WFMU: Ridgewood Radio with David Weinstein: Playlist from January 18, 2017

Ridgewood Radio with David Weinstein: Playlist from January 18, 2017

Ridgewood Radio features concert recordings by adventurous bands and experimental musicians and restored archival tapes from private and institutional collections captured at venues large and small across the five boroughs of New York. It is produced by David Weinstein and Outpost Artists Resources operating out of the Ridgewood section of Queens, NY, where you'll find more yellow bricks than on the road to Oz and the cemetery of your choice is never more than a few blocks from home.

Wednesday 5 - 7pm (EDT) | On WFMU's Give the Drummer Radio
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January 18, 2017: Impossible Perspective

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Artist	Track	Album	Label	Year	Format	Comments
Max Matthews	Bicycle Built For Two	Vintage Volts	Caipirinha Music	1961
Malawi Mouse Boys	Kulira Kwambewa (The Crying of the Mouse)
Music behind DJ: Francisco Lopez	Buildings "Buildings" by "Francisco Lopez"	Buildings [New York]	V2_Archief	2001		Commissioned by Creative Time
Terry Riley	Music for The Gift (Parts 1 & 3)	Music for The Gift	Organ of Corti 1	1963		Featuring Chet Baker and ensemble recorded in Paris at Radio France for a theatrical piece. Baker was in Paris reestablishing himself after some time in a an Italian jail for drugs.
John Oswald	Cecil Taylor: Mirror "Cecil Taylor: Mirror" by "John Oswald"	Plunderphonics	Self Released	1989
John Oswald	101 Strings: Rainbow "101 Strings: Rainbow" by "John Oswald"	Plunderphonics	Self Released	1989
Luc Ferrari	Tête et queue du dragon (Head and Tail of The Dragon)	Vintage Volts	Caipirinha Music	1959		Composed and assembled by the French composer Ferrari (1925-2005) who studied with Honegger, Messiaen, and Varese.
Christian Marclay	Neutral "Neutral" by "Christian Marclay"	Records	Alp62cd	1984		Commissioned by Josh Baer and never released. Recorded at Plug, a basement studio on 23rd Street. Restored at Harmonic Ranch for this release.
Christian Marclay	Groove "Groove" by "Christian Marclay"	Records	Alp62cd	1982		Recorded at Noise New York by Frank Eaton. Originally released on Tellus #8. Restored at Harmonic Ranch for this release.
Charlemagne Palestine	Holy 1 & 2 Alloy	Unreleased	WBAI Free Music Store	1967-69		Combining oscillators in his home recording building up textures then played live and recorded in 1969 with Tony Conrad on his Long String Drone, saxophonist Bob Feldman on chimes and a conch, soprano Deborah Glaser, and Palestine on another homemade instrument called the Alumonium at the Free Music Store of WBAI.
Pauline Oliveros	Alien Bog "Alien Bog" by "Pauline Oliveros"	Pauline Oliveros	Pogus Productions	1967		Created using the original Buchla Box 100 series and Oliveros' own tape delay system at the Tape Music Center at Mills College, the antecedent of the legendary San Francisco Tape Music Center.
Shelley Hirsch	War of Dreams "War of Dreams" by "Shelley Hirsch"	The Far In, Far Out Worlds of Shelley Hirsch	Tzadik	2002		The singer/composer sets a text by Angela Carter, sampling keyboards by David Weinstein.
Steve Reich	It's Gonna Rain (Part 2)	Private Collection		1964	Cassette	From a tape given to Weinstein by the composer. 10 minutes of the most extraordinary, and perhaps most influential, tape piece ever. The source material consists entirely of a recording made in 1964 at San Francisco's Union Square. In the recording, a preacher, Brother Walter, rails about the end of the world. Reich worked at the San Francisco Tape Music Center, mentioned above.
Alvin Lucier	I Am Sitting In A Room	I Am Sitting In A Room	Lovely Music	1970		A masterpiece, produced by the composer and some of the great figures in contemporary recordings: Bob Bielecki, Allan Tucker, and Mimi Johnson.
Gavin Bryars	Jesus' Blood Never Failed Me Yet	Jesus' Blood Never Failed Me Yet	Point Music	1971		The piece (1971, rev. 1993): with orchestra conducted by Michael Riesman, is built around the recording of a hobo in London and will break your heart. Don't listen to the Tom Waits version. The story behind this is amazing; some musical miracles are clearly possible.

