View allAll Photos Tagged MiniMoog
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With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
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Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
J Dilla's Minimoog Voyager and Akai MPC, displayed in the Smithsonian's Museum of African American History.
Steve Winwood / Roll with It
Track listing:
- "Roll with It" (Winwood, Jennings, Holland-Dozier-Holland) – 5:20
-"Holding On" – 6:15
- "The Morning Side" – 5:14
- "Put on Your Dancing Shoes" – 5:11
- "Don't You Know What the Night Can Do?" – 6:54
- "Hearts on Fire" (Winwood, Jim Capaldi) – 5:15
- "One More Morning" – 4:58
- "Shining Song" – 5:28
(All songs written by Steve Winwood and Will Jennings except where noted.)
Steve Winwood – lead vocals, backing vocals, acoustic piano, Hammond organ, Fairlight programming, bass guitar, drums, keyboards, guitar, Moog bass, Minimoog solo
Mike Lawler – keyboards
Robbie Kilgore – keyboards
Paul Pesco – guitar
John Robinson – drums
Bashiri Johnson – percussion
Jimmy Bralower – percussion, drum machine
Tom Lord-Alge – tambourine
The Memphis Horns – horn arrangements
Andrew Love – tenor sax, sax solo
Wayne Jackson – trombone, trumpet
Tessa Niles – backing vocals
Recorded: Autumn 1987–Spring 1988 at Windmill Lane Studios (Dublin, Ireland); McClear Place Studio (Toronto, Canada)
sleeve design: Mick Haggerty (design), Herb Ritts (photography)
Label: Virgin Records / 1988
ex Vinyl-Collection MTP
Frank Zappa / Waka/Jawaka
Side one:
- "Big Swifty" - 17:22
Side two:
- "Your Mouth" - 3:12
- "It Just Might Be a One-Shot Deal" - 4:16
- "Waka/Jawaka" - 11:18
(All songs written, composed and arranged by Frank Zappa.)
Frank Zappa – guitar, acoustic guitar, percussion, electric bed springs
Sal Marquez – trumpets, vocals, chimes, flugelhorn
Erroneous (Alex Dmochowski) – electric bass, vocals, fuzz bass
Aynsley Dunbar – drums, washboard, tambourine
Tony Duran – slide guitar, vocals
George Duke – ring-modulated & echoplexed electric piano, tack piano
Mike Altschul – baritone saxophone, piccolo, bass flute, bass clarinet, tenor sax
Kris Peterson – vocals
Joel Peskin – tenor sax
Jeff Simmons – Hawaiian guitar, vocals
Sneaky Pete Kleinow – pedal steel guitar solo
Janet Ferguson – vocals
Don Preston – piano, Minimoog
Billy Byers – trombone, baritone horn
Ken Shroyer – trombone, baritone horn
Recorded atParamount Studios, Los Angeles, California
(April 17–21 and May, 1972)
sleeve design: Cover art by Marvin Mattelson
Label: Bizarre/Reprise Records / 1972
ex Vinyl-Collection MTP
Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
Manfred Mann's Earthband / Messin'
Side one:
- "Messin'" (Mike Hugg) – 9:54
- "Buddah" (Manfred Mann, Mick Rogers) – 7:01
- "Cloudy Eyes" (Manfred Mann) – 5:32
Side two:
- "Get Your Rocks Off" (Bob Dylan) – 2:51
- "Sadjoy" (Manfred Mann) – 5:20
- "Black and Blue" (Chain: Barry Sullivan, Matt Taylor, Phil Manning, Barry Harvey) – 7:21
- "Mardi Gras Day" (Dr John Creaux) – 3:02
Manfred Mann – organ, Minimoog synthesiser
Mick Rogers – guitar, vocals
Colin Pattenden – bass guitar
Chris Slade – drums
Studio: Maximum Sound Studios, London (1973)
sleeve design: cover art by Peter Goodfellow
Label: Vertigo Records / 1973
ex Vinyl-Collection MTP
Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
Model D and Voyager Old School!
Cast a vote of support for these synths at ideas.lego.com/projects/120340.
And while you're at it, check out my prism and spectrurm at:
I saw this MOC of a Lego Moog first on the Music Radar website and was so impressed by it, that I planned to build my own. But after studying all the photos I found in the internet I soon recognised that I wouldn’t manage to build it with the full functionality (working keyboard, pitch- and modulation wheels and controller knobs) like the one built by the Arvo brothers. So, my mod is simply a display piece.
You can find the original of the Arvo brothers here:
Will be live for voting on the Lego Ideas site by next week.
Until that time, please cast a free vote of support for the Minimoog models at: goo.gl/iucWKS
or
the Prism & Spectrum at: goo.gl/pFTr3v
Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
Eddie Harris / How Can You Live Like That?
