Tuesday 17 May 2011

Episode 7

Listen Here

1. Caravan — "Golf Girl" (from In The Land of Grey and Pink, 1971)

2. Gong — "Fohat" jam (from The Mushroom tapes, G.A.S. tape, recorded 1973 or '74)

3. Cos — "Amafam" (from Post-Aeolian Train Robbery, 1974)

4. Kevin Ayers — "Hymn" (BBC TV educational broadcast Music Alive, 1972-03-20)

5. Ultramarine — "Hymn" (Mouse on Mars "A Sleep" mix) (from Hymn EP, 1996)

6. Ultramarine — "Instant Kitten" (from United Kingdoms, 1993)

7. Matching Mole — "Instant Kitten" (from Matching Mole, 1972)

8. Hatfield and the North — "Shaving is Boring" (live at Birmingham Town Hall, 1974-04-30)

9. Soft Machine — "Hazard Profile" (BBC radio session, 1973-10-30)

10. Matching Mole — "Gloria Gloom" → "Part of the Dance" (live on French TV programme Rockenstock, recorded 1972-07-01)

11. Isotope — "Illusion" (from Illusion, 1975)

12. 801 — "Tomorrow Never Knows" (from 801 Live, 1976)

13. Steve Hillage — "It's All Too Much" (live in Hyde Park, London, 1976-09-17)

14. Soft Machine — "Spaced Two" (from Spaced, recorded 1969, released 1996)

15. Lol Coxhill (with Robert Wyatt and Kevin Ayers) — "Soprano Derivitavo" → "Apricot Jam" (from Wyatt's compilation Flotsam Jetsam, 1994)

16. The Boot Lagoon — "Strawberry Jam" (rehearsal recording, 2010)

17. Caravan — "In the Land of Grey and Pink" (from In the Land of Grey and Pink, 1971)

18. Kevin Ayers — "Cold Shoulder" (from The Unfairground, 2007)

19. Robert Wyatt — "Strange Fruit" (from Nothing Can Stop Us, 1982)

20. Thelonious Monk — "Friday the 13th" (from The Thelonious Monk Orchestra at Town Hall, 1959)

21. Soft Machine — "Soon Soon Soon" (live at Palais de Sports, Paris, 1967-11-17 or -18, as broadcast on French TV programme Bouton Rouge 1967-12-09)

22. Spirogyra — "The Furthest Point" (from Bells, Boots and Shambles, 1973)

23. Neil — "Golf Girl" (from Neil's Heavy Concept Album, 1984)

[ambient voiceover: Soft Machine, "The Moon in June" (from Third, 1970)]

Errata/clarifications: The main man from Porcupine Tree who remixed In the Land of Grey and Pink, and whose name escaped my mind, is Steven Wilson. Brian Kenney was the presenter of Music Alive, not its producer. The live Hatfield piece (at least the first chunk) was "Shaving is Boring", which I should have recognised as I played the studio version a couple of lunations ago. I claimed that Isotope contained "several ex-members of Nucleus" – in fact there was only one (original bassist Jeff Clyne). The Steve Hillage concert in Hyde Park was in 1976, not 1979. I also forgot to mention that, along with the rest of the esteemed crew, Jimmy Hastings (brother of Carvan's Pye Hastings) who played flute on the original "Golf Girl" also played flute on Neil's version!

[click on 'YouTube' icon for full screen view, etc.]

"In 1969 the Roundhouse, although by now home to the UFO underground music club [I think he meant Middle Earth] was still basically an unconverted, round, conically roofed open space. It was chosen by Peter Dockley, a "happening" artist, as the perfect space in which to create a three-dimensional spidery set, upon and with ballet dancers would perform to a score provided by The Soft Machine. Using tapes that I had made of the band in concert, together with material composed especially for the occasion, "Spaced" was created in the living room of my Islington, North London, apartment. Many tape loops were involved, ranging in length from just a bar or two, to several minutes, with the loops run around milk bottles on the stairs, and requiring retraining [sic?] the cat to prevent her leaping on each loop as the splicing tape slid by."
Bob Woolford
North Canton, Connecticut
January 1996

[from http://fr.wikipedia.org/wiki/Ordre_de_la_grande_gidouille:]

L’Ordre de la Grande Gidouille (OGG) est une institution du Collège de 'Pataphysique.

Dès 1948, le Collège de 'Pataphysique restitue << en son lustre extrême >>, l'ordre promulgué par Alfred Jarry dans son Almanach du Père Ubu illustré (Janvier, Février, Mars 1899). Les principaux dignitaires du Collège de 'Pataphysique sont tous membres de l'OGG, mais l'ordre peut aussi distinguer quelqu'un en dehors du Collège, pour récompenser son mérite pataphysique ou son action ponctuelle et particulièrement remarquable à une manifestation du Collège. Boris Vian par exemple était Grand Maître (GMOGG) et « promoteur insigne » au Collège, mais Henri Salvador sans être membre du Collège était commandeur de l'ordre.

Extraits de l'article 10:
  • Selon les prescriptions de ces Statuts, l'Ordre reste fidèle au principe de la pluralité des Grands-Maîtres ou Pères Ubus.
  • Le Curateur Inamovible, le Staroste et le Vice-Curateur, les Provéditeurs et les Satrapes du Collège de 'Pataphysique sont de Droit Grands-Maîtres de l'Ordre de la Grande Gidouille et constituent par leur réunion le Conseil suprême de l'Ordre, que préside le Curateur Inamovible et en son absence le Vice-Curateur.

From Robert Wyatt's "My Top Ten", Let It Rock magazine, January 1975:

"3. Friday The Thirteenth' by Thelonious Monk. The particular version I have in mind is from the Town Hall Concert he did - the first main Town Hall Concert - where the arrangements were done by someone called Hal Overton. I think when Monk dies there'll be a rash of colour supplement potted biographies, little television programmes-arts programmes and so on, about him. 'The zany loony of the bebop world' is what they'll call him, no doubt. They won't do it till he's dead of course, in case he makes lots of money, which they probably think would be bad for him. In my opinion he's one of the greatest writers of tunes that I've ever heard, within my range of appreciation. The thing about this particular concert is that Hal Overton's arrangements are really imaginative. He's taken old recordings of Monk playing these tunes and written them out, including the solos Monk played, and orchestrated them for a large band. So you have the spontaneity of the improvised ideas strengthened by Hal Overton's inspired orchestration. 'Friday The Thirteenth' I particularly like because its got a secondary bass line which is sort of out of synch with the tune itself, and it sort of tilts the whole tune at a strange angle (If that sounds like Pseuds' Comer, I'm sorry , but that's what happens when you try and explain what you like about music)."


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