The Watersons – "Frost And Fire: A Calendar Of Ritual And Magical Songs" (Topic Records – 12T136) 1965

Hull,the home of Britain's longest road bridge,and due to its close proximity to the former Soviet Union,was chosen as the site for Britain's early warning system and listening stations pointing towards Moscow.Only been to Hull once,when I went a wassailing with a nice young lady I conversed with in the early days of the internet.She hadn't heard of the Watersons,or The Housemartins, but boy could she wassail.....and other things too (nudge nudge).Sadly I have forgotten her name,but she did have a interesting fantasy to be tied to a tree naked,taken advantage of, and left there!? The great conversationalist that I am,I asked her what she did for a living(no,not while tied to a tree....pleeeze!),which she wasn't at liberty to disclose because she had signed the Official Secrets Act"!? Hmmmm?

So, can we all name five famous people from Kingston upon Hull?.....er,as previously mentioned....there's that bloke from The Housemartins......er....ummm...oh yeah;and, of course, The four Watersons in The Waterson's, Folk's version of Crass.

They dressed in various shades of grey,had poker straight black hair,class war politics,and drank copious amounts of northern ale. Which for the female members of the group,including Norma, Martin Carthy's future wife, was shocking behaviour for the early sixties.

They performed mainly traditional songs with little or no accompaniment, and banged out the tunes with their distinctive close harmonies,and proud Hull accents, across the pubs and clubs of northern England,kick starting the UK Folk revival with an almost religious zeal. They had a great spartan image too, which is always a plus.

Crass at the Waterson themed Anarchy center fancy dress party 1977....Rimbaud is top left.

This debut on the legendary Topic Records was voted Melody Maker album of the year,which considering what it was up against (Bobby Dylan etc..) is a mildly impressive achievement.

Opening with what is something of a theme tune in "Here We Come A-Wassailing", this record was the benchmark for how to do contemporary versions of traditional song forms.

What the fuck is Wassailing anyway you may ask? Good question...well instead of asking your mates if they fancy a pint later,try asking them if they want to come A-Wassailing, which basically means are you coming tut pub to get wasted th'neet?

There's plenty of similarly themed tunes celebrating the simple things in life,and includes the definitive version of "Hal-An-Tow, the pagan anthem for the rebirth of summer.Which in Hull lasts approximately a wet fortnight in august.

One simply couldn't get further away from commercialism or the musick biz as this.

Tracklist:

A1 Here We Come A-Wassailing
A2 The Derby Ram
A3 Jolly Old Hawk
A4 Pace-Egging Song
A5 Seven Virgins Or The Leaves Of Life
A6 The Holly Bears A Berry
A7 Hal-An-Tow
B1 Earsdon Sword Dance Song
B2 John Barleycorn
B3 Harvest Song: We Gets Up In The Morn
B4 Souling Song
B5 Christmas Is Now Drawing Near At Hand
B6 Herod And The Cock
B7 Wassail Song

DOWNLOAD to come a digital wasailing HERE!

Jackson C. Frank – "The Complete Recordings" (Ba Da Bing! – BING 105) 2015

Just as Space Aliens are reluctant to make themselves visible to humankind to avoid starting a new religion,and Just as Eggs Over Easy lit the spark of a new religion in 1972 with the inspiration for Pub Rock....I suppose you had to be there to understand why?.....Jackson C. Frank was an American ignored in his own country but found acceptance in England,where he was rather influential for a lot of the Brit Folkers who had probably never met an American before (except for Paul Simon,who doesn't count),or even met a Space Alien for that matter.One of these being the young, impressionable, Sandy Denny, who drew great inspiration for her own nascent songwriting.....not something many young women did before the latter part of the 1960's.Incredibly she was only 19 when she penned "Who Knows Where The Time Goes",one of thee greatest tunes ever written,by anyone,ever,even by them shy Space Alien chaps.

Jackson himself,resembled,as well as felt like, an Alien.A living tragedy with a life-story of pain and failure that you just couldn't make up.

There was a member of "The Happy Flowers" (Improv Noise Punk duo who sang about freak childhood accidents from the child's perspective) called 'Mr Horribly Charred Infant'.Whether he was named after Jackson C Frank is up for conjecture, but Jackson C was indeed horribly charred as an infant as a survivor of a raging school fire that killed many of his school chums,and girlfriend Marlene,but Frank survived with something like 50% burns.Which would explain his uncanny resemblance to Top British Buffoon Bastard Boris Pfeffel Johnson

Boris P. Johnson as Jackson C. Frank

Jackson C. Frank as Boris P. Johnson

Jackson was also minted,thanks to the Hundred grand compensation he was awarded for his injuries.Which is about a cool million dollars in today's currency.So upon receipt of this booty, the 21 year old Frank hoped on a boat bound for England to do the folk circuit with his finely honed Guitar and songwriting skills he had developed during his long,lonely recovery from his horrific burns.

He was an instant hit in the Folk clubs of London in 1965,The Troubadour,Les Cousins, etc.;there weren't too many Americans around, so he and Paul Simon cleaned up. Future doomed starlets Nick Drake and Sandy Denny were both smitten, and it was only natural that Jackson made his first and only album, with Paul Simon producing;Frank was so shy during the recording that he asked to be shielded by screens so that no-one could see him, claiming: 'I can't play. You're looking at me.'...This shyness didn't seem to stop him playing live however,or,have a short romance with Sandy Denny.The romance with Britain's fast rising Folk star was short and tempestuous.Denny's Father was less than impressed by him,or her other boyfriends,especially future bed-hopping hubby Trevor Lucas,and who can blame him?

Sandy wrote a song about Frank called "Next Time Around" that sums up the enigma that never was quite nicely.

Jackson,understandably suffered from what we now call PTSD,so his moods were somewhat changeable. He also spent money as if it was going out of fashion, as they say?....don't they??? He had a new flash car every month,most of which got smashed up due to his soon to be well displayed self-destructive tendencies.

He once told Denny that he couldn't bend down and cut his own toenails because of the scar tissue,so he would allow them to grow long enough so that if he kicked a wall they would snap off.....always the charmer huh?

Soon his visa was due to expire,and he was running out of money fast,and even quicker he was running out of healthy brain cells! So he had to return to the States and total anonymity, for a couple of years,where things went rapidly downhill.

Returning to England in '68,he was by now a bona-fide nutjob,and struggled to find gigs.