Trackliste:
- "How Can I Find Some Way to Tell You" (Harris, Bradley Bobo) - 5:33
- "Love Is Too Much to Touch" (Harris, Yvonne Harris) - 2:55
- "How Can You Live Like That?" - 5:32
- "Get Down with It" (Harris, Bobo, Paul Humphrey, Ronald Muldrow) - 3:44
- "I'd Love to Take You Home" (Sara E. Harris, Muldrow) - 3:36
- "Come Dance With Me" - 4:22
- "Bird of Stone" (Harris, Barbara Harmala) - 2:50
- "Ambidextrous" - 3:42
- "Nothing Else to Do" - 9:19
(All compositions by Eddie Harris except as indicated)
Eddie Harris - tenor saxophone, piano, vocals
Ronald Muldrow - guitar, guitorgan, esophagusphone
Cedar Walton - piano (tracks 5-7 & 9)
Bradley Bobo - bass, 6 string bass, ARP synthesizer (tracks 1-4 & 9)
Ron Carter - bass (tracks 5-7 & 9)
Richard Evans - Minimoog (track 2), arranger (tracks 1, 3, 5 & 8)
Paul Humphrey - drums, electric drums (tracks 1-4, 6 & 8)
Billy Higgins - drums (tracks 5, 7 & 9)
Al Aarons, Oscar Brashear, Bobby Bryant, Snooky Young - trumpet (tracks 1, 3, 5 & 8)
George Bohanon, Garnett Brown, Grover Mitchell - trombone (tracks 1, 3, 5 & 8)
Benny Powell - bass trombone (tracks 1, 3, 5 & 8)
Buddy Collette, Bill Green - alto saxophone (tracks 1, 3, 5 & 8)
John Kelson, Charles Owens - tenor saxophone (tracks 1, 3, 5 & 8)
Delbert Hill - baritone saxophone (tracks 1, 3, 5 & 8)
Recorded: November 20, 1976 at The Village Recorder Studio, Los Angeles
sleeve design: photo
Label: Atlantic Records / 1977
ex Vinyl-Collection MTP
Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
Model D and Voyager Old School!
Cast a vote of support for these synths to become a real LEGO set at ideas.lego.com/projects/120340.
Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
Camel / Rain Dances
Side one:
- "First Light" (Peter Bardens, Andrew Latimer) – 5:01
- "Metrognome" (Bardens, Latimer) – 4:15
- "Tell Me" (Bardens, Latimer) – 4:06
- "Highways of the Sun" (Bardens, Latimer) – 4:29
Side two:
- "Unevensong" (Bardens, Latimer, Andy Ward) – 5:35
- "One of These Days I'll Get an Early Night" (Bardens, Mel Collins, Latimer, Richard Sinclair, Ward) – 5:53
- "Elke" (Andrew Latimer) – 4:26
- "Skylines" (Bardens, Latimer, Ward) – 4:24
- "Rain Dances" (Bardens, Latimer) – 3:01
Andrew Latimer – electric guitar, acoustic guitar, 12-string guitar, panpipes, flute, backing vocals; fretless bass
Peter Bardens – organ, piano, electric piano, Minimoog, synthesizer, Hohner Clavinet
Andy Ward – drums, percussion, ocarina, glockenspiel, talking drum
Richard Sinclair – bass; lead vocals
Mel Collins – alto saxophone, tenor saxophone, soprano saxophone, clarinet, bass flute
Martin Drover – trumpet
Malcolm Griffiths – trombone
Brian Eno – Minimoog, electric piano, piano
Fiona Hibbert – harp
Recorded: February–August 1977 at Basing Street Studios, London
sleeve design: Paul Henry; Bob Searles ( Illustration)
Label: Decca Records / 1977
ex Vinyl-Collection MTP
The first Moog instruments were modular synthesizers. In 1971 Moog Music began production of the Minimoog Model D which was among the first widely available, portable and relatively affordable synthesizers. Unlike the modular synthesizer, the Minimoog was specifically designed as a self-contained musical instrument for keyboard players (besides the extremely user-friendly physical design, it also stayed in tune reasonably well) and was the first to really solidify the synthesizer's popular image as a "keyboard" instrument. The Minimoog became the most popular monophonic synthesizer of the 1970s, selling approximately 13,000 units between 1971 and 1982.
Another widely used and extremely popular Moog synthesizer was the Taurus bass pedal synthesizer. Released in 1975, its pedals were similar in design to organ pedals and triggered synthetic bass sounds. The Taurus was known for a "fat" bass sound and was used by the bands Genesis, Rush, Electric Light Orchestra, Yes, Pink Floyd and many others. Production of the original was discontinued in 1981, when it was replaced by the Taurus II.
Moog Music was the first company to commercially release a keytar, the Moog Liberation.
-wikipedia-
Quiet afternoon / Stanley Clarke ( bis )
Stanley Clarke – electric bass guitar
David Sancious – keyboards, Minimoog synthesizer,
Steve Gadd – drums
'Modifiers', 'Frequency cutoff, 'emphasis' 'envelope', - a whole new vocabulary for musicians in 1970.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent of analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
I had intended to take some new pictures of the analog side since I made some changes. This is current, as of today, but now I have a MAQ 16/3 on the way.
15 second exposure ƒ 3.5 Canon 20D
The 1.6 crop factor of the 20D makes wide angle shots a problem. The silly kit lens goes down to 18mm. I opened the aperture as far as it would go and let the camera determine the exposure time.
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes.
Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
Near the Engineering Deck we have converted an old cargo bay into a crew lounge area. We spend the endless hours in deep space cranking out some of our favorite space country classics.
of the clifftop path, Margate, Kent. On a nice day. Nice walk.
(See previous shot). I can't work out if this photo is boring, or not?
--
Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
ARTIST: Electric Light Orchestra
TITLE: A New World Record
COMPOSERS: Jeff Lynne
YEAR: 1976
LABEL: Epic 90 2198 1
PRODUCER: Jeff Lynne
TIME: 36'20
PHOTO: The ELO logo designed by John Kosh
(based on a 1946 Wurlitzer jukebox speaker model 4008.)
