Born 27-Dec-1943 in Fulham, London (UK). Peter Sinfield is best known as a lyricist for early incarnations of King Crimson and later, Emerson, Lake & Palmer and Premiata Forneria Marconi, he also produced a number of albums, including King Crimson's "In The Court Of The Crimson King", "In The Wake Of Poseidon", "Lizard", "Islands" and Roxy Music's self-titled debut among others.
Глыба Британского прог рока 70-х.жаль мало самостоятельно записал
1979-Brian Eno & Pete Sinfield – Robert Sheckley's In A Land Of Clear Colors
CD reissue of the 1966 LP, originally released on ESP Disk. Limited edition (1000 copies). One track from the original, "Interview With Hairy", is omitted.
LP-style card sleeve, containing a paper sheet wrapped around an inner sleeve (featuring the Get Back logo).
An audio collage based on a radio broadcast about the wedding of Luci Johnson (daughter of U.S. President Johnson).
The album appears as one continuous track on the CD. (Total time: 22:56.) The tracklisting as printed is:
LUCI'S WEDDING by plastic clock radio
IF I HAD A HALF A MIND by Steve Weber
GOSSIP by Gerard Malanga and Ingrid Superstar
NOISE by The Velvet Underground
JAZZ IMPROV by Marion Brown, Scott Holt, and Ron Jackson
MANTRAS by Allan[sic] Ginsberg and Peter Orlovsky
LUCI'S WEDDING by plastic clock radio
LOVE AND ASHES by Tuli Kupferberg sung by Kupferberg and Viki Pollon with Peter Rawson on guitar.
THE FREE LANCE PALL BEARERS (c) copyright 1966 Ishmael Reed
SILENCE by Andy Warhol (c) copyright 1932
The East Village Other (LP)ESP Disk1034US1966
East Village Other (EVO) (CD, RE)ESP Disk, ZYX MusicESP 1034-2GermanyUnknown
The East Village Other ?(LP, Etch, S/Sided)Get BackGET 1012Italy1998
The East Village Other (LP)ESP Disk1034LPUS2013
Noise By The Velvet Underground (LP, Unofficial, Gol)Not On Label (The Velvet Underground)noneUS1980
Caledonia3:42
Ritual Feast Of The Libido3:25
Organic Sundown7:13
Fantasy7:15
Crow Of The Black Tree9:45
Genitalia2:42
Toth, Scribe I10:33
First World Of Bronze2:32 1969
Austin Grasmere and the late Brian Elliot had written a string of bubble gum hits when they approached ESP to produce an LP that would present their original creative ideas,
far removed from the formulas of the market place.
They said that they had a Connecticut tribe with which they would bring to fruition the ideas that they needed to express.
ESP gave them Onno Scholtze, and for three days they labored to fulfill their dream.
There actually was a Connecticut tribe of sorts, although it consisted not of Indians but of their close Anglo friends, with several children included.
They can all be heard on the epic CALEDONIA.
1-1The Second Untitled Track / B.93.1
Bass Guitar – Francis Pourcel
Guitar, Twelve-String Guitar – Daniel Malempré
Synthesizer, Cymbal, Voice [Screams] – Alain Neffe
Technician [Improved The Sound Quality] – Daniel Malempré
6:40
1-2The Third Untitled Track / B.30.4
Bass Guitar, Electric Guitar – Francis Pourcel
Drums, Percussion – GM Hinant
Electric Guitar, Bass [Bass On An Electric Guitar] – Paul Kutzner
Organ [Strings Organ], Synthesizer – Alain Neffe
9:30
1-3The Fourth Untitled Track / B64
Bass Guitar – Francis Pourcel
Drums, Percussion – GM Hinant
Electric Guitar – Paul Kutzner
Organ [Strings Organ], Synthesizer – Alain Neffe
4:20
1-4The Fifth Untitled Track / B.40.9
Bass Guitar – Francis Pourcel
Drums, Percussion – GM Hinant
Organ [Strings Organ], Synthesizer, Electronics [Radio] – Alain Neffe
5:45
1-5The Ninetieth Untitled Track / 10 Reverb
Bass Guitar, Electric Guitar – Francis Pourcel
Drums, Percussion – GM Hinant
Flute, Voice, Organ [Strings Organ], Synthesizer – Alain Neffe
9:00
1-6The Tenth Untitled Track / 30.2
Drums, Percussion – GM Hinant
Organ [Strings Organ], Synthesizer, Drum Machine [Rhythm Box] – Alain Neffe
9:10
1-7The Eleventh Untitled Track / 31.1
Drums, Percussion – GM Hinant
Electric Guitar, Bass Guitar [Bass Guitar With Bow, Percussive Bass Guitar] – Francis Pourcel
Synthesizer, Clarinet, Loops [Electro-Mechanical Looper], Synthesizer [Bass Synthesizer] – Alain Neffe
8:40
1-8The Sixth Untitled Track / B.80.3
Bass Guitar, Electric Guitar – Francis Pourcel
Drums, Percussion – GM Hinant
Electric Guitar – Paul Kutzner
