Tagged: singer-songwriters

Eloquence Framed


Jessica Sligter
Fear and the Framing
NORWAY HUBRO CD2516 (2012)

With Fear and the Framing, Jessica Sligter has crafted an eclectic selection of tracks that serve to highlight the wide talents of this Dutch singer-songwriter.

Together, the ten tracks run the gamut from the gentle and folksy to the electric and dramatic. This contrast is never more pronounced than between track one, ‘Man Who Scares Me’, a beautiful, folksy ballad, and track two, ‘If That Was Crooked. This Is Straight’, a rumbling, unsettling instrumental. On first listen, such diversity only heightens the anticipation for the rest of the album, and thankfully the following tracks do not disappoint.

Fans of acoustic, guitar-based songs will find much to enjoy here, most notably on ‘The Perfect Vesse’l and ‘Fall, Here’; whereas tracks such as ‘Pricklet’ and ‘Scott Will Be Hierarch push’ the experimental boundaries. In lesser hands, the result of this mix could have been an unfocused collection of sounds; but here, each track is very much part of a unified whole, which is essentially held together through Sligter’s eloquent lyrics and haunting voice. The overall effect is a highly satisfactory, if slightly unnerving, experience.

Of course, with such diversity going on, this is not an album that will please all of the people all of the time, but it is never less than hypnotic and intriguing. In fact, listening to Fear and the Framing can be likened to coming across an abstract painting in a gallery that you just can’t look away from; the closer you examine it, the more its intricate detail and subtle layers are revealed.

Following her debut 2010 release, Balls and Kittens, Draught and Strangling Rain (which was released under the name JÆ), comparisons to such artists as Will Oldham and Linda Perhacs were thrown around; and there’s no mistaking the influence of Bjork on some of the tracks on this follow-up album. However, there’s also no doubt that Sligter is a true original and deserves to be recognised as such.

Overall, this is a distinctive album that is at once soft and jagged; requiring several listens in order to fully fall under the spell of this talented singer-songwriter who will no doubt find her fan base has swelled considerably as a result of this latest impressive offering.

Forest Journey, River Journey

Ten songs of a rather lugubrious hue from the Italian singer-songwriter who calls himself Rella The Woodcutter. Previous albums have experimented with other genres, but on The Golden Undertow (BORING MACHINES BM037LP) he performs stark and deathly acoustic folk songs (sung in English), his pale declamatory voice accompanied by the barest of instrumental decoration – acoustic guitar, subdued electric guitar, recorder, or drum, usually restricting himself to one or two instruments per song. I enjoyed the melody and rhythm of ‘Bonobo’, where the simple bass drum and tambourine parts put one in mind instantly of Mo Tucker, but this song is uncharacteristic of the remainder of the album, which is gloomy and fog-bound, with many of the songs set in a sluggish minor key. As the tracks proceed, the singer’s voice becomes increasingly uncertain and forlorn, and he’s more like a wistful poet performing a recit than a full-blooded singer. In like manner, his vague lyrics become more wispy and introverted. Our interest is revived however by the eight-minute closer ‘Drugtime Family’, another song in thrall to the first Velvet Underground LP with its martial doom-march rhythm tempo not unlike ‘Venus In Furs’, and the acid-drenched guitars are cut through with an anguished lyric delivered via a shrill and capable melody. Rella would like to align himself with “psychedelic folk” music, and in song form at least is not far away from two of his heroes of the 1990s, that is Bill Callahan / Smog and Will Oldham / Palace. But for me he doesn’t quite exhibit the emotional depth of either, and I feel he could benefit from honing both his lyric-writing craft and his singing skills; the use of reverb on a microphone doesn’t adequately compensate for his thin delivery. Vinyl LP, limited to 300 copies.