COUNTRY: UK
BOUGHT: 30.10.2008 - Flee Market 6 €
GENRE: pop, art rock, progressive rock, symphonic rock
FORMAT: 30 cm LP
RECORD BEFORE THIS: Sri Chinmoy: Flute Music for Meditation
RECORD AFTER THIS: Armstrong: Mostly Blues
9 tracks:
1. Tightrope (Lynne) 5:03
2. Telephone Line (Lynne) 4:38
3. Rockaria! (Lynne) 3:12
4. Mission (A World Record) (Lynne) 4:25
Side two
5. So Fine 3:54
6. Livin' Thing 3:31
7. Above the Clouds 2:16
8. Do Ya 3:43
9. Shangri-La 5:32
Jeff Lynne vocals, lead, rhythm and slide guitars, percussion, piano
Bev Bevan drums, Minimoog drum, percussion, vocals
Richard Tandy piano, Minimoog, Micromoog, polyphonic keyboard, electric guitars, clavinet, grand piano, Mellotron, percussion, vocals
Kelly Groucutt vocals, bass, percussion, backing vocals
Mik Kaminski violin
Hugh McDowell cello
Melvyn Gale cello
Mary Thomas operatic vocals
Patti Quatro uncredited vocals
Jeff Lynne, Richard Tandy and Louis Clark Orchestra and choral arrangements
Louis Clark Orchestra conducted
My 1st experience with ELO - only knew the name of the band,
but never really heard anything from them - and never had any of their records. And finally...
Not so bad... at all.... (thanks to the amazing flee market)
So I'm looking for a weight vest. Big purchase, hundreds of bucks, I
know nothing about how to buy one. My instinct is to go online and
find some sort of user forum where people have posted opinions about
weight vests. I check metafilter, then google, then amazon. On amazon
I punch up a couple of vests that have no reviews, then I find the
review pictured here for an Everlast vest.
First instinct: this guy is associated with XVest. There are many
examples of this sort of guerilla internet marketing, in fact I had a
date with a woman whose full-time job is to lurk in travel chat
rooms, assuming one of a number of pseudonyms, and advocate for her
client's travel products.
More evolved sites have addressed this. Notice the "see all my
reviews" button. I clicked on it. This guy has reviewed all sorts of
shit, and one look at his review of Boards of Canada's _Campfire
Headphase_, which I have pasted below, is all I needed. This guy is
for real, and I ain't buying the Everlast vest.
18 of 25 people found the following review helpful:
Rembrandt and Van Gogh reincarnated..., October 23, 2005
I get it...I finally get it. It's no wonder that BOC's Michael
Sandison and Marcus Eoin (Sandison) have revelead they are brothers.
It takes two people from the same genetic gene pool to make music
THIS GOOD. After listening to their latest masterwork, The Campfire
Headphase, I now understand what BOC's music is meant to portray. I
believe that Boards' music is a virtual road map of the human soul.
Each new album and release Boards puts out is a musical
representation of a particular stage in human exisitence. The
Campfire Headphase represents "adulthood". Follow me for an
interesting ride.
Music Has The Right To Children in 1998 was BOC's seminal work. It
was their first official LP. Through inference of the title, this
album represented "childhood". Each song has a rustic, analog feel to
it. The album is replete with children laughing, saying "I love
you" (Color of the Fire), learning shapes (Triangles and Rhombuses)
and counting with the teacher in elementary school (Aquarius). There
are references to educational films and public television (One Very
Important Thought). Even "Telephasic Workshop" is a play on words as
compared to The Children's Television Workshop, who brought us
childhood classics such as Sesame Street and The Electric Company.
MHTRTC contains tons of samples from these two shows.
Music... is Boards' universally worshipped album because so many
adult listeners discovered it in their late 20's and 30's, when their
formerly optimisic youthful lives had become sad, corrupted and mired
in work, bills and bad relationships. This album reminds us of the
tender, innocent, happy childhood we lost yet is not too late to
recapture.
This brings us to Geogaddi in 2002, BOC's second, most controversial,
and the most polarized amongst their fans. The reason why is simple--
Geogaddi represents "adolescence" and young adulthood, say between 13
and 28 or so, a good 15-year period. Geogaddi's music is intrusive,
in your face and agressive, like a teenager enraged with hormones,
confused and aroused by his newborn sexuality. The music is powerful,
crisper, and braver than the previous album yet intentionally
pretentious and insecure, reminiscent of a teen's false bravado in
his/her attempts to lure a sexual partner. Titles like "Julie and
Candy", "Beware the Friendly Stranger" implies sexual predation and
curiosity. "Opening the Mouth" and "You Can Feel The Sky" refer to
the intense feelings of losing one's virginity. Young people are now
in high school or college, learing more advanced and complex subject
matters, such as mathematics, music and formulas (Music is Math, The
Smallest Weird Number, A is to B as B is to C, Dandelion). The
childhood represented in MHTRTC is now disgusting to the adolescent
know-it-all in Geogaddi. One can't wait to bid childhood "bye, bye,
bye, byeeeeee..." as in Sunshine Recorder. In fact, you'd better
"record" bits and pieces of your childhood "sunshine" or they will be
gone forever. BOC did and that's why MHTRTC was so great in recording
childhood sensations. Keep in mind, teenagers and college students
feel they are at an age where they feel the world revolves around
them. The very name "Geogaddi" means "to revolve around the world
TWICE". Teens must be so vain, eh? Fans recommended to "play
[Geogaddi] TWICE before listening". It is at this time in our lives
that we may experiement with drugs or become entrenched with unsavory
company, such as cults, as evidenced by so many references to
subliminals, Satanists and Branch Dividians (The Devil is in the
Details, 1969, etc.) "Gyroscope" takes the innocent number counting
of "Aquarius" and subverts it into a perverse, schizophrenic parody
of number-obession. BOC endured a lot criticism by fans, as they
interpreted Geogaddi to have lost that "warm sound" and suffered a
sophomore's jinx. Geogaddi gave so many listeners an awkward, angry
experience, reminding them of unpleasant adolescent memories,
triggering sensitive moments of dread, sexual shame and rebellion.
