Cool and Strange Music! Magazine - 04 - Feb 1997-April 1997

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soundtracks for commercials in the 1950s. The first of his inventions was Karloff, which was used for radio commercials. It could produce the sound of drums, severe c hest congestion, or frying bacon. There was the Circle Machine, a series of lamps in a circle with a photocell on a rotating arm. The photocell was part of an oscillator circuit. the lamps ' intensities were individually adjustable, and it when put into motion, the machine produ ced a peppy, staccato, mechanical type of music. This was put to good use in car battery and sp ark plug co mm ercials . It was also used to provide rhythmic continuity under layers of other instrum ents or voices. Th e first instrument designed to be used by others was the Clavivox. This represented an inc redible refinem ent of one of the oldest (and still popular) synthesizers, the Th eremin. The Thera produces emin

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• ELECTROf'::C GEn:us RT WORK • ELECTRcn:c GEn:us RT WORK •ELECTRO:l:C GEn:us RTI

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he ...starts recording . "Say, th e opening theme is just about over, the composer (guidonce control) decides that, as the first step in th e development of the theme-he wishes to repeat it, but in a higher key-he pushes the a p-~ propriate button . Or perhaps, he ~ wants to modify the th eme some8 w hat in its new, tran sposed , higher ~ key-for instance, to widen some of the intervals...he turns another knob. "' Whate ver the composer needs .. .to continue the d evelo pme nt of the u piece, it is bu t necessary for him to co n vey his w ish es to the 0 Elec tronium- by manipulating the ~ appropriate controls.. .faster, slower, 8 a new rhythm design, a hold, a ~ -&. pause, a second th eme, variation, an extension, elongation, d iminuthat would collaborate with him. In ti on, counterpoint, a c h a nge in fact, he reduced his role to merely phrasing , an ornament .. . ad making "suggestions" about how infinitum ...whatever the composer the piece should go. A massive conrequests, the Electro nium accepts trapti on, it was 1Ofeet long and may and acts out his directions." literally have weighed a ton. In its It sounds like Scott had c reated original form it had no keyboard; opthe perfect musical partner for himerator input was limited to a few self! He claimed that he never know knobs and a switch . In Raymond what it would do next. Tom Rhea . Scott's own words (circa 1970): instructor at Boston's Berkl ee Col"A composer 'asks' the lege of Music and expert on the hisElectronium to 'suggest' an ideatory of elec tronic instruments. had theme- motive- whatever. He listhis to say (quoted by Freff in Keytens to these on a monitor speaker. board, Feb. 1989): "You have to reWhen happy w ith o ne o f th e ideas, m ember the context for llll.

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Th eremin and gave it a keyboard. Im agine the d ifference between waving your hands through empty a ir to try to produce music and having a 3-octave keyboard to play on. As if that wasn't enough. Scott devised controls for vibra to , attack, and decay so that the Clavivox could produce effects not possible at a ll on the Theremin. The Clavivox , w ith the Raymond Scott Orchestra can be heard on a rare Top Rank 45. "Twilight Zone" {b/w "Naked City") (also reissued on an obscure LP, Raymond Scott and His Orchestra: On the Swinging Side Sounds o f Swing LP - 107). Thi s has nothing to do with th e TV show; it sounds very similar to Duk e Ellington's tune "Caravan" but with the eerie sound of the Clavivox carrying the melody. Unfortunately, Scott's "primitive engineering" may be what ulti mately killed the Clavivox. Th e design was ingenious. but the precise mechani ca l to lerances required could not be mai ntained in th e real world. and it proved to be nearlyimpossible to keep in tune. Scott's masterpiece was th e Electronium. As if he was unable to find a complementary genius. he invented a "composing machine"

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¢ . ELECTRon:c GEfl:US AT WORX • ELECTROfl:C GEn:us RT WORK •ELECTRon:c GEn:us RT WORK •ELECTRorm:: GEfWJS RT WORK •ELECTROn:c GEn:us AT WORX