Organ [Strings Organ], Synthesizer, Flute – Alain Neffe
13:30
2-1The Seventh Untitled Track / B.101.2
Drums, Percussion – GM Hinant
Electric Guitar, Bass Guitar – Francis Pourcel
Synthesizer, Flute, Organ [Strings Organ], Loops [Electro-Mechanical Looper], Drum Machine [Rhythm Box], Saxophone [Plastic] – Alain Neffe
22:40
2-2The Twelfth Untitled Track / 102.3
Drums, Percussion – GM Hinant
Electric Guitar, Bass Guitar – Francis Pourcel
Flute, Organ [Strings Organ], Synthesizer, Loops [Electro-Mechanical Looper], Voice, Drum Machine [Rhythm Box] – Alain Neffe
28:00
2-3The Eighth Untitled Track / KS
Bass Guitar, Bass Guitar [Percussive] – Francis Pourcel
Drums, Percussion – GM Hinant
Organ [Strings Organ], Flute, Synthesizer, Voice, Cymbal – Alain Neffe
18:56 Kosmos
Companies, etc.
Made By – Sony DADC – A0102544154-0102
Made By – Sony DADC – A0102544154-0202
Credits
Graphics [Graphism] – Tête de Porc
Liner Notes – Alain Neffe, Francis Pourcel, Guy-Marc Hinant*
Photography By – Alain Neffe, Freddy Pourcel, Unknown Artist
Recorded By – Alain Neffe
Technician [Cleaned By, Repaired By], Mastered By – Alain Neffe
Notes
Never-before-released recordings of live improvisations from 1973-78.
2CD digipack + 24 page booklet.
Instrumentation:
Claviers (string Elka Rhapsody, synthesizer Roland sh1000), saxophone soprano, flûte traversière, boîte à rythme, loops de bandes magnétiques, ring oscillator, chambre d'écho, radio.
Guitare basse Maya avec distorsion, parfois archet et écho/reverb, guitare Fender avec pédales d'effets.
Percussions: batterie Premier - caisse claire, trois toms medium, basse + grosse caisse, hi-hat et 5 cymbales Paiste et Zymbalist.
Recorded on Ampex, Sony and TDK tapes on a TC63 Sony recorder.
Never-before-released recordings of live improvisations from 1973-78.
All tracks are live improvisations.
limited edition 350 copies clear vinyl Something undoubtedly cosmic but with a DIY, home-made edge: a cosmos for sure, but dirtier than clean, noisier than technology-based. All songs are unreleased. Recorded and mixed in March 1975. After some years rather cosmic and raga-esque music, Kosmose slowly began to explore some more experimental and noisy sonic expression. At the time, the band only owned a few instruments and sound effects and, no drummer. They used to play long tracks in order to follow the trend of the alternative music of the period -- remember, this was 1975. The event was a total spectacle with an inventive light-show including
a stroboscope and a frantic projection of strange abstract slides on a giant screen by Freddy Pourcel. Some incense was burnt time-to-time. Personnel: Alain Neffe - monophonic synthesizer, flute, primitive rhythm box, bell, clumsy voice, tarang; Francis Pourcel - bass, bass with violin bow, electric guitar; Daniel Malempré (aka MAL) - electric guitar, 12-string acoustic guitar. RIYL Hawkwind, Can, Musica Elettronica Viva. https://www.soundohm.com/product/first-time-out-lp/pid/32608/
Long Lost Relatives
Tumblers To The Vault3:34
Syren6:09
December Angel8:57
Ibistix8:06
Field Hymn (Epilogue)2:54
Tillicum1:51
Better Deaf And Dumb From The First2:54
Aurora Spinray3:31
Syrinx
Melina's Torch2:59
Journey Tree4:51
Field Hymn1:50
Chant For Your Dragon King10:25
Hollywood Dream Trip5:14
Father Of Light2:17
Appaloosa-Pegasus11:34
Long Lost Relics
Tillicum (Single Mix)1:51
Melina's Torch (Solo)9:47
Better Deaf And Dumb From The First (Alternate/Vocal)3:42
December Angel (Demo)10:29
Stringspace Live
Syren7:05
December Angel8:20
Ibistix7:56
Field Hymn (Epilogue)2:45 2016
Syrinx’s path veered from the dominant modes of ‘70s subculture, their version of chamber pop hybridized with wild, whimsical electronic experimentation charting new territory in the under and overground. Formed by composer John Mills-Cockell after the dissolution of Intersystems, Syrinx’s two adventurous albums, Syrinx (Self-Titled) and Long Lost Relatives, endorsed the poetic potential of the avant-garde, subverting a turn of the ‘60s trend toward technological pageantry. Tumblers From The Vault presents these two albums alongside the trio’s unheard music, revisiting the Syrinx story and sharing their memorable, mind-bending melodies.
