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Designer Beatnik
Studio album by
Dr Calculus
Released4 August 1986
Recorded1984–1986
Genre
Length41:05
Label10
Producer

Journeys by DJ: 70 Minutes of Madness is a DJ mix album by English electronic duo, released on 16 October 1995. It was the eighth instalment in the Journeys by DJ series of mix albums released by the label of the same name. Unlike previous editions, which focused on house music, Coldcut's mix profiles the act's 'freestyle' mixing approach, blending 35 tracks that span many genres, including techno, hip hop, electro, jungle and funk, into an eclectic, frenetic DJ set.

Inspired by their Kiss FM radio series Solid Steel, Coldcut created Journeys by DJ: 70 Minutes of Madness with collaborators Kevin Foakes and Patrick Carpenter. The team were motivated to prove what could be achieved with a DJ mix and to exhibit true DJ culture. Licensing some songs proved difficult, resulting in several last minute replacements. The final mix incorporates rapid changes in tempo, spoken word samples, scratching and heavy layering.

On release, the album received wide critical acclaim for its diverse track selection, dextrous mixing and originality, becoming the best reviewed DJ mix album of the era. It has since been widely described as one of the greatest DJ mix albums ever released, featuring in lists compiled by Q, Spin, The Quietus and DJ Magazine. In 1998, it was named the best compilation album ever by Jockey Slut. It has also been cited as an influence on big beat and mashup music. Originally reaching number 41 on the UK Compilation Chart and falling out of print in 1998 following the expiration of the track licenses, Journeys by DJ was re-released in May 2002, allowing it to reach a new peak of number 28.

a.r. kane art rock page 17, storm studio concrete 246

"...in a bid to bump up the running time, [Ezrin] added sound collages at the start and close. An eerie 86-second coda mixes backward bits of Destroyer with a snippet from Alive!"[1] Strong[2] Larkin[3]

Guinness Chain

Synopsis

Featuring an innovative blend of live action and computer animation, Chain "opens on a pint of Guinness and zooms in on the bubbles in the glass, each of which forms a galaxy. In each galaxy a planet evolves. On one planet we see a tower, and then we are drawn into a room inside the tower. On a table in the room is a pint of Guinness."[4]

"The commercial extended the idea of a swirling journey through a glass of Guinness and back out again" / "A surreal journey into the heart of a pint of Guinness and back out again."[5] More info at LA[6]

Assorted

In the 1980s, Ogilvy & Mather were hired to takeover the Guinness account from J Walter Thompson. Coining the slogan "Pure Genius", Ogilvy launched "The Man with the Guinness" campaign in 1987, which was centred around a series of quirky advertisements starring Blade Runner star Rutger Hauer. He starred in more than 20 commercials in the campaign - Chain, from 1994, is the last one.[7]

Ogilvy & Mather took on the Guinness account in late 1984, launched the 'Genius' campaign in Aug 85 (160-161). p190: The Man with the Guinness, launched May '87, sense of "individualism". The Man (Hauer) shown in a series of surreal scenarios, delivering similarly surreal monologues. By 1991, the campaign had helped draught Guinness steadily increase in sales for five years, revitalising the drink's sales. Major directors continued the campaign, including Hugh Hudson, Ridley Scott, Paul Weiland and Barry Kinsman, with the man's conundrums becoming increasingly more obscure, moving away from the "talking head" format to what the guy calls "a more ambitious journey into the mysterious of Guinness with the Hauer character as an interpreter." However the final commercials, including Retreat (1993), became more extravagant "as the campaign finally ran out of steam." Ran for a lengthy 8 years, "a remarkable run for a modern campaign". However, by the early 1980s, the format of using an eccentric spokesperson had been adopted by rival beer brands for their adverts, including Holsten Pils. Ogilvy & Mather deputy chairman Tom Bury says "The campaign had reached a plateau. Some did better than others, but the overall feeling was that it was getting a bit old and tired." Author says "Special effects and dazzling sets were increasingly employed to cover up the cracks that were beginning to appear in the underlying idea."[5]

1994's Chain was Hauer's final appearance, "relegated to a flickering image in a television screen." black-and-white television screen, his last glimpse. The room set in the adcert contains several visual references to earlier Guinness iconography and advertisements, including the harp, teddy bear, picture frames and diver's helmet. A pint of Guinness is placed in the centre of the room, beside a book on the Chaos theory.[5]

Created for Guinness by the London-based Ogilvy UK, Chain was directed by Doug Foster and produced by Michelle Jaffe.[8] Blink were hired as the production company, while Brian Fraser was hired as art director.[6] Fraser also acted as creative director, along with copywriter Simon Learman, while Tim Burke was editor.[8]