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tr all this. In 1970, the most advanced ~

thing that had happened was the modular Moog synthesizer. W. Carlos' Switched On Bach had come out, and people were reveling in the fact that they could laboriously patch together these electronic sounds and record them monophonically into a tape recorder. But Raymond Scott stepped up to this prototype assemblage of wires and parts that he told me was an Electronium, and proceeded to playanastonishing ra nge of multiphonic and polyphonic textures. It was all there. And the only thing h e used to guide thingthe was 'g uide ' Ra y m o n d ' s word- was a single microswitch and some o ld clunky knobs. " He called it a composing machine .... It had to be one of the first artificial intelligence opin plications e le ctron ic music . In 1970. Think about that. Here was a man who had been a bandleader, who had written TV and radio jingles and 200 ASCAP tunes, a fellow who knew exactly how to compose what he wan ted-and back as far as the early 60s he was trying to build a machine that would collaborate with musician s. It was the most amazing thing I'd ever seen." Apparently, the Electronium remain ed obscure because Scott could never let go of it. Even after being hired by Berry Gordy to develop and deliver one to be used

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at Motown Records, Scott continuously worked on refining it until Gordy lost interest. (Interestingly, along the way he added a keyboard , which changed the basic character of the Electronium--existing composi ti ons could now be played on it.) The last I heard, the machine is decaying in a shed at th e Scott home. Aside from th e Tw ilight Zone single mentioned above, the only commercial record ings of Scott's

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ping the ball in an endless loop ! I~ predict Jean Jacques Perrey fans ~~ ~~ would be disappointed. Raymond Scott died in 1994 ~ after a long illness. As fascina ting as ~ his work in electronics was to him (and could have been to the world) c5 Scottoperatedinavacuum:hewas ~ afraid others would steal his ideas, :;;; so he was reclusive and never published anything about his work. He ~~ was a man ahead of his time, and ~~ one to whom the much -abused ~ " genius"~ word would certainly opply. He had vision cs and did not wait for ~ th e world to ca tc h :;;; up to him: he followed his imagina- ~~ tion, creating new ~~ techniques and ~ machines to bring~ the sounds in his ~ head to life. He also was m more interested in i;;; realizing his id eas than with following ~~ through, so he ~ made little effort to ~~ market his inven- ~ tions . In addition to E~ the musical instru- ~ ments, for his own m use h e invented i;;; the scanning radio ( ) [so he could keep ~~ in touch with new cm' music ~~ popular while he worked], ~ fax machine, and E~ many others; yet he marketed none ~ m of them. He died forgotten by much of i;;; the world , his days in the spotlight long behind him . Recently, his name ~~ is becoming famous again for th e :;;:; original music he wrote and per- ~~ formed. The world of e lectron ic ~ music owes him a great debt. Let's E~ hope the time isright for a Raymond ~ m Scott renaissance . © 1997 Craig Andersen ~

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electronic music were a series of LPs titled "Soothing Sounds for Baby" (Epic Records, c irca 1963). These are due to be re-released in a 3-CD set-in the Netherlands. Most of this music is very minimalist-it immedia tely reminded me of Philip Glass' music for Koyanisqaatsi-and it is very repetitive . Some tracks are highly developed melodically, some are disjointed motifs, and one, I swear, sounds like the sounds I used to make with a Pong game by trap-

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And Strange Music!"' C,oo/ -------=Magazine

fourth Issue!• Feb. '97· April '97

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e.--------------. *THIS ISSUE'S SPOTLIGHT CDs*

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collection of production music from the Chappell

stirred. Parisia n is th e to ne of "The Girl that I

and Marlowlynn libraries. Li steners expecting

Marry" - a strong accordion ba ckup makes you

bump a nd grind themes with throaty trumpet wohwo hed through a d e rby and heavy cy mbal wo rk will be disappointed. Most of th e mate rial is in th e Elmer Bernstein/Nelson Riddle crim e-jazz ve in, and it's all quite sn a zzy. Composers include John Barry, Roger Roger and Robert Farnan, along with

feel you sho uld be plo ying checkers in the shadow o f the Eiffel tower. I hod to look around for a sec-

you won't be so rry! Each of these CD compilations features 14 del ectably chosen

oth er tunesm iths whose names are new to me but from now, as more production music is inevitably

ture stiletto heels twisting across the dance floor on this one. Cut 7, " Cherry Beat" is a funky electric piano tune w ith the sound s of a w ife-swappin g

cuts featuring sexy, swingin'

and singin' bachelorettes.

reissued . Sound quality is exce llent and the delu xe gotefold package is bea utifull y printed. Mad-

lands a s the " M un ster" theme, but not quite. I think

Various Artists · Sex Kittens In Hi·Fi Volume 7 · The Blondes DCC Compact Classics · DZS 097 Volume 8 · The Brunettes DCC Compact Classics · DZS 098 Welcome these glamorous

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ladies into your stereo and

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who we' ll probably all be wo rshipping a few ye ars

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deningly, th ere ore no liner notes, ju st dozens of

I heard a baby crying in cut #9 along with a few

shots of Be tty in various states of undress {and

in a haphazard w a y, a s some comps appear to do,

duress in a fe w bondage and span king scenes ).