These are the haters of Geogaddi. Others are reminded of young
acheivement, sexual conquest and higher learning. These are the
lovers of Geogaddi. I tend toward the middle, leaning toward the
hating side. My life sucked between 12 and 30, especially in romance
and finance. Geogaddi nails each angry, black, self-loathsome feeling
I ever experienced with spades. I hate them for planting the mirror
to my face, exposing my flaws to the world yet love them for doing so
in order to learn to love and heal myself and thusly prepare me for
the next ablum...The Campfire Headphase.
The Campfire Headphase represents solid adulthood--your 30's and
40's. Like the Sandison brothers, many people at this stage of life
are married, and/or have children. They may have secure jobs and
prefer a Netflix night rather than a wild night of clubbin' and
sluttin'. Geogaddi's music was electric and virile, like the pompous
high school football star. Headphase's music is acoustic, organic and
mellow, like getting stoned by a campfire. The initials of this album
is TCH, which could very well be an anagram of THC. The biggest
obsevation about this album is its use of guitars (or clever guitar
samples). Those who complain about the guitars (which are only
noticable on a handful of tracks) do not understand that acoustics-a-
la-Music70 were going to be a natural progression of Boards' music.
To make a sequel to MHTRTC would have been a lazy, backwards
decision. To create "Music Part 2" would have invalidated Geogaddi
completely, reducing it as a self-indulgent mistake (some obtuse fans
wouldn't mind this outcome). There was no way Mike and Marcus was
going to allow that to happen. TCH had to be mellow in order to allow
us to contemplate the harshness of the near-indigestible Geogaddi and
to fully appreciate how beautiful, and necessary that album was to
understand ourselves. Every time I listen to TCH, Geogaddi becomes
even more special. You have to take the sweet and the harsh, as in
Boards of Canada and as in life. You don't really understand that
lesson until you are in your 30's. God bless you Boards for guiding
me through that lesson. When I heard Peacock Tail, I understood
everything...why I went through the type of life I've led so far, the
smart decisions and foolish mistakes I've made in my life and why my
childhood sounded like MHTRTC and why my teens and 20's felt like
Geogaddi. Peacock Tail is the only Boards song other than Aquarius
that made me cry on the first listen.
TCH is an album of crisp, digital music. It feels almost like BOC in
high-def surround sound. The way the BOC-brothas equalize and alter
their music envelops me and a warm sea glass cocoon. Every song feels
like subliminal line noise is dancing through them, as if my
headphones are too close to my wall and I can hear random radio
singals through the electral outlet. My favorite tune as of this
writing is Slow This Bird Down, not for its melody or message, but
just for sheer technique. How is it possbile that a song transmutes
itself into a scratchy, broken radio transmission? Constants and
Changing uses the EQ to mess with your ears; parts are muffled,
others are pronounced. Your ears are fighting to pick up something
precise in the song, like an amorphous signal from outer space.
Brilliant. This album celebrates the freedom, leisure and self-
assuredness of adulthood (A Moment of Clarity, '84 Pontiac Dream) but
also reminds us that this period of life still brings heartbreak and
sadness. Farewell Fire is the one of the most heartwrenching and
saddest pieces I have ever heard--a 21st Century version of
Albonini's Adagio in G Minor for Strings and Organ. Eveytime I hear
this piece I think of the only woman to ever break my heart twice and
how the pain still manages to linger to this day (you know who you
are, Michelle...) This song also has possibly the longest fade out in
the history of man.
Guitars are nothing new with this album. BOC has been using analog
instrumentation long before the Twoism days. I have a friend in
Ireland who managed to get a hold a copy of two unreleased BOC demo
cassettes and a copy of the almost-mythical Acid Memories from 1989.
Yes, these tapes are authentic. No, you won't get a copy from me or
online. This music is not even on any file-sharing programs and trust
me, I have 'em all. You won't find them on the internet, period.
Based on these unreleased recordings, these cats have had the guitar
down cold for a long time. TCH is the perfection of organic
experimentation. Chromakey Dreamcoat and Hey Saturday Sun are
examples as such. Even the crunchy "squeaks" from the guitar strings
are sampled to the point of being part of the beat sequence. The
guitar riffs on Chromakey are so deconstructed, that they sound more
like a Japanese shamisen rather than the former instrument. You can
listen to this song forever and that's why Boards slams the brakes on
this song at the end, snapping you out of a surreal hypnosis. It is
already a fact that Boards have been influenced by psychedlic acts
like The Incredible String Band. The Band's flutes and guitars have
been sampled by Boards on Geogaddi and before.
Those who dismiss this work as inferior to MHTRTC have completely
missed the point. Listen. Everyone, mark my lips...There will NEVER
EVER be another album like MHTRTC! There I said it. Just like there
will never be another Michael Jordan, Malcom X, Nikola Tesla or Jimi
Hendrix, we will never see another BOC album like Music...so stop
wishing for it. Everything Boards cranks out to the public is equally
beautiful in thankfully different ways. Their sound is evolving at an
exponential basis, drawing ideas and motifs from their previous works
and transmuting them into newer, greater and more complex
masterpieces. I'm not surprised that BOC needs months to work on one
song...and years just to make one full length CD. That's how insanely
layered their music is. I never trust any artist that jams out a CD
of new material every year containing crap that fans want to hear.
True artists make music for solely themselves. If he or she gets a
couple of fans along the way, all the better. Artists are also
idiosyncratically selfish because they are dissatisfied with the
current paradigm of their genre's art. They naturally crave to create
something that is self-authored, bringing the satisfaction of
creating something intimate and beautiful. BOC are just hitting the
3rd gear on their supercharged Minimoogs. I predict based on their
musical progression that there will be two more full albums before
they call it quits forever. The next album will highlight middle-aged
life and be released around 2008-2009 and their final album will face
old age, death and the transition around 2012. The circle will be
complete, or is it the "Hexagon"?