The two instrumental albums that Syrinx issued in the early 1970s sound little like the psychedelic music prevailing Toronto’s rock venues at the time, and are even further removed from the electronic tape experimentations spooled by a younger John Mills-Cockell.
Instead, the path of Syrinx whimsically veers away from the dominant mode of ‘70s subculture, charting surprising commercial success. Tumblers From The Vault presents their entire recorded legacy, reviving the story of Syrinx and sharing their memorable, mind-bending melodies.The musicians behind Syrinx were composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. All three were young veterans of the Toronto creative scene by the beginning of 1970. LSD played a supporting role in their artistic pursuits, but equal guidance also came from Mills-Cockell’s studies at the University of Toronto and Royal Conservatory of Music, where he established an ad-hoc, DIY electronic music course in the school’s basement.
Before long, Mills-Cockell was an accomplished young composer and an important conspirator in Intersystems, a rogue, multimedia ensemble that intersected heterogenous artists and musicians via the Toronto underground. In this freeform environment, Mills-Cockell’s compositions found alert ears, among them his primary collaborator Doug Pringle, a wily wind player, and producer Felix Pappalardi, whose credits include Cream’s Disraeli Gears and who helped John land an album deal with True North Columbia.
After Intersystems dissolution, Mills-Cockell journeyed to Canada’s west coast to work on an album of original synth-based compositions using his multi-suitcase Moog as the primary instrument. Pringle was enlisted to color outside the music’s already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinx’s signature sound. A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells’ understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective.
From these coastal sessions were conjured exemplary pieces like “Journey Tree” and “Hollywood Dream Trip,” both plaintive and serene expressions of Mills-Cockell’s economical arrangements, and also Syrinx’s restrained and expert use of their electronic resources. “Hollywood Dream Trip” alone presents a theme so memorable and melancholic that it calls to mind Erik Satie, John Cage’s early piano works, and the cinematic power of Golden Age soundtrack music. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by Long Lost Relatives, which is highlighted as the first album on Tumblers From The Vault.
Between the two albums, Syrinx became a vital part of the Toronto music scene, with Doug Pringle’s loft serving as the central node for impromptu performances and the group’s collaborative activities. Syrinx also started receiving high profile work, first for television, film, and dance, and then for orchestra. One commission culminated commercially in “Tillicum”, the unforgettable theme music for pioneering reality television show Here Come the Seventies. As a standalone single, “Tillicum” would climb to #38 on Canada’s RPM charts. The most eventful assignment came from the Toronto Repertory Ensemble’s conductor and composer Milton Barnes, whose solicitation inspired the powerful orchestral suite Stringspace.
The studio version of Stringspace for Long Lost Relatives is a near faithful version to the live performance, the Toronto Repertory Ensemble offering the same sweeping, deeply engrossing symphonic support. (An original live version also appears on Tumblers from the Vault on the third LP, along with other rare and alternate Syrinx gems). “Tillicum” also appears on Long Lost Relatives, a nod to the group’s new visibility, and perhaps an assertion that Syrinx was part of the trailblazing new world that their television theme song signaled.Syrinx’s music is more than a faded strain in Canada’s consciousness, but has never expanded universally. One modest task of Tumblers from the Vault is to reinstate Syrinx to their place in the wider canon of groundbreaking music so their story can be appreciated beyond the limits of Canadian notoriety. Another task is to simply have this music heard again, which is an endeavor made less difficult by the fact that the most defining quality of Syrinx’s music is its timelessness and agency.