Merzouga are two sound artists, Eva Popplein and Janko Hanushevsky based in Germany who take their name from a village in Morocco and have produced a few examples of radiophonic and voice work on their own imprint. On Mekong Morning Glory (GRUENREKORDER GRUEN 092), they produce a single 49-minute piece that is an ingenious work of electro-acoustic composition. The starting point was field recordings brought back from their journey on the Mekong river through Laos, Cambodia and Vietnam, which gave them a rich collection of field recordings of the tropical wildlife buzzing and swarming either side of the river banks. The second compositional element was musical, to wit subtle layers of strange music generated by Hanushevsky’s “prepared bass guitar”, an instrument altered through having sticks and metal inserted into the strings in the manner of Lee Ranaldo or Keith Rowe. Next came the electro-acoustic transformations of these sounds, where everything is subtly synthesised and changed – and it’s here the compositional process probably begins. We have heard quite a large number of experimental recordings that use the above processes in variant combinations or degrees, but Merzouga’s achievement is to shape their materials along the lines of a “compositional arc…inspired by the lower course of the river”. Geography itself has become their graphic score, and the idea is to create a heightened, semi-fantastic version of their river journey, and to this end the placement and ordering of each audible component is very deliberate and very precise. It’s significant, for example, that the sounds of urban civilisation and human voices are only heard quite late in the piece, such that nature and the wilderness (and children) are privileged in the compositional hierarchy. In case any of this creates for you a mental impression of the soundtrack to Apocalypse Now, that is probably quite deliberate, and the musicians even provide a printed paragraph from Conrad’s Heart of Darkness for comparative purposes. Mekong Morning Glory is not as outright dramatic or nightmarish as Walter Murch’s sound design for that piece of cinema, but it is compelling listening, and gradually passes on its own variety of mind-sapping strangeness to the enchanted listener. The enclosed booklet of notes and photographs proves to be a useful navigational aid for this eerie sonic boat ride.

Crystal Hell Pool is the evocative alias of Chris Majerus. His Domain (DEBACLE DBL066) album is 11 pieces of muscular electronic music with a slightly dark and aggressive tinge. He makes many distinctive sounds and his use of sequencers and drumbeats is simple and effective, while he wisely disciplines himself to not dip his fingers in the cookie-jar of filter effects too frequently. Some of the stark melodies on these instrumentals are quite attractive, and along with the semi-narrative titles such as ‘Radioactive Cop’ or ‘Abandoned Gate’ they seem to act as half-completed soundtrack cues for an imaginary science fiction movie. File alongside your collection of not dissimilar star-voyaging albums by Oneohtrix Point Never.

Rolling Bomber (HUBRO MUSIC HUBRO CD2512) is a mostly-percussion album played by Erland Dahlen. The basis for each of these seven tracks seems to be his 1940s Slingerland drumkit; he’s got one of the rare and collectible Rolling Bomber kits, which was manufactured using wood for the many of the parts usually made with metal, which was scarce as it was needed for the war effort. The American Slingerland company has made a significant contribution to the history of jazz music, traditions which this Norwegian jazz drummer hopes to advance with his very timbral exploration of the drums on this album. To each rattling and rumbling improvisation he adds overdubs of more percussion, including gongs, timpani, maracas, bells, log drum; and minimal melodies of ambient quirkiness, played on the kalimba or the musical saw. You may imagine that all of this patchworkery creates a very sumptuous and unusual sonic playground, and you’d be absolutely right; I’d be safe in saying I haven’t heard a record that sounds quite like this. In case the Harry Partch dimension here wasn’t clear enough for you, Dahlen also plays custom instruments hand-made by Hallvard W. Hagen, including the Cakeform With Springs 1 and certain box instruments; as one half of Xploding Plastix, Hagen has been spotted wearing the white jumpsuit affair that marks him out as an inventor-boffin type, which makes him ideally suited for an idiosyncratic release such as this one. In case you were wondering Rolling Bomber is a very rewarding listen, and while it can be slow-moving and melancholic in places, it is not simply process-based nor a stiffly formal exploration of drum timbres and percussive events. While it’s experimental in nature, Dahlen’s jazz sensibilities have not been left at home for the making of this record.

  1. This sounds like it ought to be more elaborate than it is; it’s likely to be a kitchen utensil for baking cakes, with added springs. Chris Cutler, often jokingly referred to as Chris Cutlery, would no doubt approve heartily.