Filming and animation

Chain took more than six months to create, with a post-production budget nearly totalling £150,000. According to Campaign Live's Margaret Hood, in the completed advert, "not even hardened industry veterans can spot the joins", partly because "the camera movement was planned in computer graphics and designed as computer animation before the model elements were shot for the film."[4] The three computer animators on the project were Grahame Andrew, later of the Mill; Paul Kavanagh, later to join Framestore; and Ben Hayden, soon recruited by Industrial Light & Magic in the United States.[4] Assheton Gorton provided set designs.[8]

Chain was created with motion control technology and computer-controlled cameras. According to Andrew, although the technology was once unpopular for being slow to operate, they had developed significantly with capabilities many were unaware of, adding: "In computer graphics, you have the ability to control an imaginary camera, and in motion control, it's a real camera."[4] The advertisement was shot using a Cyclops motion-control machine, which, according to Hood, uses "a camera capable of speeds of up to 11 feet per second." The crew then utilised a motion-control rig where they maintained the correct scale of the models and a continuous camera speed, the latter employing a "slow determination" throughout that Andrew considers crucial to the final advertisement's popularity.[4]

There are two switches that separate the advertisement's live footage and animation. Firstly, the segue between the genuine Guinness bubbles to the computer-animated galaxies, and secondly the segue from the upper half of the tower – a physical model – to the computer-animated lower half. The bubbles were filmed inside a flat-sided tank and were repeatedly shot until the team had captured a formation resembling "the 'swirl' of a galaxy". According to Hood, these bubbles "were then duplicated using computer animation, the computer-generated galaxy was tracked over the top of the real bubbles, and the two were mixed together to form the finished sequence."[4]

Inside the room in the tower, realised as a life-size set, the lens was placed at a distance and then moved with motion-control (in a manner already designed on software) to the final position as the camera continued filming, thus allowing the sequence to be continued in post-production. Utilising an identical technique, the tip of the 15-foot high model tower was filmed next. The movement had been designed so that "the life-sized room would fit into the smaller room in the model of the tower."[4] Although the space sequences were all computed-animated, brand new footage was filmed for effects, with swirls on the planets created with "mixtures of Guinness, full cream and washing-up liquid, which gave very interesting slow-moving textures that looked like planetary atmosphere."[4] Hood opined that this technique of "mixing 'live' footage in an animation programme" resulted in a commercial that diverted drastically from "conventional computer animation."[4]

Music

The advertisement is soundtracked by the renewed-as-a-hit Louis Armstrong's "We Have... "Interestingly, the film was found to work with almost any music, from Vivaldi’s Four Seasons to thrash metal."[4] Two separate soundtracks, one is Armstrong's "wonderfully relaxing" song and the other "frenetic rock" by the British band Slaughterhouse.[5]

Music

Asked if he was concerned that the song became a hit in Britain through its use in the advert, the song's composer, John Barry, said: "Absolutely not. I think Guinness is a hell of a drink! It's ironic in a way that somebody's selling ale and you get a hit out of it. But that's the way of the world."[9]

URL

The co-founder of the agency Truant London, Simon Labbett, considers Chain superior to Surfer (1999) and names it as the commercial that inspired him to work in the advertising industry: "But what actually made this ad genius wasn't the storytelling, sublime soundtrack or incredible visuals, it was the strange assortment of letters that appeared in the final frame. Something we now recognise, 30 years later, as a URL."[10]

He added that, to many at the time, this was "just a string of cryptic characters," but to him, "it sparked a curiosity: What's on the other side? A question that led me down a rabbit hole into the emerging world of digital advertising." Six months later, he was part of a team at Ogilvy, launching Guinness' "first-ever brand experience website", Guinness Local Live.[10]

In a 1996 interview, Andrew described Chain as one of three pieces of which he is most proud, alongside a 'bouncing' BBC2 ident and a commercial for Muller Light. Hood described all three as "computer-graphics achievements that some would die for."[4]

9012live

Recorded on Yes' 1984 tour along with the 67-minute video 9012Live, which features two songs from the album.[11]

Chart thing https://www-newspapers-com.wikipedialibrary.idm.oclc.org/image/756074303/?match=1&terms=9012live

Kaye's Bach solo https://www-newspapers-com.wikipedialibrary.idm.oclc.org/image/785557344/?match=1&terms=9012live

The singer John Lydon is a fan of the album, likening it to a mix of Frank Zappa, Captain Beefheart's Trout Mask Replica, and "some other fucking mad shit going on".[12]

