Newsgroups: alt.music.progressive Subject: Hammill Newsletter - October 92 From: firstname.lastname@example.org (Guido Hogen) Date: 24 Oct 92 16:16:34 GMT P E T E R H A M M I L L N E W S L E T T E R October 1992 ------------------------------------------------------------------------------- QUIET AUTUMN? =============== Greetings once again. Earlier this year, I promised that 1992 would be one of my busiest - and most visible - work periods in recent times. Naturally, your exact geographical location will determine how true that has turned out to be so far. I can say, though, that I've been working fairly continuously all year and MY autumn is going to be far from quiet. I regret that my travels have been fundametally only in Europe; time and other demands - or lack of them - have seen to that. However, I hope you'll have gathered by now that I have no intention of stopping, so sooner or later I'll cover further ground once again. There's little by way of illustrations this time, and more words. Also en- closed you'll find a flyer from Rockport Records about Kevin Coyne. If you're interested, you can write to them...if not, not! So much for introduction. I'll hope to (almost) see some of you from the stage in the next weeks. In the meantime, thanks, as always, for listening! Peter Hammill THE WHAT, HOW, WHERE OF TOURING =============================== It may not be exactly be a Dire Straits-type endless rotation, but I have been on the road much more than of latealready this year, and will continue to be so over the next couple of months. The European leg of this spring's touring, as prefaced in the last newsletter, was a mixture of solo and (of a strange ilk) band shows. Even the solo per- formances were differentiated in blocks, some with Grand Piano and some with a new keyboard, the EPS. The use of the latter means that I'm no longer lugging around a "mother and brood" MIDI set-up. There are pluses and minuses in the piano vs. keyboard debate, of course. Naturally, a grand piano is much more of a physical beast, and therefore more satisfying to paly; but they're horrendous things to get a decent live sound out of, without having hours to do so; I also sometimes have the feeling that I "disappear" into them more than is fair to the audience...have a private, rather than public "conversation" with the songs. Well, I appreciate the differences between the two keyboards. Variety is the spice of entertainment! The band of Nic, Stuart and David Lord was a most interesting set-up, I thought. In Germany we played entire sets together (with EPS); for the UK shows i did the first half solo on Grand Piano, to be joined by the others for the second half. Perhaps this - or a similar "chamber" - line-up will make further appearances in the future. On all shows I played electric guitar for the first time since the K group. The beast in question is, in fact, deserving of the name Meurglys IV. (III, the Guild, is still around, by the way!) MIV is my current favourite; strange though it may sound, it's badged a Casio, although I believe the guitar makers as such are Ibanez. Its Casio nature means that it's also a MIDI guitar... which explains the odd moanings and rumblings you may have heard in "Modern", coming from a distanced keyboard! The first period of touring included a couple of firsts - shows in Prague and Argentina, both of which were most intriguing and enjoyable. I always have a certain amount of trepidation about going to countries for the first time... I wonder whether people are aware that I've moved on since 1971! The welcome and attention I received in both countries, though, was fantastic. It was also great to go back to Portugal, after a prolonged absence. It's an unfortunate fact that my touring time per year is limited, by life consider- ations, so it's all too easy to disappear from one shore or another for years without ever realising it. (Sorry, Italy, Scandinavia, North America, Japan, Israel and so on!) So, to the future, already almost upon me. By the time this goes out I will already have played the first concert of the autumn, in Brussels. I'm then going to Spain, France, Greece and Germany. There is still some possibility of four or five Italian shows coming together, and I wait with bated breath! Such details as I presently have are at the tail of this newsletter. These shows will all be solo. Since I'm still - until next year - more or less in "Fireships" mode this seems apposite. Incidentally, some day I'll answer all the questions about which mode of performance I find most satisfactory- ...but not now! As I've said, I'll hope to see some of you from the boards... THE NOISE! ========== Meanwhile, as you'd expect, even if you didn't know, the tape machines have been running... The next recorded project is now completed and (naturally) it's an entirely different world from "Fireships". I said at the time of the last newsletter that the loud songs had been held back...well, quite soon they'll be with you. The album's provisional title of "The Noise" (also one of the song titles) has stuck for so long that it's almost certain to be the final one. It will be released at some time in February, so I'll leave more detailed words about it to the newsletter that will go out then. For the moment I can say that there are guitars, guitars, guitars, and that, as you will already have gathered, it's intended to be quite loud - without, I hope, being gross! I'll write more next time. An early taster is in the offing...see next paragraph. JA! === While we all await the unleashing of "The Noise" there is one - slightly oddball - release which will precedie it. This is not going to be on Fie! itself, but on Rockport Records. It's a mini-CD, "A Fix on the Mix", in the honourable traditions of the EP. (Anyone out there remember "The Big Three live at the Cavern"?) That is to say something of a mish-mash. "I will find you" is the one you'll already know, in a slightly edited form here. "Like a shot, the Entertainer" is extracted (as an early taste) from "The Noise". Naturally it's not indicative of all the loud styles involoved, but it seems to fit in this mix! The remaining two songs will perhaps strike all of you as somewhat odd! They are "Auto (Wieder im Wagen)" and "Favorit". The origin of the first is self- evident, and the second is "His best girl"...and both are sung in German. There is a logical historical imperative in all this. It's now been several years since i started doing translation work for Herbert Gronemeyer, in the course of which I became more and more fascinated with the shifts and cultural and tonal changes such work entails. Even before that I'd been interested in German as a language. To be honest, my German speech is limited (my French and Italian are better, although strictly street-wise!); however, I really fancied having a crack at some singing. (I sang B. Vox on Peter Gabriel's German album some years ago, but to be honest my grasp was pretty well limited to the phonetic then.) So these are my first two efforts. They're certainly not perfect; but then my English is pretty whacky at times in any case! The translations (no, I'm incapable of doing it in the other direction) are by Heinz Rudolf Kunze. I believe he has done a fantastic job in rendering the angularity of the lyrics and delivery into the German tongue. The translations are not, of course, literal - I wouldn't want them to be, since, as I've said, certain things have to be shift when going into another culture. "Auto" - the superfast overnight drive - was evidently always a song rooted in German experience. "Favorit" has become, if anything, somewhat darker in the translation...or the perceived character of the man in the story has become so. Heinz puts it that he's become rather more Klaus Maria Brandauer than Roger Moore. I'm not sure that I had Old Eyebrows in mind for the English character, but I know what he means! For me, this song in particular has a distinctly different identity when sung in German... Well, soon you can see what you think. I've found it a challenging and rewarding experience. You can order the EP-CD, if it tickels your fancy, from us...as from the 1st December, because it's only being released then. In Germany, of course, it should be in the shops. Or even (dare one breathe it?) on the radio? Assuming that I'm not completely laughed out of court (well, that's a continuous assumption in any case...) more of this will follow next year. A POSTER IN THE POST? ===================== You may or may not be aware that I have a somewhat ambivalent attitude to merchandising stuff. I don't want to have the feeling that you're constantly being deluged with "Buy, buy, buy!" signals. As I hope is plain, my interest remains, as always, the writing, performing and recording of the music above all else. On the other hand, there is, of course, a demand for "things". We've always tried to make them of reasonable price, good quality and general usefulness! Usually this has meant (understated, I hope) bits of clothing - well, you can always wipe the kitchen floor with the old T-shirt when you decide that the Hammill talent has finally run dry! Until now we've never done posters, although there have been consistent requests for them. Now, though, semms to be the time. However (see above) I didn't want to have just a knock-it-out low-quality effort; so we've decided to do a limited edition (1000) run poster of Paul Ridout's "Fireships" cover on good paper and with high quality control! The colour separations for this poster are being taken directly from the computer on which Paul created the cover, with no intervening photographic stage. The image will be just over twelve inches square, with the lettering taken out. Overall, the poster will be A2 size - approx 16" by 22". It can therefore be pinned or tacked upon a wall as is, or cut up and framed...whatever. Each of the posters will be numbered and signed by both of us. We'll be taking some of these to sell on various dates in the current touring, but obviously the first call - as long as they last - goes to Sofa Sound subscribers. You'll find details in the order form; they'll be sent in suitably sturdy tubes! This is likely, incidentally, to be the first of a continuing series. As for the other stuff...there'll finally be some badges again - next time! FINALLY, A VIDEO ================ Earlier this year one of the concerts was recorded for posterity on Video. This will now (finally!) be