Concerning This Square

The Tree in the Quadtych

From Sheffield here’s Cameron Deas, another guitar-playing acoustic Englishman worthy to hold his head alongside C. Joynes, with his Quadtych (PRESENT TIME EXERCISES PTECD1) CD which he kindly sent us some months ago released on his own label Present Time Exercises. This is a single work in four parts which unfolds over 70 minutes (look for the vinyl versions!) in which Deas gives himself a very broad canvas to apply his impressionistic, painterly guitar effects. While your man Basho Junghans continues to work his guitar like an orchestra, for Deas it’s more a matter of gradually creating sheets of sound, through a mixture of techniques – scraping, strumming, sliding, and an insistent rubbing method that generates vast clouds of resonating metallicness. On Part One he’s more concerned with creating this gaseous billow of steel-string noise than he is with delivering melodies or picking tunes, and thusly he ushers us into the gateway of his private world. Part Two is somewhat more “open”, and we find minimal forlorn half-tunes seep into an otherwise deserted vacuum of gently echoing stillness. By time of Part Three (and we still have not departed from the single root chord which anchors this album in place) he’s somehow creating a jangling violin-bow effect which he sustains for far longer than is humanly possible, an orchestral drone which supports his folk-tune inflected melodies. Aside from fact that this music must require four hands and eighteen extra digits to play it, I’m astonished by the innovation here, and Deas must have put many years into crafting his unique style, finding this highly individual voice for the guitar. Jake Blanchard did the striking and sympathetic cover art, suggesting not only that twigs and branches grow from the neck and head of a guitar (the music is alive), but also that guitars are already growing in the very trees that are used to make them, and it’s just a question of releasing them from the prison of the bark (music as a natural phenomenon). I’m interested enough now to search for his prior releases on the UK Blackest Rainbow label.

Weather Pressure

Norwegian instrumental band Splashgirl have their third album Pressure (HUBRO CD2509) sent to us in September, where the core trio play a jazz-like setup with piano, bass and drums, augmented by their own synths and electronics, plus guest players who supply guitar, brass, vocals, and even some live tapework. I like their skeletal sound, but I find the lugubrious pace of these plodders a bit heavy-going after a while. The whole band appear to be in a perpetual state of mild depression about something, but it’s never really revealed what is troubling their sensitive souls. It’s a frustrating listen because none of the pieces resolve in a satisfactory manner; they come and go like passing clouds in the sky. In Splashgirl’s personal weather system, no doubt this vagueness bodes a grey weekend of drizzle and mist.

Affected Youth

Ville Leinonen is a famed Finnish singer and songwriter who’s new to me, but Auringosäde / Pommisuoja (FONAL RECORDS FR-82) is his 13th album and he’s been making records since 1997. The album is intended to present “two dramatically different sides” of his complex personality, so the first four tracks are whimsical, acoustic and fey and the remaining four cuts are dark, brooding electronic noise. An idiosyncratic and well-produced record, but I’m steadfastly unimpressed by the whole thing. Ville’s voice is weak and affected, and he feels to me like a refugee from a mainstream pop-synth band like A-ha, Pet Shop Boys or The Communards. Song melodies have been deconstructed to the point where they just don’t matter any more, reducing any verse-chorus structure to disconnected rubble. The acoustic tracks are mannered, disjunctive, and in places quite cloying and twee. The Pommisuoja tracks don’t do much for me either; imagine someone practising John Lennon karaoke vocals over loud and ponderous electric guitar feedback. “Post-apocalyptic blues”, indeed!

Sax Pax for the Duration

Stéphane Rives is the French sax player who I associate with the production of a severe and hard-to-digest sound. On one of the rare occasions when I played a DJ set for a wedding, I spun one of his solo CDs and was soon asked by the distraught organiser to turn it off and go back to playing that nice chill-out music from Oval instead. Rives used to do the quiet-minimal breath-exploration technique along with a number of other European players like Axel Dörner and Robin Hayward, but I think that particular gimmick is old hat now. On Axiom For The Duration (POTLATCH P211) he teams up with the percussionist Seijiro Murayama, and the pair of them have come up with a total bruiser of solid minimalism. Just put this on as loud as the market will bear, and you’ll find yourself being gradually crowded out of your own living room by its sheer physical presence. Murayama could be the driving force behind this merciless method, since he’s been exploring for about ten years the idea that he can control the acoustic space of any given performing area through his sound alone. Depriving himself of food and sleep, he pays attention to every eyelid flicker and throat-clearing action of the audience at every gig he plays, and devises methods to weave these micro-events into his playing, thus “revitalizing the environment”. What he did in this Paris room in May 2010 is certainly a feat to remember, and it’s much to Naxos Bobine’s credit that he recorded it so faithfully. Rives honks in on the action too, by sustaining incredibly long tones (infinitely long) played in the upper registers that defy all rational thought. With one mighty gulp, he can take in as much air as is consumed by the motorbikes of Hong Kong in a single day; he unleashes these currents from his capacious lungs with the rigid control of a pressure valve such as you might find in an industrial-sized refrigeration unit, while his talons maintain a rigid clutch around the neck of his soprano sax. For a full 56 minutes, these two torture-meisters don’t rest for a single second as they issue their monstrous wall of humming and piercing with the slow deliberation of art gallery assistants executing a Sol Lewitt pencil drawing on the walls. And while we’re on the subject, dig the nifty geometry artwork for this release by Octobre. Just great!