Plant

Art rock album, but also one to 'avoid'. "his most experimental, a radical departure from his signature sound. One critic likened Shaken ‘N’ Stirred to the new wave music of Talking Heads, and described Plant as 'a chameleon with a sharp ear for new sound'. But in his eagerness to sound relevant, something more important was lost. Shaken ‘N’ Stirred was smart, but soulless. Even the better songs – Little By Little, Pink And Black – were paper-thin. And Plant, normally such an emotive singer, seemed detached on nonsensically titled songs such as Hip To Hoo and Doo Doo A Do Do. But then Plant has always been his own man."[13]

15th best. "In retrospect, you can see this as the start of an experimental streak that shows up on albums that appear later on this list. But besides a handful of exceptions – like "Little by Little" (with that cool rhythm provided by Little Feat's Richie Hayward) – 'Shaken n Stirred' is more dense than listenable. As with Plant's debut, there just aren't enough good songs."[14]

"Influenced by everyone from Prince to Depeche Mode, Plant had already upped the synth-and-sequencer quota on 1985's Shaken 'n' Stirred, but the album stiffed and the singer sought fresh young blood to help him change course."[15]

Interview https://www.rocksbackpages.com/Library/Article/percy-pulls-it-off-

https://www.rocksbackpages.com/Library/Article/robert-plant-ishakennstirredi-es-paranza

https://x.com/nothingelseon/status/1267372490910601217

Eddy

ZZ Top

-[16]

-[17]

-[18]

Bitches Brew A landmark in jazz fusion and "important in its use of pioneering technology", courtesy of Macero. 287 [19] Metal Machine Music "a celebrated album comprising layered guitar feedback, and nothing else." 287[19] The Ascension too.

According to music writer Margy Holland, Dimension Intrusion is "widely considered one of the greatest electronic albums ever".[20]

The album is listed in the book 501 Essential Albums of the 90s (2024); contributor Margy Holland writes that "Hawtin set out toe create something in between the futurism of Detroit techno and the hypnosis of Chicago house music. The result was a variety of thumping, acid-tinged floor stompers; hypnotic songs, and minimal techno gems for the ages."[21]

Austin Daily Texan, Images (Jack Brandt): "No stranger to Austin's fraternity sorority party circuit, pop/funk artists Xavion have cut their debut album" ... "Although lyrics are rough in some places, Xavion has managed to produce an album of semi-original concepts. They break no new ground, but are very good on the whole." It begins with the debut single, "Eat Your Heart Out", which finely demonstrates "the group's capabilities within the pop medium. The fast-paced "Don't Let It Go To Your Head" combines pseudo-punk with pseudo-funk and the results are, it nothing else, entertaining. Other notable selections include "Can't Get My Connection" and "You're My Type.” Their maiden voyage concludes with "Get Me Hot," a slow, burning tune, undoubtedly the most creative and unique on the record." "Burnin' Hot is a fine debut album, and combined with a tour with Hall & Oates later this year, might bring the band fame."[22]

Colorado Springs Gazette (Jonathan Takiff): "Xavion: Prince has proven anew that black people rock without compromise. Now in the same vein comes comes Xavion, an explosive rock 'n’ roll force from Memphis that recently debuted on an Asylum LP called Burnin' Hot. Their root influences run to Deep Purple, Led Zeppelin and Jimi Hendrix, while their heavy use of percolating keyboards and bubbling guitar show they’ve been listening lots to the reigning monarch of crossover."[23]

Looks like a single review https://www.worldradiohistory.com/hd2/IDX-Business/Music/Archive-Gavin-IDX/IDX/80s/84/Gavin-1984-09-07-OCR-Page-0020.pdf#search=%22xavion%20burnin%20hot%22

Palmer

"You Are In My System" is a dance song and Palmer was proud of the "musical risks" he took on the album.[24]

Smash Hits's Ian Birch: "In '74, he decided to go it alone and made his first solo album, Sneakin' Sally Through the Alley. This forged a style that he has, ever since, developed and refined. It takes in reggae, African music, American soul and Caribbean rhythms. It's a fiery and seductive brew as Pride yet again shows."[25]

Q: "the album Pride which followed in 1983 was widely felt to be unusually impenetrable and sank almost without trace." Palmer: "I thought it was really, really commercial but Chris Blackwell thought it was an off-beat jazz record. The problem with it was that it was sophisticated in the true sense of the word. Do you know what that is? It means corrupted from its true value. Well, I got too locked on to the machines. Pride just wasn't performable."[26]

Musician: "But Palmer was interested in the production team of Edwards and Corsaro, especially since he was unsatisfied with his last album, Pride. Although the album gave him a number one dance hit with his version of 'You Are In My System', it was a stiff, static LP. The title song was about Olivia Newton-John and other modern maladies, but Palmer seemed to have swallowed a dose of dull himself." Palmer: "When I took the material on the road, it developed more personality and musicality".[27]

