremin to Rotary songs but this is not one of them. It’s pure Ripperton. The Rotary Connection vocalists: Bobby Simms, Jim Donlinger, Jim Nyeholt, Minnie Riperton, Mitch Aliota, Sidney Barnes, Tom Donlinger; The studio band, Leader, David Chausow; Bill Bradley, electronic effects; guitar, Bobby Christian; bass, Louis Satterfield; bass, Phil Upchurch; bass vocals, Chuck Barksdale. 3:52
Klaus Wunderlich, “Sleigh Ride” from Multi Orchestral Organ Sound (1982 Teldec). Wunderlich was a prolific musician who mastered the Hammond Organ. Occasionally, he performed with a synthesizer and this track comes from an album not of holiday music but of various favorites, performed in the style of the original artists. This is a Leroy Anderson song arranged in the Anderson style. The MOOS (Multi Orchestral Organ Sound) was produced by the Wersi organ company in Germany. This organ/synth/drum machine hybrid was also known as the Wersi Galad and play both synth and traditional organ sounds. There is a current musician advocate for this instrument in Florian Hutter (listen to the next track), of Germany. 3:11
Florian Hutter, “Frosty the Snowman” privately released (2022 No Label). Florian is a living master of the vintage Wersi Delta and Atlantis synthesizer/organ hybrids with a built-in rhythm box. In recent years he has begun to release his music on Spotify. This is taken from the first or second day of his Christmas Special 2022 during which he releases a new tune every day. I don’t normally feature tracks recorded from YouTube, but this was too good to pass by and it fits with the vintage music played in the previous track by Wunderlich. Check him out. 2:34
Edwin Hawkins, “The Christmas Song” from The Edwin Hawkins Christmas Album (1985 Birthright). Produced when the Yamaha DX-7 became the top selling synthesizer on the planet, this is a great example of its tidy, digital sound. Richard Smallwood, keyboards, synthesizer; Edwin Hawkins, keyboards, synthesizer; Joel Smith, Drums and Fender bass; Kenneth Nash, percussion. Sounds like one or two Yamaha DX-7s. 3:57
Ryuichi Sakamoto (坂本龍), “Father Christmas” from Merry Christmas Mr. Lawrence (戦場のメ)(1983 Virgin). Music By, Composed By, Performer, Ryuichi Sakamoto. Our best wishes to Mr. Sakamoto who is suffering from Stage 4 cancer. In June he said, “Since I have made it this far in life, I hope to be able to make music until my last moment, like Bach and Debussy whom I adore.” 2:06
Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. 1:46
Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54
Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33
Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14
Keith Emerson, Emerson Lake & Palmer, “Nutrocker” (live) from Pictures at an Exhibition (1972 Cotillion). A fitting reworking of Tchaikovsky arranged by Kim Fowley and performed live, Newcastle City Hall, 26 March 1971. Hammond C3 and L100 organs, Moog modular synthesizer, Minimoog, Clavinet, Keith Emerson; bass guitar, acoustic guitar, vocals, Greg Lake; drums, percussion, Carl Palmer. "Nut Rocker", a rock adaptation of The Nutcracker originally arranged by Kim Fowley and recorded by B. Bumble and the Stingers in 1962. 3:48
Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. 3:32
Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37
Opening background music:
Jean Jacques Perrey and Sy Mann, “Rudolf the Red-Nosed Reindeer” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 2:16
Moog Machine, “Twelve Days Of Christmas” from Christmas Becomes Electric (1970 Columbia). Arranged by Alan Foust; Synthesizer Tuner, Norman Dolph; Moog Modular Synthesizer, Kenny Ascher. 3:55
Jean Jacques Perrey and Sy Mann, “Silent Night” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 1:52
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the
Bob Moog Foundation
For additional notes, please see my blog, Noise and Notations.