released at the start of December. The show was in the Passionskirche in Berlin, where I've played a couple of times before. Yes, it's achurch - and the dressing room is the sacristy. this was a solo performance, with Meurglys IV and the EPS keyboard. It's not, perhaps, the most RADICAL of performances; naturally, I knew that it was being filmed, and therefore had even more responsibility than usual! Anyway, the radical and "unresponsible" performances normally peak with one song only to trough with another. I believe, though, that it's a very good representation of how-I-am- on-stage at this point. The songs are interpersed with various bits of inter- view, which are somewhat off the top of my head. From December you can order the video from us. Please note, though, that it's PAL only, so it won't work on American systems! And other news... "Fireships" is about to be released on vinyl...but only in Greece! However, it's likely that copies will be imported, perhaps by APT (Fie!'s distributors here). I regret - but not over much - that we won't be dealing with them mail order. Vinyl really is a pain from a mailing point of view, there's just so much loss and breakage involved. However, I thought I ought to let you know... Fie! records are also going to be released domestically in France in the future, through New Rose. I'm particulary glad about making a French Connection again, both live and on record after far too long an absence... Strange Fruit have been making noises about the release of some Van der Graaf BBC sessions for a number of months, and this may or may not be imminent. As with much of the past and past work I'm afraid I'm as much in the dark as you may be. In any case, I don't really see it as the function of Sofa Sound to be a VdGG info service - I am, after all, attempting to live in the present and future! (Of this, perhaps, more another time when other words fail me!) Word of a compadre, though: David Jackson's CD of instrumentals, "Tonewall" is, at last, available, and you can get it from us. Finally, miscellaneous activities - perhaps because I've spent so much time touring and recording this year I've had comparatively little for my usual crop of strange outside interventions. Peter Gabriel had me over to do a bit of backing vox on "Us"; some of this apparently survived, and you may be able to discern it! It was actually very enjoyable to do a bit of singing where the ultimate responsibility was not mine. The strangest efford never made it to public arising: David Ferguson, once of Random Hold, asked me to write some Latin lyrics (sic) for a TV score he wrote for "Disaster at Valdez", wich was broadcast a month or so back. In the end the powers that be decided that they would rather have a choirboy going "Aaaah" than have my cod Latin. Shame! TO BE CONSUMED - ALIVE and MAIL ORDER ===================================== TOURING: The following dates are confirmed (or guessed at, as appropriate!): Oct 12th Zaragoza 13th Barcelona 15th Madrid 16th Bilbao Nov 2nd Lyons 3rd Toulouse 4th Rouen 5th Lille 6th Rennes 7th Strasbourg 9th Paris 15th - 17th Athens 20th Heiligenhaus 22nd Fulda 23rd Osnabruck? 24th Aachen 25th Marburg 26th Leipzig? 27th Mannheim 29th Krefeld 30th Koln Dec 1st Frankfurt 2nd/3rd hannover 4th Schorndorf Then ITALY?! (no further info available as I write!) As always THINGS MAY CHANGE! Even I often only know exactly where I'm going when I get my itinerary... However, these dates at least give some indication of my whereabouts; if in doubt, look out for the odd poster or press ad! FOR SALE The (White) Monogram T-shirts are still available. All other clothing items are now OUT OF STOCK! So please don't try to order them...we will refund any money sent, of course, but the time and transfer processes just make money for the banks! Recordings (the main thing) are, naturally, all still available. At present we CAN'T supply old Virgin/Charisma or Enigma catalogue items...we only have what we say we have! ---------------------------end of newsletter--------------------------------- guido (email@example.com) P.S.: The address of Sofa Sound is: PO Box 66, Freshford, Bath, UK
Newsgroups: alt.music.progressive Subject: Re: Gong, again From: firstname.lastname@example.org (Malcolm Humes) Date: 20 Nov 92 23:42:56 GMT email@example.com.Virginia.EDU (David Paul Gervais) writes: >(esp. what's the Gong underground >I heard references to mean) etc. I suspect this might be a refernce to the grass roots network in the US booking tours by Gong related artists. Looks like Richard Sinclair of Hatfield and Caravan is the next one coming through. >Anyway you could either e-mail me or, gong me here for the rest >of the group to read--- let's talk GONG. I'm pressed for time right now, and I think I already brushed off responding once by email, but here's a quickie and some old mail about a specific part of Gong's history - their peak in the 70's before splitting into different bands and directions. The band was started by Daevid Allen, a wild australian beatnik who helped found Soft Machine and who hung out with William S. Burroughs and Terry Riley in teh early 60's. He and Didier Malherbe are the only original members in the current Gong92 lineup, though Pip Pyle is with them now and was in the band about 20 years ago too. Allen used to hang out with Hendrix, John & Yoko, and Pink Floyd in the early Soft Machine days and he learned his glissando guitar style from Syd Barrett. The band went through many personel changes. The Trilogy lps, Flying Teapot, Angel's Egg, and You, are to me a sort of guided trip - concept lps that tell a story, and create a mythology blending hippieness with zen. Fun stuff. Other elements of the group leaned toward jazz-rock and so when the band split Pieer Moerlen, the drummer, decided to continue using the name gong, and went on to do fusion jazz/rock stuff. Daevid contiued with a string of other Gongs, NY Gong, Planet Gong, Gong Maison, and Gong92. He ex wife started Mother Gong. Here's some old post I have trying to answer the question of "When was Bill Bruford with Gong, and did he record with them?" > I read this in the YesYears (box set) discography: > "With King Crimson, Bill Bruford recorded Larks Tongues in Aspic, > Starless and Bible Black, Red, and USA. There was also a compilation: > The Young Persons Guide to King Crimson. He subsequently drummed on > albums by Gong, Roy Harper, Pavlov's Dog, Steve Howe, Chris Squire." >Either this is a big mistake or we need to look more closely and the >Gong collection. Seems to me Gong's albums credits are somewhat crytic, >maybe he's really there. Can someone post a Gong discography and identify >the albums where he could plausably show up (ie. the right time frame)? >On these albums, who is listed as personel (presumably weird aliases). I have *every* Gong lp from that era and can assure you Bruford isn't credited on any of them. I don't think it's likely that he appears uncredited and I don't hear anything that sounds like him. I've cross referenced a couple different band histories and family trees, plus I know the founder of Gong, Daevid Allen. Here's what I put together for soemone else curious about this, and I don't feel like totally re-editing it or including a complete right now so it includes some other Gong history too. Basically what I got from talking to Daevid and reading various sources like Soft Machine, Gong and Daevid Allen solo liner notes is this: After "Flying Teapot" Allen and Gilli Smyth left for a while. I think Gilli had a kid then. That was around March to May 1973. The bass player, drummer, and guitar player from Teapot split. Hillage and Blake hooked up with Moerlen and Howlett. I think it was around this time that they played a bit with Kevin Ayers, not really performing Gong material. Allen and Smyth came back and the band recorded "Angel's Egg" (released 11/73). Between June 1973 and July 1975 Pierre Moerlen was at various times replaced by 5 other drummers including Bill Bruford. Basically Moerlen left after Angel's Egg and returned to record "You" (released 11/74). Bruford is listed as being one of five drummers with Gong between 1973-75. Since he was in King Crimson until around July 74 I assume he hooked up with Gong between 7/74 and 7/75 when drummer Pierre Moerlen came back and took over the group. I have heard a live tape of Gong supposedly with Bruford in Lemans France in 11/74 but the quality of the tape is such that you really can't tell if it's Bruford or not. I am going under the assumption that Bruford did not play with Gong while still in King Crimson, which ended their tour in 7/74 but still did some studio recording after that ("Red") before disbanding. If anyone else has any other info to add to this please let me know. I'll try to ask Daevid more specifically about Bruford's work with Gong when he's in San Francisco in two weeks. Since there were 6 drummers with Gong during the period of 6/73 to 7/75 and only one of them appears on the lps released 11/73 and 11/74 I assume that none of the other drummers was there very long. Bruford is not credited on Angel's Egg or You, which are the only two lps recorded around the time he was with the band. The other drummers with Gong during 1973-75 besides Moerlen and Bruford were Laurie Allan, Rob Tait, Di Bond, and Brian Davison. Daevid and Gilli left in April 75, right around the time Fish Rising was released, and which was essentially a Gong lp without Daevid and Gilli. Then they did Shamal, with Tim Blake gone and a new keyboard player and a violin player added. Shamal was released 2/76 but Hillage had already split by 12/75 to go solo even though he was on the Shamal recordings. Bassist Mike Howlett also left around that time and went into producing stuff for Virgin. The new keyboard player and violinsit for Shamal also split, making the lineup for Gazeuse (also released as Expresso) and Expresso II the 5th totally different lineup of Gong, and leaving it with no original band members after Didier left. IMHO Moerlen should have renamed the band since Gong was really Daevid's trip. (Actually, quite literally since the whole Gong story was "received" by Daevid once while he was tripping in the late 60's.) It's my perception that Allen and Smyth got off drugs and into zen and they started getting uneasy with being onstage for audiences of thousands that were out of control, and also uncomfortable with being onstage and backstage with people out of control. Tim Blake was supposedly into getting as blotto as he could by drinking and smoking and tripping before and during shows. Moerlen supposedly was anti drugs originally and then ironically became a cokehead and a junkie. Suitcases full of coke were appearing backstage and making Allen a bit uncomfortable. By the recording of You the band was being pulled into different directions and Moerlen wanted to get away from the mythology of it I transcribed a poem by Daevid Allen that he read last summer that seemed to sum up the anarchy of the group and why Bruford left: ------ "Poem To Bill Bruford: `You look quite young, except your hands. You have old hands. ' I look at my hands... They look like I died last Saturday. `I couldn't stay in this band, you all think differently than me, you drive me mad. ha ha ha.' `I just couldn't do it' he added joyfully. Bloomdido says, hopefully, last angle, `We are a community of hermits' * `I like your playing' he said, gay-ly zooming in on Bloom, `It's binging fantastic!' " ** ---- By Daevid Allen, as read 8/91. * = pronounced with exaggerated french accent ** = it sounded like "binging" but may have been some other word... ------------------------------------------------------------------ Here's some details from the Canterbury music discography in the discography ftp archives: Gong: Radio Gnome Invisible Part 2-Angel's Egg, 1973 (Virgin) [#,CD] Didier Malherbe: sax
