Secret History of Rock. The Most Influential Bands You've Never Heard by Roni Sarig Read Free Book Online

non-Western harmonic principles full circle by reuniting the just intonation developed in 20 th -century classical music with the similarly microtonal folk music derived from African “blue” notes. In 1997, Pulp, Spiritualized, Nick Cave, and others participated in a benefit concert for Young and Zazeela, to help the couple pay for medical bills incurred during Zazeela’s recent sickness.
    Considering its impart, remarkably few have ever heard the original Theater of Eternal Music. Though Young often recorded the group’s sessions, and likely still has many of the tapes, he has refused to release any of it officially. Some attribute this to Young’s perfectionism – suggesting that he deems the recordings unacceptable for public circulation – while Conrad and Cale have contended for years that Young is only interested in protecting his reputation as “sole composer,” which would be damaged if people heard what really went on. This feud, which has long strained Young’s relations with Conrad and Cale, continues with no end in sight (Conrad was recently seen picketing a Young concert in Buffalo). Those willing to do some searching may be able to find a rare 1992 bootleg called the White Album , featuring an old radio broadcast of Young, Conrad, and Cale’s Theater of Eternal Music. While the recording quality is only fair, it remains the only available artifact of this legendary group’s dream music.

    DISCOGRAPHY
    YOUNG
    89 V18 C. 1:42-1:52 AM Paris Encore from “Poem for Chairs, Tables, Benches, Etc.” in “Fluxtellus” (Tellus) .
    (w/ Marian Zazeela) The Black Record (WG, Edition X, 1969) .
    (w/ Marian Zazeela) Dream House 78’17” (Shandar, 1974) .
    The Well-Tuned Piano (Gramavision, 1987) .
    90 XII 9C. 9:35-10:52 PM NCY, The Melodic Version of the Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991).
    Forever Bad Blues Band: Just Stompin’: Live at Kitchen (Gramavision, 1993) .
    CONRAD
    Outside the Dream Syndicate (Caroline, 1974; Table of the Elements, 1993) .
    Slapping Pythagoras (Table of the Elements, 1995) .
    Four Violins (Table of the Elements, 1996) .
    Early Minimalism (Table of the Elements, 1997) .
    CALE
    Vintage Violence (1970; Columbia, 1990) .
    (w/ Terry Riley) Church of Anthrax (Columbia, 1971) .
    The Academy in Peril (Reprise, 1972; Warner Archives, 1994) .
    Paris 1919 (Reprise, 1973; Warner Archives, 1994) .
    Fear (Island, 1974) .
    (w/ Kevin Ayers / Brian Eno / Nico) June 1, 1974 (Island, 1974) .
    Slow Dazzle (Island, 1975) .
    Helen of Troy (Island UK, 1975) .
    Guts (Island, 1977) .
    Animal Justice EP (Illegal UK, 1977) .
    Sabotage Live (Spy / IRS, 1979) .
    Honi Soit (ASM, 1981) .
    Music for a New Society (Ze / Passport, 1982; Rhino, 1993) .
    Caribbean Sunset (Ze / Island, 1984) .
    John Cale Comes Alive (Ze / Island, 1984) .
    Artificial Intelligence (Beggars Banquet / PVC, 1985) .
    Words for the Dying (Opal / Warner Bros., 1989) .
    (w/ Brian Eno ) One Way up (Opal / Warner Bros., 1990) .
    (w/ Lou Reed) Songs for Drella (Sire / Warner Bros., 1990) .
    Even Cowgirls Get the Blues (ROIR, 1991) .
    Fragments of a Rainy Season (Hannibal / Rykodisc, 1992) .
    Seducing down the Door: A Collection 1970-1990 (Rhino, 1994) .
    The Island Years (Island, 1994) .
    (w/ Bob Neuwirth) Last Day on Earth (MCA, 1994) .
    Walking on Locusts (Rykodisc, 1996) .
    Eat/Kiss (Hannibal / Rykodisc, 1997) .

    PHILIP GLASS
    David Byrne:
    [The Talking Heads] and a lot of other rock-oriented people really got into his trancelike repetition. We could relate to it. Like a lot of R&B – it’s got a different kind of groove obviously – but it’s still precise repetition with slight changes. Occasionally we would structure things with that repetition, maybe with an odd meter similar to something he would do...
    Beginning in the late ‘60s, as art rock aspired to a higher level of respect and academic acceptance, a new generation of classically trained composers became