Listener comments!
	🥁 2:03pm listener james from westwood: Whoa, the earliest days of computer speech right here!
	🥁 2:03pm listener james from westwood: (Bell Labs in NJ, IIRC?)
	2:05pm Scraps: Grandfather Eliza!
	🥁 2:06pm listener james from westwood: Just gon' start this episode right now, unheard. What a lineup!
	🥁 2:08pm listener james from westwood: /start --> star
	🥁 2:09pm weinstein: Hello all! And yes, I do think that first singing computer was Bell Labs.
	🥁 2:10pm weinstein: Thanks, James. This is chock full of classics and some rare stuff.
	🥁 2:11pm listener james from westwood: That "How to Wreck a Nice Beach" book touches on it, I think.
	🥁 2:16pm weinstein: Just peeked at this book. Didn't know it. Very cool!
	2:17pm Dean: Bummer. Missed the singing computer. I have it, I think, on a 7".
	2:34pm Rich in Washington: Now you're playin' my tune. This is great!
	2:35pm Webhamster Henry: Hi Dave! I did a performance (live Amiga computer synthesize) version of Tenney's "For Ann (rising)" which was an Amiga, monitor, amp, two speakers. For Ann (rising) is a Shepard tone, so I wrote it so that the Amiga's display would show with bars where each oscillator was. While it was running, you could imagine that a certain bar was the sound you were hearing, but you'd often be wrong. so there was something to watch during an electronic piece, if you could see the monitor!
	🥁 2:37pm weinstein: I like the "you'd often be wrong" part! Tenney is one of the greats and should be a whole show one day. Nice.
	2:55pm Webhamster Henry: A Tenney show would be good! I was at a Tenney retrospective show a long time ago (I think put on by the S.E.M. ensemble) and the whole audience was composers!
	2:57pm Webhamster Henry: It's great you can come up with this material... WBAI's Free Music Store was a great place for experimental music, judging from reading the record labels.
	🥁 2:59pm weinstein: This Alloy tape came from John Duncan, who is a treasure of historic material himself.
	3:02pm Webhamster Henry: Citizen Kafka revived the FMS in the 80s, and he told me BAI erased all those airchecks to reuse them for the news or something like that.
	🥁 3:06pm weinstein: I have heard this too. But there is a former engineer from BAI who claims to have dozens squirreled away in a closet. I've been trying to get him to give them to me for years.
	🥁 3:13pm listener james from westwood: Hope they do exist and they somehow see the light of day. They do nobody any good unheard!
	3:14pm Webhamster Henry: Ridgewood Radio is doing a fine job pulling tapes out of closets!
	🥁 3:27pm weinstein: Save the archives!
	3:35pm Webhamster Henry: BTW, here's an Oliveros Event coming up at the Cloisters: newmusicworld.org...
	🥁 3:40pm weinstein: Yep. A participatory Deep Listening thing, in about the perfect place.
	3:42pm Rich in Washington: I love this, and Come Out. They're both so hypnotic. It does funny things to your head, especially listening with headphones.
	3:48pm Rich in Washington: This too. This blew my mind when I first heard it as a teen on an 80s radio program from Portland OR called A Different Nature.
	3:56pm Webhamster Henry: Here's a technical question: is there an impulse response file available of that exact room so people can have a reverb that is exactly the same?
	3:57pm Anon FC: This is good
	🥁 3:58pm weinstein: Ha. Brilliant. We all want to be Alvin.
	🥁 3:59pm weinstein: Thanks everyone. Enjoyed this.
	🥁 3:59pm listener james from westwood: Thanks, David, and safe travels and marching to Ruth!
	🥁 4:01pm listener james from westwood: Agreeing that this version >>>> the Waits version. A rare miss for him.
	🥁 4:02pm weinstein: Yeah I like Waits too but that one was a bad idea.
	4:02pm Rich in Washington: I wondered that too, Webhamster Henry. I once tried to emulate that effect digitally, by repeatedly applying an reverb acoustic model to the same audio signal. It came close, but I think the artifacting sort of wrecked it. It was a joke/take on Lucier's piece I submitted to WFMU's inaugural poem remix Kenny G did in '09.
	4:02pm Rich in Washington: My kingdom for just the instrumental track for this.
	4:03pm Rich in Washington: Isn't the non-Tom version included in the last reissue?
	🥁 4:05pm weinstein: I think Tom was always just tacked on the back end of the good stuff as some kind of pop enticement.
	4:08pm Webhamster Henry: @Rich I did a similar joke/take for the Taylor Swift Remix project for Minature Minotaurs.