Rain Music

Episode 85
Rain Music
 
Playlist
Dean Evenson, “Thunder Intro” from Forest Rain (1993 Soundings of the Planet). 0:28
Ulrich Schnauss, “Molfsee” from Far Away Trains Passing By (2002 City Centre Offices). Written and produced by German artists Ulrich Schnauss. Schnauss is also a current member of Tangerine Dream, joining in 2014 and working with a renewed lineup since the death of original TG member Edgar Frose in 2015. 8:07
Ana Roxanne, “It's A Rainy Day On The Cosmic Shore” from ~ ~ ~ (2019 Leaving Records). Limited edition cassette release. Ana Roxanne is an intersex Southeast Asian musician born and raised in the Bay area. Some low-fi and hi-fi rain sounds and synthesis. 5:03
Paul Beaver and Bernard Krause, “Ragnarök” from Ragnarök (1969 Limelight). The duo’s first album of electronic music following the release of their Nonesuch Guide to Electronic Music (1968). They feature the Moog Modular synthesizer throughout and use it to synthesize the sounds of rain and thunder on this track. 3:22
Dean Evenson, “Thunder Streams” from Forest Rain (1993 Soundings of the Planet). Everson has been producing soothing electronic and flute sounds for many years, this example is from 1993 and includes rain and thunder effects. Native and silver flutes, keyboards, Dean Evenson; harp, Dudley Evenson; cello, Jonathan Kramer; guitar, Tim McHugh; percussion, Stuart Glasser. 6:20
Mystic Moods Orchestra, introductory sounds of the storm and the sea from One Stormy Night (1966 Phillips). 0:52
Steve Birchall, “Summer Memories” from Reality Gates (1973 Poseidon Electronic Music Studio). An obscure and interesting album of privately produced electronic music from the early 1970s. Billed as "electronic meditations by Steve Birchall." Equipment used was a potpourri of systems, effects, and an EMS VCS-3 synthesizer: Ampex mm 1000 16 track recorder; DBX noise reduction; Spectrasonics console; Studer A-80 recorder; Eventide Clockworks Instant Phaser; Cooper Time Cube; EMT reverb; Neumann VMS 70-SX68 computerized lathe; EMS VCS-3 (Putney) synthesizer. 10:49
Agostino Nirodh Fortini (Nirodh), “Aquatic Round” from Suoni Immaginari (2020 Black Sweat Records). Italian artist and release. Composed, recorded, and produced by Agostino Nirodh Fortini. 2:52
Mystic Moods Orchestra, “A Dream" from One Stormy Night (1966 Phillips). In the mid-sixties, recording engineer and sound recordist Brad Miller had the brilliant idea of combining the recorded sounds of nature with sweeping, orchestral renditions of popular music. This was a series of albums intended as background mood music for couples. The subtitle on the cover of One Stormy Night is “Whoever you are, you hold in your heart the memory of…One Stormy Night.” On the back cover, it says, “A spectacular thunderstorm, the sound of rain and romantic music combine to create One Stormy Night. The Mystic Moods Orchestra has many releases in to the early 1970s, at least two of which utilized the Moog Modular synthesizer. This album, however, is pure field recordings creatively combined with music. 4:16
Sanford Ponder, “Frontier” from Etosha - Private Music In The Land Of Dry Water (1985 Private Music). Arranged, produced, written, Fairlight CMI Synthesizer, Yamaha DX-7 Synthesizer, Roland GR-707 Synthesizer, Sanford Ponder; piano, Clyde Criner. 9:37