"To a certain extent, the album Pride is all me. I brought on the other players to articulate the parts, a drummer, for instance, and threw away the machine. There were various bits and pieces I wanted some experts to articulate. I'm much happier in a situation like I created for the album Riptide. I made the album Riptide myself, then brought in the players and learned it like we were going to do a gig, then we went and performed it and recorded it, taking it back round again."[28] "the Power Station was significant in that it marked his reappearance after over two years of self-imposed silence following the release of his album Pride."[29]

Q interview: "Actually, I just picked up a record that I didn't know existed of Parveen Sultana and her husband singing traditional Indian music. There's one there that's a duet, it's bliss, nirvana. I don't even know what they're saying, but there are these tones and harmonies that they generate. I first heard this style of singing on a radio station in Brussels years ago. There's a song I did called 'The Silver Gun', off the Pride album. That's the same sort of thing. It's just a fabulous way of using the voice. There were tunes I would listen to over and over, and it never occurred to me to sing them. Then I thought, I'm a singer. I could cop this. So I studied the style for months."[30]

Eon

Again but sourced?

Retrospective

1993 interview https://chaoscontrol.com/eon/

Gen Ecstasy list https://www.google.co.uk/books/edition/Generation_Ecstasy/bAvy3S242wQC?hl=en&gbpv=1&dq=eon+void+dweller&pg=PA406&printsec=frontcover

AllMusic biography https://www.allmusic.com/artist/eon-mn0000662537

Quotations from...

Mark Sinker in Select: "In particular, out of nowhere, the clammily slant-wise single 'Ghosts' hit Top Five, probably the most peculiar song ever to chart."[41]

"'Theme From Harry's Game' remains the only hit single in Gaelic ever to chart in the UK."[42]

https://www.rocksbackpages.com/Library/Article/a-nun--the-strangest-hit-parader

"The Maels used England as a base, launching themselves with one of the weirdest hit records ever to hit the British charts, 'This Town Ain't Big Enough for Both of Us'."[43]

https://www.rocksbackpages.com/Library/Article/how-sweet-it-was-the-sights-and-sounds-of-gospels-golden-age unlikey hit

"'Heads Down, No Nonsense, Mindless Boogie', a rip on Status Quo and their denim army, became an unlikely hit single with its moronic-monolithic pummel and rallying refrain "bang your 'ed on the wall.""[44]

"Their sole album for the label, Rock and Roll Survivors, produced an unlikely hit single in 'Butter Boy', written by Jean Millington about a brief fling with David Bowie."[45]

Gotta wear shades https://www.rocksbackpages.com/Library/Article/timbuk3s-hit-twosome-their-futures-bright

"But they still scored some unlikely hits, including their shimmering cover of Klaatu's bonkers sci-fi ballad, 'Calling Occupants Of Interplanetary Craft', a UK Top 10 smash".[46]

Sabre Dance https://www.rocksbackpages.com/Library/Article/love-sculpture-write-to-the-russian-embassy

sad- dest songs ever to chart https://www.worldradiohistory.com/Archive-All-Music/Gavin-Report/90/97/Gavin-1997-04-25.pdf

Koopla http://scans.chartarchive.org/UK/2007/UK%20Charts%202007.01.15.pdf

Tuneage FBS

Ian Penman:[47]

    • Demons, along with Love Life: "are two utterly beguiling, truly adult love songs, tru blu modern soul; Gray sings like she's sitting atop a lover with a great big curly smile on her face. 'Demons' is simply massive, irresistible, truly moving — like Coil sung by Mavis Staples — a surefire Number One which also stirs corners of your soul normally closed for repair: here the World is truly let in, the heart listened to, the breath let out that for so long has been held in (or strangulated in cocaine chatter): epiphanic, blessed, redemptive."[47]

Barney Hoskyns:[48]

    • Ya Mama is one of "two old-skool Fatboy tracks" along with Mad Flava[48]
    • ForCook, the pivotal track is "the slow, deeply soulful ‘Demons’, featuring the parched Joplin/Holiday squall of Macy Gray over a piano sample from Bill Withers’ live ‘I Can’t Write Left-Handed’."[48]
    • Continued, quote Cook, "The funniest thing is that Macy’s whole hook – ‘All of my demons wither away/Ecstacy comes and they cannot stay’ – came from the fact the working title on the tape I gave her was simply ‘Withers 1’," says Cook. "So we get in the studio and she starts singing it, and I just went, ‘Ohmygod’... it literally took my breath away. And still sometimes when I hear it, there’s a couple of notes she hits, and I remember that magic of when she sang it the first time."[48]
    • Song For Shelter is "another key track" and "a paean to house music that reasserts the values of club culture over those of ephemeral celebrity." Cook: "The overriding thing about the album, apart from that other people have said it’s soulful and uplifting, is that it’s back-to-basics. ‘Song For Shelter’ says: This is why we love clubs, this is why we love house music... for all my dalliances with pop stardom."[48]