This is my longest review and I hope you survived it. If I bored you
to tears and you hate my review, so be it; that is your right. If
reading this made you a better Boards of Canada fan, then let's go
"Happy Cycling" together. This is a great album and it will take me
until the next album to fully understand it. We can no longer call
Boards of Canada "electronic" artists. They are in a unique category
with no equal, but with many wannabees. "Analog-Synthetic Musical
Digitalization and Enhancement" is the closest 'genre' I can think of
for Boards of Canada, a coy, brilliant duo that now belongs to no
genre. 5 stars once again, Mike and Marcus. Don't stop making music
for yourselves and thank you for another incredible journey in my
headphones.
Gentle Giant / Interview
Side one:
- "Interview" - 6:54
- "Give It Back" - 5:12
- "Design" - 5:00
Side two:
- "Another Show" - 3:29
- "Empty City" - 4:23
- "Timing" - 4:52
- "I Lost My Head" - 6:57
(All tracks are written by Kerry Minnear, Derek Shulman, and Ray Shulman.)
Gary Green – electric guitar, acoustic guitar, alto recorder, backing vocals
Kerry Minnear – Minimoog , piano, Hammond organ, Clavinet, electric piano, synthesizer, RMI Electra Piano, clavichord
Derek Shulman - lead vocals, alto saxophone. percussion
Ray Shulman – bass guitar, electric violin, violin, 12 string guitar, percussion
John Weathers – drums, tambourine, finger cymbal, cowbell, cabasa, güiro, gong
Studio: Advision Studios, London
(February – March 1976)
sleeve design: Geoff Allman
Label: Chrysalis Records / 1976
ex Vinyl-Collection MTP
Needs your free vote of support at: goo.gl/heBmZ7
With enough votes, it could be made into an actual set by LEGO!
Also, please check out my Minimoog models at: goo.gl/iucWKS
AND
the Prism & Spectrum at: goo.gl/pFTr3v
Melora Creager of Rasputina deftly plays the Taurus 3 bass pedal with her bare feet while playing cello and signing lead at a Moog Sound Lab session.
Manfred Mann's Earth Band / The Good Earth
Side one:
- "Give Me the Good Earth" (Gary Wright) – 8:31
- "Launching Place" (Mike Rudd) – 5:52
- "I'll Be Gone" (Rudd) – 3:42
Side two:
- "Earth Hymn" (Manfred Mann, Chris Slade) – 6:19
- "Sky High" (Mann, Mick Rogers) – 5:15
- "Be Not Too Hard" (Rogers, Christopher Logue) – 4:12
- "Earth Hymn Part 2" (Mann, Slade) – 4:18
Manfred Mann – Hammond organ, piano, Hohner clavinet, Minimoog synthesiser, keyboards
Mick Rogers – guitars, vocals
Chris Slade – drums
Colin Pattenden – bass guitar
Recorded: 1974 at The Workhouse, Old Kent Road, London
sleeve design: Linda Glover (design), Alan Shawcroff (photography)
Label: Bronze Records / 1974
ex Vinyl-Collection MTP
en.wikipedia.org/wiki/The_Good_Earth_(Manfred_Mann%27s_Earth_Band_album)
Moog sent all Minimoog Voyager owners a brass knob to celebrate the 10th anniversary of the Voyager. It's very nice but seems a bit out of place!
Эдуард Артемьев
30.11.1937, Новосибирск — 29.12.2022, Москва
уходят легенды!
Дискография:
LP. «AHC — синтезатор» (Э. Артемьев — С. Крейчи, музыка к кинофильму «Космос»). «Мелодия»: 1972. D 25631—2 (СССР).
«АНС» [ANS synthesizer] (в честь композитора Александра Николаевича Скрябина) фотоэлектронный оптический музыкальный инструмент, сконструированный советским инженером Евгением Мурзиным в 1958, один из первых в мире многоголосных музыкальных синтезаторов, в 1959 Мурзин получил на своё изобретение авторское свидетельство.
LP. «Siberiade». Bande originale du film d’Andrei Konchalovsky. «Le Chant Du Monde»: 1979, LDX 74719 (Франция).
LP. «Метаморфозы» (Э. Артемьев, В. Мартынов, Ю. Богданов). Электронные интерпретации классических и современных произведений.
Аранжировка для синтезатора Synthi-100. «Мелодия»: 1980, С10—13889-90 (СССР).