Quote from erstwhile Chum Al 'Year Of The Cat' Stewart:

"He [Frank] proceeded to fall apart before our very eyes. His style that everyone loved was melancholy, very tuneful things. He started doing things that were completely impenetrable. They were basically about psychological angst, played at full volume with lots of thrashing. I don't remember a single word of them – it just did not work. There was one review that said he belonged on a psychologist's couch. Then shortly after that, he hightailed it back to Woodstock again, because he wasn't getting any work."

Back in Woodstock, he married an ex-model, had two kids, and when the male heir to his chaos died from Cystic Fibrosis, he descended further into Depression and mental illness.He left for New York in a vane attempt to find Paul Simon,but ended up down and out on the streets for several years. Which included an episode when a kid blinded him in his left eye with a pellet gun.The weight piled on and he began to look like Inspector Clay from Plan Nine From Outer Space...post mortem.

One-eyed Jackson on the comeback trail to Oblivion

Jackson ended his short harrowing life moving from Mental Institution to funny farm and back....but surely there's a happy ending where being rediscovered he received past royalties, and acknowledgment of his past work and influence?....yeah?.....nope.... Frank died of pneumonia on March 3, 1999, at the age of 56,the stuff of Hollywood biopics....not.....yet Bono still lives?

His sole album from 1965 is a rather haunting work,from someone who knew what pain and the Blues really were in close-up.He could have been Bob Dylan but he weren't no oil painting,horribly scarred,and quite mental...not the main attributes of a pop star I suggest?

He apparently made more recordings,including,remarkably, a Peel Session!?...somehow?....But they make for an interesting document demonstrating the pure futility of trying to get anywhere when you just haven't got the right coloured hair!?

Of these 67 tracks....67???....I advise you stick to the first 10,and single versions there of, which made up his debut and only album.They are quite brilliant,and touching, even without his depressingly tragic life story.The message is 'Why Bother?'

But....at least he got to meet Elvis.....

The doomed gruesome twosome on set at the Club Tropicana video shoot back in '83,six years after Elvis faked his own death to become Andrew Ridgely aka, the other one from Wham!

Tracklist:

1-1 Blues Run The Game
1-2 Don't Look Back
1-3 Kimbie
1-4 Yellow Walls
1-5 Here Come The Blues
1-6 Milk And Honey
1-7 My Name Is Carnival
1-8 Dialogue (I Want To Be Alone)
1-9 Just Like Anything
1-10 You Never Wanted Me
1-11 I've Been 'Buked & I've Been Scorned
1-12 Gospel Plow
1-13 CC Rider
1-14 Banana Boat Song
1-15 Frankie & Johnny
1-16 John Henry
1-17 In The Pines
1-18 John Henry's Hammer
1-19 Ananias
1-20 Borrow Love And Go
1-21 Jesse James
1-22 Last Month Of The Year
1-23 Washington Jail
2-1 Blues Run The Game
2-2 Can't Get Away From My Love
2-3 Marlene
2-4 Marcy's Song
2-5 Madonna Of Swans
2-6 Relations
2-7 Cover Me With Roses
2-8 Cryin' Like A Baby
2-9 Spanish Moss
2-10 The Visit
2-11 Have You Seen The Unicorns
2-12 Juliette
2-13 China Blue
2-14 Madonna Of Swans
2-15 Box Canyon
2-16 Cover Me With Roses
2-17 Spanish Moss
2-18 Stitch In Time
2-19 Heartbreak Hotel
2-20 Santa Bring My Baby Back To Me / Precious Lord
3-1 Blues Run The Game
3-2 My Name Is Carnival
3-3 Jimmy Clay
3-4 Just Like Anything
3-5 You Never Wanted Me
3-6 Juliette
3-7 Instrumental
3-8 Night Of The Blues
3-9 (Tumble) In The Wind
3-10 The Spectre
3-11 Half The Distance
3-12 Bull Men
3-13 Maria Spanish Rose
3-14 Singing Sailors
3-15 Night Of The Blues
3-16 (Tumble) In The Wind
3-17 Goodbye (To My Loving You)
3-18 October
3-19 Mystery
3-20 I Don't Want To Love You No More
3-21 Child Fixin' To Die
3-22 Halloween Is Black As Night
3-23 In The Pines
3-24 On My Way To The Canaan Land

DOWNLOAD the soundtrack to the least likely rock biopic that Hollywood never made HERE!

Various Artists ‎– "Anthology Of Dutch Electronic Tape Music: Volume 1 (1955-1966)" (Composers' Voice ‎– CV 7803) 1978

On a purely Intellectual note to start off with......TeeHeeHeeeee......His name is Hans Kox...titter titter! Fnar Fnar Kyuk Kyuk!
Well, Hans off yer Kox now,and lets get serious.....Nah!
Like everywhere else,the Dutch think they invented Electronic music,and one has to say,they were pretty close to having a point.
The origin of Electronic music is almost as tiresome an argument as who invented Punk Rock.....but in Punk Rocks' case it was quite clearly England, Not Detroit,Not New York,Not Scotland...England,gottit?
As for coherent electronic composition, it seems,on the whole, to be a French thing, although it turns out that Daphne Oram of the BBC may have trumped Pierre Shaeffer,but it was kept traditionally  Hush Hush in that understated British way.We don't like show-offs over there  y'know?
One thing that the Dutch are world class at however, is Funny Names.

Hans Kox .....gaffaw gaffaw. laff laff!

Tracklist:

Studio Of The Netherlands Radio Union
A1 –Hans Kox - Three Pieces For Electronic Organ 3:48
A2 –Ton De Leeuw - Study 6:47
Studio Of Delft Technical University
A3 –Jan Boerman - Musique Concrète 3:04
A4 –Jaap Spek - Impulses 7:58
A5 –Rudolf Escher - The Long Christmas Dinner 6:15
Philips Studio
B1 –Henk Badings - Cain And Abel 8:57
B2 –Dick Raaijmakers - Piano-Forte 4:56
B3 –Ton De Leeuw - Antiphonie 15:17
Studio Of Utrecht University
C1 –Frits C. Weiland - Studie In Lagen En Impulsen 4:46
C2 –Hans Kox - Cyclophonie III 7:33
C3 –Tom Dissevelt - Fantasy In Orbit 3:05
C4 –Axel Meijer - Werkstuk-1964 2:32
C5 –Robbert Jan De Neeve - A.F. 1:17
C6 –Peter Schat - De Aleph 7:46
Studio Of Ton Bruynèl
D1 –Ton Bruynèl - Reflexen 4:34
CEM Studio, Bilthoven
D2 –Will Eisma - BTH. 3457 4:08
D3 –Klaus Gorter - K 45 5:40
D4 –Luctor Ponse - Etude-I 6:19
D5 –Berend Giltay - Polychromie-I 6:42

DOWNLOAD some early electronics with clogs on HERE!