Gilli Smyth: vocals Tritsch: gtr, bass Steve Hillage: gtrs Tim Blake: synth Daevid Allen: gtrs,voc. Mireille Bauer: Percussion, Pierre Moerlen:drums [Note, some members had several aliases, notably Didier, who was Bloomdido Bad de Grass (a play on his name, in French Malherbe translates literally as 'bad grass'), Bloomdido Bad de Glis (glis being a Steve Hillage word for the musical term 'glissando' ), Bloomdido Glid de Breeze, Bloomdido Glad de Brass, Gnome Pipo Bal de Glass.] Gong: Radio Gnome Invisible Part 3-You, 1974 (Virgin) [CD] Mike Howlett: bass Pierre Moerlen: drums Steve Hillage: gtr Didier Malherbe: sax Tim Blake:synth Daevid Allen: gtr,voc. G.Smyth: vocals Miquette Giraudy: voc. Mirielle Bauer: perc. Benoit Moerlin: perc. Gong: Shamal, 1976 (Virgin) [#] [CD] Mirielle Bauer: perc. Patrice Lemoine: kybds Pierre Moerlin: drums Miquette Giraudy: voc.,kybds Steve Hillage: gtrs Mike Howlett: bass Didier Malherbe: sax Francis Moze: bass Jorge Pinchevsky: violin Discography excerpts courtesy of Richard Todd. Thanks Richard! Hope this helps settle this one. Got any more Gong trivia questions? Just ask and I'll see what I can find... _//__ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~/ \/|~~~~~~~~~~~~~~~ o Fish Rising --> \x /\| ><> o _///_ :^) <>< -\\\\ o /@ \_/| > )) | ><> firstname.lastname@example.org \ /^\|
Newsgroups: alt.music.progressive Subject: Re: Ever seen King Crimson live? From: email@example.com (Gordon Van Huizen) Date: Fri, 20 Nov 1992 19:43:05 GMT References:
As long as we're all swapping stories... I saw Fripp during his Frippertronics tour at the San Diego Tower Records. I was seated by a record bin about 10 feet away, with a friend of mine. The speech was good, along the same lines as articles he was publishing in that period. There a question and answer session that included topics like a film project with Deborah Harry and working with Bowie (who Fripp referred to as 'Mr. B'). The loops were great! He did some autograph signing afterward and suggested that it would be nice if we bought 'Exposure' for him to sign. He quipped that if we already owned it we should by copies for our mothers. My friend and I were at the end of the line and Fripp didnt seem to be in a hurry to run off, so we had a chance to chat with him a bit. I had brought 'No Pussyfooting', so he signed his name and Eno's name and drew circles and arrows to show who was who (ha ha). I told him the copy of 'Exposure' was for my mom (actually she *had* given me the money), so on the cover he spontaneously drew a speech balloon coming from his photo's mouth saying "Hi Mum!". My friend indicated that we were "budding guitarists" and asked him for tips and comments. We had a nice little chat that concluded with him winking and shooting his finger like a gun at me as we turned to leave. Pretty cool guy. I saw Crimson on their three US tours of 1981-1984. The first was easily the best. They played in a gym at UCSD, with the audience seated on the floor. The lighting was very simple and the power of the band was incredible. As I've said before, the version of 'Satori In Tangier' that they played on that tour was truly transcendental. Unaware that they would play older material, 'Red' and 'Larks 2' were stunning. One of the best concerts I've been to in my life. The two subsequent US tours were good and entertaining but didn't contain the passion, intensity or coherence of the first, IMO. Between things like Belew getting more goofy and Bruford not feeling it was his place to keep time, something definately was lost. Gordon Did I ever tell ya the one about sticking my head in Debbie Harry's limo after a Blondie concert... -- ---------------------------------------------------------------- Gordon Van Huizen vox: 619.488.9411 fax: 619.488.3045 Metrosoft firstname.lastname@example.org [NeXTmail welcome] ----------------------------------------------------------------
Newsgroups: alt.music.progressive Subject: Re: ***Suggestions for A. Phillips From: email@example.com ( 179 Peter Thelen) Date: 26 Nov 92 07:59:03 GMT Dave (firstname.lastname@example.org) writes: > Part II: I have my eyes on some Anthony Phillips solo projects. >The one is called 'Ivory Moon'. It looks somewhat interesting. The >other one is a bit more appealing to me. I believe the full title of >this one is 'Private Parts & Pieces II: Back to the Pavilion' If I'm >wrong on the title, don't hang me. My question is, are these record- >ings really 'progressive' at all or are they just neat looking?? I'm >trying to ascertain whether or not I should buy them. Ivory Moon is a good one, but it's all solo piano stuff, so that may or may not be what you're looking for. Back to the Pavillion is a little more varied, some guitar stuff, a few piano tracks, some little experimental bits. Are they Progressive ? the answer depends on your definition, IMHO they are, but they are not progressive "rock". His albums are all really different, If you'd like to sample at a minimum expense, there are a few titles out domestically that won't break your bankbook: the ones I'd reccomend are "Antiques" and "Fingerpainting" for starters, both are very different. Another domestic title that's worthwhile is "1984", a lot of people like this one. "Slow Dance" is a stinker though IMHO, unless you're into lengthy orchestrated stuff that goes nowhere. Virgin is supposedly going to release his full back catalog over the next year or so (domestic) The following is something I wrote for gibraltar a while back, summarizing his recorded history since leaving Genesis. Anyway, this may be of some help.... ------------------------------------------------------------------------- In the last year or so various Anthony Phillips titles have FINALLY begun to appear on compact disc (mostly UK imports at around $22.00 each). It's great to see that his back-catalog is being reissued for disc; for years the only titles available were "Slow Waves,Soft Stars" (87), and "Slow Dance" (90) But hold on to your checkbooks & credit cards: I have heard that Virgin ity plans to eventually re-release his entire back catalog (their titles at least) in the US at good old USA prices (under $15). The first two already out are "1984" and "Antiques", "Fingerpainting" is out now as well. "Tarka", which was released on a french label, won't be part of this. Phillips was the guitarist in the original lineup of Genesis, and is featured on their first two albums "From Genesis to Revelation" (1969) and "Trespass" (1970). Phillips left the band about the time the latter was released, citing medical reasons etc. The band went on as a four piece for some time, then guitarist Steve Hackett was recruited to replace Phillips, and the rest is history. He recorded his first solo project in 1976 with help from Genesis bassist Mike Rutherford. Since that time he's been fairly regular with about one release per year. He was also part of the short lived "Intergalactic Touring Band" with Renaissance lead singer Annie Haslam among others. He has also worked with Rutherford on his solo projects, and others as well. Phillips' music is difficult to describe, as it changes from one album to the next; no two releases are alike. His music ranges from "English" sounding pop to long orchestrated pieces, Electronic music, piano & guitar solos, and so on. Some albums are 100% instrumental, others have various singers including Phillips himself. The following is a discography of his solo work: A N T H O N Y P H I L L I P S D I S C O G R A P H Y ----------------------------------------------------------- 1977 "THE GEESE AND THE GHOST" His first album with Genesis bassist Mike Rutherford co-producing. The sound is on the quiet side, mostly extended instrumentally oriented tracks for two guitars and mini-orchestra. Phil Collins sings on two tracks. Connects nicely with the early Genesis sound. 1978 "WISE AFTER THE EVENT" This contains mostly mid-length cuts and vocals on every track (by Phillips himself). The sound is more Electric Progressive, and features John G.Perry (Ex-Caravan) on bass and Michael Giles (Ex-King Crimson) drumming throughout. Also one of the best Album covers I've ever seen ! 1978 "PRIVATE PARTS & PIECES" This is an album of guitar and piano solos, duets, quartets etc. originally recorded between 1972 and 1976. All Instrumental except for 1 track. Some very nice stuff here. 1979 "SIDES" This one is more Electric Progressive much like "Wise After the Event", but a little more Poppy and Accessible. Again features Perry and Giles on Bass and Drums. Dan Owen (Ex-Happy The Man) contributes vocals on two tracks, Dale Newman on another, and the remaining Vocals are by Phillips. 1980 "BACK TO THE PAVILLION" More Guitar & Piano solos & ensembles, much in the vein of his "Parts & Pieces" All of these odds & ends recorded from 1976 to 1978. Drums & Percussion on some tracks by Andy McCulloch. Real nice. 1981 "1984" Three years early but what the heck. This is a primarily an electronic keyboard album by Phillips with help from Richard Scott and percussion by Morris Pert (Ex-Brand X). The whole project has an Oldfieldian quality about it, extended side-long tracks, etc. 1982 "ANTIQUES" An album of guitar duets recorded in 81 with Enrique Berro-Garcia. Outstanding. Of all his Albums, this is by far my favorite. What else can I say ? 