Maximum Spare Ribs

Pilesar Please Me

Radio Friendly (PUBLIC EYESORE PE112) is an energetic set of crazy songs delivered roughly in the lo-fi, unkempt and noisy post-new wave Dinosaur Jr / Sebadoh style from Pilesar, an American confluence of talents which clusters around the pale thin body of Jason Mullinax, who wrote all the songs, plays most of the instruments and sings – joined on some tracks by guest drummers, guitarists, keyboard players and remixers. Pilesar’s lyrics are printed in full on one panel of the colourful digipak, and a quick survey of this word-salad reveals there isn’t much content with intended lasting import outside of the absurd, the zany and the cheerful mixing-up of assorted lowbrow references. In imparting this grab-bag of information, Mullinax’s singing voice evokes that of Mark Mothersbaugh at his most affected. Come to that the whole album gives off the fascinating vibe of a lost cassette-band from the wrong side of 1995 that is still content to make xeroxes of Devo LPs, but this isn’t to deny Pilesar’s talent for sheer melodic fun and wayward noise expressed in tiny packages of quirky pop-song brevity; most lasting less than two minutes, these little ditties just fly past in the fast-moving party atmosphere, and the radio-friendly boast of the title may not be completely ironic, in spite of the determination to record and produce every single track with the weird-o-meter bouncing in the red. Aye, almost every sound is wobbly and peculiar, but thankfully not over-processed with digital interference, and we hear good-natured ramshackle keyboards played in The Residents mode, sightly punk-rocked loud guitars and clattery percussion, each player tearing into each song with the fervour of insects burrowing into a rotten tree trunk. Only the cover pictures feel uncertain, with their jumble of ill-fitting photos (some of them very strange, some utterly banal family pix) and a slightly disconcerting cover painting that shows Pilesar is still clutching for an image of itself it feels comfortable with. One photo shows Pilesar attempting to foster an aura of menace like one of The Residents newspaper men; only problem is he’s wrapped in childish pink birthday paper with fluffy panda bears. Pix aside, a nifty item!

The Worm and the Angel

Now here’s the great Peter Stampfel performing on A Sure Sign Of Something (ACID SOXX MUSICKS XX216), singing and playing his fiddle, banjo and guitar along with his Dutch compadres who call themselves The Worm All-Stars, led by Lukas Simonis. Stampfel met up with Simonis soon after the release of the Holy Modal Rounders movie in 2008, and after an informal set of rehearsals and two performances, this recording session resulted. The song list is the usual eclectic mix of styles and things – original songs written by Stampfel, one by his old partner Steve Weber, one by the Unholy Modal Rounders, polkas, banjo tunes, and American folk songs, some of them documented on the Harry Smith anthology. Everything is annotated by Stampfel in his enthused and inclusive manner in the enclosed booklet, where he casually tosses out details of recondite and exotic musical history with ease; just scanning a few lines will cause you to adore this man and all his endeavours and hopefully inculcate a fresh desire to engage with his fascinating back catalogue. He’s simply in love with music, and with performing; and flying in the face of all things post-modern and ironic, he believes songs and lyrics have meanings which can enrich our lives, and is determined to push his wiry voice every inch of the way to let that meaning shine forth. This album may not be as deeply eccentric as anything Stampfel made in the pre-psychedelic 1960s, but it does have a very charming strangeness all of its own which soon begins to emerge; the supporting players are in fact a perfect backing combo for the man with their odd and clunky accompaniment, their sparse sound and unusual instrumentation, and they perform very well as backing singers too. Count yourself one of the lucky ones if you saw this unique combo play live when they toured Belgium and The Netherlands. I doubt they will pass across the earth again in our lifetime.