BBC Radiophonic Workshop ‎– "The John Baker Tapes Volume 2 (1963-75) (Trunk Records ‎– JBH029CD) 2008

I suppose the label this was released on should have been called 'drunk' not 'Trunk' records, as Radiophonic Workshop stalwart John Baker was probably drunk while he made the majority of these novel advert jingles and TV soundtracks.
Compared to his colleagues John was firmly on the musicianly side of composition,and also firmly in the Novelty music section of the workshop. Whereas Delia Derbyshire could make her doomy atmospheres, and Brian Hodgson could spent all his time making weird noises,John was lumbered with making funny tunes from varispeeded shampoo bottle pan pipes for a daytime childrens science programme. No wonder he turned to the evil drink.....but then again so did Delia. Although Delia couldn't keep up with Johns voracious appitite for consuming reams of cigarettes and therefore lived a few years longer.
Delia left in 1973 because the electronics were getting too easy and more conventional, but John Baker was sacked for being Drunk most of the time. The last recording he made before his descent into the dark realms of alcoholism was done at home on his piano in 1975(included here)...probably just before he sold it to buy more booze.He never made music again and died, age 60, in 1997.


Tracklist:

1 – Tempo Counter 0:04
2 – Get Happy 3:54
3 – Electro-Twist MQ LP1/1 1:23
4 – Electro-Suspense MQ LP1/2 1:27
5 – Electro-Rhythm MQ LP1/3 1:23
6 – Electro-Slow MQ LP1/4 1:33
7 – Boy On A Bicycle 4:03
8 – Brass Bandied MQ LP14/1 1:17
9 – Brass Widow MQ LP14/2 1:38
10 – Omo And Giro Adverts 1:20
11 – I Wanna Hold Your Hand Medley 2:33
12 – Electro-Auto MQ LP35/1 1:29
13 – Electro 5/4 MQ LP35/2 1:30
14 – Electro Waltz MQ LP35/3 1:28
15 – Johnny Johnson Jingles 1:25
16 – 1980s Feedback Loop 0:04
17 – Requioso - PIL 9011 2:21
18 – JB Dubs 1:13
19 – Out Of Nowhere 5:23
20 – Electro-Beat MQ LP19/1 1:30
21 – Electro-Weird MQ LP19/2 1:24
22 – Electro-Fugue MQ LP19/3 1:14
23 – Electro-Aggression MQ LP38/1 1:57
24 – Electro-Tension MQ LP38/2 2:27
25 – Jazz Advert 1:38
26 – Brylcreem 0:30
27 – John Baker Goon Advert 0:34
28 – Power Source MQ LP39 3:23
29 – 1980s Tape FX 0:42
30 – Pots 'N' Pans MQ LP48/1 3:24
31 – Banshee Boogie MQ LP48/2 1:45
32 – Feedback MQ LP48/3 2:58
33 – Space Workshop MQ LP48/4 3:12
34 – Piano Concrete MQ LP48/5 2:55
35 – JB Test Tone 0:08
36 – Piano Strokes 2:25
37 – JB At Home On The Piano 0:51
38 – Brief Lives - JB Obituary 1:47
39 – JB 78 RPM - All The Things You Are 2:26

DOWNLOAD some sober sounding novelty tunes HERE!

John Baker / BBC Radiophonic Workshop ‎– "The John Baker Tapes Volume 1 - rare and unreleased recordings 1963-1974" (Trunk Records ‎– JBH028CD)

John Baker, was a scumbag who lived at the shitter end of my street when I was vilified for daring to win a place at Grammer skool.Being called intelligent was as good as wearing a sign saying 'please kick my head in' for us unfortunate members of the underclass from the oxygenated end of the gene pool. The 'Bakers' all had scoliosis, the word 'Shithouse' was written in dripping black gloss on their toilet door,the eldest male was nick-named 'Igor',and they had a predeliction towards violence and criminal behaviour in general.
The John Baker responsible for the music on this CD, however, didn't live on my street as a kid growing up, but he was an unnamed member of the household through his prolific production of TV Theme tunes and Radio jingles throughout the sixties, seventies and no further, after he got the sack in 1974.
A contemporary of the legend that is Delia Derbyshire, he brought musicianly technique into the Workshop, as well as forty fags a day...thats cigarettes to you americans. He filled the vacancies for the Jazz Musician of the group, as well as the chain smoker. I'm also sure he joined in on the heavy wine consumption that the workshop was also renowned for,especially as wine bottles with various levels of liquid in them were an essential sound source for the staff to record and manipulate.
Many of those bottles no doubt found their way onto many of these jolly little tunes.
John,like Delia,died early from heavy cigarette and Alcohol comsumption in a confined space for too long a period. 
After becoming an alcoholic, Baker recorded no further music after being sacked by the Radiophonic Workshop and later died in poverty.......a life summed up in one dismissive sentence!?
He deserves more than that,thats why we've have three John Baker retrospectives lined up to revive the forgotten man of the Radiophonic Workshop's tarnished reputation.
This John Baker died while the scummier John Baker with the bad posture probably still lives,just, on my childhood street,and 'Shithouse' is probably still written on the toilet door.The wrong one died young,there's still time for that to be put right,if it hasn't been already?But,Justice is something that is rarely doled out fairly in this cruel world.
PS...Igor still lived,by the way, because i saw him down the pub on the night Leicester City won the League Cup back in '97....he gave me a HUG(?).Ahhhh,Association Football....the great leveller!?