N ew Year's Eve noisemakers . The party slo ws down a minute for a slow dance w ith "C oncert o

for Love," and a soft 1950's guitar Barney Kessellike "Co me In Out of The Rain" by the Oscar Moo re Trio. The program ends with on early Miles Davis like -song, "You Only Li ve Twice," by James

Bond and His Sextet. And ii the music isn't e nough to put yo u in a Cocktail Mood, check o ut th e liner notes - jam packed with cocktail recipes wo rth a laugh. My fa vo rite : "Pussy Galore."

-Aaron Douglas

Various Artists · Music For The Jet Set Rykodisc · TCD 1038 Buckl e up and prepare for takeoff. First, you ' re whisked a wa y to spend April in Paris

record co ll ecti on. I consider myse lf somewhat of a connoisseur of fema le vocalists, but I admit I've

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never heard of about half of these sultry si ngers. People li ke Donna Hightowe r, Vicky Lane, Doris

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Drew and more, prove to be real talents, (even

if

they neve r become household wo rds.) These discs ore th e perfect addition to any bachelor pod, and hove been getting repeated ploys on my stereo. If "Th e Blondes 0 and "The Brunettes" are this hot, I can't wa it until DCC Compact Classics releases the

next in the series "The Redheads"! Highl y Recom-C hris Cole me nded .

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cu l-de-soc party. It alm ost goes overboard and

Rother than just throwing to-

full y chosen cuts, and eve ry cut is right on. I couldn 't find one clinke r in the bunch . Appearances by famous babes Joyne Mansfield, Marilyn Monroe, Julie London, Peggy Lee, Polly Bergan, Ertha Kitt and Jo Stafford ore all here. The Ma ril yn Monroe cut "You'd Be Surprised" is a real highlight. I swear I've never heard the song befo re, although it was apparently from There's No BusineH Like Show BusineH. The best port of these discs for me is the discovery of a lot of these great gal singers, w ho've previously escaped my perso nal

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grind bockbeot is definite ly a bedroom tango with its slow wafting rhythm s and ballroo m piano . Pic-

gethe r miscellaneous singers

this co ll ection includes care-

e ~ e

ond to see if Mory Tyler Moore was in the roo m. Th e song "Arrive Derce Ro mo" with its bump and

with saucy vocalist Gloria Lynn e, at our next stop, you

Page's co rn-fed good looks hove bee n se lling albums for over 40 ye ars; Danger Girl is one of the -Woyno few actually worth listenin g to.

Various Artists · In a Cocktail Mood Rykodisc TCD 1037 In a Cacklail Mood is a menag erie o f zippy vibes . The first piece, "Jord u" is a

Various Artists· Betty Page: Danger Girl Burlesque Music · Q.D. K. Media· CD 012 A ve ry mis le ading cove r houses on odd assortment of treosures he re ... The pockoging makes it look like an olbum b y (or about) Betty

sombo-esque lively La tin rh y thm . Arthur Ly man 's "Good Morning Starshine" simpl y screams 11 daiquiri please !" with its ste e l drums, and a Caribbean flovor that would make eve n Horry Belofo nte toe top. The third ond e ighth cuts, Bob Fl o re nce's Big Bond "Claire de Lune" and "Green Eyes" are somewhat

Page, the overexposed 50s

of a letdown as they require too much concen tro-

pinup queen, whic h wo uld

lion to really appre ciate ... reinforcing my personal

be very strange indeed It turns out to be a solid

theory that Cocktail music should be shaken, not

cou ld be having a cocktail with Cha rli e Chon " On a Little Street in Singapore." Con Hawai i be for behind? After stepping onto th e tarmac and receiving yo ur lei s, head ove r to your local Hawaiian