View David Weinstein's profile

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Artist	Track	Album	Label	Year	Format	Comments
Max Matthews	Bicycle Built For Two	Vintage Volts	Caipirinha Music	1961
Malawi Mouse Boys	Kulira Kwambewa (The Crying of the Mouse)
Music behind DJ: Francisco Lopez	Buildings "Buildings" by "Francisco Lopez"	Buildings [New York]	V2_Archief	2001		Commissioned by Creative Time
Terry Riley	Music for The Gift (Parts 1 & 3)	Music for The Gift	Organ of Corti 1	1963		Featuring Chet Baker and ensemble recorded in Paris at Radio France for a theatrical piece. Baker was in Paris reestablishing himself after some time in a an Italian jail for drugs.
John Oswald	Cecil Taylor: Mirror "Cecil Taylor: Mirror" by "John Oswald"	Plunderphonics	Self Released	1989
John Oswald	101 Strings: Rainbow "101 Strings: Rainbow" by "John Oswald"	Plunderphonics	Self Released	1989
Luc Ferrari	Tête et queue du dragon (Head and Tail of The Dragon)	Vintage Volts	Caipirinha Music	1959		Composed and assembled by the French composer Ferrari (1925-2005) who studied with Honegger, Messiaen, and Varese.
Christian Marclay	Neutral "Neutral" by "Christian Marclay"	Records	Alp62cd	1984		Commissioned by Josh Baer and never released. Recorded at Plug, a basement studio on 23rd Street. Restored at Harmonic Ranch for this release.
Christian Marclay	Groove "Groove" by "Christian Marclay"	Records	Alp62cd	1982		Recorded at Noise New York by Frank Eaton. Originally released on Tellus #8. Restored at Harmonic Ranch for this release.
Charlemagne Palestine	Holy 1 & 2 Alloy	Unreleased	WBAI Free Music Store	1967-69		Combining oscillators in his home recording building up textures then played live and recorded in 1969 with Tony Conrad on his Long String Drone, saxophonist Bob Feldman on chimes and a conch, soprano Deborah Glaser, and Palestine on another homemade instrument called the Alumonium at the Free Music Store of WBAI.
Pauline Oliveros	Alien Bog "Alien Bog" by "Pauline Oliveros"	Pauline Oliveros	Pogus Productions	1967		Created using the original Buchla Box 100 series and Oliveros' own tape delay system at the Tape Music Center at Mills College, the antecedent of the legendary San Francisco Tape Music Center.
Shelley Hirsch	War of Dreams "War of Dreams" by "Shelley Hirsch"	The Far In, Far Out Worlds of Shelley Hirsch	Tzadik	2002		The singer/composer sets a text by Angela Carter, sampling keyboards by David Weinstein.
Steve Reich	It's Gonna Rain (Part 2)	Private Collection		1964	Cassette	From a tape given to Weinstein by the composer. 10 minutes of the most extraordinary, and perhaps most influential, tape piece ever. The source material consists entirely of a recording made in 1964 at San Francisco's Union Square. In the recording, a preacher, Brother Walter, rails about the end of the world. Reich worked at the San Francisco Tape Music Center, mentioned above.
Alvin Lucier	I Am Sitting In A Room	I Am Sitting In A Room	Lovely Music	1970		A masterpiece, produced by the composer and some of the great figures in contemporary recordings: Bob Bielecki, Allan Tucker, and Mimi Johnson.
Gavin Bryars	Jesus' Blood Never Failed Me Yet	Jesus' Blood Never Failed Me Yet	Point Music	1971		The piece (1971, rev. 1993): with orchestra conducted by Michael Riesman, is built around the recording of a hobo in London and will break your heart. Don't listen to the Tom Waits version. The story behind this is amazing; some musical miracles are clearly possible.

