Box of CAN

I kneeded some 'Graublauprivatenocturnal'  fur die grau matter.
 CAN's 'Lost Tape Box
 Sounds of a tribe from Cologne and willkomed freunds making a decade of music (67-77)

Thank you Space Pirate Guy for the introduction to CAN during my SBArtI  days...
 when all I had was a clock radio in the studio.

I was lucky to see Jimi and Miles back in the day,
Holger of CAN was a Blessed Easter Egg live surprise to see.

Here is CAN live for an evening setting of messer, fork n' spoon.

Danke Can

turban table dances

Turn table dances and musical chairs

70 mph+ 125 bpm...

my iPod shuffles on the Florida Turnpike.

At an 'exact change' toll, my car window slides down allowing the hot jungle air to meet my interior's controlled climate. Cool notes float up into the ether. My clutched hand extends out dropping two quarters into the toll basket, they clatter inside like a jukebox. The lifting jerk of the toll bar mimics a record changer's arm.
 Gibby breathes from the speakers...
 "Soon I discovered this rock thing was true, Jerry Lee Lewis was the devil,  Jesus was an architect previous to his career as a prophet. All of a sudden, I found myself in love with the world. So there was only one thing that I could do, was to ding dang my dang a long ling long...'

Inside my Musica Machina I travel; a time-release memory capsule sparking 144 mph (memories per hour)...

Thanks Joe Dean, Sue, Anxious Boy, Tory, Yelena, Gabor and that 'Space Pirate' Guy for the drive home.

October 21st in Venice... just off Lincoln

 It's Fall in So Cal... the rain against the pane is accompanying the piano.

'Ode to The Sistrum' by Richard Dunlap

Turkish Delights on the Isle of Man

I was transported to a small (unknown to me) island in the middle of the Irish Sea called the Isle of Man. There, along with a shabby group of Yanks, Brits and Manx (the isle folk) animators, we harbored in its port town of Douglas through bitter storms, pub crawls n' bad karaoke nights... my song was 'Sunny Afternoon' by the Kinks, mainly 'cause there rarely ever was a sunny afternoon on this isle and I'd get a good group of backup 'birds' to join me.

Amongst our crew, a late arrival, was Douglas Netter, grandson of the TV Sci Fi  exec whose name was passed on to. Doug was an interesting New Yorker who quickly discovered that Absinthe was legal there on the isle, he could sleep standing upright in most closets and that the mushrooms that grew wild in the lush, green glens were legal to enjoy as long as you didn't bring them back to port.

Doug would usually arrive to the studio (promptly by lunch break) sit at his desk, unfurl his long scarf about his neck and stare at his 'Collection'; music CD's that stacked his desktop's perimeter as if they were his 'Douglas Castle' wall.

I wasn't familiar with the Turkish 60's music scene, let alone Turkey's traditional folk music, when Doug passed on these Istanbul (not Constantinople) treasures.

Mogollar (Mongols in Turkish), this collection of their music from '67 into the 70's combines traditional Turkish instruments ethno/folk with the electric sounds of  pyschedelic/progrock.
The group still exist and has progressed their music with the times, offering incredible new releases.

Erkin Koray is a Turkish folk/rock guitarist whose music also captured the spirit the times.
This collection from the 60's-70's takes me from the early Prog Rock sound to today's 'Bollywood' backdrops.
Erkin too combined his Turkish background to the zeitgeist and is also still creating music today.









                                                                                                                                           Thanks Doug E.

The Psychedelicatessen Owner

I discovered Terry Riley much after his musical experimental/explorations of 1961,
'Two Pianos and Five Tape Recorders'. This was my introduction to 'Minimalist Music' and I unknowingly discovered Riley's music had had a profound effect on some of the Contemporary Rock I had been listening to; primarily The Soft Machine.

The Soft Machine (the title taken from a William S. Burrough's novel) original members included Robert Wyatt, Daevid Allen, Mike Rattledge and Kevin Ayers, they were produced along with the Jimi Hendrix Experience by Chas Chandler of the Animals in Britain's Psychedelic peak of '67.
As the Soft Machine continued with Rattledge and new coming members, their style leaned more into experimental jazz, whereas the original other members continued experimenting as before in their solo efforts and collaborations with tape looping and minimal notation inspired by Riley.
Sorry, I digress,
1973
At Santa Barbara Art Institute I was introduced to the music of Terry Riley by one of my mentors from the Santa Barbara 'Mountain Drive Tribe', Frank Goad.

Frank was both an inspirational Visual Artist as well as a 'Sound Sculptor' who mixed tracks of his field recordings and dialogue into a musical cadence and rhythm.

Riley's '69 release, 'A Rainbow in Curved Air' cycled in my head
as I peddled to my studio from Frank's flat.

written on the Album cover 'Rainbow in Curved Air'





'Psychedelicatessen Owner'  by Bruce Conner
'Mountain Drive' Santa Barbara's Pioneer Bohemian Community by Elias Chiacos