Village 's Shell Bar and enjoy Arthur Lym o n' s Poly nesia n sou nding " Maori Fl ea." Next it's off to Rio for some great percussion. let yo ur body

get lost in the se nsual rhythms of the drums and feel th e lustful heat in the air a s it washes in with th e waves, in "Catriburium Na Bata cuda ." After Bermuda you head to Monterrey, Mexico and 11

then .. . Stewardess, where are my peanuts?- Ber-

muda," with Troy Walker. Don't le a ve behind that si ngle re d rose to clinch between your teeth during " Prelude a Lo Cho Cho Cho," by Woody He rmon with Charlie Byrd. Its Afro-Cuban beat w ill ha ve yo u on your toes in no tim e . The album co n-

CO flnlllWS Co11ti1111ed on pg. 27

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My repeated exposure to Mort Carson 's "Black Mass" and "The Plastic Cow Goes Moooog" by Mike Melvoin in the early 70s must have initiated the 'Moog' affliction I am now experiencing. Those seductive electric sounds of artificial moods insinuated themselves into my deepest aural psyche. As a teenager, I used to listen to the local underground radio stations and would frequently call into the station to request any synthesized sounds, which at the time I didn't know how to find , even though they were as close as the local K-Mart. Recently, I started collecting Moog LP's almost exclusively. I am attracted to the perverse, explorational and psychedelic cover art as well as the transcendent electronic sounds. The cozy den as landscape of pure technology was the site where cheesy misguided urges to interpret the popular songs of the era took place, they were transformed into 'switched-on' novelties . ("Music to Moog By" by Gershon Kingsley, "The Age of Electronicus" by Dick Hyman, "Integrated Circuit" by Walter Sear) . Some Moog LP covers feature an image where electric wires are coming out of a head or electronic parts are collaged with the face or body.("Electric Hair" by Robert Bryne, "Electronic Hair Pieces" by Mort Garson," The Happy Moog" by Perrey and Breuer, "Switched-on Nashville" by Gil Trythall, "Electric Latin Love" by Richard Hayman , "Open Circuit" by Claude Denjean , "Moog Power" by Hugo Montenegro). The synthesizer was like a body which had been mated with by it's possessor. The occult, mysticism, astrology, the supernatural and almost anything ethereal was explored by the 'moog' sound. ("Black Mass", "The Unexplained", "The Wozard of Iz" , "The Signs of the Zodiac" series-all by Mort Garson, "Witchcraft" by Louise Huebner, "The Electric Zodiac" by Douglas Leedy) Within reach of the Moog's tentacles: Romance, Occult, Astrologtj, Rock, Countn;, Classical, Ja zz, Easy Listening, Space, Ambient, Soundtrack, Avant-Garde, Latin, Blues, Big Band, Dixie, Disco, Religious, and Patriotic have all been explored with visionary vigor. My current top ten 'Holy Grail' moog LP's are: "Moog" by Claude Denjean, "Electronic Hair Pieces" by Mort Garson , "Music to Moog By" by Gershon Kingsley, "Switched-On Beatles" by New World Electric Chamber Ensemble, "Electronic Evolutions" by Hayman /Sear, "The Electric Eclectics" by Dick Hyman , "The Plastic Cow Goes Moooooog" by Mike Melvoin, "Th e Happy Moog" by Jean Jacqu es Perrey and Harry Breuer, "Short Circuits" by Ruth White, ""Moog Indigo" by Jean Jacques Perrey.

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Fourth Issue/• Feb. '97·April '97

ARTIST /LABEL/ DATE Moog Espana Moog Rock In a Wild Sanctuary Gandharva All Good Men Electric Hair Music of Erik Satie: The Velvet Gentlemen The Electronic Spirit of Erik Satie Switched on Bach By Request Switched on Bach 2 Sonic Seasonings Well Tempered Synthesizer Secrets of Synthesis Switched on Brandenburgs The Electric Symph.IThe Moog Synthesizer Blues & Electronics Moog Open Circuit Exotic Moog Song of the Second Moon Stolen Goods Plugged In Joplin Moog Groove Electric Love Cinemoog Close Encounters Star Wars X-Rated for Excitement Electronic Hair Pieces

Black Mass The Unexplained Zodiac The Wozard of lz-Electronic Odyssey Aries Gemini Leo Wgo Scorpio Capricorn Aquarious Pisces