Chairmen of the Board

Now for a complete change from songs to experimental industrial noise from the early 1980s. XX Committee was Scott Foust (later of Idea Fire Company) and his friend Chris Scarpino, and their debut release Steel Negro Music (TRASH RITUAL TRASH 049) was originally released as a cassette tape in 1982 on A.R.P.H. (433rpm made it available for a time). Made with what one might call the standard-issue setup of the time using guitars, synths and beatboxes, these works of abstract grindery are bleak, punishing and relentless, yet they are also very imaginative in the way the minimal guitar lines work their way around the strange, irregular pulsations that grunt forth from the anonymous, robotic metal boxes. The claustrophobic, very minimal and abrasive style of playing will drive sane men into the booby hatch with its determined, near-mindless and insistent repetitions. Everything is underground, alien and disaffected, the Robert Fripp sound of “Heroes” taken ten steps further into the dark banks of nihilism. Kind of surprising that this item wasn’t scooped up for reissue by Vinyl On Demand, as in terms of tone, style and vintage it seems to fit right in to the aesthetic of that label. Note Foust and Scarpino’s rather American approach to this aural territory, which had been heavily staked out and colonised in Europe and the UK by this time; a comparative study might be in order. Equally instructive might be to play this alongside any given release by Wolf Eyes from the last 7 years, and see which wins hands down for sheer growling menace. Given the fact that we’ll never find a cassette original, this handsomely presented reissue is most welcome; plus there are two additional tracks, ‘Schwerpunkt’ from 1984 where the duo is joined by Rich Labrie who made the live mix; and ‘Slaughterhouse’ from 1980, a rare outing where Foust plays the tympani along with the synths. An excellent companion piece to the 1983 Network LP, another instance where the original vinyl is quite rare but there was a CD reissue in 2008 on a Polish label.

Insect Fear

Equally immersive as above, but far more benign, is the sound of Cross-Pollination (TOUCH TONE 43), a collaborative work realised by two artists on the Touch roster, Chris Watson and Marcus Davidson. The first of these two long pieces is ‘Midnight at the Oasis’, a Chris Watson composition which he created through a “time compression” of field recordings made in the Kalahari desert; in 28 minutes, we are whisked sonically from the rising to the setting of the sun on an impossible fantastic journey where nature heaves, boils and subsides around us. Birds and insects are the wildlife that dominate this magical zone, and the clever concision by which these recordings are edited and elided together must surely reveal and amplify the patterns and rhythms of nature. One of Watson’s more serene and minimal creations, it nonetheless evokes undercurrents of what he describes as a “beautiful and hostile environment”. Vivid surround-sound sumptuousness pours off the disc; an Attenborough wildlife broadcast rethought as sound-art. The second piece, ‘The Bee Symphony’, is a collaborative work between Watson and Marcus Davidson, and it features five singers credited as The Bee Choir. Their minimal and distant harmonies are contrasted with the field recordings of an English garden full of beehives, in a way that Virginia Astley surely would’ve adored. A simply gorgeous, spectral sound results, an imaginative intervention of music in a site-specific environment, and a work that succeeds totally in creating a “unique choral collaboration”. Davidson composed and arranged this using tapes supplied by Watson and Mike Harding, but the actual event appears to have been recorded live. While it would conceivably have been possible to assemble this work in the studio through combining separate recordings of bees buzzing with singing humans, the fact of live recording adds considerably to its aesthetic value, and one can certainly make out a kind of strange organic improvisation taking place between the humans and the bees, at some deep level. This was part of the 2009 Pestival event organised by the wonderful Bridget Nicholls, a very intelligent and questing naturalist, who personally commissioned this unusual and wonderful work. It makes you wonder why there isn’t more sound art featuring bees, although Eric La Casa did realise his ‘Zone Sensible’ work for Room 40 Recordings recently.

Folk Rock II (TSP radio 06/02/09)