Reynolds[38]

    • Some stuff about Sunset
    • "Weapon of Choice" is "just ghastly, a Propellerheads-esque, Sixties-into-Nineties pastiche of Hammond, horns, and go-go dancer percussion, surely destined for a discotheque scene in Austin Powers 3."[38]
    • "Demons" is "Praise You, Part 2" with "blues licks, deep Stax bass, and a lyric that makes the MDMA/religious rapture equation ('all of your demons will wither away/Ecstasy comes and they cannot stay).' All this Christian imagery and Authentic Black Person huskiness will probably get Halfway tagged as a post-Play move. But you could just as easily see Play as a 'Praise You' rip-off. Moreover, house music's always had a gospel flavor" (such as ex-choirboy Darryl Pandy on 1986's melismatic 'Love Can't Turn Around' "and the Biblical imagery of Joe Smooth's 'Promised Land' to preacher-sampling tracks like DHS's 'House of God'", as well as garage producer Todd Edwards' music as The Sample Choir.[38]
    • Star 69: "a rampage of heavily filtered house featuring a a Biggie soundalike sneering "they don't know what is what/they just strut/what the fuck?!""Cite error: The <ref> tag has too many names (see the help page).
    • Song for Shelter: praises the unexpected reappearance of that sample, signifying "not B-boy menace but the house convert's pity for the unbelievers who've never experienced the state of grace."[38]
    • He continues: "'Song For Shelter' is a gorgeous vision of disco heaven, from the poet's blissed babble about dancers with "wings for feet" and Jesus being a DJ, to the way the track's spangled billow winds down to a drone-rock gulf of light that could be Labradford or Stars of the Lid, before catching flashback echoes of the idyllic piano chords from 'Talking 'Bout My Baby' and then finally going out with a cupola of radiant reverberance. Using another's voice to spell out his personal creed, 'Shelter' is Cook, the king of shallow, making his bid for deepness. It makes you wish he'd had the nerve to shed his party-fodder provider persona altogether and instead make an entire album in the halcyon space between 'Sunset' and 'Song for Shelter'. Maybe next time."[38]

Gap

33⅓ author R. J. Wheaton: the "first androgynous supermodel", said Jean-Paul Gaultier, and "the Grandmother of Trip-Hop" said NME later. Part of the New York art-fashion-literary scene of the early 1980s. Moved to London in the mid-80s. "She was listening to 'dancehall and Scientist, or singers like Vera Hall, Iris DeMent and The Carter Family, or Bakoya Pygmy music'. Witch was finished in 1990 but not released until 1993. "The album suggests, certainly, dub's thick pace and bass, ambient techno and hip-hop. But Witch is subversive and political where so much of trip-hop was interpersonal and introspective, most obviously on 'N1 Ear' ('I still can't get birth control / While some fucker's roaming the moon'). It suggests an alternate genre which was made of the same thing but might have been a great deal more piercing.[49]

Mat Smith (Electronic Sound review):

  • Hailed as "the grandmother of trip hop" because of the album. Prior to this, she was a New York model who became an "uncompromising musician and poet" after meeting with Burroughs and Basquiat, then moved to London and "wound up in a scene that was recovering from the brief explosion of punk but aggressively evolving towards artsier concerns".[50]
  • Recorded under the alias ©, "being Winer’s angry response to the concept of words being ‘owned’ through copyright."[50]
  • Her collaborators include "PiL’s Jah Wobble, Adam And The Ants’ Kevin Mooney (Winer’s future husband), video director John Maybury, and Culture Club’s Helen Terry, while the album was principally produced by Winer, Mooney and Renegade Soundwave’s Karl Bonnie."[50]
  • It "surfaced as a white label on Rhythm King’s Transglobal imprint in 1990, but didn’t receive an official release until 1993."[50]
  • Musically, it is "positioned singularly at the intersection of dub, hip-hop and spoken word, with tracks loitering around that junction aimlessly, skulking darkly and kicking sounds nonchalantly against the kerb. The influence of working with Burroughs on his cut-up recordings comes through, with Winer creating loops and disconnected observations about the weather, sexual inequality, war, nudity, finance and advertising slogans."[50]
  • "Flove" features a "hiccupping, heavily-processed voice over a classic Renegade Soundwave groove of heavy bass and floating percussion", and is similar to "MIA sonic genius Bonnie"'s work with Danny Briotett and Gary Asquith, making his influence likely.[50]
  • In his review for Electronic Sound, Smith considers the music to grab listeners, and believes three of the best songs were co-written by Bonnie, "standing out as major highlights among his own criminally slight discography". "Whether Winer deserves the acclaim of being the inventor of trip hop is debatable, but ‘Witch’ remains a powerful statement, even a quarter century on. Copyright laws and a general move toward restraint means we’re unlikely to see this type of hybrid album emerge and achieve such cult status ever again."[50]