1983 "INVISIBLE MEN" Phillips and Richard Scott again, but this time the result is very intelligent pop, many of the tracks here could have been top 40.. no, forget that.. top 40 never sounded this good. Vocals and writing are shared by Phillips & Scott with other musicians helping out on drums & whatnot. 1984 "A CATCH AT THE TABLES" Collection of guitar duets, ensembles and other odds & ends recorded in the period between 1979 and 1983. Some of the material sounds much like "Antiques" Other tracks vary in style. Drumbox is used on several tracks. 1 vocal cut. 1984 "TWELVE" Twelve twelve string guitar tracks, one for each month of the year. Not as much variety here as on his other albums, and that's its main drawback. Album is long (60+ minutes on the LP). The cover art is really nice. 1985 "HARVEST OF THE HEART" This is made up mostly of tracks culled from "Parts & Pieces","Antiques", "Pavillion" and "Catch at the Tables", sort of a Best of Odds & Ends. 2 tracks were previously unreleased. This is a good introduction to his more intro- spective solo work, if you can find the LP. My understanding is that this one wont be released on CD. The 2 unreleased tracks have been added to other discs as bonus tracks. 1986 "IVORY MOON" This is a full album of piano pieces written between 1971 and 1985, and recorded in 1985. No guitar at all ! Very nice throughout. 1987 "SLOW WAVES,SOFT STARS" Mostly Electronic, impressionistic synthesizer music - although some guitar tracks break it up nicely, including two with Enrique Berro-Garcia. I found my copy of the LP in the New Age section, where it was right at home. Nice, but slow and soft, just like the title says. 1989 "TARKA" Composed and performed with Harry Williamson, a mini-orchestra is used to augment the four extended pieces, producing a sound that is reminiscent of "Geese & the Ghost". No vocals. This one is among my favorites also. 1990 "SLOW DANCE" Two long (25+ minute) pieces with full orchestration; occasionally some guitar surfaces here or there. Very quiet and relaxing music, and very unlike anything Phillips has done before. 1991 "FINGERPAINTING" This was actually released on limited edition cassette two years before it came to CD. This one features mainly short electronic pieces written for television and other electronic odds and ends, a little like "Slow Waves", but this one is much more interesting with more variety. Long, 70+ minutes 1992 "NEW ENGLAND" This one is brand new, haven't heard it yet. Looks like part of the PP&P ongoing series. ---------------------------------------------------------------------------- That's all so far. Have I forgotten any ? (or maybe there's some i dont know about). Please let me know. peter (email@example.com) "The Lighthouse Keeper"
Newsgroups: alt.music.progressive Subject: Re: Richard Pinhas info From: firstname.lastname@example.org (Malcolm Humes) Date: Tue, 1 Dec 1992 23:50:00 GMT craigs@pyrdc.UUCP (Craig Shipley) writes: >Check out the July 1992 issue of Audion for an interview with >Pinhas. The next issue is supposed to contain a family tree and >discography. There's an interview at cs.uwp.edu ftp sites too. I think I have the ascii version and can repost it... >L'Ethique and East/West are his most "commercial" sounding releases >(note that I have not heard all of his releases, so this may be wrong). >The Fripp analogy is probably best suited to the _Allez-Teia_ release >(as far as a Mellotron-based sound is concerned) although on _Iceland_ >the track "Winter Music" is a 26 minute piece of Frippertronics on >synthesizer. Actually I think the Fripp sounds are common to many of the Heldon and Pinhas releases. I find L'Ethique a bit stronger at times than DWW and think it's Pinhas at his best. Allez-Teia is the most gentle and Fripp and Eno like Heldon release. Many other have noodling moog electronics bordering on industrial atonal music. >All of his material is out on CD either in the US or as a French import. >Not all of the titles that are available in France are available in the >US yet, but are due to be released two at time every nine months or so. >Can't wait for _Rhizosphere_ to come out Stateside. Standby is another one due out in the US eventually that I'd place very high on my list of favorite Pinhas. >Sorry, don't know what "DWW" translates out to in English... It's some sort of quote from Neitchse or something like that. I think the interview mentions this. ----------------------------------------------------------------------------- >From email@example.com Tue Aug 18 01:55:29 1992 An Interview With Richard Pinhas. Paris - november 19th , 1991 By Jan Tack , Marco Hinic , Serge Devadder & Henri Hanot Among collectors of electronic music some names have become legendary and are present in every search list. These names include Richard Pinhas. Motivated by the (necessary) reissue of his work on CD, we payed a visit to this friendly guy, so that the legendary leader of the French cult group HELDON may break the silence in which he had enshrouded himself since the release of his 1981 masterwork "L'Ethique ". We had a nice chat with him about Heldon, Robert Fripp, Apple Computers and Nietzche. It lasted three hours and twenty cigarettes. Question: Why such a long silence ? Richard Pinhas: I was finishing a new album when I gradualy became fed up with the show-biz entourage I was forced to deal with. So I wanted to escape that little world. However, the main reason for my departure from music was that I had no musical statement to make. I had reached a point where I would merely be repeating myself and so I prefered retireing. It was a deliberate choice. Q: So there were no financial reasons ? RP: None whatsoever. I still own 50% of the Ramses recording studio so making an album in a co-production status would have been no problem at all. No, I was just through with music. I didn't touch my guitar for six years! I could hold it and strike a few chords but there was no contact, no urge to play. Q: Was there a creative void in your life then ? RP: No! I returned to philosophy, did a lot of thinking and wrote several articles on the subject (note: Richard was a University teacher in the late sixties and he is currently writing a book dealing with Friedrich Nietzche). This takes a lot of time and reflection. I also did a lot of skydiving. Q: You what ?! RP: (laughing) Skydiving yes. Breaking a leg is no major disaster: you can still write and eventualy play a guitar. Q: What brought you back to music then ? RP: I think I have some new ideas and I realized recently that playing music is still very important to me. The unfinished 1983 album "D.W.W." (note: abreviation of a famous Nietzche quote). will be released around June '92 . I am also working with my old friend Jean-Philippe Goude on a new album. He co-writes one of the tracks. Q: Did you experience any difficulties to get back into music after such a long vacation ? RP: Not really but there was the whole MIDI-revolution to which I had to adjust. With the old Moog systems, I needed a roomful of hardware; now it's all on a small chip. Even though I remain convinced that the fat analog Moog-sound is still unmatched. At first I didn't like computers too much, but I finally ended up using VISION software running on a Macintosh FX. Q: Do you use MIDI-guitars ? RP: Of course. I figured out a great combination using an older Roland MIDI guitar which avoids the anoying system delays. In fact, I am above all a guitarist, not a keyboard player. So I'm glad to have all the sound I like on the instrument I master the best. Q: What about sampling ? RP: Hmm. I posess an EMAX but I'm not very sample minded. If you want to do something interesting with it, you need days of work. So most people just use it as a realistic string or brass section. That's absurd! If I need a pianosound, I'll just use a piano! Everybody sticks to the same factorysounds nowadays which you hear over and over again! This whole large scale synthesizer business is a commercial hoax. The industry tells people they can sound like Jean-Michel Jarre in their living-room and everybody's falling for it. So there's an avalanche of average productions, all sounding identical and without any spirit or innovative ideas. I'm not saying this because I don't like Jarre (grins). Music, as every art, must be "revolutionary" in itself, it has to break rules and explore new boundaries. Of course, it gets harder to find new channels as more of the theoretically infinite numbers of possibilities get used up. It's very tempting to imitate someone else or to stick to a certain idea. That's why I prefered quitting in 82. Q: So a brilliant Jazz-musician who plays old cool-jazz is not an artist according to you ? RP: He may be making very good music but he's not making art, no. well, I don't like the word "art" anyway. It's my general feeling about any creative process. A mathematician should search for new theories, not stick to 1 + 1 = 2. Q: This idea of revolution is a constant in your work. Also from a political point of view. Aren't you disapointed with what's left of May '68 ideas ? RP: I was a left wing militant yes. The actual political situation is dramatic as everyone has turned to a so-called social-democracy which still leaves thousands unemployed. On the other hand I am very pleased with the evolution in Eastern-Europe. You cannot hate Nazi fascism on one hand and support a stalinist dictature on the other. Q: Other subjects you treated were as diverse as Philosophy ( "L'Ethique" is based on Spinoza's writings) and S.F. (References to Herbert's Dune on "Chronolyse"). RP: They are not diffrent at all! Like music they are disciplines dealing with various mental perspectives such as introspection and temporality. They are merely diffrent shapes of the same thing. Q: On this ocasion you worked with Norman Spinrad on the "East/West" album. RP: Yes, he still lives in Paris but I haven't seen him for a while. I also knew Michel Jeurry and the late Philip K. Dick. Q: The Richard Pinhas and Heldon albums had become tremendous collector items. Some have been reissued recently. How did that happen ? RP: The people from Cuneiform records asked me a few years ago but I was not interested