  1. Richard and Linda Thompson, ‘When I Get to the Border’ (1974)
    From I Want to See the Bright Lights Tonight (remastered), UK UNIVERSAL ISLAND RECORDS IMCD 304 CD (2004)
  2. The Pentangle, ‘Once I Had A Sweetheart’ (1969)
    From Basket of Light, UK TRANSATLANTIC RECORDS TRS 114 LP
  3. Fairport Convention, ‘Nottamun Town’ (1969)
    From What We did on our Holidays (remastered), UK UNIVERSAL ISLAND RECORDS IMCD 294 CD (2003)
  4. Shirley Collins, ‘Bonny Kate’ (1969)
    From Amaranth, UK EMI HARVEST HERITAGE SHSM 2008 LP (1976)
  5. Ashley Hutchings, ‘The Postman’s Knock’
    From Son of Morris On, UK EMI HARVEST HERITAGE SHSM 2012 LP (1976)
  6. Shirley Collins, ‘The Cherry Tree Carol’ (1964)
    From Folk Roots New Routes, UK TOPIC RECORDS TSCD819 CD (1999)
  7. The Incredible String Band, ‘The Minotaur’s Song’ (1968)
    From The Hangman’s Beautiful Daughter, ELEKTRA / ASYLUM RECORDS K 42002 LP
  8. Cob, ‘Martha and Mary’ (1972)
    From Moyshe McStiff and the Tartan Lancers of the Sacred Heart, UK SUNBEAM RECORDS SBRCD5029 CD (2006)
  9. Forest, ‘Sylvie (We’d Better Not Pretend)’ (1969)
    From Forest, UK RADIOACTIVE RECORDS RRLP058 LP (2005)
  10. John Renbourn, ‘White Fishes’ (1968)
    From Sir John Alot Of, UK CASTLE MUSIC CMRCD597 CD (2002)
  11. Trees, ‘Polly on the Shore’ (1970)
    From On The Shore, UK DECAL / CHARLY RECORDS LTD LIK 12 LP (1987)
  12. Shirley and Dolly Collins, ‘The Outlandish Knight’ (1970)
    From Love Death and the Lady, UK FLEDG’LING RECORDS FLED 3039 CD (2003)
  13. Sharron Kraus, ‘The Family Tradition’
    From Beautiful Twisted, AUSTRALIA CAMERA OBSCURA CAM050 CD (2002)
  14. Richard Thompson, ‘The Old Changing Way’ (1972)
    From Henry the Human Fly, UK HANNIBAL RECORDS HNBL 4405 LP (1986)
  15. The Pentangle, ‘The Trees they do grow high’ (1968)
    From Sweet Child, UK CASTLE MUSIC CMDDD132 2 x CD (2001)
  16. Sandy Denny and The Strawbs, ‘Sail Away to the Sea’ (1968)
  17. The Incredible String Band, ‘Painting Box’ (1967)
    From The 5000 Spirits or The Layers of the Onion, WEA INTERNATIONAL 7559-60913-2 CD (1992)
  18. Clive Palmer, ‘Winter’s Tale’ (1967)
    From Clive Palmer’s Banjoland, UK SUNBEAM RECORDS SBRCD5004 CD (2005)
  19. Fairport Convention, ‘Flatback Caper’ (1970)
    From Full House, UK UNIVERSAL ISLAND RECORDS IMCD 285 (2001)
  20. Black Flowers, ‘Calvary Cross’
    From I Grew From a Stone to a Statue, UK BO’WEAVIL RECORDINGS WEAVIL 34CD (2008)

First show in this series

Songs – Eighter from Decatur (TSP radio 08/08/08)