Tracklist:

1 Newstime BBC 1+2 0:23
2 Tros Y Gareg (Main Theme) 2:50
3 Tros Y Gareg (Idents) 0:20
4 20th Century Focus 2:22
5 Vendetta: The Ice Cream Man 1:18
6 Woman's Hour (Reading Your Letters) 1:47
7 Many A Slip 0:57
8 Look And Read 0:35
9 Building The Bomb 6:24
10 Au Printemps 2:27
11 Big Ben News Theme 0:33
12 Codename 1:03
13 Decimal Currency 0:20
14 Barnacle Bill 0:21
15 Dial M For Murder 2:25
16 Farm Management 0:30
17 Radio Sheffield (News Idents) 0:45
18 French Science And Technology 0:39
19 Good Morning Wales (Idents) 0:37
20 Heavy Plant Crossing 0:59
21 COI Technology Pavilion 9:30
22 John Baker Interview (Radio Nottingham) 2:33
23 Radio Nottingham Idents 0:34
24 Look North: Newstime 0:50
25 Man Alive: UFO 1:14
26 PM - Computers In Business 0:39
27 Submarines 1:59
28 Oranges And Lemons (Radio London) 2:36
29 Orbit 0:47
30 Places For People 0:47
31 Sling Your Hook 2:27
32 Suivez La Piste 0:49
33 Scene (Never Never) 1:40
34 Diary Of A Madman 3:54
35 The Two O'Clock Spot 0:58
36 Radio London: News Idents 0:25
37 The Caves Of Steel 3:11
38 The Locusts 0:45
39 Square Two 0:29
40 The Tape Recorder 1:11
41 Tom Tom (Theme) 0:42
42 Tom Tom (Idents) 0:15
43 Trial (Opening Theme) 0:35
44 Trial (Closing Theme) 1:22
45 Vendetta: The Sugar Man 2:01
46 Spin Off 0:21
47 Radiophonic FX C 0:10
48 Radiophonic FX A 0:54
49 Radiophonic FX B 0:35

DOWNLOAD the butcher the baker the candlestick maker of musique concréte HERE!

BBC Radiophonic Workshop ‎– "Doctor Who At The BBC Radiophonic Workshop - Volume 1: The Early Years 1963-1969" ( BBC Music ‎– WMSF 6023-2)

Shit this is good!
Thrill to the sound of the BBC's 'wobbulator',the home-made 12 Oscillator sound generator, keys scraping down the guts of an old piano, loaded with analogue effects and 100 yard long tape loops.
This was naked innovation,going where no man or woman had gone before,and an argument against having too much equipment.
Then synthesizers came and ruined everything!

Brian Hodgson plays a tune on the Workshop's home-made keyboard, controlling 12 individual oscillators.The infamous  'Wobbulator is bottom right.

Probably the greatest sound ever made is the sound of the TARDIS dematerialising and materialisng, up there with Godzilla's screech......incidently both sounds were made in the same way,with varispeeded analogue tape and scraping strings. A close third place in the greatest sounds ever made league has to be the Bass sound from the original theme for Doctor Who. Not the sound of a disembodied  oscillator as I always thought, but a varispeeded plucked string;as simple as that!? A string, plucked ,of course, by the slender fingers of the sonic goddess that is Delia Derbyshire.

Delia with technology

She then proceeded to cut up the various,varispeeded  plucks, and laboriously make a splice edit for every single note.....incredible stuff. She wasn't,however, responsible for the TARDIS sound effect. That honour goes to her under-acknowledged partner in sonic crime, Brian Hodgson.

Brian Hodgson with dismembered piano, as used to create 'the Tardis sound' from the Doctor Who TV series.

Now you can experience the smooth, warm analogue beauty of actual electronics, lubricating your lugholes like being spoonfed tepid honey by your mother, or in this case Delia Derbyshire,not forgetting Brian Hodgson in charge of the saucepan.
As great as those eound effects are, the original themes for Doctor Who will go down in history, carved in rock, as the beginning of adult orientated Synth-pop.
Oooooooh I could listen to this all day.

The BBC Radiophonic Workshop Team in 1963

Tracklist:

1 –Delia Derbyshire- Doctor Who (Original Theme) 2:21
2 –Brian Hodgson- TARDIS Exterior Hum And Door (Original) 0:23
3 –Brian Hodgson- Entry Into The TARDIS 0:40
4 –Brian Hodgson- TARDIS: Original Takeoff Sequence 1:47
5 –Delia Derbyshire- Doctor Who (Original Titles Music) 2:09
6 –Brian Hodgson- TARDIS Takeoff 1:23
7 –Brian Hodgson- Skaro: Petrified Forest Atmosphere 1:46
8 –Brian Hodgson- TARDIS Computer 1:08
9 –Brian Hodgson- Dalek City Corridor 1:01
10 –Brian Hodgson- Dalek Control Room 0:26
11 –Brian Hodgson- Capsule Oscillation (Bomb Countdown) 0:19
12 –Brian Hodgson- Explosion, TARDIS Stops 1:10
13 –Brian Hodgson- Sleeping Machine 0:52
14 –Brian Hodgson- Sensorite Speech Background 1:10
15 –Brian Hodgson- Dalek Spaceship Lands 0:16
16 –Brian Hodgson- TARDIS Lands 0:11
17 –Brian Hodgson- Chumbley (Constant Run) 0:27
18 –Brian Hodgson- Chumbley At Rest 0:28
19 –Brian Hodgson- Chumbley Sends Message 0:07
20 –Brian Hodgson- Chumbley Dome (Rises/Falls/Rises/Falls) 0:19
21 –Brian Hodgson- Chumbley Dies 0:11
22 –Brian Hodgson- Activity On Dalek Ship Control Panel 0:46
23 –Brian Hodgson- Energy Escapes 0:22
24 –Brian Hodgson- Machinery In TARDIS Goes Wild(Regeneration) 1:03
25 –Brian Hodgson/Dick Mills- Regeneration Runs Down 0:09
26 –Brian Hodgson/Dick Mills- The Doctor's Transitional Trauma 0:52
27 –Brian Hodgson- The Fish People (Incidental Music) 0:37
28 –Brian Hodgson- Heartbeat Chase 1:57
29 –Delia Derbyshire- Chromophone Band 1:56
30 –Brian Hodgson- Controller Chimes 0:10
31 –John Baker- Muzak (From "Time In Advance") 3:19
32 –Brian Hodgson- Propaganda Sleep Machine 1:08
33 –Delia Derbyshire- Doctor Who (New Opening Theme, 1967) 0:51
34 –Brian Hodgson- Sting & Web 2:04
35 –Brian Hodgson- 4 Stings 0:18
36 –Brian Hodgson- Mr. Oak And Mr. Quill (Incidental Music) 0:39
37 –Brian Hodgson- Lead-In To Cyber Planner 0:14
38 –Brian Hodgson- Cyber Planner Background 0:37
39 –Brian Hodgson- Cyberman Stab & Music 1:32
40 –Brian Hodgson- Rocket Stab 0:08
41 –Brian Hodgson- Birth Of Cybermats 0:44
42 –Brian Hodgson- Cybermats Attracted To Wheel 0:39
43 –Brian Hodgson- Rocket In Space 1:49
44 –Brian Hodgson- Interior Rocket (Suspense Music) 1:55
45 –Brian Hodgson- Servo Robot Music 1:28
46 –Brian Hodgson- Wheel Stab 0:14
47 –Brian Hodgson- Cosmos Atmosphere 1:08
48 –Brian Hodgson- Alien Ship Music 1:00
49 –Brian Hodgson- Jarvis In A Dream State 0:47
50 –Brian Hodgson- Floating Through Space 1:14
51 –Brian Hodgson- 2 Stabs 0:11
52 –Brian Hodgson- TARDIS (New Landing) 0:18
53 –Brian Hodgson- Galaxy Atmosphere 1:04
54 –Brian Hodgson- Tension Builder (A) 0:45
55 –Brian Hodgson- Tension Builder (C) 0:40
56 –Brian Hodgson- Tension Builder (D) 1:06
57 –Brian Hodgson- Low Sting 0:10
58 –Brian Hodgson- TARDIS: Extra Power Unit Plugged In 1:53
59 –Brian Hodgson- Zoe's Theme 1:19
60 –Brian Hodgson- White Void 1:16
61 –John Baker- Muzak (From "Time In Advance") 2:48
62 –Brian Hodgson- Cyberman Brought To Life 1:12
63 –Brian Hodgson- Cyber Invasion 2:11
64 –Brian Hodgson- The Learning Hall 2:40
65 –Brian Hodgson- Entry Into The Machine 1:33
66 –Brian Hodgson- Sting 0:19
67 –Brian Hodgson- Machine And City Theme 1:49
68 –Brian Hodgson- Kroton Theme 2:13
69 –Brian Hodgson- TARDIS Land 0:25
70 –Brian Hodgson- Alien Control Centre 0:27
71 –Brian Hodgson- Time Zone Atmosphere 0:40
72 –Brian Hodgson- Dimensional Control 0:49
73 –Brian Hodgson- War Lord Arrival 0:16
74 –Brian Hodgson- Silver Box (The Doctor Calls For Help) 1:02
75 –Brian Hodgson- Time Lord Court Atmosphere 1:18
76 –Delia Derbyshire- Doctor Who (Closing Titles) 0:41

DOWNLOAD time and relative dimensions in sound HERE!

Delia Derbyshire and Barry Bermange -"Inventions For Radio No.4: The Evenings Of Certain Lives " (1965)

In the grand old tradition of the BBC, the tapes for Inventions for Radio No.4 have been 'lost'(which usually means thrown away or erased), All that remains is this short edited extract for the "Sculptress of Sound" documentary taken from a ten minute section from one of the reels in the box of tapes that were recovered from Delia's house, from the attic, after she died. That is now the property of the university of Manchester,and they don't seem keen to allow anyone to make a complete copy of it.
The programme is about life at a certain age, not at the extreme point when people ‘just give up and wait’ but, perhaps more poignantly, at the point where old age begins and the body just won't work like it used to and the eyes just won't see, the ears just won't hear, and the memory of what you were is dim.
The Evenings of Certain Lives is about the sense of isolation, and the private agony of aging.Fun stuff,but it looks like we will never get to hear the whole 40 minutes worth.

A typical story is on the day that the Radiophonic workshop was finally closed, the Workshop archivist Mark Ayres,discovered 9000 tapes dumped in a skip,which he recovered,and spent the next few years digitising and cataloging.

Despite, again not being credited (BBC policy),these Inventions for radio are probably Delia's greatest works,and i was amused to hear of a series of complaints from the 'public' at the time of transmission.Indeed, the BBC received complaints from a number of listeners about some of the 'harsh' or 'uneducated' accents and opinions that were featured in the 'Inventions'.

Don't you just love the ignorance of the 'Public' and the stupidity of of government corporations? It still goes on of course, but at least Aunty Beeb has stopped throwing stuff away,but there's a new wave of mass ignorance that dwarves the old skool version,which was mainly due to lack of information as opposed to too much information,or rather, too much incorrect information,where one man's truth is anothers lies if it doesn't fit their agenda.

And.....Oh yeah....University of Manchester people!.....put the archive online will you? Its not just for academics!?

Unbelieveable!?

Tracklisting:

1. The Evenings Of Certain Lives (extract) 2:11

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Delia Derbyshire and Barry Bermange -"Inventions For Radio No.3: The Afterlife" (1965)

The third in a cycle of inventions for radio by Barry Bermange, in collaboration with the BBC's Radiophonic Workshop.An attempt to reconstruct in sound the spiritualistic vision of Death and Eternity. It is conceived as a dream of Death. Using the montage process of the earlier programmes, 'The Dreams' and 'Amor Dei', the author has arranged in settings of electronic sound provided by the immortal Delia Derbyshire.A collection of voices of people who are now likely to have found out if their beliefs were correct,or have disappeared into the eternal darkeness and silence of oblivion. Recorded from life before death in four movements.

Its this kind of stuff that makes paying your taxes a pleasure.
If Kluster had made this in 1969,it would have been hailed as a proto-industrial masterpiece,and proof of how the Krautrockers invented Ambient.Nah! It all began here,with a bit of help from John Cage,Pierre Henry,Edgard Varese, and maybe Louis And Bebe Barron....but none of those got anywhere near the articulate structured brilliance of the Dr.Who theme from whence sprung electronic pop.