The Vinyl Factory's Lazlo Rugoff says its her 1993-released debut album, and "its combination of hip-hop samples and spoken word tracks helped to push forward the burgeoning trip-hop sound forward."[51]

Quietus article from Bernie Brooks (not on the album itself):

  • By the early 1980s, Winer provided vocals, lyrics and instrumentation in Kevin Mooney's musical activities, following the dissolution of Adam and the Ants. She made Witch with a "slew of friends".[52]
  • Released in 1990 on white label. It is "incredible. 42 minutes of mutated dub and hip hop, like the best On-U Sound record that On-U Sound didn't release."[52]
  • Songs: "N1 Ear" is "a furious feminist anthem set to a massive, booming drum loop and killer bass line. It’s supremely groovy, straight out of ‘Beat Bop’-era NYC. It sounds like it was recorded in a filthy loft with no hot water." Meanwhile, "Dream 1" is "a woozy, sea-sick lullaby sort of thing", while "He Was" is a languid, warm dub song that Brooks believes "feels like it's about New York".[52]
  • On her 2021 retrospective compilation When I Hit You – You’ll Feel It (Light in the Attic records), Witch is represented by "N1 Ear", "The Boy Who Used 2 Whistle", "Dream 1" and "He Was".[52]
  • Initially released "as the commercially suicidal "©". That’s right, the copyright symbol. Surrounded by trappings of the occult, it occurs to me that this might be a potent sigil, a claim of ownership. Ownership of the sounds within, of herself. Though she’d discard this alter ego, it still strikes me as a profound gesture, especially for a veteran of the fashion industry: Winer’s identity is her own."[52]

https://ra.co/reviews/34411

https://web.archive.org/web/20210830160814/https://www.nytimes.com/2021/08/30/arts/music/leslie-winer-when-i-hit-you-youll-feel-it.html

Caroline Sullivan of The Guardian wrote in her review that while Winer has been called a "female Tom Waits", this does not convey her music's "freeform oddness". "Winer recites advertising slogans over minimalist dub rhythms, and sings a bit in a heavy, brooding voice. Her breathy style is said to have inspired Madonna's Justify Your Love. It's more accessible than it sounds, and is worth investigating."[53]

Select reviewer Andrew Perry says it is simply pronounced "C". He advised listeners not to "hold any of that [modelling for a Vogue cover, being Burroughs' teenage secretary, writing songs for Grace Jones, Madonna and Sinead] against her, mind, as her debut LP hinges on deliciously catchy reggae basslines, near-tribal percussion and hazy spoken narratives - like Laurie Anderson meets Lee Perry, or The Drum Club with words." Says the basslines come from Jah Wobble. "Little wonder that Witch has been nominated for the '93 Mercury Music Award. As art dub weirdness goes, it's class stuff."[54]

Wyndham Wallace of The Quietus (2012):

  • Argued by some to have originated trip hop with, until 2012, her "only commercially released album", and the NME dubbed her "the grandmother of trip hop", though Winer considers this dubious. "As far as I know that term didn’t arise until later, one of those things that critics make up in order to better organise their record collections. As we were making Witch, a lot of cassettes with different mixes were circulating around London. It’s possible they heard some of these. I probably heard Massive in 1990 when Witch was already recorded. Of course, it’s always possible that I was influenced by them, but at the time I was more likely to be listening to Dancehall and Scientist, or singers like Vera Hall, Iris DeMent and The Carter Family, or Bakoya Pygmy music. And I haven’t been accused of being influenced by June Carter or the Pygmies yet."[55]
  • "originally released as a white label in early 1990 (though exact dates remain vague, even to those involved)"[56]
  • More on trip hop: to those who knew, "she had inadvertently stumbled upon a musical style that was not only prescient and innovative, but also unusually articulate and powerful. In their minds, she was a fearsome, fearless prophet before her time whose beats were blunt, whose aesthetics were ingenious and whose lyrics were both provocative and cerebral."[56]
  • Not done with this yet

Remember NME and Maker

Van the bin

Composition

Music critic Richard S. Ginell called it the culmination of Morrison's spiritual jazz period and "perhaps not coincidentally" his final Warner Bros. album, in which the "deepest, most inward areas" of the singer's "renegade Irish soul" are explored.[57] The record is largely mellow and includes four instrumentals.[57] "Higher Than the World" features a choir-like synthesizer form Mark Isham. The instrumental "Connswater" is considered by Ginell to be Morrison's most Irish-flavoured piece up to that point and until the 1988 Chieftans record. "Rave on, John Donne" is "in part a recitation invoking a roster of writers over a supple two-chord vamp" while the only rock song, "The Street Only Knew Your Name", is still layered with synths.[57]