«Синти-100» (Synthi-100) выпускала английская фирма EMS (Electronic music Studios) c 1974 года. Всего было собрано около 30-ти экземпляров. Стоил он 25 000 долларов (сейчас в разы дороже). Построил его русский по происхождению инженер, потомок князей Долгоруких - Пётр Зиновьев. В Москве на фирме «Мелодия» проводилась выставка мировых достижений в области музыкальных технологий, где и был представлен и «Синти-100». К композитору Д. Шостаковичу пришла целая делегация композиторов с просьбой написать письмо советскому премьер-министру А.Косыгину о целесообразности приобретения этого инструмента. А.Косыгин письмо подписал и Синти-100 привезли в Москву. Установкой синтезатора занимался сам Пётр Зиновьев и несколько инженеров от EMS. Он обладал внушительными размерами, являясь инструментом сугубо стационарным, напоминая огромный письменный стол, под которым находилась двухмануальная (то есть верхняя и нижняя) клавиатура. По сути, он объединял в себе три синтезатора EMS VCS 3 (Electronic Music Studios Voltage Controlled Studio с 3 осцилляторами). Для производства звука в синтезаторе задействуются 12 генераторов (для сравнения - синтезатор Minimoog обладает тремя генераторами). Генераторы «Синти-100» были фантастического качества. Также в конструкции инструмента использовался компьютер, маломощный по сегодняшним меркам, но уникальный для того времени. Кроме того, в нем уже тогда был цифровой секвенсор, способный запомнить и воспроизвести 256 шагов. Эдуард Артемьев: 'На «Синти-100» звук синтезировался путём настройки многочисленных генераторов и сопутствующих им приборов вручную. Но в нашем «Синти» отсутствовала память — надо было сделать звук и сразу его записать, использовали магнитофоны. Сначала стояли несколько стереомагнитофонов, и путём перезаписи, причём с большой потерей качества, фиксировали выстроенные звучания. Ещё имелось две клавиатуры, что давало возможность записывать в два слоя на одну плёнку — находили способы соблюсти качество. Так что, каждый тембр приходилось делать заново, и повторить его уже было весьма проблематично. Даже если знали, как и что надо подкрутить, мы всё равно не могли повторить тембр один к одному — функции ползли, уплывали, и всегда сэмпл был немного другой'. Используя Синти-100, Артемьев создал музыку ко множеству фильмов, среди наиболее значительных - «Сталкер» Андрея Тарковского, «Сибириада» Андрея Кончаловского, фильмы Никиты Михалкова «Несколько дней из жизни Обломова», «Родня»; фильм Вадима Абдрашитова «Охота на лис».
LP. «Картины-настроения». Электронная музыка к фильмам «Сибириада», «Когда уходят киты», «Лунная радуга», «Ночь рождения», «Инспектор Гулл», «Жаркое лето в Кабуле», «Охота на лис», «Сталкер», «Легенды перуанских индейцев». «Мелодия»: 1984, С10—21077-002 (СССР).
LP. «Ода доброму вестнику». Олимпийская кантата. Стихи Пьера де Кубертена. Поёт Геннадий Трофимов. «Мелодия»: 1984, С60-21277 000 (СССР).
LP. «Тепло Земли». Вокально-инструментальная сюита на стихи Юрия Рытхэу. Поёт Жанна Рождественская. «Мелодия»: 1985, С60-23029 000 (СССР).
CD. «Solaris», «The Mirror», «Stalker»: films by Andrei Tarkovsky. Torso Kino: 1989, CD 5001 (Голландия).
LP. «Музыкальное приношение». «Мелодия»: 1990, C60 — 30721 000 (СССР).
CD. «Urga»: original motion picture soundtrack a film by Nikita Mikhalkov. «Philips»: 1991, 510 608-2 (Франция).
CD. «Looking East — Estonia and Russia» (Eduard Artemiev «The Road to Nowhere»). Erdenklang: 1992, 29612 (Германия).
CD. «The inner circle»: music from the original soundtrack music composed by Edvard Artemiev. Milan: 1992, BMG 7313835613-2 (США).
CD. «Burnt by the sun»: Bande originale du film «Soleil tromteur». «Auvidis traveling»: 1995, CD 5001 (Франция).
CD. «Территория любви»: Музыка из кинофильмов Никиты Михалкова. «Тритэ & Edart Music», «Ладъ»: 1995, LDR 417038/9 (Россия).
CD. «Тепло Земли». «Musea»: 1999, FGBG 4309. AR (Франция).
CD. «The odyssey: music from motion picture». «Electroshock records», 1998. ELCD 008 (Россия).
CD. «Солярис», «Зеркало», «Сталкер»: музыка к фильмам А. Тарковского. «Electroshock Records»: 1999, ELCD 012 (Россия).
CD. «Barber of Sibiria»: original motion picture soundtrack a film by Nikita Mikhalkov. «Sony Classical»: 1999, SK 61802 (США).
CD. «ANS». Electroshock Presents: "Electroacoustic Music. Volume IV. Archive Tapes. Synthesiser ANS. 1964—1971. «Electroshock
Records» 1999, ELCD 011 (Россия).
CD. «A book of impressions by Edvard Artemiev». «Electroshock Records»: 2000, ELCD 018 (Россия).
CD. «Three odes»: «Ode to the Herald of good», «Phantom from Mongolia», «There & Here». «Electroshock Records»: 2002, ELCD 030 (Россия).
CD. Музыка к кинофильмам «Водитель для Веры», «Мама». Продюсерская фирма Игоря Толстунова. 2004 (Россия).
CD. «So Weit Die Füsse Tragen» («As far as my feet will carry me»). «Electroshock Records»: 2005, ELCD 045.
CD. «Shadows of a Theater». «Electroshock Records»: 2005, ELCD 046.
CD. «Территория любви. Музыка из кинофильмов Никиты Михалкова», коллекционное издание, посвящённое юбилею Н. В. Михалкова, ремастированное, дополненное. «Electroshock Records»: 2005, ELCD 047/048 (2 CD).
CD. «Эдуард Артемьев. Музыка кино». 2007, VSMCD-001 VSMCD-002 (2 CD).
CD. «Преступление и наказание». Рок-опера, 2007 (2 CD)[31].
CD. «Invitation to Reminiscences». «Electroshock Records»: 2010, ELCD 057.
CD. «Mood-Pictures». «Electroshock Records», 2010. ELCD 061 (Россия).
CD. «Гармония бытия. Сентиментальное путешествие по фильмам Никиты Михалкова под музыку Эдуарда Артемьева». «Electroshock Records»: 2015, ELCD 064/065.