Tracklisting:

1.Death is Going from Shadow into Reality 7:41
2.It's Just Like Going to Sleep 11:09
3.Light. Everywhere is Light 10:27
4.Death is Just a Changing 10:37
5.The Afterlife (Extended ) 40:00

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Delia Derbyshire - "Blue Veils and Golden Sands-The Unsung Heroine Of British Electronic Music" (BBC Transcription Services) 2002

Ten years before 'Autobahn' the British public were exposed to popular electronics by the government funded BBC Radiophonic Workshop,who pioneered the art of making electronics useable and coherent for the average working man.It all started with Delia Deryshires rendering of Ron Grainers 'Doctor Who Theme'.I dunno if that bass-line has ever been bettered? What makes this more intriguing is that in the semi-socialist state that was post-war Britain, this was all done without recognition or plaudits, in complete anonymity in the bowels of BBC Maida Vale studio's where 20th century music history was recorded from The Beatles and Jimi Hendrix, to Joy Division and Frank Sidebottom. The BBC also had its own composers on the payroll although they categorically avoided this,as Ms Derbyshire explains......"The only way into the workshop was to be a trainee studio manager. This is because the workshop was purely a service department for drama. The BBC made it quite clear that they didn't employ composers and we weren't supposed to be doing music." One of these 'composers' was the one and only, Delia Derbyshire,who has posthumously risen inexorably towards 'Legendary' status as not only a pioneer of women in Electronic music,but as a pioneer of all Electronic music.
Using the notoriously non-existent BBC budget, Delia and her collegues, worked tirelessly with basic equipment to create other worldly music that wasn't being produced anywhere else in the early sixties outside of the Avant Garde arena,which was basically just using electronics to make funny noises.God knows what shite Stockhausen would have come up with for the Doctor Who Theme,and Morton Subotnik was still deciding whether to use Silver Apples or Oranges for his Moon.
The thing is, Delia did 'weird' as well.There is much of her work that would stand up effortlessly in the Avant Garde arena if it ever allowed someone from the BBC to be taken seriously.
The radio plays she did with Barry Bermange in 1964/65, "Inventions For Radio", are among some of the most bizarre pieces of Musique Concréte ever made.
They will be coming up; but as there is inexplicably NO(!?) Greatest hits of Delia Derbyshire,or of The Radiophonic Workshop, in existence?This file contains the BBC Play based on Delia's life (featuring Sonic Boom/Pete Kember of Spaceman 3),and 20 of her most popular pieces,including the one that started it all, "The Doctor Who Theme".
Here's a great quote by Delia about the Dr Who Theme,that shows the BBC's faultless socialist principles:"I did the Dr Who theme music mostly on the Jason valve oscillators. Ron Grainer brought me the score. He expected to hire a band to play it, but when he heard what I had done electronically, he'd never imagined it would be so good. He offered me half of the royalties, but the BBC wouldn't allow it. I was just on an assistant studio manager's salary and that was it... and we got a free Radio Times. The boss wouldn't let anybody have any sort of credit."
Personal favourite , "Ziwzih Ziwzih OO-OO-OO", could have been taken from The Residents 'golden era',also ten years hence!Or as inspiration for The Mole Show, almost twenty years later! Delia was also far more anonymous than The Residents could ever be.Hardly any pictures exist of her,the same images cropping up endlessly.
She left the workshop, and music, in 1975 to do ordinary jobs,complaining that Synthesizers were killing electronic music,believing that it should be hand-made.She has a point.Music is made by machines more than ever in the 21st century.
'You will be Replaced' is a line you'd expect from an episode of Doctor Who.....now its becoming a reality.
However, Delia Derbyshire was never replaced.The synthesizers never cut the mustard.

Tracklisting:

The Unsung Heroine Of British Electronic Music(BBC Radio Play 2002) 
01 - Introduction
02 - There Is No Such Thing As Silence
03 - The Meaning Of Sound
04 - A Glass Or Two Of Wine
05 - My Real Living Room
06 - Doctor Who
07 - New Music And Open Minds
08 - The Effect Of The Soul On Sound
09 - Another Day At The BBC Radiophonic Sweatshop
10 - Some Recognition
11 - Remembering Without Trying
12 - Credits
The Music (1962-75):
13 - Doctor Who (Original Theme)
14 - Time On Our Hands
15 - Arabic Science And Industry
16 - Know Your Car
17 - Mattachin
18 - Pot Au Feu
19 - Happy Birthday
20 - Ziwzih Ziwzih OO-OO-OO
21 - Towards Tomorrow
22 - Door To Door
23 - Air
24 - Science And Health
25 - Chromophone Band
26 - A New View Of Politics
27 - Environmental Studies
28 - Chronicle
29 - Great Zoos Of The World
30 - Dance from ''Noah''
31 - Blue Veils And Golden Sands
32 - The Delian Mode
33 - Time To Go
34 - Doctor Who (Closing Theme)

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Robert Ashley ‎– "Wolfman" (Alga Marghen ‎– plana-A 20NMN.048) (2003)

Ok then, who invented Harsh Noise as entertainment?...I thought it was AMM,but turns out Robert Ashley, he of catatonic spoken word operas fame, beat them to it by a couple of years. The track "Wolfman (1964) could have been a early Merzbow out-take!? A fucked up mess of tape,voice and feedback that should have scared the living bejeezuz out of any Beatles fans.
Then he had a go at very early 'Ambient',with his 40 minute long tape collage "The Bottleman". This was the best part of 20 years before his dialogue operas for TV started taking shape.
The the late fifties and early sixties this was an extraordinary glance into an unimaginable musical,or non-musical future.
Now every fucker does this for home entertainment with their Granny on the effects table.

Tracklist:

1.The Fox (1957) electronic music and voice
characters adapted from a folk song by Burl Ives (5:15)

2.The Wolfman (1964) tape, voice and feedback
produced at the University of California at Davis by Composer-Performer Edition
first performed at Charlotte Moorman's "Festival of the Avant-Garde", New York, fall 1964 (18:10)

3.The Wolfman Tape (1964) tape-speed manipulation and mixes of many layers of "found" sounds
used as "sound environment" by Bob James for a jazz improvisation (ESP Records, 1965) (6:01)

4.The Bottleman (1960) tape composition with contact microphones, loudspeaker, vocal and other "found" sounds
composed for a George Manupelli film of the same title; single-projection version (43:30)

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Steve Reich ‎– "Early Works" (Nonesuch ‎– 979 169-1) 1987