Knights in White Satin From Here lo Eternity Moog Plays the Beatles Electric Latin Love Cinemagic Sounds

The Electric People Electronic Evolutions Popcorn Hot Butter Witchcraft The Electric Eclectics The Age of Electronicus The Corporation The Synthesizer Moon Gas The 18th Century Concepts An Astromusica1 Odyssey

Space Experience Space Experience 2

Sid Bass/RCA 1969/LSP-4195 Les Baxter/Cresendo/G NPS-2053 Beaver and Krause/Warner Bros./1850 Beaver and Krause/Warner Bros. 1971/WS 1909 Beaver and Krause/Warner Bros./BS2624 Robert Byrne/Evolution/2013 Camarala Chmbr Orch. /london/DES18036 Camarata Chmbr Orch. /London 19721XDES 18066 Walter Cartos/Columbla/MS7194 Walter CartoslColumbia 1975/32088 Walter Cartos/Columbia 1973/KM32659 Walter CartoslColumbia /PG31234 Walter Cartos/Columbia/MS7286 Wendy Cartos/CBS 1987/423 Wendy Cartos/CBS 1973/M2X35895 Ralph Carmichael/light RecordslLS-5541-LP Frank David/BASF/21150 Claude Denjean/Phase 4/SP44155 Claude Denjean/Phase 4 1973/SP44196 Martin Denny/liberty/LST-7621 Tom Dissevelt and Kid Baltan/limelightLSB6050 Dr. Teleny's Plugged In Orch./RCNARDl-0015 The Eden Ensemble/PYE 1975/12101 The Electric Concept Orch./limelighULS-86070 The Electric Concept Orch./limelight /LS-86072 The Elec. Concept Orch./Mercury 1969/SR61279 Electric Moog Orch./Musicor 1977/MUS-8803 Electric Moog Orch./Musicor 1977/MUS-8801 Ron Frangipane/ Mainstream/MRL-300 Mort Garson/A&M/SP4209 Mort Garson/RCN7311 Mort Garson/RCNADLl-1217 Mort Garson/Electra/EKS-74009 Mort Garson/A&M/SP4156 Mort Garson/A&M/SP4211 Mort Garson/A&M/SP4213 Mort Garson/A&M/SP4215 Mort Garson/A&M/SP4216 Mort Garson/A&M/SP4218 Mort Garson/A&M/SP4220 Mort Garson/A&M/SP 4221 Mort Garson/A&MISP4222 Giorgio/Oasis 1976/0CLP-5006 Giorgio/Casablanca 1977/N BLP-7065-V Marty Gold/Avco Embassy/6466001 Richard Hayman/Command 1969/9475 Richard Hayman/Cammand/9415 Richard Hayman/MurboMCS-6029 Hayman/Walter Sear/Command 1973/RSSD977-2 Hot Butter/Musicor/MS3254 Hot Butter/Musicor 1973/MS3242 Louise HuebnerlWamer Bros./1819

Dick Hyman/Command/938-S Dick Hyman/Command/946-S Dick Hyman/Command/RS929SD Dick Hyman/Command 1973/RSSD968-2 Dick Hyman/Mary Mayo/MGM/SE4119 In a 20th Century Bag/SidewalkST5900 Johnny Keating/Phase 4/SP-44154 Johnny Keating/EMITW0-393 Johnny Keating/EM! SM11635/1975

ARTIST/LABEL/DATE First Moog Quartet First Moog Quartel/Popcorn Music to Moog By Switched-on Gershwin The Electric Zodiac Spaced Out Permissive Polyphonies Oceans of Beautiful Electric Music The Plastic Cow Goes Moooooog Everything You Always Wanted to Hear Moog Power Good Vibrations Neil's Diamonds This is Hugo Montenegro People One to One Hugo in Wonder-Land

Others By Brothers Rocket Man Switched On Rock Electronic Christmas Blues Current Extensions (Paul Beaver on Moog) Emotions (Paul Beaver on Moog) Switched-on Beatles The Happy Moog Switched on Santa The Amazing New Electronic Pop Sound Moog Indigo The In Sound From Way Out Kaleidoscopic Vibrations Spotlight on the Moog Switched on Country Beyond the End Electric Tommy Stones Tragoedia Jon Santo Plays Bach Ananda Shankar