CD. «Герой». «Electroshock Records»: 2016, ELCD 066.
CD. «Антология» (11 CD Box Set), коллекционное издание с музыкой из кинофильмов разных лет, «Electroshock Records», 2018. ELCD 067—077 (Россия).
...
Eduard Artemyev
en.wikipedia.org/wiki/Eduard_Artemyev
Soviet and Russian composer of electronic music and film scores. Outside of Russia, he is mostly known for his soundtracks for films such as At Home Among Strangers, Solaris, Siberiade, Stalker, and Burnt by the Sun. Eduard Artemyev wrote a couple of songs the most famous of them Deltaplan by Valery Leontiev. His collaboration with the film director Andrei Tarkovsky in the 1970s made him well-known. He wrote the film scores of Tarkovsky's Solaris, Mirror and Stalker. Later, he also wrote film scores for Andrei Konchalovsky and Nikita Mikhalkov.
• Solaris (Солярис, 1972)
• A Very English Murder (Чисто английское убийство, 1974)
• At Home Among Strangers (Свой среди чужих, чужой среди своих, 1974)
• Mirror (Зеркало, 1975)
• A Slave of Love (Раба любви, 1976)
• An Unfinished Piece for Mechanical Piano (Неоконченная пьеса для механического пианино, 1977)
• Territory (Территория, 1978)
• Stalker (Сталкер, 1979)
• Siberiade (Сибириада, 1979)
• The Bodyguard (Телохранитель, 1979)
• A Few Days from the Life of I. I. Oblomov (Несколько дней из жизни И. И. Обломова, 1980)
• Anna: 6 - 18 (Анна: от 6 до 18, 1980—1993)
• Fox Hunting (Охота на лис, 1980)
• The Fairfax Millions (Миллионы Ферфакса, 1980)
• Family Relations (Родня, 1981)
• The Train Has Stopped (Остановился поезд, 1982)
• Without Witness (Без свидетелей, 1983)
• Moon Rainbow (Лунная радуга, 1983)
• Return from Orbit (Возвращение с орбиты, 1983)
• TASS Is Authorized to Declare... (ТАСС уполномочен заявить..., 1984)
• The Invisible Man (Человек-невидимка, 1984)
• One Second for a Feat (Секунда на подвиг, 1985)
• Courier (Курьер, 1986)
• Visit to Minotaur (Визит к Минотавру, 1987)
• Zerograd (Город Зеро, 1989)
• Close to Eden (Урга - территория любви, 1991)
• Genius (Гений, 1991)
• Burnt by the Sun (Утомлённые солнцем, 1994)
• The Odyssey (Одиссей, 1997)
• War is Over. Please Forget... (Война окончена. Забудьте..., 1997)
• The Barber of Siberia (Сибирский цирюльник, 1998)
• As Far as My Feet Will Carry Me (Побег из Гулага, 2001)
• House of Fools (Дом дураков, 2002)
• A Driver for Vera (Водитель для Веры, 2004)
• 12 (2007)
• Gloss (Глянец, 2007)
• The Nutcracker in 3D (Щелкунчик и Крысиный Король, 2009)
• Home (Дом, 2011)
• Branded (Москва 2017, 2011)
• Legend No. 17 (Легенда №17, 2013)
• The Postman's White Nights (Белые ночи почтальона Алексея Тряпицына, 2014)
• Sunstroke (Солнечный удар, 2014)
• The Heritage of Love (Герой, 2016)
#russia #артемьев #artemyev #soviet #ussr #legend #icon
On this album Herbie is playing the Rhodes, Clavinet, Oberheim polyphonic 8 voice which is behine him, the great Prophet 5 rev 2, Yamaha CS-80 and the Mighty minimoog as you can see a clip of it on the bottom left. He's also useing the best vocoder By senheiser (VSM-201), He uses the Minimoog through the senheiser for lead voicing (Monophonic) and Uses the Prophet 5 for the Background vocal harmonizing or leads with chords (polyphonic). The other Musicians on here is Alphons Mouzon on drums, The great Paul Jackson on bass, Funky Bill Summers on Perc, Skilled horn player Bennie Maupin, The Famous Ray Obiedo on guitar, and another Keyboard extraordinaire Webster Lewis on Organ, Rhodes, prophet 5, Yamaha CS-40, Arp Strings and multimoog.
Very very nice vintage minimoog synth. One of the most sought after synths in the world! In hard anvil type case
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Opening Act of Mastodon’s concert in Milan, Big Business.
Big Business is a stoner metal/sludge metal band from Seattle who are currently signed to Gold Metal Records.
Big Business started as a two piece band composed of Jared Warren of Karp and The Tight Bros From Way Back When, and Coady Willis of Murder City Devils. Their sound has been characterized as a bombastic and frantic low end attack, marked by Warren's signature vocal delivery. The band released its first album, "Head for the Shallow", on January 25, 2005.
In late 2006, after relocating to Los Angeles, Jared and Coady both became members of The Melvins, first appearing on "(A) Senile Animal". The tour, titled "the Double-Drumming Rock for Peace tour", featured Warren and Willis playing a set as Big Business before being joined by Crover and Osborne for a set as the Melvins. While on tour, Big Business played with David Scott Stone who would later play guitar and Minimoog Voyager on all songs from their 2007 release "Here Come the Waterworks".
After releasing Here Come the Waterworks to critical acclaim, Big Business was given an opening spot on the summer leg of the Tool tour. Toshi Kasai played guitar for Big Business throughout this tour.
After the fall US tour ended, Big Business started recording material for the new Melvins album, entitled "Nude With Boots", which was released on July 8, 2008.