at all at that time and did not even reply to their letter. Now things are different and I have given my authorization. My entire backcatalog is scheduled for reissue on CD within one year in France. The CD's will be available from Spalax records. Cuneiform records will focus on the USA and Canada, but at a slower rate of two titles per nine months. I'd like a Japanese reissue too... Q: Any bonus tracks or goodies ? RP: Some CD's will contain previously unreleased material. "Winter Music" for example on the "Iceland"-CD is a 22' track of Frippertronics on synthesizer. It's quite special. Q: With the distance in time how would you evaluate your work ? What are your faves and do you have any regrets ? RP: Very few. I think "Heldon Third" and "Allez-Tiia" did not stand time...I should not have made those albums in the first place. But on the whole I guess I contributed to electronic music. "Rhizosphere" for example was the first combination of heavy live percussion and electronics. Drummer Frangois Auger did some amazing work on that album. I'm quite content with "Iceland", "East/West" and "L'Ethique", those are my best albums. Q: Heldon was adventurous, without any compromise. RP: Larry (Synergy) Fast told me around '77 that he couldn't believe I was actually selling something like that. There were no dramatic chord changes, virtualy no melodic lines,... It puzzled his American mind deeply (amused). Q: And how well were you selling it ? RP: The first album was an underground independent production and sold 17.000 copies which was quite a lot. "Iceland" on the other hand was released by a major company (Polydor) but was a commercial fiasco. Paradoxically it raised most of the royalties as it is often used on television for background scores. Most of my albums were released in Europe, the USA and Japan, so I can't complain. Q: But you never had a hit of course, Heldon was not exactly a "chartbuster". RP: My record company asked me once to do something commercial; they wanted a hit single ! So I decided to record "Telstar". I had always liked that tune and eventually I was, and still am, quite pleased with the result. It was released under the name "THX" as it was not my usual style, it didn't fit in. I believe it was a small succes in Germany. Q: Speaking about names, what differenciates "Heldon" from "Richard Pinhas" ? RP: I have always considered "Heldon" as a group with a certain continuity and with a solid core composed of Frangois Auger, Didier Batard and myself. We spent days and months practically living together. On the later albums, when musicians occured, it was always for a short period, a brief recording session or a tour. As the continuity was lost, I prefered abandoning the name "Heldon" and releasing these albums under my name. Q: Do you know that there is a Heldon-bootleg album ? RP: (very surprised) No! Really ?! Well, I don't mind, in fact I am rather flattered. That's my anarchist nature speaking (laughs). I just hope they chose good stuff... Q: If you would have had MIDI digital equipment... RP: (interupting) No! I would have made exactly the same music. It was composed anyway, thought over and elaborated mentally before I played it. Besides there was a musical stadium that had to be gone through independently of the equipment and instruments used. You can't skip the past and go straight to the present. Q: There's a large parallel between your music and the works of Robert Fripp. How much did it inspire you ? RP: I think I must have been subconsciently influenced by the tapes he played before his concerts in 73-74. But the first Heldon-albums were released together with the Fripp & Eno stuff. There was no imitation involved, just a coincidence in time. Q: Do you know him personally ? RP: I was very flattered when Fripp showed appreciation for my work, even coming to my concerts. Eventually we became good friends. This is probably why we never played together. There was no need for it anymore as we were already very close. I once asked him to play on one of my pieces. I had made a demo with some guitar parts. Fripp listened to it and said it would be pointless for him to play on it as he 'd probably play it the same way. Q: So where lies the difference then between the guitarist Fripp and Pinhas ? RP: (laughing) Robert is much better ! However, we both have a style which is quite recognizable. Even on a rotten amp with a bad guitar, I would play my own sound. (adding softly) Which isn't too bad I guess. Q: A matter of technique ? RP: Technique alone is insufiscient but not a conditio sine qua non. If you have the genius spark, you do something great with a total lack of musical technical skill. A striking example is Brian Eno. He 's a poor keyboardplayer and guitarist but what a great musician! However, most of the time, technique adds much to the result, yes. It also saves a lot of time in a recording situation. Q: Any plans to cooperate with Fripp in the future ? RP: If he asks me, I'll come. There have been plans in the past but it never worked out. The same for Robert Wyatt, with whom I had an even more advanced project. Who knows ? Q: You covered a David Bowie track on "East/West". RP: Not exactly. I had recorded a piece but was annoyed by the feeling that I had used a series of 3 or 4 notes which I'd heard somewhere else. It's only later that I realized it came from the "Heroes" album. It's practically unrecognizable but out of artistic honesty I gave Bowie credit for the track. The irony is that Bowie has all my albums and that apparently I was a candidate for the "Heroes" LP ! I found this very flattering. Froese was an other candidate but when he had entered the Berlin studio with a few tons of his Moog-material, Fripp, who was used to Eno's small devices, had become very nervous and that was that (laughs). Q: Speaking of Froese, the Germans were never your favourites. RP: Honnestly, I didn't know the music of the Berlin School until some friends introduced me to it. I admit that I have more affinities with the English School and that I am not a Tangerine Dream fanatic, but this group has done tremendous work for electronic music. "Phaedra" and "Aqua" are splendid albums that I enjoyed a lot. And Klaus Schulze stayed with me a while, we had some nice discussions. However I believe Kraftwerk to be the most inventive German group. I'm very fond of their work. When they had recorded "T.E.E." they honoured me with an invitation to an interview with the French radio. Q: Do you like "The MIx" ? RP: It's my favourite album of the last few months. I'm really looking forward to see them again in concert. Q: What else do you listen to lately ? RP: Miles Davis, Wagner,... Whatever catches my ear. Richard then let us hear a brilliant track from the forthcomming album which is continuing the line of "L'Ethique". If this interview has made you curious about Richard's music, then don't hesitate to discover his reissued work on CD. It's among the most exciting electronic music you can get. And for those who already know HELDON, get ready folks because the best is yet to come ! The authors would like to thank the following people for their enthusiasm, kindness and generous help: Agneta Nilsson and Richard Pinhas Steve Feigenbaum and all at Wayside-Cuneiform (USA) Robert Lenoir and Crystal Lake (France) Frits Cauwenberg from KLEM (Holland) Audion magazine (England) An Interview With Richard Pinhas If you have more information about Richard Pinhas please contact : Devadder Serge Ch. Woestelaan 140 bus 12 1090 Brussel Belgium or Doumen Jan internet : firstname.lastname@example.org bitnet : email@example.com -- /=============================================================================\ | Doumen Jan Voice : 32 2 3590209 | | Vrije Universiteit Brussel Fax : 32 2 3590390 | | Instituut Voor Moleculaire Biologie | | Department For Ultra-structure | | B - 1640 Sint-Genesius-Rode Internet : firstname.lastname@example.org | | Belgium EARN/BITNET : jqdoumen@BBRBFU60.BITNET | \=============================================================================/
Newsgroups: alt.music.progressive Subject: Re: Amon Duul? From: email@example.com Date: 4 Dec 92 11:37:23 GMT In article <0yL7uB2w165w@bluemoon.use.com>, firstname.lastname@example.org (Patrick Buzby) writes: > > Anyone know much about this band? I know onXly that they were part > of the first wave of German progressive groups (along with Can, Faust, > Kraftwerk, and Tangerine Dream). @ Recently, I've seen the CDs "Yeti" and > "BBC Radio I Live" by this group, and I'd like to know if these are good > and where other titles can be found. Any response would be greatly > appreciated. > Amon Duul were a short-lived experimental band consisting of about 5 drummers and various other musicains, playing experimental rock music very loud. They split up very rapidly and formed Amon Duul and Amon Duul II. Amon Duul II released several LPs in the seventies, and are the band people are generally referring to when they mention Amon Duul. Amon Duul (I) have some records around, but I've nor heard any of them. They also reformed in the Eighties (with founder member Dave Anderson of Hawkwind, and a drummer who sounds unnervingly like Guy Evans from Van Der Graaf) and released several more albums. Of these, I've heard the compilation 'Airs on a Shoe String' which is guitar-based psych./rock with awful drumming. Another one I know of is with Robert Calvert and is called Hawk Meets Penguin. Don't buy this, it's shite. The seventies Amon Duul II albums are as follows: Phallus Dei - VERY wierd noise/rock. Loud and furious with almost no tunes. Yeti - becoming more tuneful. Double album with two sides of improvisation which is surprisingly good when played loud and in the dark. Tanz Der Lemminge - A good one. Another double with a side of improvisation. The imp. isn't so good tis time, but the songs are classic German prog. Carnival in Babylon - I THINK this is next. It's not as good as Lemminge, but still has its moments. Wolf City - for my money, the best of the lot. By far the most obviously "progressive" sounding - lots of deeply layered synths and guitar. Live in London - contains heavier, more rocky tracks of some of the songs on Yeti and Lemmings. Vive La Trance - Much more "poppified" than the others. I owned this for two weeks, then sold it in disgust. That's all the albums I know of. Dave Anderson fans should note that he only appears on Phallus Dei and Yeti. Hope this is of some help. - Mark.
