(2:39) World-renowned Los Angeles news announcer George Putnam, on what has become a big, big business.
George?
Sunday, March 29, 2015
Sunday, March 22, 2015
Low Profile Production Music
First off,
weird radio production music of the 1960's, courtesy of WFMU:
"chevy"
which sounds like the music of Henry Mancini, arranged by a blender...
And musical salvage--
the opening titles for They Shoot Horses Don't They, with as much non-music cut out as I could. Still a few artifacts in there. The melody is "Easy Come, Easy Go," arranged by Johnny Green.
link
weird radio production music of the 1960's, courtesy of WFMU:
"chevy"
which sounds like the music of Henry Mancini, arranged by a blender...
And musical salvage--
the opening titles for They Shoot Horses Don't They, with as much non-music cut out as I could. Still a few artifacts in there. The melody is "Easy Come, Easy Go," arranged by Johnny Green.
link
Sunday, March 15, 2015
Firesign Theatre: Microorganism State Park
(10:19) Speaking of Mr Bretman and his cronies, here's a kind of cut and paste reader's play from their avant-garde religious radio program, Dear Friends.
link
link
Sunday, March 8, 2015
Andre Hodeir: Jazz et Jazz
(2:59) 1960.
link
Here's how he did it, for those who want to try this at home:
Hodeir realized the work in three stages.
During the first, he separately recorded a big band playing several composed passages and a rhythm section (bass and drums) playing along with a chord progression from the ensemble work.
In the second stage, Hodeir transformed the recording of the big band passages using tape-editing techniques such as speed changes, tape reversal, filtering, and transposition (playing the tape upside down). He next added a rhythm section track, unchanged, to the electronically modified big band track.
For the third stage, a piano player improvised “as indicated by the composer” along with the “composite tape background,” creating the final realization.
The musique concrète treatment of the band included horns and drums in reverse, piano slowed-down and sped-up, chirping microphone taps, and a variety of comical percussive effects. The result was a carefully orchestrated crowd pleasure that could be performed live with a solo pianist exchanging passages with his or her mutated electronic doppelganger on tape.
- http://www.thomholmes.com/
link
Here's how he did it, for those who want to try this at home:
Hodeir realized the work in three stages.
During the first, he separately recorded a big band playing several composed passages and a rhythm section (bass and drums) playing along with a chord progression from the ensemble work.
In the second stage, Hodeir transformed the recording of the big band passages using tape-editing techniques such as speed changes, tape reversal, filtering, and transposition (playing the tape upside down). He next added a rhythm section track, unchanged, to the electronically modified big band track.
For the third stage, a piano player improvised “as indicated by the composer” along with the “composite tape background,” creating the final realization.
The musique concrète treatment of the band included horns and drums in reverse, piano slowed-down and sped-up, chirping microphone taps, and a variety of comical percussive effects. The result was a carefully orchestrated crowd pleasure that could be performed live with a solo pianist exchanging passages with his or her mutated electronic doppelganger on tape.
- http://www.thomholmes.com/
Sunday, March 1, 2015
The Bran Flakes: Bubbles
Our first track from today's eponymous offering is Turn the Channel, It's Another Commercial.
The entire album is available at the Internet Archive.
And for dessert, a 54-50 video.
The entire album is available at the Internet Archive.
And for dessert, a 54-50 video.
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