Reception

Writing for AllMusic, Ginell wrote that the almost "forgotten" album sold poorly and perplexed contemporary rick critics with its high number of instrumentals, but believed that those who bought the album "consider it one of the most cherished items in their Van Morrison collections." He wrote that although mellow, the record is "never flacid or complacent; there is a radiance that glows throughout."[57]

Timothy and Elizabeth Bracy of Stereogum call it a "bizarre, but still thrilling" album that "does its level best to defy categorization." They add:

"Awash in a placid stream of atmospherics, it barely touches on the rock and soul idiom that has so long been Morrison's template. Like a distinctly Irish take on late period Roxy Music, the release seems eager to challenge the album form altogether. Gorgeous instrumental digressions morph into romantic pop, balladry and then digress formless again. Melodies occur seemingly haphazard and improvised and then reoccur as though conjured. Some believed Van had gone crazy by this point. Another interpretation is that he had finally figured out yet more things the rest of us don't know."[58]

Neotropic

NEOTROPIC https://www.treblezine.com/34054-top-50-best-electronic-albums-of-the-90s/

Track listing

All songs written by Dr Calculus.

Side one

  1. "Blasted with Ecstasy" – 7:11
  2. "Programme 7" – 3:17
  3. "Moments of Being (Interlude)" – 1:09
  4. "Killed by Poetry" – 4:10
  5. "Moments of Being (Reprisal)" – 2:33
  6. "Man" – 4:33

Side two

  2. "Dream Machine" – 4:36
  3. "Candy Floss Pink" – 3:17
  4. "Just Another Honey" – 4:54
  5. "Designer Beatnik" – 4:14
  6. "Perfume from Spain" – 5:09

Personnel

Adapted from the liner notes of Designer Beatnik.[59]

  • Dr Calculus – writers, composers
  • Stephen Duffy – guitar, bass guitar, drums, percussion, finger cymbals, piano, synthesisers (DX7, Emulator and Fairlight), producer
  • Roger Freeman – vocals, trombone, piano, percussion, producer
  • Paul Staveley O'Duffy – producer
  • Olly Moore – baritone saxophone, tenor saxophone
  • Izumi Kobayashi – synthesisers (Emulator and T8)
  • Chris Lee – trumpet
  • Francoise Gigandet – vocals
  • Guy Pratt – bass guitar ("Just Another Honey", "Perfume from Spain")
  • Nick Duffy – violin ("Just Another Honey")
  • Junior Gee – rap ("Perfume from Spain)"

Garcia

"Late for Supper"
Song
Genre
"Spidergwad"
Song
Genre
"Eep hour"
Song
Genre
  • "Late for Supper": avant-garde / musique concrete / sound collage[63] / electronic[64]
  • "Spidergwad": electronic[65][64] / musique concrete[62] sound collage[66] / avant-garde[61]
  • "Eep Hour": electronic[65] / sound collage[67] / avant-garde[61]

Track listing

Side one

  1. – 10:41
    1. "The King Must Go" (Segments) (John Benson Brooks)
    2. "The Gods on High" (Brooks, Milt Gabler)
    3. "Pie in the Sky" (Brooks, Gabler, lyrics by John Donne)
    4. "El Bluebirdo" (Brooks)
    5. "A Bird Can Be" (Gabler)
  3. – 12:11
    1. "Cherries Are Ripe" (Brooks)
    2. "What's a Square?" (Brooks, Gabler)
    3. "Slapstix" (Jack Shaindlin)
    4. "True Blue Heart" (Shaindlin)
    5. "Little Boxes" (Excerpt) (Malvina Reynolds)
    6. "But, Where Are You?" (Brooks, Gabler)

Side two

  2. – 13:07
    1. "Ornette" (Segments) (uncredited)
    2. "Love Is Psychedelic" (Brooks, Gabler)
    3. "The Life I Used to Live" (Lightnin' Hopkins)
    4. "When I First Came to To Town" (uncredited)
    5. "Mend Them Fences" (Brooks, lyrics by Robert Graves)
    6. "But, Where Am I?" (Brooks, Gabler)
  4. – 9:38
    1. "Satan Takes" (Segments) (Brooks)
    2. "Pie in the Sky" (Brooks, Gabler, lyrics by Catherine Lee Bates)
    3. "We Shall Overcome" (Thomas Jefferson)

Excerpt credits

Personnel

Adapted from the liner notes of Avant Slant.[68]