Switched on Bacharach More Switched on Bacharach The Copper Plated Circuit The Distant Galaxy Silver Apples of the Moon The Wild Bull Until Spring The Sound of Feeling Intergalactic Trot Gatsby's WortdlTumed on Joplin Tartaglian Theory Good Morning Starshine Zero nme Tonto's Expanding Head Band Switched on Nashville/Country Moog Switched on Moog/Nashville Gold Short Circuits The Weinberg Method The Beatles/Get Back The Moog Strikes Bach Moogie Woogie

© 1YY7 IJ9vi" Strnfep

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fourth Issue! •Feb. 97· April 97

Gershon Kingsley/Audio Fidelity 1970/AFSD-6234 Gershon Kingsley/Audio Fidelity 19721AFSD-6254 Gershon Kingsley/Audio Fidelity /AFSD-6226 Gershon Kingsley/Avco/AV-11004-598 Douglas Leedy/CapitoVST-368 Enoch LighVProject 3 1969/PR5043SD Enoch LighVProject 3/PR5048D Rod McKuen Presents/Stanyan/10010 Mike Melvoin/Dot 1969/DLP-25961 The Mighty Moog/Columbia/M30383 Hugo Montenegro/RCA 1969/LSP-4170 Hugo Montenegro/RCA 1969/LSP-4104 Hugo Montenegro/RCA 1969/APLl-0132 Hugo Montenegro/RCA 1971NPS-6036 Hugo Montenegro/RCA 1971/LSP-4537 Hugo Montenegro/RCA 1974/APLl-0413 Hugo Montenegro/RCA 1975/APLl-0784 Hugo Montenegro/RCA 1975/APLl-1024 The Moog Machine/Columbia/CS9921 The Moog Machine/Columbia/CS9959 John Murtaugh/Polydor/24-4016 Mystic Moods Orch./Philips 1969/PHS600-301 Mystic Moods Orch./Philips/PHS600-277 New Wortd Elect. Chmbr. Ensmbl/lsland/ILPS-9300 JJ Perrey and Harry Breuer/PickwicklSPC-3160 JJ Perrey and Sy Mann/PickwicklSPOX-1007 JJ PerreyNanguardNSD-79286 JJ PerreyNanguardN SD-6549 Perrey and KingsleyNanguardNRS-9222 Perrey and KingsleyNanguardNSD-79264 Perrey and KingsleyNanguardNSD-6525 Rick Powell/RCA 1970/CAS-2398 Nik Raicevic/Narco 1971/NK102 Joe Renezetti and Tony LuisiNiva/V36025 Emil Richards/UnU3008 Rudin/Nonesuch/H-71198 Jon Santo/MCN2220/1976 Ananda Shankar/Reprise 1970/6398 Christopher Scott/Decca/DL75141 Christopher Scott/Decca 1970/DL75243 Walter Sear/Command/945S Don SebeskyNerveN6-5063 Morton Subotnik!Nonsuch/H-71174 Morton Subotnik!Nonsuch/H-71208 Morton Subotnik1Columbia/Y34158 Spleen/LimelighULSB6063 Stardrive/Electra 1973175058 Chris Stone/ABC 1974/ABCX-823 Tartaglia/Capitol/ST166 Tartaglia/Capitol/ST-280 Tonto's Expndng Head Bnd/Atlantic 19721K40251 Tonto's Expndng Head Bnd/Atlantic 1975/SD18123 Gil Trythall/Athena/6003 Gil Trythall/Athena/6004 Ruth White/Angel/S36042 Fred Weinberg/Anvil/1003 Wortd on Moog 3/Dan RecordslVC7515 Hans Wurman/RCA 1969/LSC-3125 The Zee! Band/ChesslLPS-1545

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CAJOI And Strange Music!"' - - - - - - - - - Magazine

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f,oo/ And Strange Music!"' ----Magazine

Fourth Issue/• Feb. 97· April 97 1

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fourth Issue!• Feb. 197· April 197

C:OOI And Strange Musicr ------Magazine

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Are the same old

Oy-Vey! Co1.mtty Mu~ic R Olltid-Up! A year's subscription (4 issues} for the USA and Canada is $12, $25 elsewhere (US currency), A single issue is $3.95. Make checks payable to: 'COOL AND STRANGE MUSIC! MAGAZINE'

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