Thursday, February 27, 2014


Thank you, Captain Trip.
From Tokyo's D.J.F. (Deutsch Japanische Freundschaft), a beatif'ful CD release of 1-A Dusseldorf's Thomas Dinger n' Nils Kristiansen's collaboration , 'Fettleber'.
Art included.

Tuesday, February 25, 2014

Motor Humming

Great Jammin' in '99 from Japan trio;

Hioki Shimpei, Yamanaka Atsushi, Morimura Hiroshi
(guitar, bass n' drums),
'Musical Aluminum' by Motor Humming

Friday, February 21, 2014

Tales of Brave Ulysses

In my younger, penniless days, I'd request records as gifts when asked by relatives what I wanted for my 'Chris'amissa'Bird'day'.

My Godmother, 'Aunt Jean d' Napoli got me 'Fresh Cream' n' 'Disraeli Gears' when I turned 13.
This band could jam. Their combined talent created A'sound.
Jack Bruce's singing took me away.
From Blues to tiny Purple fishes, lyrics of Pete Brown and Skip James were memorized.
Later learning every guitar note n' bend of 'slow-hand' Clapton,
then fortunate to meet Keith Heins at Thousand Oaks High School, a drummer inspired by Cream's
jazz'-Afro'red drumming of Ginger Baker...
We started jammin'-
'Phil Sodequist Blues Band'
'Dale Poune Cake walks with Wally'
'Cast of a Thousand Tiki Beats'
'Jiggle the Handle'...

Jack Bruce's solo work, 'Harmony Row' takes me back to waltzing Tania at two 'round the livingroom in the afternoon.

Ten pieces of sun for you 
And for you only two
Take care not to grow so fast 
You're into the past
In time you will lose them all 
Sooner if you fall
In markets that offer stars 
No care for the stars

Now/when the time is so ripe
Then/in the twinkling of an eye
Gone/in the drains of a world 
Victoria Sage wears out rage

Ten fallings in love for you 
And for you only two
Take care not to love too much 
You might like the touch
Spring beckons you leave it all 
Now you have grown tall
Gold pavements on different stars 
Watch out for the cars

Saturday, February 15, 2014

Slapp Happy

Dagmar Krause, of Hamburg... Vhat'a voice.

Slapp Happy
'Acnalbasac Noom' was recorded in Wumme (u w/ umlaut) Germany '73.
Dagmar, Anthony Moore, Peter Blegvad with Faust.
Cover art by Peter.

Collaborating with Virgin record mates, Henry Cow, here with Robert Wyatt.
(a name play on early 1900's Californian Composer, Henry Cowell)

Some questions about hats...

Friday, February 14, 2014


The soundtracks of Wim Wenders' films have always inspired.
Music from this sphere's best landscapes; 'Paris, Texas' desert music from Ry Cooder to Berlin's 'Wings of Desire' nightclubbing with Nick Cave.
 'Pina' is a beautiful movie documentary of Dance.

Tuesday, February 11, 2014

Zurück in die elektronische Verkabelung

Immer wieder, (repeatedly) playing Harmonia.
A favorite trio of Deutchland-
NEU!'s guitarist Michael Rother with Cluster's duo Mobius and Roedelius

                                         Resilient music of the Seventies from Forst, Germany
Fur Immer

Sunday, February 9, 2014

Back to the Feedback, Shall we?

A simple pleasure, selecting music I know nothing about.

'97 on Highland Ave. I walk into Aaron's Records just down the street from a good day of draw'ring
  'Aaaah, Real Monsters' at Klasky Csupo.

The Show's intro sequence was done by Russian animator Igor Kovalyov,

Amongst the Monster crew was designer, Andras Wahorn a Hungarian Rex de l'Art, 
who talked Igor into playing drums with us one Friday night at Gabor's. 

 That golden hour selection from Aaron's was an excellent find, a duo from Wales...
Sonic waves of joy.
Feedback that touches deer' bone in da' back of yeer' brain.

Our Glassie Azoth

Dafydd Roberts and Ruth McDolald (also Alphane Moon),

Thursday, February 6, 2014

Great Scott

My first encounter with his music was from the Looney Tune cartoons of the 30's and 40's.
Carl Stalling (wasn't stalling) in adapting Raymond Scott's music to these classic WB cartoons.
'Powerhouse' is probably the best known of Scott's works, later reintroduced in 'Ren and Stimpy' cartoons.

                                In '46 Raymond Scott established his Manhattan Research Inc.,
creating his own electronic instruments, the Clavivox, Electronium and later polyphonic sequencer which he used for those futuristic radio and TV commercials of the fifties- my first encounter with Electronic Music.
Here recording with his wife Dorothy Collins, 
                           this was the true beginnings of electronic experimental music.
Robert Moog was introduced to Scott and worked with him as a circuits designer, later developing his own synthesizer.

Scott's music; from his jazz, 'Reckless Nights and Turkish Twilights' to his electronic, 'Soothing Sounds for Baby', will always remain for me one of America's most important composers and inventors.

"Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener." —Raymond Scott, 1949