D. Emmanuel, “Rain Forest Music” from Rain Forest Music (1981 North Star Productions). Private recording of electronic and acoustical music with field recording sound effects. Composed, arranged, performed, recorded by, Yairi Acoustical Guitar, Effects, 3 Sequential Circuits Pro-One Synthesizers, Crumar organ, J. D. Emmanuel. Recorded at Emmanuel's studio in Houston. Tropical birds were recorded at Houston Zoo Tropical Bird Aviary. “Rain and surf, gifts from Mother Nature. This music can be used for deep relaxation, meditation and as background for massage and counseling.” 22:00
Thom Holmes, thunder record skip from a Mystic Moods Orchestra album. 0:55
Hans-Joachim Roedelius, “Regenmacher” from Durch Die Wüste (Through the Desert) (1978 Sky Records). Percussion, Bass, Keyboards, Hans-Joachim Roedelius; Synthesizer (Synthesizermelodie), Möbius; EMS Synthi, Percussion, Konrad Plank. Recorded and mixed with Konrad Plank in his studio in May 1976, small changes made in January 1978 prior to release. A German electronic composer and member of Cluster in this first solo album transitions to a period of acoustic music, but there are synths being used on this track. 6:36
Thom Holmes, rolling, distant thunder, field recording. 0:59
Yavomag, Rubikdice & Chilx, “Tokyo Rain” from The Ronin EP (2022 Yavomag, Rubikdice & Chilx). House music with a rainy vibe. 2:23
Thom Holmes, crack of thunder field recording.0:52
Dean Elliott And His Orchestra, “Rain” from Zounds! What Sounds! (1962 Capitol). A funny relic from the days when mixing sounds effects into music was a fresh idea. Very cleverly edited by Phil Kaye; Producer, John Palladino. 2:49
Thom Holmes, “Rain Drone” an alternate version and test for a track I later released called Requiem for the Rain (2016 not released). In this piece, I started with the sound of rainfall that I recorded and then processed it using the synthesizer component of MetaSynth to transform the raindrops and downpour into drones and harmonic points. All of the sounds in this work are derived from processing the sound of rain. 12:29
Thom Holmes, thunder, field recording. 1:15
Hans Zimmer and Benjamin Wallfisch, “Rain” from Blade Runner 2049 (Original Motion Picture Soundtrack)(2017 Epic). Cello, Simone Vitucci, Vocals, Tristan Schulze; Guitar, Owen Gurry; exotic instruments, Chas Smith; Musical Assistance, Cynthia Park; Soundtrack Album Produced By, Ashley Culp, Kayla Morrison, Michael Hodges; Synth Programming, Hans Zimmer; Sampling Team, Raul Vega; Digital Instruments Design, Mark Wherry; Synth Design, Howard Scarr; Vocals, Avi Kaplan. 2:26
Opening and closing messages voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes.
See my blog for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

Psychedelic Japan, Part 3

Episode 84
Psychedelic Japan, Part 3
 
Playlist
Boredoms, “Super Going” from Super æ (1998 Birdman). Boredoms (ボアダムス), alternatively known as V∞redoms, is a Japanese experimental/noise/space rock/tribal drumming band from Osaka, founded in 1986 by Yamatsuka Eye. Known for their extended jams and heavy drumming, it is remarkable that they had some mainstream success in the 1990s. Bass, Hira; Drums, EDA; Drums, Vocals, Yoshimi P-We; Guitar, Yamamotor; Music by, Boredoms; Words By, Vocals, Tibetan Bell, Effects (EQ-phasing), Electronics, Eye. 12:26.