  1. Todd Rundgren, ‘Sometimes I don’t know what to feel’ (1973)
    From A Wizard, A True Star, UK CASTLE COMMUNICATIONS CLACD 134 CD (1987)
  2. Help Yourself, ‘Your Eyes are Looking Down’ (1971)
    From Help Yourself, UK BEAT GOES ON RECORDS BGO LP52 LP
  3. Van Dyke Parks, ‘Orange Crate Art’
    From Moonlighting. Live at the Ash Grove, USA WARNER BROS RECORDS 9 46533-2 CD (1998)
  4. Lowell George, ‘Two Trains’
    From Thanks I’ll Eat It Here, UK WARNER BROS / WEA RECORDS K56487 LP (1979)
  5. David Bowie, ‘Let me sleep beside you’
    From Bowie at The Beeb. The Best of the BBC Radio Sessions 68-72, UK EMI / BBC MUSIC 7243 528629 2 4 2 x CD (2000)
  6. The Bonzos, ‘Alley Oop’ (1966)
    From Gorilla (digital remaster), UK EMI 0946 387889 2 8 CD (2007)
  7. John Cale, ‘Ship of Fools’ (1974)
    From The Island Years, USA ISLAND RECORDS 314 524 235-2 2 x CD (1996)
  8. Pavlov’s Dog, ‘Julia’ (1976)
    From Pampered Menial, USA COLUMBIA 32480 1 LP
  9. The Band, ‘In A Station’ (1968)
    From Music From Big Pink, [EUROPEAN UNION] CAPITOL RECORDS 7243 5 25390 2 4 CD (2000)
  10. Ry Cooder, ‘Goin’ to Brownsville’ (1970)
    From Ry Cooder, GERMANY REPRISE RECORDS 44093 LP
  11. Warren Zevon, ‘Accidentally like a Martyr’ (1978)
    From Excitable Boy, GERMANY ELEKTRA / ASYLUM RECORDS 7559-60521-2 CD
  12. The Holy Modal Rounders, ‘Voodoo Queen Marie’
    From Alleged in Their Own Time, USA ROUNDER RECORDS 3004 LP (1975)
  13. Bob Dylan, ‘Love Henry’
    From World Gone Wrong, UK COLUMBIA 474857 2 CD (1993)
  14. Terry Reid, ‘Things to Try’ (1973)
    From River, USA WATER 107 CD (2002)
  15. Michael Hurley, ‘I Paint a Design’
    From Watertower, USA FUNDAMENTAL MUSIC SAVE 051 LP (1988)
  16. David Crosby, ‘Laughing’ (1971)
    From If I Could Only Remember My Name, GERMANY ATLANTIC 7567-81415-2 CD
  17. The Byrds, ‘Going Back’ (1968)
    From The Notorious Byrd Brothers, USA COLUMBIA LEGACY 486751 2 CD (1997)
  18. Michael Hurley / The Unholy Modal Rounders / Jeffrey Fredericks and The Clamtones, ‘Slurf Song’
    From Have Moicy!, USA ROUNDER RECORDS 3010 LP (1975)
  19. Randy Newman, ‘Living Without You’ (1968)
    From Randy Newman Creates Something New Under the Sun, GERMANY WARNER MUSIC 7599-26705-2 CD
  20. Fairport Convention, ‘If I had a Ribbon Bow’ (1968)
    From Fairport Convention (remastered), UK POLYDOR 068 291-2 CD (2003)
  21. Kate Bush, ‘Blow Away’ (1980)
    From Never For Ever, JAPAN EMI RECORDS TOCP-67817 CD (2006)
  22. The Band, ‘Yazoo St Scandal’
    From Music From Big Pink, op cit.
  23. Neil Young, ‘See the Sky About to Rain’ (1974)
    From On The Beach, GERMANY WARNER MUSIC GROUP 9362-48497-2 CD

The Sound Projector radio show,
originally broadcast on Resonance 104.4 FM

Joni and Judee (TSP radio show 24/11/06)

  1. Joni Mitchell, ‘Help Me’
  2. ‘Coyote’
  3. ‘The Jungle Line’
  4. ‘Car on A Hill’
  5. Judee Sill, ‘The Lamb Ran Away with the Crown’
  6. ‘Jesus was a Cross Maker’
  7. ‘Crayon Angels’
  8. ‘Lady-O’
  9. Joni Mitchell, ‘Jericho’
  10. ‘Otis and Marlena’
  11. ‘Hejira’
  12. ‘Don’t interrupt the sorrow’
  13. Judee Sill, ‘Living End’
  14. ‘The Phoenix’
  15. ‘I’m Over’
  16. ‘There’s a Ragged Road’
  17. ‘Things are Lookin’ Up’
  18. ‘The Donor’
  19. Joni Mitchell, ‘Amelia’

1 + 4 from Court and Spark, UK ELEKTRA / ASYLUM RECORDS K53002 LP (1973)
2, 11, 19 from Hejira, USA ELEKTRA / ASYLUM RECORDS 7E-1087 LP (1976)
3 + 12 from The Hissing of Summer Lawns, UK ELEKTRA / ASYLUM RECORDS SYLA 8763 LP (1975)
9 + 10 from Don Juan’s Reckless Daughter, UK ELEKTRA / ASYLUM RECORDS K63003 2 x LP (1978)
5-8 from Judee Sill (1971), USA RHINO HANDMADE RHM2 7836 CD (2003)
13, 15, 17 from Dreams Come True (1974), USA WATER 140 2 x CD (2005)
14, 16, 18 from Heart Food (1973), USA 4 MEN WITH BEARDS 4MN-LP-121 LP (2004)

The Sound Projector radio show,
originally broadcast on Resonance 104.4 FM