On March 9, 2008 Toshi Kasai was introduced onstage as the third member of Big Business. Both the band and Toshi verified this on their respective Myspace pages. Big Business released their third album "Mind the Drift" on May 12, 2009.
In October, 2010 after a year of not playing shows, they posted on their myspace that they had added another guitarist Scott Martin (400 Blows, Crom), officially making them a "Power Quartet".
Jared Warren - bass, vocals
Coady Willis - drums, backing vocals
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Opening Act of Mastodon’s concert in Milan, Big Business.
Big Business is a stoner metal/sludge metal band from Seattle who are currently signed to Gold Metal Records.
Big Business started as a two piece band composed of Jared Warren of Karp and The Tight Bros From Way Back When, and Coady Willis of Murder City Devils. Their sound has been characterized as a bombastic and frantic low end attack, marked by Warren's signature vocal delivery. The band released its first album, "Head for the Shallow", on January 25, 2005.
In late 2006, after relocating to Los Angeles, Jared and Coady both became members of The Melvins, first appearing on "(A) Senile Animal". The tour, titled "the Double-Drumming Rock for Peace tour", featured Warren and Willis playing a set as Big Business before being joined by Crover and Osborne for a set as the Melvins. While on tour, Big Business played with David Scott Stone who would later play guitar and Minimoog Voyager on all songs from their 2007 release "Here Come the Waterworks".
After releasing Here Come the Waterworks to critical acclaim, Big Business was given an opening spot on the summer leg of the Tool tour. Toshi Kasai played guitar for Big Business throughout this tour.
After the fall US tour ended, Big Business started recording material for the new Melvins album, entitled "Nude With Boots", which was released on July 8, 2008.
On March 9, 2008 Toshi Kasai was introduced onstage as the third member of Big Business. Both the band and Toshi verified this on their respective Myspace pages. Big Business released their third album "Mind the Drift" on May 12, 2009.
In October, 2010 after a year of not playing shows, they posted on their myspace that they had added another guitarist Scott Martin (400 Blows, Crom), officially making them a "Power Quartet".
Jared Warren - bass, vocals
Coady Willis - drums, backing vocals
New from Moog Music and Nova Musik the Voyager Solar NE!
White-washed cabinet
Orange back lighting
All Orange rocker switches
Black capped jack panel
Downtown Toronto, Canada
An exceptional remastered mix of a classic tune!! - Mike
*****
"'Cars' is a 1979 pop music song by UK artist Gary Numan, and was released as a single from the album The Pleasure Principle. It reached the top of the charts in several countries, and today is considered a New Wave staple. In the UK charts, it reached Number 1 in 1979, and rose to Number 9 on the U.S. Billboard charts, in 1980. This hit single debuted on the American Top 40 on March 29, 1980, and spent a total of 17 weeks in the AT40. 'Cars' was released under the 'Atco' label, with the catalog number of 7211.
The song was the first release credited solely to Gary Numan after he dropped the band name Tubeway Army, with which he had released four singles and two LPs, including the number one hit 'Are 'Friends' Electric?', and its parent album, Replicas. Musically the new song was somewhat lighter and more pop-oriented than its predecessors, Numan later conceding that he had chart success in mind: 'This was the first time I had written a song with the intention of 'maybe it could be a hit single'; I was writing this before 'Are 'Friends' Electric?' happened'.
'Cars' is based on two musical sections: a verse/instrumental break, and a bridge. The recording features a conventional rock rhythm section of bass guitar and drums, although the rest of the instruments used are analog synthesizers, principally the Minimoog (augmenting the song's recognisable bass riff) and the Polymoog Keyboard, providing austere synthetic string lines over the bass riff. The bridge section also includes a tambourine part. Numan's vocal part is sung in an almost expressionless, robotic style. There is no 'chorus' as such.
According to Numan, the song's lyrics were inspired by an incident of road rage: 'I was in traffic in London once and had a problem with some people in front. They tried to beat me up and get me out of the car. I locked the doors and eventually drove up on the pavement and got away from them. It's kind of to do with that. It explains how you can feel safe inside a car in the modern world... When you're in it, your whole mentality is different... It's like your own little personal empire with four wheels on it.'
The music video featured Numan's then-current backing band, including Billy Currie from the band Ultravox, though he had not actually played on the recording of 'Cars'. Towards the end of the video, a multitude of Gary Numans are depicted 'driving' along a Polymoog keyboard.
The original UK single was released in August 1979, backed with a non-album instrumental track called 'Asylum'. The U.S. B-side was 'Metal', from The Pleasure Principle album. The track has been a UK Top Twenty hit for Numan in three successive decades: on its original release in 1979 (making number one); in 1987 as the 'E Reg Model' remix (making number 16); and again in 1996 following its use in an advertisement for Carling Premier beer (number 17).
Numan has regularly performed the song on stage since its original release and it appears on all but one of his official live albums to date; many remixed versions have also been released over the years (see Live versions and remixes). Kool G. Rap & DJ Polo released their own hip-hop version of 'Cars' on their debut Road to the Riches album in 1989. 'Cars' was covered by the Judybats on the 1991 single 'Daylight' and by Shampoo on the 'Girl Power' single in 1995. Dave Clarke performed the song on the Random tribute album in 1997, while Fear Factory recorded a version of the song (with Numan) and released it as a single in 1999. Numan also appeared in the video. The song was also heavily sampled in the 2000 song 'Koochy' by Armand van Helden, reaching number 4 in the UK Singles Chart. The beat was later used for the song 'Hot Wheels' by the hip-hop group Jim Crow. Deceased music producer J Dilla recorded an unreleased hip-hop version of 'Cars' called 'Trucks.'" en.wikipedia.org/wiki/Cars_(song)