In other words, if you play the chorus backwards, you get the third verse. These Marimba Lumina interludes often, but not always, find the other players abandoning their normal instruments in lieu of percussion. This project serves to compile, preserve, and protect encyclopedic information about Phish and their music. The Mockingbird Foundation is a non-profit organization founded by Phish fans in to generate charitable proceeds from the Phish community.
Toggle navigation. Net Site Legal Phish. Such is the warped algebra of this Mike Gordon opus. Support Phish. I understand the value of The End Jazzy experiments and avantgardisms: this is what the album is made of. An ambitious work for that time. Not exactly what I call my personal cup of tea.
Neither what I was searching for from Wyatt. Robert Wyatt has had a long, distinguished career; he's one of the few rock musicians who managed to delivered deeply moving masterpieces in every single decade, starting with the s.
Although some reviewers have lauded this album for being free-spirited and avant-garde Wyatt was making a stand against Soft Machine, which he was about to leaveI defy anyone to declare openly that they have listened to this album, purely for pleasure, more than five times.
Going berserk in a recording studio and experimenting as much as you like with tape loops, sound effects and crazy voices Prospective buyers, be warned. Assorted sounds come and go like piano, sax, cornet and drums as Wyatt uses his voice like another instrument. This one has a nice heavy beat as sax and cornet blast away.
John a solo artist singer and song writer who would go on to play with Kevin Ayers and Mike Oldfield. A great bass line in this one as horns come and go and drums beat away. She was also known as Shakti Yoni. This song naturally is quite out there. A dissonant soundscape that blends into "To Nick Everyone". It opens with Wyatt beating on the drums seemingly at random while the sax comes and goes. Cool sound. Piano comes in a minute in. I am so impressed with Robert's drum work on this one.
Another great track as a steady beat is heard while piano plays over top. Organ arrives and it all sounds so normal. Well not for long. The piano becomes dissonant and the drums become odd-metered.
Piano and drums come and go quickly. No melody to this one. Experimental all the way. Marsha Hunt was a model, singer and actress who is also American. And Carolie Coon was a political activist, journalist and artist who inspired Wyatt's Matching Mules - Arbeit* - Solo (CD) Caroline" song. This song here features organ, bass and drums with more experimental sounds.
Percussion creates a beat. This is the longest song at 11 minutes. I love this stuff. I really was blown away with this album. The guy truly was and is a genius. A brilliant album truly deserving of 4 stars. For any Rio-Avant fans out there,you have to check this criminally underated album out. The album was recorded while he was still a member of Soft Machine which he would soon leave. The album is fully instrumental albeit for a few notes hummed by Robert Wyatt with his easily recognizable voice.
The Canterbury tag is a bit hard to understand while listening to this album, but maybe later solo works from Wyatt justifies his inclusion in this catagory? The musicianship on the album is excellent. Lots of great performers show their skills and Robert Wyatt experiments with lots of intricate drumming.
The production is good. This is a horrible album for me. This is completely as unlistenable for me as Soft Machine four and five. This has been such a stressful experience for me that I must lie down to get my heart working in regular mode again.
I can see from other reviews that some people enjoy this far more than I do, but this is simply too noisy and stressful for me to enjoy. The only reason I will not rate this with 1 star is the fact that the musicianship is so excellent.
The compositions remain unlistenable for me though. Did every member of the band decide that anything they would touch from now on should purely include noisy unlistenable avant garde elements? At least their approach to the avant garde genre contains memorable and exciting elements.
This album is almost pure avant-jazz and there is no traditional singing at all but there are plenty of experimental Wyatt's vocals though. Released between his departure from Soft Machine and his first band Matching Mule was founded, this album is very different from everything Wyatt recorded till now. Starting from very first sounds, album brings the listener to free form complex and quirky sound, very close to free-jazz, but with obvious Canterbury scene's psychedelic roots.
It's interesting, that even participating such influential musicians as keyboardist David Sinclair, cornet player Marc Charig and especially sax player Elton Dean didn't make this album "band's release". Two very experimental form compositions or two versions of same "Las Vegas Tango" are both opener and album's final song.
Seven compositions between them are dedicated to Wyatt's friends each. Very usually Elton Dean's participating on any album leads to his sax becomes main music's attraction, but there it isn't.
Dean and Charig play both important part in common sound, but their participation is mostly in interplays with drums and in plenty of ascetic sketches around the whole sound. Wyatt himself is real hero of the day! Between all compositions of this album only " To Caravan and Brother Jim" ,led by Sinclair melancholic organ, is quite accessible and well-structured.
All others are chaotic free-form Wyatt-centered songs,not always essential but always with that magic Robert's emotional beauty. Very soon Matching Mules - Arbeit* - Solo (CD) of terrible accident Wyatt's life will become different and he will leave drummer chair forever and will concentrates on singing. This album is very intriguing illustration to how different his musical career could be if he would be able to play drums again. Standing alone most experimental Wyatt's album till now.
Not on the same field with his later excellent solo vocalist career, and possibly even more attractive for Wyatt's fans because of this. My rating is 3,5,rounded to 4. The first part of "Las Vegas Tango" has multi-tracked and speed altered Roberts imitating some of the instruments from the original. Some of the drumkit sounds recorded at different speeds.
Steady drumbeat, some repeated vocal parts and very free and whiny saxes for the first half. Studio manipulated drums and sound effects for the next half. Acoustic upright bass, sax and Wyatt's syncopated drumming makes up this track. Wyatt's drums are heavily echoed in "To Nick Everyone," which sounds very improvised. More sax and upright bass with some piano as well. Later the drumbeat from "To Mark Features Dave Sinclair on organ.
Starts out with the "To Mark Slowly the song turns into free jazz. More avant craziness. Some studio altered instrument can be heard. Not sure what it is, sounds like a piano with an effect on it and the playback speed is continually being changed. Some nice piano and organ. Some avant sounds from organ and piano can be heard overtop the melodic organ and piano.
The second part of "Las Vegas Tango" has hypnotic backwards sounds. This Matching Mules - Arbeit* - Solo (CD) similar to some some of the stuff on Wyatt's next album Rock Bottom. Electric and regular piano dominate along with Wyatt's scat vocals. More speed altered vocals and effects. This is a good album and was very influential on later avant-prog, but it's not something I would want to listen to everyday, Matching Mules - Arbeit* - Solo (CD).
It's interesting that this album sounds a lot better than Third released the same year. Third has better music however. Overall I would give this 3 stars. The fact that Wyatt lists "Mouth" under his portfolio of musical instruments on the liner notes is a hint as to the point of this album - to give him a chance to express his unique style of scat singing and his use of his voice as his most delicate and diverse musical instrument in a way which he simply was no longer allowed to do in the Soft Machine.
It's a stinging rebuke to Messrs. Ratledge and Hopper, who had been driving the Machine in a firmly instrumental direction at this point, as far as free jazz goes there's a delicate, shimmering beauty to the album which when it comes through clearly is quite delightful. The album doesn't soar to heights of supreme excellence, but it is a skilled reminder of just what the human voice can achieve, and in that sense more than exonerates itself as a showcase for Wyatt's vocal talents.
Personally, I think the Soft Machine's decision to sideline Wyatt's singing was absolutely shameful, a waste of a wonderful talent.
Fortunately, Matching Mules - Arbeit* - Solo (CD) Matching Mole's albums and in his solo career, Wyatt would not be silenced.
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