We all feel rather too clever by half when we add some recorded dialogue to our homemade experimental miesterwerks don't we? Well,it may automatically qualify you to call yourself 'Avant-Garde' but this tactic has been around for as long as pop-art itself. In 1965 the not-so-young Steve Reich discovered that if he played one tape slightly slower than an other tape playing the same thing,it would slowly become out of phase and we get a jumbled up confused mess abstracting the meaning of the original to the point of the nonsense that it is. So Steve could just set the tapes running and sit back to let the music,or non-music, write itself. Another idea that Eno nicked,but in his case he used tape loops which eventually came back into to phase momentarily before slipping back out of phase again.
Reich wasn't the first to mess around with recorded dialogue of course. As far as I can assess that honour goes to Brion Gysin, followed diligently by William S. Burroughs, who were a direct influence on such Industrial types as Cabaret Voltaire, and Throbbing Gristle,before it was dumbed down by the availability of the Fairlight Sampler.This started a separate thread leading to Paul 'N.n.n.n.n.n.n.Nineteen' Hardcastle, and a flood of "Ah Yeah's" on yer kiddie-pop hits like Timmy Mallets version of "Teensy Weensy Yellow Polka-dot Bikini"......follow that with samples of Colonel Kurtz mumbling "The Horror....The Horror!"
So the moral behind this ugly truth is that no matter how avant garde you think you are, there's always some intellectual minnow who are gonna show your genius up for the sad cliché it has become,as it becomes inclusive rather than exclusive. Timmy Mallet...the great leveller.
Naturally, Steve Reich was messing with dialogue well before it became an Industrial Cliché,but his main innovation was his out of phase compositions, as represented here by his "Piano Phase" piece for two piano's.The discipline involved for two pianists to play at slightly varying tempo's is a thing of awe for me. I often struggle to play constantly in 4/4 time,so when my tempo wavers its incompetence rather than skill. This is the piece from where the Steve Reich style sprung from,and which launched a thousand Philip Glass compositions. Terry Riley was an influence it is said, and also, allegedly, Moondog (coming up soon).
There you go, I managed to write about Steve Reich without a single reference to anything  Nazi.....i am now patting myself on the back.Just you wait for my take on "Different Trains"...I can't wait!

Tracklist:

A1 Come Out 12:54
A2 Piano Phase 20:26
B1 Clapping Music 4:39
B2 It’s Gonna Rain 17:31

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John Cale - "Sun Blindness Music" (Audio ArtKive ‎– Audio ArtKive 03) 2001

There's snow blindness like sun blindness.
Three more Tony Conrad recordings of John Cale's new york Drone experiments.This stuff was genuinely decades ahead of its time, and the best thing that Cale was ever involved in,unless he was on that Portsmouth Symphonia Record.....the sad thing is, i could easily check,but really whats the point in finding anything out anymore when there's no need to remember it because if I need to know it I can just go on the internet and it will remember it for me.The real danger is trusting technology to remember the facts as they truly were,and not how persons,or machines, unknown want them to be remembered.
Isn't there a Philip K. Dick story on this subject?.....no, don't look that up either.Use your own memory banks.This is whats killing debate in Pubs,as we sit gazing into our beer in relative silence.
Well, i'm gonna go out on a limb and state that Cale was indeed part of Gavin Bryers Portsmouth Symphonia project,so if anyone wants to argue that he wasn't go ahead,but without fucking googling it!
It doesn't matter if he was or if he wasn't,but at least we tried?
"We can remember it for you"!?

Tracklist:

1 Sun Blindness Music
Organ [Vox Continental] – John Cale 42:42
2 Summer Heat
Guitar – John Cale 11:06
3 The Second Fortress
Sounds [Electronic Sounds] – John Cale 10:36

1 - October 28, 1967
2 - August 1965
3 - Late 1967/Early 1968
DOWNLOADS for the sunblind HERE!

John Cale ‎– "Stainless Gamelan: Inside The Dream Syndicate Volume III" (

They call it 'inside the Dream Syndicate', but its the Welshman's name in large capitals on the cover!?
Ahh, but this has a picture of 'sexy' era John Cale,when he realized that 'art' ain't worth  a fuck, but a fuck is worth selling out for.
The music is from before he sold out to very minor fame, but there's a particularly amusing ending when someone,a neighbour, or the New York Fire Dept, enters Conrad's apartment and tells them to shut up or else......surprisingly they do!?...not very Rock'n'Roll is that eager compliance.

Tracklist:
1 Stainless Steel Gamelan
Harpsichord [Cembalet], Guitar [Fretless] – John Cale, Sterling Morrison 10:30
2 At About This Time Mozart Was Dead And Joseph Conrad Was Sailing The Seven Seas Learning English
Tape [Wollensak] – John Cale Viola, Guitar – John Cale, Sterling Morrison 26:27
3 Terry's Cha-Cha
Drums [Hand], Tambourine – Angus Maclise Soprano Saxophone – Terry Jennings Tape [Wollensak] – John Cale 8:20
4 After The Locust
Electric Piano – John Cale; Performer [Thunder Machine] – Tony Conrad 4:18
5 Big Apple Express
Viola, Tape – John Cale;Vocals – New York Fire Department 5:45

1 - Mid 1960s. 
2 - May 1967. 
3 - May 1967.
4 - Circa 1968.
5 - Early/mid 1960s

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John Cale ‎– "Dream Interpretation: Inside The Dream Syndicate Volume II" ( Audio ArtKive ‎– Audio ArtKive 04) 2001

John Cales' name sits proudly atop these archive releases from his days with La Monte Youngs 'Theatre Of Eternal Music"; renamed "The Dreeam Syndicate" by Cale and Conrad.

'Cale' rhymes with 'sale', so as the most saleable member of the 'Dream Syndicate' he gets his name on the top of the list of players,in large capital letters.

This is the Second of three 'Dream Syndicate' discs reproduced from archival recordings by Tony Conrad, of Cale and verious members of La Monte Youngs crew, namely MacLise, Conrad and everyones favourite ex-Velvet Underground member.

Here they mess around with La Monte Young's basic drone concept,which would later turn up in Cale's work with VU.On the opening track,his Viola is like a chainsaw gnawing at your inner ear;and maybe even your inner-soul,if you have one.Which you almost certainly don't......and equally as certain, neither do I, if you were wondering?