The John Benson Brooks Trio
Others
  • Milt Gabler – producer, editing supervisor
  • Ernie Stone – voice actor
  • Herb Hartig – voice actor
  • Jack Gibson – voice actor
  • Joyce Todd – voice actor
  • Judy Scott – voice ("The Gods on High", "What's a Square?", "But, Where Are You?", "But, Where Am I?")
  • Lawrence Ferlinghetti – voice ("El Bluebirdo")
  • Jack Shaindlin – piano ("Slapstix", "True Blue Heart")
  • The Tarriers - performer ("Little Boxes" (Excerpt))
  • Frank Hamilton – voice ("We Shall Overcome")
  • Guy Carawan – voice ("We Shall Overcome")
  • LeRoi Jones – voice ("We Shall Overcome")
  • Pete Seeger – voice ("We Shall Overcome")
  • Zilphia Horton – voice ("We Shall Overcome")
  • Emil Korsen – engineer
  • George Chandler – engineer
  • Joseph Curran – engineer
  • Rudy May – engineer
  • Joan Franklin – recording
  • Robert Franklin – recording
  • Steinweiss – cover
  • John Clellon Holmes – liner notes

[nb 1]

Faust Tapes

Greg Kot of The Chicago Tribune included it "The avant-garde on disc: An introduction to avant-garde rock on CD." They write, "A jumpy but fascinating glimpse into what happened in a farmhouse-turned-sound-laboratory in northern Germany more than two decades ago."[70]

Jon Savage of The Observer reviewed the 1987 reissue (Recommended RR6). "Faust's inspired collages" still sound timeless, and are "still best heard on The Faust Tapes", but notes So Far and Faust as very good also.[71]

1973 Reading Evening Post Review[72]

1973 Cambridge Evening News article[73]

1973 Bracknell and Ascot Times review[74]

"At Island, one of the strangest stories we heard was about" The Faust Tapes, released by Virgin and distributed by Island Records. "This album of private tapes ... is selling for 34 pence (about 85 cents) as a publicity gimmick and is having an amazing success, although Virgin Records loses money on every copy. The music is a strange kind of electronic rock, the kind that is beginning to be heard in America too."[75]

Evening Standard: "When an album has sold a healthy 60,000 copies in the first few weeks of release, it hardly seems logical to delete the title. But this is what Virgin Records is" doing, "for the simple reason that each album sold loses the company about 1p. The LP sells for the same price as a single and was issued as a promotional gimmick to help establish Faust, one of Germany's most significant avant garde rock groups in Britain."[76]

"Still pleasingly avant-garde", "marketed to British audiences by the fledging Virgin label for the price of a single."[77]

First for Virgin after being dropped by Polydor. "A generation bought the 49p Faust Tapes LP, promptly dumped it at the local record exchange, waited 10 years and then re-bought it on the realisation that it was a masterpiece."[78]

One of "the most listened to bands in the mid-Seventies, thanks to Virgin Records which put out their Faust Tapes album for the cost of about two Curlywurlys. A fantastic sound collage, it was proper hippie music and it's only right that they are having something of a renaissance in this age of electro beats."[79]

C'mon Kids

Shane Brown of The Dispatch Sun-Argus named it his fifth favourite album of 1997, commenting that Carr is arguably "the most gifted songwriter of the last decade". Calls it "their most experimental offering to date, matching Carr's lyrics with an array of sonic soundscapes from Beach Boys harmonies to dance beats to an avant garde extremism reminiscent of Frank Zappa".[80]

Sean Leary of the same paper in a best albums of 1996 list said the album grew on him, dubbing it a true "pastiche of style and influences, linked together by a distinctly pop sensibility."[81]

The News Journal review (1997, 4 stars): album is "an extremist reaction" to the commercial success of Wake Up. "While Wake Up was an infectious album of three-minute quick-hook Britpop, C'mon Kids is obviously meant to alienate any fans who weren't true fans." "It is an eclectic, avant-garde, experimental album featuring two hard rock albums assuring the album of a quick exit from the UK charts." Alongside those singles, there is "two trip-hop songs, a few ballads, a few experimental guitar rock tracks and even a few acoustic efforts." Considers it "brilliant, albeit confused" but it won't crack the US charts.[82]

Notes

  1. ^ This ordering includes the group's collaboration albums The Dancehall Album (1998) and The Fathers of Reggae (2002).[69]

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Bibilography

Category:1968 albums Category:Decca Records albums Category:Albums produced by Milt Gabler Category:Pete Seeger Category:Sound collage albums Category:Experimental music albums by American artists Category:Jazz albums by American artists Category:Pop albums by American artists Category:Musique concrète albums Category:Field recording Category:Postmodern music

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