Unlike so many turn of the ‘60s experiments fusing rock and pop music language with new technology, Syrinx was never excessive in expressing their vision of what electronic music could offer. Instead, they blended these sounds in a holistic way, allowing the acoustic and electronic textures to create one organic voice. They opted to foreground the lyrical and poetic content of their compositions rather than their innovative techniques.
It’s a tribute to John Mills-Cockell’s compositions, and his comrades Doug Pringle and Alan Wells, that the tangential path of Syrinx remains as present, exploratory and inviting as ever.
Syrinx’s Tumblers From The Vault will be released on October 14, 2016 in digital format and October 28, 2016 as a triple LP set and double CD. An accompanying documentary about Syrinx by artist and filmmaker Zoe Kirk-Gushowaty will screen selectively.
Рональд Гисин (англ. Ronald Geesin; 17 декабря 1943, Стивенстон, Эршир, Шотландия) — британский музыкант и композитор, примечательный своими причудливым творениями. Наибольшую известность получил как соавтор сюиты «Atom Heart Mother», а также дирижёр оркестра, который записывал исполнял эту композицию совместно сPink Floyd в 1970 году. Рон Гисин был приятелем Роджера Уотерса. Оба они любили играть в гольф и записали альбом Music from "The Body"
Точно причудливое творение !Артефакт!
A4Come With Me My Angel (On Our Little Rainbow)3:07
B1Denied (Of All Human Life)5:05
B2Good Old Fashioned Date2:27
B3They Came From Everywhere4:25
B4Past The 20th Century3:33
Credits
Songwriter – J. Solomon
Notes
Released in plain white cover. Some copies had handmade covers, with some photos (or copies of photos) pasted on the front and/or photos or writing on the back (see cover photo)
Before last week I had never heard of Jerry Solomon. Now he’s becoming something of an obsession. According to his own short autobiography, Jerry was ‘born in San Diego, California and lived in Boyle Heights from age 1-4. Later we moved to West L.A. where I went to grade school and attended Hamilton High. After high school I had a job delivering fur coats. Then I got into show business, singing, dancing, and doing comedy routines.
‘In my 30's I was maliciously given a dangerous drug as a "joke" and suffered brain and heart dysfunction. Over a ten-year recovery period, in the last few years, I've regained to some extent, my former function and am writing a book about my experience.’ That book – A Drug Free Life and a Glass of PCP – is available now.
Jerry somehow managed to record several albums, including Past the 20th Century (Fountain, 1971), Live at the Show Biz (Fountain), and Through the Woods (1973, label unknown) (UPDATE: according to record collector and private press archivist Mike Ascherman, Jerry's recorded output consists of 3 LPs and 13 45s and EPs). They are all completely insane; Jerry rambles, croons, hoots and shrieks through his material like a crazed psychotic. It’s no surprise that Andy Kaufman was reputedly a fan. Very few copies of these albums exist: so sought after are they that when they do come up for sale it’s usually for stupid money. Most come without sleeves: when they do have covers they are usually handcrafted by Jerry himself and often have photocopied inserts or doctored photos taped to them.
Outsider music which defines the genre, according to Swanfungus.com (where the image, above, comes from) Jerry is a ‘real person extraordinaire…with his highly chromatic melodies and overdubbed harmonies, Jerry sounds like a late ’50s vocals group from the Twilight Zone. His self-accompaniment consists of a repetitive one-chord (maybe two) guitar strum that predates Jandek and a toy piano that is ‘strummed’ and sounds like a lysergic zither from the Third Man soundtrack. The songs range from nostalgia for the earlier years of his life to total despair.’ (UPDATE: this quote, from Mike Ascherman, originally appeared in the book Acid Archives)
What’s really frightening about these records is that they were recorded BEFORE Jerry’s mind wet AWOL: he states (in his short story Living in an Altered State) that his overdose happened in 1977. Hell, if he was recording this kind of acid casualty stuff before he fried his synapses what on earth would have been the results of a recording session during his lost decade?
Now aged 70, pretty much fully recovered from his journey into the unknown and calling himself a ‘performance artist’, Jerry is still desperately trying to carve a showbiz career for himself. He recently auditioned (unsuccessfully), for America’s Got Talent, singing a self-composed song about Viagra to the tune of O Sole Mio. In the past he had his own cable show – a couple of uncomfortable-to-watch clips are on YouTube.Thank ! Info Blog http://worldsworstrecords.blogspot.com/