John seems to take full credit for all this ground breaking mid-60's experimentation, and one must say, it hasn't dated.Unlike Cales' seventies Rock albums, which are pretty awful trad rock,but caused a slight stir back in the day, and today sound rather dull.....unlike these drone experiments.One Would have preferred the lyrics to 'Fear' sung over these unsettling pieces of music, rather than the flaccid adult orientated rock of his early seventies output.Thats inevitably the result of discovering that girls now found him attractive,after donning sunglasses and growing his hair for minor pop stardom in the Velvet Underground.Its difficult to go back to pure experimentation once this has happened to yer average male with low self-esteem.Lou Reed, never really struggling with low self-esteem, managed to do 'Metal Machine music', but I suspect that was merely a 'Fuck You' concept album, as opposed to rediscovering the artist within;but that was a full ten years after these Cale and Conrad experiments.

Alas 'Metal Machine Music' does stand up as one of Reeds best albums,and is neck and neck with Public Image Limited's 'First Issue' in the race to be crowned 'Thee Badest Bad Attitude Album' of allllll time.

Tracklist:

1 Dream Interpretation
Viola – John Cale ;Violin – Tony Conrad 20:33
2 Ex-Cathedra
Organ [Vox Continental] – John Cale 5:03
3 [Untitled] For Piano
Piano – John Cale 12:28
4 Carousel
Sounds [Electronic Sounds] – John Cale 2:32
5 A Midnight Rain Of Green Wrens At The World's Tallest Building
Viola – John Cale;Violin – Tony Conrad 3:19
6 Hot Scoria
Cimbalom – Angus MacLise;Guitar – John Cale 9:21

1 - February 6, 1969.
2 - Late 1967/Early 1968.
3 - Early/mid 1960s. 
4 - Late 1967/Early 1968.
5 - February 8, 1968. 
6 - March 2, 1964 or 1965.

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Theatre Of Eternal Music :featuring John Cale / Tony Conrad / Angus MacLise / La Monte Young / Marian Zazeela ‎– "Inside The Dream Syndicate Volume I: Day Of Niagara(1965)" ( Table Of The Elements ‎– 74 W) (1965 / 2000)

Grandaddy of the minialist drone epic, La Monte focused his attention on pieces of extended duration, with minimal, often microtonal, change,since,i am told, the fifties???? For this reason, he is known as thee initiator of the minimal music "movement". All originators need to surround themselves with like-minded individuals at some stage,and the list on the cover of this album reads as a who's who of early minimalism.
More or less a Minimalist Super Group, 'The Theatre Of Eternal Music',later known,by Cale and Conrad, as The Dream Syndicate, was formed by La Monte Young, to focus on experimental drone music. Again, no-one thought of recording this stuff in a studio, because they likely thought that no-one would want to listen to it for more than 30 seconds. This rare live recording of the Theatre in action in 1965, lasts for a standard tape reel length of thirty minutes......not until the CD age would we get to hear the full five hours of "The Well Tuned Piano", and now, even that can be edited together to run continously on a computer without changing discs.
Young was born in a log cabin in the american wilderness, and somehow graduated to playing his Indian influenced drones at Yoko Ono's loft after he relocated to the Big Apple in the early sixties. Some people are just born into it, it seems? Most of us have to work at it, but some, like La Monte, just effortlessly go where nobody else has dared to tread.......then get ignored. He's still far less known than Cale, Conrad, and Terry Riley, but maybe thats a good thing......the public will only ruin him...maybe get him to do an album with Faust, or join a pop group like Cale did.

Tracklist:

1. Inside The Dream Syndicate Volume I: Day Of Niagara (1965) 30:54

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Angus & Hetty MacLise ‎– "Dreamweapon II" (Boo-Hooray ‎– SMRGS-3) 2011

With a name like Angus,its almost certain that MacLise was the beneficiary of either a privileged or a Bohemian background. Which is probably what attracted spoilt brat indie legends 'Spacemen 3' to steal the "Dreamweapon" moniker from that Angus MacLise bootleg they bought with their trust fund allowance.......apologies to Pete Bassman who i am assured was absolutely NOT, from a privileged background at all....but the other two fuckers certainly were.
Is there no area of working class cultture that hasn't been misappropriated by the middle to upper classes? They've got our Football, they've cornered the acting market,even playing characters from the underclass to rub it in some more; and for a long time now, the fuckers have priced us out of Rock'n'Roll!There is no hope of escape beyond unattainable media planted aspirations. The aspirational economy has even turned 'working class made good' success stories (the jury's out on what constitutes 'Success' by the way!), into Nouveau Riche class traitors.Bribed by tax incentives and a status that allows them to distance themselves from societies losers.....ie 'Us'.
One just has to observe who votes for Trump and Johnson in these alternative reality TV elections to find who these conditioned intellectual minnows support. The poorest of the population want what Trumps got,and anything is a price worth paying. So-called solidly Labour areas in the north of England voted for Johnson......even in Manchester!?...blaming their alienation on the so-called 'Metropolitan Elite'!????.....didn't that used to be the Conservatives? It reeks of Book Burning and Lenin accusing the Intelligentsia of undermining the revolution. Now the Conservative Party has rebranded itself, Trump style' as 'The Peoples Party'!?.....seems i'm no longer part of the 'People' anymore,the less than great unwashed. The metroplotitan elite will welcome us book readers with open arms;but don't wear that smug,one eybrow raised Intelligentsia look on the street, or you're liable to be set upon by 'The People' screaming 'Remainer!",or "Socialist", like in the 1978 remake of "Invasion of the Body Snatchers" with Donald Sutherland......or in the case of the so-called 'Brexit-Election', 'The Invasion of the Dream-Snatchers',especially when it comes to escaping that septic Isle ,the new DDR...GBR.
Alas, the 'Posh' are allowed to dabble in such stuff as fine art, or the 'Avant-Garde", so Angus is free to do whatever kind of mystical drone music he desires,and along with wife Hetty, he does a pretty fine job of making a type of western music never heard before.
Although some of it does sound not unlike something the BBC Radiophonic Workshop would churn out effortlessly for a 1959 Radio Drama;but Angus did it on a stream of south american drug cocktails,so its different. The BBC lot,mostly Oxbridge graduates, just stuck to 20 cigarettes a day,washed back with limited supplies of wine and coffee.Thats why they all dies young....like Angus did too, sadly.

Tracklist:

A1 Bash Bish, Berkshires Group - Ca. 1968-1969 1:42
A2 November 1965
Bells – Angus Organ – Hetty 16:26
A3 Untitled
Cymbal, Drums – Angus 2:40
B Organ Expo 1969 18:58

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