Newsgroups: alt.music.progressive Subject: Lyrics: Crimsons Red Album, Yes Really!!! From: email@example.com (The Wombat) Date: Fri, 5 Mar 1993 06:12:04 GMT Res, it's the lyrics to Red, I was suprised that these weren't on the lyric archive, so I'm gonna put them there, as well as to Discipline, the Crimson newsletter. Enjoy... ---------- Album: Red ---------- -------------------- Artist: King Crimson -------------------- 1. Red (Instrumental) 2. Fallen Angel Tears of joy at the birth of a brother Never alone from that time Sixteen Years through knife fights and danger Strangely why his life not mine West side skyline crying Fallen angel dying Risk a life to make a dime Lifetimes spent on the streets of a city Make us the people we are Switchblade stings in one tenth of a moment Better get back to the car Snow white side streets of cold New York City Stained with his blood it all went wrong Sick and tired blue wicked and wild God only knows for how long Fallen angel Fallen angel West side skyline Crying for an angel dying Life expiring in the city Fallen angel... 3. One More Red Nightmare Pan American nightmare Ten thousand feet fun-fair Convinved that I don't care It's safe as houses I swear I was just sitting musing The virtues of cruising When altitude dropping My ears started popping One more red nightmare Sweat beginning to pour down My neck as I turn round I heard fortune shouting Just get off of this outing A farewell swan song See you know how turbulence can be The stewardess made me (*see note*) One more red nightmare Reality stirred me My angel had heard me The prayer had been answered A reprieve has been granted The dream was now broken Thought rudely awoken Really safe and sound Asleep on the Greyhound One more red nightmare 4. Providence (Instrumental) 5. Starless Sundown dazzling day Gold through my eyes But my eyes turned within Only see Starless and bible black Ice blue silver sky Fades into grey To a grey hope that oh years to be Starless and bible black Old friend charity Cruel twisted smile And the smile signals emptiness For me Starless and bible black Lyrics taken without permission from a Japanese recording of Red *Note, though it is not listed there is a one after "The stewardess..." I believe it is "But the captain forbade me" could be that the CD is definitive edition, the lyrics may not be, but I really don't know, it's not unusual for thigs to be odd like that (Ohh, that made sense) -MJF -- -=-=-=-=-=-=-=-This message was brought to you by Matthew Frazer-=-=-=-=-=-=-=- "With the pinched eyes of a gourmet sampling perfection, he chewed. He chewed a bit more. Then he swallowed the dogfood. He sat for a while. Well, he thought, now I know why dogs lick their testicles. It's to get rid of the taste of the food. -Dave Lister, Last Human Alive Finger firstname.lastname@example.org for more --------------------------------=Be Seeing You=--------------------------------
Newsgroups: alt.music.progressive Subject: Gong lyrics? From: email@example.com (Malcolm Humes) Date: Fri, 5 Mar 1993 17:49:30 GMT Are there Gong lyrics in ftp archives? Someone was asking me for some` and I looked at ftp.uwp.edu and couldn't find any. Someone asked about You a few weeks ago and if that lp had liner notes originally, like teh rest of the trilogy lps. I thought it didn't, but Clive was kind enough to email me the liner notes and lyrics. Here they are. If anyone else has any other Gong lyrics online please send them to me so I can help out a Russian friend who can't access this group. >From: Clive Backham
Here is a transcript of the insert that came with the original LP of "You". This insert was printed on just one side of a single 12"x12" sheet, and was in six columns (hence the short lines). Other than collapsing these six columns into one, I have retained the exact layout (words on each line, blank lines, indentation, capitalisation, etc), and have also retained all peculiar spellings and obvious typos (eg. "gomna" for "gonna", "wierd" spelled incorrectly): you never know what Daevid Allen meant to do deliberately, and if one can't tell where to draw the line when applying "corrections", it's better not to make any at all. I have proof read this transcript a few times, and am pretty sure that all typos you may find are of the (sic) variety. While typing it in and reading the sheet again, it's obvious that the words to "Master Builder" are supposed to fit into the story, although their relevance eludes me (as does the relevance of much of the words throughout the whole trilogy: I just love this stuff for the music, the mood, and the silliness :-) Cheers, Clive (firstname.lastname@example.org) ******* START OF INSERT SHEET ******* At the end of Radio Gnome 2 (ANGELS EGG) Zero had just come down from a mystical trip to the Planet Gong on the other side of the sky to find himself in bed which brings us to RADIO GNOME 3 YOU SIDE 1 1 THOUGHT FOR NOUGHT 1m 30 Bloomdido: If you want to fly if you want to become a star a super hero You could try the ascension of the great pyramid of life Yoni: Counting again and again from one to nine Bloom: Approaching and pushing away infinity O sweet absurdity But if you prefer that old silly number zero You'll become a master of doing nothing - being nothing 2 A P.H.P.'S ADVICE 1m 37 Dingo: In case you don't remember this is what you do get up outa bed now if there's nothing left to find the answer to here is question number 1 If you're a believer ... what do you believe? Why do you believe it? Doncha ever wonder ... If its really true ... Do you? Question no. 2 Really ... that's the mystery Let a pot head pixie tell you what to do and this is what he'll tell you if you gotta problem to know who you are here now this is what you do Remember you are me I am you all of us together now go AUM Then follows two magickal formulas to relax you into the natural high which this music can bring to you if you want 3 MAGICK MOTHER INVOCATION Yoni: ISHTAR IAO DIANNA subtle sex fertile wisdom fuse love 4 MASTER BUILDER (C.O.I.T.) (a) Mistyc Mister Invocation Band: IAO ZA-I ZA-O sexuality MA-I MA-O motherforce TA-I TA-O NOW lightforce Saxaffirmation by Bloomdido (b) Zero seeks to Bring His Vision From Gong down to Earth Conditions Intact Thinks: Maybe you don't know ... Maybe you know ... Maybe you know you know Maybe you don't know what you know you know you know ... Maybe you don't know what You know you know ZA-I ZA-O MA-I MA-O TA-I TA-O NOW Guitar transmissions by Stevie (c) Zero Asks Hiram The Master Builder How to Structure His Vision Q: Master Builder Tell me how you make a temple? A: Tools and moon stones you don't really need them you know Q: Master Builder Tell me what the temple's made of? A: Deep inside you you can build an invisible temple in your own imagination if you will 5 A SPRINKLING OF CLOUDS 8m 42 Deep in his crystal clear temple made of will and imagination Zero finds the power to ride above the clouds looking down upon his struggling human hang-ups seeing clearly the next-step ... to seek one-ness and achieve that permanent natural high by which (once universal) would transform this world into a worthwhile place to live. So Zero, remembering the prediction of the Octave Doctor on Planet Gong now sets off for the Island of Everywhere in search of illumination SIDE 2 Clue 1 for mythomaniacs: Bali is everywhere 6 PERFECT MYSTERY 2m 25 Zero arrives on the magick isle and observes an ancient tree Zero: It's a perfect mystery how becomes a tree a tree but there's something telling me that nothing is for nothing is for nothing is for only one lifetime learning to be Band: Cops at the door Yoni: No cops at the door Band: Cops at the door Yoni: No cops at the door What a surprise! She looked the cupboard and found the eyes in the suitcase Zero: On the Isle of Everywhere it becomes a man to share all and everything he cares for every one is every body else is slowly melting themselves together again Zero: Look up in the air Yoni: The Octave Doctor's there! Zero: And when he strokes his gong Yoni: Your middle eye comes on What a surprise! She looked around for Zero But he'd lost his eyes In a fruitcake Clue 2 for mytho's: Fruitcake earthling pleasures 7 THE ISLE OF EVERYWHERE 10m 21 A. The Melting Feast of Freaks The Switch Doctor Turns Everybodies Thiord Eye On But Where Is Zero? (a) Here comes the Switch Doctor the Octave Doctor on Earth ... O spirit ... wind ... I love you ... whispers Yoni the Good Witch swooping down out of the clouds on her electronic broomstick (b) Ohhh Yeah! wails Bloomdido on Soprano sax (c) This is the moment of the BIG FLASH sez Stevie and illustrates it on his guitar Higher and higher you all rise together till in the final moment of almost unbearable intensity. You melt all together into one vision and become Seers Connoisseurs note: this piece of music was composed to be listened to while contemplating the power symbol of the Octave Doctors (Gong Mandala), available as a poster from Virgin, wherebye the experience of total melt may be approached. B GET It Inner or Do The Dither For Zero Is Spaced Out On Fruitcake Again Joyfool gnomesong by Bloomdido Final ditherwords by Dingo PHP: have a cuppa tea Zero: cuppa hubba dubba Chorus: didn't you forget something? Zero: roll another brother Chorus: maybe you forgot someone ... PHP: a bit a' cake? Zero: yum yum! PHP: haven't you forgotten ... Zero: have another drink ... PHP: have a lager! Zero: wot did we forget let's see ... PHP: sink another one Zero: yea yea! PHP: Wots the scene today? Zero: you know the Octave Doc ... PHP: whe's he comin momma? Zero: ... wots the time? PHP: don't know Zero: we better ask PHP: have another lager Zero: Where has everybody PHP: Gong! I hear the Gong! Zero: wait a minute man PHP: hey! we missed the Buzz ... Chorus: Oh No! C. Peace of Mind Or Piece of Cake or Zero Goofs Again Dingo: Zero ... Where are you ... doncha remember why you came to Everywhere ... The piece of mind that you came to find has dis-appeared ... for all that you could take was piece of cake and wine ... and now you'll have to wait another time ... 