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
Странная запись за авторством то ли Xxenogenesis, то ли Sexxenogenesis, или просто Enogenesis, а, впрочем, какая разница, хотя, думается, что правильное название альбома всё-таки "I Am That I Am". Есть предположение, что под одним из этих нарицательных наименований скрывался некий парень из Флориды, вследствие неумеренного употребления кислоты возомнивший себя эдаким гуру, который на этом частном релизе без маркировки произносит претендующие на философичность, а порой вполне реалистичные фразы и религиозно-психологические тексты под редкие звуки и музыкальные экзерцисы да ещё иногда выкрикивает это самое "I Am That I вперемежку с навязчиво повторяемой цифрой "666". Между тем, любители подобной психо-болтовни, наверняка, будут в восторге, ведь этот диск, оригинал которого, судя под указанному адресу на обложке, можно была заказать за 6 долларов, сегодня на аукционах доходит ценой до 600 ❗
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.
1Introduction
2Cogitate Loop I
3Cogitate Loop II
4Go With It Loop
5Cogitate Loop With Music
6Cogitate Loop II With Music
7Go With It Loop With Music
8Cogitate Loop With Music II Cogitate
American physician and psychoanalyst (January 6, 1915 – September 30, 2001), a pioneer researcher into the nature of consciousness using tools such as the isolation tank, dolphin communication, and psychedelic drugs, he was a member of the Californian counterculture of scientists, mystics and thinkers of late 1960s and early 70s.
Lynyrd Skynyrd Memorial Tractor Pull
Bob Eubanks Initiation Ritual And Subsequent Cumbia
Ernest Borgnine Memorial Birthday Party
Cogate Clean
The Fog And The Dew
A Career In Real Estate
Waltz Of The Mortgage Bankers
Ernest Borgnine Reprise
Ben
Obigatory Telephone Segue
Protect And Serve
A Sandwich For Adolph
Nice Lawn, Asshole
Snot Mouth Tweedle
Snot Mouth On The Beach
Bowling For Appliances 1987
The Rudy Schwartz Project was founded in 1984 in Austin, Texas by Joe Newman. After leaving a box of consignment cassettes on the sales counter at The Record Exchange, threatening 3 A.M. phone calls soon commenced, and Newman relocated to a bunker in rural Oregon with his faithful dog, Günther, and a large box of biker and severed head movies on Betamax cassettes. Once the initial supply of salt biscuits and dried snake meat was exhausted, Newman was spotted at a Stop & Go attempting to use forged food stamps to purchase pornographic magazines and cases of Pringles and aerosol cheese. He was subsequently deported to Canada, where unfortunately he has once again gained access to recording equipment. He is writing new songs about disabled primates on skateboards and Sarah Palin’s vaginal excretions, and posting disturbing videos on YouTube. Please don’t encourage him
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.
There's No Vibrations, But Wait!4:10
The Moth
The Moth1:45
The People1:00
Peter2:27
Momma's Reward (Keep Them Freak's A Rollin')3:05
Refugee3:29
Officer Dan1:36
Old Gopher3:50
Aphrodite4:04
Granma2:24
Psychopath
The Psychopath2:19
Is For Butterflies4:30
It's Falling Away5:30 1970
Edgar Broughton Band - британская рок-группа, образованная братьями Эдгаром и Стивом Броутонами в Уорике, Англия, в 1968 году и исполнявшая тяжелый психоделический прогрессив/блюз-рок. Группа начинала в андеграунде, но к началу 70-х годов приблизилась к мэйнстриму: значительный успех в Британии имели второй и третий альбомы, соответственно Sing Brother Sing (1970, #18 UK) и Edgar Broughton Band (1971, #28 UK). Однако в тот самый момент, когда казалось, что коммерческий прорыв близок, Edgar Broughton Band изменили стиль, перейдя к более спокойной (в звуке), но при этом и более политизированной музыке. Неудачи в чартах привели к уходу из Harvest и вынужденным длительным паузам. В 1979 году группа вернулась (став секстетом) с альбомом Parlez Vous English? - уже как The Broughtons. Позже, в 1980-х и 1990-х годах Edgar Broughton Band записывались и гастролировали под своим первоначальным названием, но успеха не повторили. В 2006 году перевыпуск всего бэк-каталога группы вызвал всплеск интереса к её творчеству и, как следствие, воссоединение.
Tracklist
A1The Dead2:03
A2Be So Cruel2:40
A3Happy Ass II1:24
A4The Bastard Song2:59
A5The Ballad Of Super Penis4:39
A5Jaded Toilet Plunger1:39
A7Orange Juice Fixture Nose Wagon5:26
B1The Happy Polka4:15
B2Exerbian Obsequies3:38
B3Street Walking Lady3:46
B4King Neptune's Tapeworm2:52
B5Stomach Walls Of Berlin0:50
B6Mr. Plaster III1:13
B7Sleepytime In Dildotown2:01
Notes
Handnumbered & signed edition of 300 copies with 2 inserts - paste-on sleeves. This release compiles their recordings from 1971-1973.
"The Stench music has been called "proto-punk" and "experimental psych" and has been compared to Captain Beefheart, Zappa, the Gizmos, and even Nurse With Wound!" (from the insert).