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Listener comments!
	🥁 2:03pm listener james from westwood: Whoa, the earliest days of computer speech right here!
	🥁 2:03pm listener james from westwood: (Bell Labs in NJ, IIRC?)
	2:05pm Scraps: Grandfather Eliza!
	🥁 2:06pm listener james from westwood: Just gon' start this episode right now, unheard. What a lineup!
	🥁 2:08pm listener james from westwood: /start --> star
	🥁 2:09pm weinstein: Hello all! And yes, I do think that first singing computer was Bell Labs.
	🥁 2:10pm weinstein: Thanks, James. This is chock full of classics and some rare stuff.
	🥁 2:11pm listener james from westwood: That "How to Wreck a Nice Beach" book touches on it, I think.
	🥁 2:16pm weinstein: Just peeked at this book. Didn't know it. Very cool!
	2:17pm Dean: Bummer. Missed the singing computer. I have it, I think, on a 7".
	2:34pm Rich in Washington: Now you're playin' my tune. This is great!
	2:35pm Webhamster Henry: Hi Dave! I did a performance (live Amiga computer synthesize) version of Tenney's "For Ann (rising)" which was an Amiga, monitor, amp, two speakers. For Ann (rising) is a Shepard tone, so I wrote it so that the Amiga's display would show with bars where each oscillator was. While it was running, you could imagine that a certain bar was the sound you were hearing, but you'd often be wrong. so there was something to watch during an electronic piece, if you could see the monitor!
	🥁 2:37pm weinstein: I like the "you'd often be wrong" part! Tenney is one of the greats and should be a whole show one day. Nice.
	2:55pm Webhamster Henry: A Tenney show would be good! I was at a Tenney retrospective show a long time ago (I think put on by the S.E.M. ensemble) and the whole audience was composers!
	2:57pm Webhamster Henry: It's great you can come up with this material... WBAI's Free Music Store was a great place for experimental music, judging from reading the record labels.
	🥁 2:59pm weinstein: This Alloy tape came from John Duncan, who is a treasure of historic material himself.
	3:02pm Webhamster Henry: Citizen Kafka revived the FMS in the 80s, and he told me BAI erased all those airchecks to reuse them for the news or something like that.
	🥁 3:06pm weinstein: I have heard this too. But there is a former engineer from BAI who claims to have dozens squirreled away in a closet. I've been trying to get him to give them to me for years.
	🥁 3:13pm listener james from westwood: Hope they do exist and they somehow see the light of day. They do nobody any good unheard!
	3:14pm Webhamster Henry: Ridgewood Radio is doing a fine job pulling tapes out of closets!
	🥁 3:27pm weinstein: Save the archives!
	3:35pm Webhamster Henry: BTW, here's an Oliveros Event coming up at the Cloisters: newmusicworld.org...
	🥁 3:40pm weinstein: Yep. A participatory Deep Listening thing, in about the perfect place.
	3:42pm Rich in Washington: I love this, and Come Out. They're both so hypnotic. It does funny things to your head, especially listening with headphones.
	3:48pm Rich in Washington: This too. This blew my mind when I first heard it as a teen on an 80s radio program from Portland OR called A Different Nature.
	3:56pm Webhamster Henry: Here's a technical question: is there an impulse response file available of that exact room so people can have a reverb that is exactly the same?
	3:57pm Anon FC: This is good
	🥁 3:58pm weinstein: Ha. Brilliant. We all want to be Alvin.
	🥁 3:59pm weinstein: Thanks everyone. Enjoyed this.
	🥁 3:59pm listener james from westwood: Thanks, David, and safe travels and marching to Ruth!
	🥁 4:01pm listener james from westwood: Agreeing that this version >>>> the Waits version. A rare miss for him.
	🥁 4:02pm weinstein: Yeah I like Waits too but that one was a bad idea.
	4:02pm Rich in Washington: I wondered that too, Webhamster Henry. I once tried to emulate that effect digitally, by repeatedly applying an reverb acoustic model to the same audio signal. It came close, but I think the artifacting sort of wrecked it. It was a joke/take on Lucier's piece I submitted to WFMU's inaugural poem remix Kenny G did in '09.
	4:02pm Rich in Washington: My kingdom for just the instrumental track for this.
	4:03pm Rich in Washington: Isn't the non-Tom version included in the last reissue?
	🥁 4:05pm weinstein: I think Tom was always just tacked on the back end of the good stuff as some kind of pop enticement.
	4:08pm Webhamster Henry: @Rich I did a similar joke/take for the Taylor Swift Remix project for Minature Minotaurs.

Ridgewood Radio with David Weinstein: Playlist from January 18, 2017

Listener comments!

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