8 YOU NEVER BLOW YR TRIP FOREVER 11m 24 Dingo: maybe you're here for the giggle maybe you're into the puzzle maybe you're blowing the bubble maybe you're all in a muddle i the more you know the more you know you don't know what you know stone's throw left to go bad weather hell for leather now & zen you goof again you never blow your trip forever ii earth mother soul brother be high here now third eye open soon meanwhile new world group soul lost and found underground next time round iii a real wierd number is Zero the man because he a turnin on round & round again they say he'll never make it But I think he can iv there's a hold in the morning it's the hole that he was born in now the old man's yawnin ... v It's the world of illusions and Zero the Hero is up to his ears in the mysteries ... No solution to speak of ... round & round & round & round & round that's Zero going round again ... And maybe you come and maybe you're gone and maybe you're right and maybe you're wrong maybe you're a one and maybe you two and maybe you're free and dunno what for just as long as you're alive it's all the same it's all in the name it's all in the sky and it doesn't really matter if you make it so long as you try So its back on the path beside the road to everywhere gomna jump my horses over the weeks to everywhere and with you we will share your sack of cares ... and if things don't change for better or worse well man you must be dead but cha don't have to give up hope and ya don't have to give up dope (until you do) and ya don't have to change your ways you just have to be what you are my friends today ... that's what the Octave Doctor says ... (flashbacks) Dingo: So there goes Zero the Hero turning on around the spiral wheel of births and deaths and each time round he gets a little closer to being one. Meanwhile the Octave Doctors and the Pot Head Pixies and all the other characters of Planet Gong hafta leave you now with a last little song: vi Why don't you try? vii The Mantram Chant of You all together now ... YOU ARE I OR I AM YOU YOU I AM OR I AM YOU YOU AM I OR AM I YOU YOU ARE MAYA RAM ARE YOU YOU ARE MY HIRAM ARE YOU YOU AM I OR I AM YOU YOU ARE MAYA I AM YOU YOU AM I AS I ARE YOU YOU ARE MAYA'S EYE ARE YOU YOU ARE I OR I AM YOU END. Bye Bye GONG IS ONE AND ONE IS YOU With love to all of the greater family of Gong Peoples all over the world of course means YOU. This is only a skeletal summary of the story of Part 3 the entire triology of the Radio Gnome series will soon be published as a full colour illustrated book complete with photos documents source material references, glossaries and all you could wish to know about the mythology of Planet Gong. ******* END OF INSERT SHEET *******
Newsgroups: alt.music.progressive Subject: Re: HAWKWIND From: email@example.com (M Holmes) Date: 5 Jul 93 13:01:56 GMT firstname.lastname@example.org (Marc Phillips) writes: >email@example.com (Andrew Wing) writes: >>Marc Phillips (firstname.lastname@example.org) wrote: >>: I bought Hawkwinds "The Best and The Rest of Hawkwind" and found it >>: incredibly boring. >> What tracks from what releases are on this disc? >>-- >>Andy Wing Lead Applications Analyst - Temple University Computer Services >>email@example.com firstname.lastname@example.org@pucc.princeton.edu >>email@example.com >1. High Rise >2. British Tribal Music >3. Spirit of The Age >4. Urban Guerilla >5. Born To Go >6. Space is Deep >7. You Shouldn't Do That >8. Silver Machine >The CD is live. It doesn't say when or what albums these tracks came >from only the title and the writers/publishers. This is just a compilation CD from various sources. Most of the tracks are from 70's Hawkwind. It's definitely not one of the better compilations. There's a private email list for Hawkwind and Blue Oyster Cult fans. If anyone wants info, please email me. We have files containing discographies, band history, lyrics, and track sources. If anyone wants these then again, email me. Attached is my own review of Hawkwind albums. Since I have 'em all, it's worth noting that it's written from the perspective of a fan. On the other hand, having heard everything they've done, I do (for once :-) know what I'm talking about.... Note also that it was written for a bunch of not-quite-completist collectors. ------------------------------------------------------------------------ 1970 Hawkwind [re-released as pic disk 1980] also as "Rock File" weird and not the established Hawkwind style, but since it's their first album it's a "must have". The Seeing It As You Really Are track is great. Very acid rock in flavour. 1971 X In Search Of Space [originally contained booklet: The Hawkwind Log] Established the rambling-guitar and spacey-noises style they adopted for the early 70's. Master of the Universe and You Shouldn't Do That became tour staples for most of the band's history. 1972 Doremi Fasol Latido [orig. contained Star Rats poster] More heavy on the guitar than XiSoS. Contains established tracks like Brainstorm and Down Through The Night. 1972 The Text Of Festival: Live 1970-2 (live) Poor sound quality live album. Mostly jamming tracks. nah, don't bother. 1973 Space Ritual Alive (live) [double album. Contained open-out sleeve] Live stuff pretty much in the vein of Doremi. This is the *classic* Hawkwind album. 1973 Bring Me The Head Of Yuri Garagin (live) [ = Early Daze ] Another poor quality live compilation. Don't bother 1974 Hall Of The Mountain Grill If you don't have this then you don't have a hawkwind collection. The band had two drummers at this point and they'd acquired synths instead of just noise generators. This saw the introduction of the melodic synth tracks that later appeared on every album and gig. 1975 Warrior On The Edge Of Time Very much in the vein of HotMG. Mike Moorcock made his first appearance on this one and the album was loosely based on his Eternal Champion books. Moorcock does some readings from the books on the album. 1976 Astounding Sounds, Amazing Music Different to their style up to this point and different to anything that followed. Three members were sacked after this for trying to turn Hawkwind "funky". Opinions vary a lot on this album but it certainly has some very good tracks. A lot of Calvert influence. 1976 Roadhawks (studio material w/remixes by Brock) One of the better compilations, and an official one. Remixed live version of Shouldn't Do That. Get this one. 1977 Quark Strangeness And Charm Hawkwind were very much under the Calvert influence at this stage. A mixture of synth stuff, Calvert SF-theatre tracks like Spirit of The Age, and Brock/Calvert rock tracks like Damnation Alley and Hassan I Sabha. One of their best albums. 1978 PXR5 same lineup as Quark with some live tracks from the 1977 tour: Robot, Uncle Sam's On Mars, and High Rise. 1978 Hawklords - 25 Years On It's hard to describe this one. It's supposed to be based on a factory making car doors to trade for angel's wings. It's almost pure Bob Calvert at his most wacked out. Some good tracks and some pretty dull ones. This album and the subsequent tour led to the breakup of the band. 1979 Hawkwind Live '79 Brock won the rights to the name "Hawkwind" and reformed the band with calls to 1971 members Huw Lloyd Langton and legendary synthesist Tim Blake. A really strong lineup and a very energetic album. 1980 Levitation [original release was on blue vinyl] Simon King left and Ginger Baker joined leaving Hawkwind with arguably the best synth player and the best drummer in the rock industry. Their most musical album - one which even stopped Sounds asking "Are those hippies *still* at it?". Good rock tracks and great instrumental tracks. 1981 Sonic Attack Baker and Blake had quit by this point and the folks from Sonic Assassins had joined the band. Moorcock made a reappearance to write a couple of tracks. Back to the loud&fast rock tracks for the most part without the grungy sound of Doremi. 1981 Sonic Assassins 12EP [live recording from '77] Quirky, but worth getting. The first side is a weird impromtu stream-of-conciousness performance by Calvert when he got bored with Bainbridge's synth. It made for a strange track, but it works well. 1981 Hawkwind Zoo 12EP Quirky again but good for the instrumental Kings of Speed track. 