July 22, 2009
July 19, 2009
EMS VCS3 "The Putney", Roland System 100, Roland System 100M, Doepfer A-100 Modular Systems.
Analog Echo Machines:
Mirano Echo Chamber 3, Mirano Echo Chamber 3R-S, Mirano Echo Chamber 4R, Maestro Echoplex EP-3, Hawk 5 Head Echo Unit HE-2150, Roland Chorus Echo RE-501, Roland Chorus Echo RE-301, Evans Super Echo EE-6, Mooger Fooger Analog Delay MF-104, Yamaha Analog Delay Model E 1010, Maxon Multi Mode Analog Delay AD202, Maxon Analog Delay AD-900.
Space Machine - Cosmos From Diode Ladder Filter: Inner Mind Music Series 1(Alchemy, 2001)
Space Machine - Modular Series Model 101 - Dimension Degenerator posted earlier...
July 18, 2009
Folklorist Dr Harry Oster had discovered Williams in Angola Penitentiary, serving a life sentence for murder, Robert Pete's self-taught, modal guitar playing, and long, improvised blues about his life and feelings, often unrhymed and semi-spoken, at once marked him out as a unique blues artist.It was thanks largely to Oster's efforts that when these recordings were made, Robert Pete was free on parole, although, as The Hay Cutting Song wittily notes, it was a harsh kind of freedom, working 80 hours a week for $75 a month. In his songs, Robert Pete unflinchingly confronts a world in which loneliness, death and approaching old age loom large. Williams, born in 1914, is now dead.
Robert Pete Williams - Free Again (Prestige/Bluesville, 1961)
Harry Oster info
July 09, 2009
July 07, 2009
Eddie "One String" Jones was discovered on LA's Skid Row in 1960, carrying a 2x4 plank, with a single broom wire stretched along it, and a tin can mounted over one end. Although discovered isn’t strictly true. He had, in fact, approached folklorist Frederick Usher himself, and spanked his 'diddley bow' (or three-quarter banjo) by sliding a half-pint bottle along the wire with his left hand, striking the wire near the tin can with a whittled stick in his right, demonstrating “the onliest music that can't be captured by six strings”. Released at a time when musicologists were desperate to order and classify the sub-genres of African-American music, One String Blues ending up in the ‘ethnic musics’ section of public libraries, and its potential audience of stoners, goof-offs and garage freaks really missed out, because “One String”’s sound is weird: droney grooves and minimalist beauty accompanied by Jones’s gabber-patter which sounds literally out-of-this-world. Accompanied by the more straightforward melancholy blues of South Carolina harmonica man, Edward Hazelton, One String Blues is a masterclass in moon-touched authentic madness. (Andrew Male)
Eddie "One String" Jones/Eddie Hazelton - One String Blues (Takoma, 1968/recorded 1960)