Boredoms, “7-(Ewe Remix)” from Super Roots 7 (1998 WEA). Bass, Effects, Hilah; Drums, Percussion (Electronic), E~Da; Drums, Sampler (Samples), Percussion, ATR; Drums, Vocals, Tape (Bird Flying Sound), Keyboards (Casiotone), Yoshimi P-We; Guitar (Guitars), Yamamotor; Sampler, Synth, Kiyoshi Izumi; Vocals, Synth, Tape (Open Reel), Electronics (Vacuum Cleaner), Bell, Effects, Sounds, Electronics, Tape (Insects, Bird), Eye. 4:05
OOIOO, “Oizumio” from Feather Float (1999 Polystar). Pronounced OH-EE-OH, Band formed by trumpeter and drummer for the Boredoms on a whim as the result of a photo shoot she once did. Bass, Handclaps, Maki; Drums, Handclaps, Yoshiko; Guitar, Vocals, Djembe, Bongos, Roland Juno and Casiotone synthesizers; Piano, Jew's Harp, Talking Drum, Scratches, Noises (Birds), Yoshimi; Guitar, Vocals, Handclaps, Kyoko; Producer, Yoshimi. 3:39
OOIOO, “1000 Frogs And 3 Sun In A House” from Feather Float (1999 Polystar). Bass, Handclaps, Maki; Drums, Handclaps, Yoshiko; Guitar, Vocals, Djembe, Bongos, Roland Juno and Casiotone synthesizers; Piano, Jew's Harp, Talking Drum, Scratches, Noises (Birds), Yoshimi; Guitar, Vocals, Handclaps, Kyoko; Producer, Yoshimi. 10:28
Boredoms, “"Ҩ" (Spiral)” from Vision Creation Newsun (2001 Birdman). There have been some live performances of this music from Vision Creation Newsun where Eye has recruited as many as twenty drummers to join the fray, all positioned in a circle with Eye conducting from the middle. And it’s said that this is not one of his most extreme performance setups. Bass, Effects, Vocals, Hilah; Drums, Percussion, Electronic Drums (Electric Pad), Vocals, ATR, E-Da; Drums, Percussion, Keyboards (Casiotone), Vocals, Yoshimi; Guitar, Vocals, Yamamotor; Vocals, Synth, Sampler (Samples), Turntables, Tape (Open Reel), Vocoder, Computer, Electronics, Edited, mixed by, Eye. 6:33
Boredoms, “"↑" (Arrow Up)” from Vision Creation Newsun (2001 Birdman). Bass, Effects, Vocals (Vox), Hilah; Drums, Percussion, Electronic Drums (Electric Pad), Vocals, ATR, E-Da; Drums, Percussion, Keyboards (Casiotone), Vocals, Yoshimi; Guitar, Vocals, Yamamotor; Vocals, Synth, Sampler (Samples), Turntables, Tape (Open Reel), Vocoder, Computer, Electronics, Edited, mixed by, Eye. 6:26
Adachi Tomomi, “Gamp” (2001 unofficial release). Adachi Tomomi is a performer/composer from Tokyo, Japan. He plays improvised music with voice, computer, and self-made instruments. 2:35
Acid Mothers Temple & The Melting Paraiso U.F.O., “The Creation Of The Human Race” from 41st Century Splendid Man (2002 tUMULt). Bass synthesizer, bass harmonica, Tsuyama Atsushi; Drums, Yoshida Tatsuya; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Effects RDS 900, Synthesizer, Kawabata Makoto; Cosmic Companion, Ayano; Space Phone girl, Yoko; Synthesizer, Higashi Hiroshi; Vocals, Cotton Casino. From a picture disc version of this recording. 9:12
Acid Mothers Temple & The Melting Paraiso U.F.O., “Dalai Gama” from 41st Century Splendid Man (2002 tUMULt). Bass synthesizer, bass harmonica, Tsuyama Atsushi; Drums, Yoshida Tatsuya; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Effects RDS 900, Synthesizer, Kawabata Makoto; Cosmic Companion, Ayano; Space Phone girl, Yoko; Synthesizer, Higashi Hiroshi; Vocals, Cotton Casino. From a picture disc version of this recording. 4:32
Merzbow, “Argus” from Karasu: 13 Japanese Birds Pt. 4 (2009 Important Records). Music by Masami Akita. We included a cassette release from Akita in part 2 of this series. That was from early days for Merzbow, 1984. It seems fitting that we include a more recent CD by him here. Limited edition of 1,000 copies. Recorded and mixed in Tokyo, Feb 2009. 19:40
Opening background music: Far East Family Band, “Parallel World” from Parallel World (1976 MU Land). Music by, arranged by, Far East Family Band. Produced, recorded, computer mix by, Klaus Schulze. Recorded November 15th to December 5th 1976 at the Manor Studio, UK.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.
See my blog for the Bob Moog Foundation.