1982 Victoria double album My opinions vary on this one. It's rare though and it certainly isn't a bad album. It's a compilation of a lot of the stuff they did on Flicknife Records. 1982 Church of Hawkwind [originally with booklet] The most electronic of Hawkwind's albums betraying a heavy Brock influence. 1982 Choose Your Masques Almost back to Sonic Attack but with some weird synth interludes. 1982 Hawkwind Live at Stonehenge and Watchfield (Festival Records) A bootleg. Not brilliant sound. Rare anyway, so expensive. 1982 Friends And Relations - Hawkwind 1983 Friends And Relations II (Twice Upon A Time) 1985 Friends And Relations III 1988 Best of Hawkwind Friends & Relations CD Depends how interested you are in the Hawkwind spinoff bands really. 1983 Zones [also released as pic disk] Some good tracks. Not the most powerful album but definitely worth getting. Contains the Dangerous Visions track that Keith Hale wrote. 1984 The Earth Ritual Preview (EP) This was going to be an album but it didn't work out. Contains the Night of the Hawk anthem. 1984 Stonehenge (This Is Hawkwind/Do Not Panic) (live) [LP & EP] Another not so great sound quality live album but like Live '79, it captures what a live Hawkwind gig is about. Worth having. 1985 The Chronicle Of The Black Sword An album based on Moorcock's "Elric character. Kind of a Warrior on the Edge of Time mark II but with heavier guitar. 1985 Space Ritual II Another gig on the same tour as Space Ritual. Same tracks. Perhaps only collectors will want both albums. 1985 Live Chronicles (live) The live and kicking version of the Black Sword album. Moorcock originally did the readings but some contractual dispute had his efforts removed and replaced. 1985 Ridicule (live 1973) The other half of Space Ritual II. Same comment 1985 Welcome To The Future (Mausoleum Records) Another not so good live compilation 1985 Live '70/'73 Yet another not so good live compilation 1986 Independent Days, Vol. I Rare now. It's a bit like the Friends & Relations stuff. 1986 Independent Days, Vol. II Ditto. 1987 Out And Intake Ditto again, but I would get this one. It has something. 1987 Hawkwind Box Set - The Official Picture Log Book Depends if you have the stuff in it already. The package is a good one though. 1988 The Xenon Codex This took a while but it grew on me. Some good rock tracks and some excellent synth interludes. 1988 Zones/Stonehenge CD On balance worth getting if you see it. 1988 Spirit of the Age CD There are two of these. The earlier one of Charisma (76-78) stuff is good. The later one is just another compilation. Depends which of the tracks you already have. 1988 Hawkwind Live [German CD: Imtrat] This is just Space Ritual II 1990 Space Bandits I still don't like all of this album but the good tracks are good. It's an official album though. Depends on your attitude. 1991 Palace Springs (live) The best modern live album although it contains updated versions of some of the 70's tracks. 1991 Hawkwind: Space Rock from London If you see this, grab it with all your hands. It's a remixed version of the BBC disk and it is absolutely awesome live early hawkwind. You might never listen to Doremi or Space Ritual again ;-) 1991 The Golden Void [Live at Glasgow Apollo 19/10/82] official bootleg? poorish sound. It was a great gig though. Consider it. 1991 The Never Ending Story of The Psychedelic Warlords [Live 1990] Comes with the Gigi Marinoni lyric book. Good sound, though not my fave tracks. The package is worth getting IMHO, though not everyone agrees. 1972 Glastonbury Fayre (with various artists) Earliest Hawkwind it's possible to get. Silver Machine and Welcome. the rest of this triple LP set is other bands. UK Hippy stuff. Out on CD now though. It's up to you. 1972 Greasy Trucker's Party Similar to above though just Hawkwind and Man. Awesome early live Born To Go and Master of the Universe. Watch out though, there are two Greasy truckers compilations. The other one has Gong et al on it. 1977 Masters of the Universe (Compilation) Three LP's of this name. The early one is official and has "It's So Easy on it". The other tracks appear elsewhere, but if you don't have 'em then this is a good album. The later compilation of this name is just another compilation and the third one is the "In The Beginning" album which is just half of Text of Festival. Clear? :-) 1979 Repeat Performances (Compilation) A Charisma Compilation. Good choice of tracks. get this one if poss. 1981 Hawkwind Live at the Bottom Line (New York 1978) Bootleg. Sound is okish. Up to you. 1981 Hawkwind at Glastonbury 1981 Tape only. I was there. Awesome gig. Get it if you can. 1984 Utopia 1984 A good compilation. Worth getting. 1985 In The Beginning (Live "Top Gear" BBC Session 1970) Half of Text of Festival. The half with the better sound, though that's not saying much. 1986 Angels of Death Compilation of RCA stuff covering 81-83. It's ok. 1986 The Hawkwind Collection Double album. A good compilation. Worth having. 1986 The Hawkwind Anthology Vol. I LP 1986 The Hawkwind Anthology Vol. II LP 1986 The Hawkwind Anthology Vol. III LP 1986 The Hawkwind Anthology Vol. I CD 1986 The Hawkwind Anthology Vol. II CD The three anthologies are just the same as the Acid Daze anthologies. I think the two CD's don't cover all the tracks on the three LP's, though the Acid Daze CD's do. There are also vinyl box sets of both. They're ok, a cross between just another compilation and a good history of the band. The later Hawkwind Anthology 3-CD set is better though since Brian Tawn picked the tracks. You're more likely to see that one anyway. It's in a blue box with red ~Hawkwind" lettering. 1986 The Approved History of Hawkwind (Samurai Records) The above in a box set. 1987 British Tribal Music (live, compilation) [Good sound quality. Digitally As it says, good sound but really just another compilation. Not a great choice of tracks. 1987 Early Daze Just another compilation. Not a great choice of tracks. 1988 Traveller's Aid Trust (with various artists) Sort of a live Friends & Relations. not great really. 1989 Night of the Hawk [Powerhouse Compilation] Just another compilation. 1989 Ironstrike [Avanti Records ISTCD 004] Another compilation. Not bad though. 1990 Stasis - The U.A. Years 1971-1975 LP A good compilation. Rare singles mixes of tracks. Worth getting. 1990 Night Riding Just another compilation. Goodish though. 1990 The Best and the Rest of Hawkwind [Action Replay records. Just another compilation. Not so good. 1990 The Best of Hawkwind (volume #2 of Metal Classic series by EMI) Cassette only. Just another compilation. 1991 The Early Years Live EP 4 tracks. I like 'em. Vinyl only. Worth getting. 1991 Masters of The Universe [ Marble Arch Rock CMA CD 129] The "other" album of this name. Not so worth having as the early one. 1991 The BBC Radio Disc The "lost" BBC disk. Gotta get this one if you can't find the better mixed "Space Rock From London" CD of the same gig. 1991 Spirit of The Age [on "Elite". Different from 1988 Charisma compilation] Just another compilation. Good tracks though. 1991 Castle Masters Collection Just another compilation. Not bad. 1991 Friday Rock Show - Live at Reading '86 If you liked Live Chronicles then this is the one for you. Screamin' live Hawkwind. Amazing stuff. Get it. Reappearance by Lemmy on this one. 1992 Electric Teepee - double album, a "must have" 1992 Mighty Hawkwind Classics CD: a compilation of 4 EP's: Hawkwind Zoo, Earth Ritual Preview, Motorhead/Valium Ten, Sonic Assassins. It's hard to get the EP's so this is a "must have". 1992 The Hawklords Live: Live stuff from the 1978 tour. Definitely worth having. 1992 This is Hawkwind: Do Not Panic - all but two tracks of this are on the Zones/Stonehenge CD. It depends on how much you want "Stonehenge Decoded" and yet another version of "Watching the Grass Grow". If you don't have the double CD though, this is a *kicking* live album so get this version. 1992 The Psychedelic Warlords: limited edition CD from Rock Cave. It's similar to "Stasis" in that it concentrates on the UA years 1971-1975 with the emphasis on the singles b-side mixes. Again, definitely worth having. 1992 California Brainstorm - Live US tour 1990. Similar to Palace Springs but shares only one track. Some good live tracks like Reefer Madness, Hassan I Sabha, Out of the Shadows, Night of the Hawk, Ejection. Get this one. 1992 Hawkwind at Stonehenge 1983 Yugoslav bootleg of the Solstice concert. Good sound quality. the concert was Hawkwind in jamming mode with Turner's sax very much to the fore. I was standing in the middle of Stonehenge watching the Sun rise when they played Spirit of the Age. It's etched on my brain. I'm biased, but get this one. 1992 Zones - finally released as a single CD. Some tracks that don't appear elsewhere, but not a startling album. 1992 Orgasmatron - a bootleg CD culled from various live performances. Good versions of a number of staple Hawkwind tracks with the bonus of New Jerusalem appearing for the first time. --
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