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'Pardon Me, I'm Very Drunk': Alcohol, Creativity and Performance Anxiety
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk O’Dair, Marcus (2016) ’Pardon me, I’m very drunk’: alcohol, creativity and performance anxiety in the case of Robert Wyatt. Popular Music, 35 (2) . pp. 207-221. ISSN 0261-1430 [Article] (doi:10.1017/S0261143016000039) Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/19802/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
'Pardon Me, I'm Very Drunk': Alcohol, Creativity and Performance Anxiety
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository ‘Pardon me, I’m very drunk’: alcohol, creativity and performance anxiety in the case of Robert Wyatt Marcus O’Dair School of Media & Performing Arts Room TG53, Town Hall Annexe Middlesex University The Burroughs Hendon London NW4 4BT 0208 411 3717 m.o’[email protected] Abstract Robert Wyatt’s relationship with alcohol is multifaceted. He acknowledges its deleterious effect on aspects of his personal life, most notably on his relationship with wife and creative partner Alfreda Benge, and he has been teetotal since attending Alcoholics Anonymous in 2007-8. In professional terms, however, Wyatt continues to view alcohol positively: as a means to overcome anxiety as a performer and recording artist and as an aid to writing. From this perspective, the fact that Wyatt has not released a solo album since sobering up may be more than mere coincidence. This paper aims to answer two questions. Firstly, what is the evidence that alcohol can reduce anxiety for a performer and recording artist, and increase creativity for a songwriter? Secondly, what is the evidence that this is so in Wyatt’s specific case? In answering these questions, I will draw on secondary research, as well as interviews I conducted with Wyatt and various associated musicians and family members between 2008 and 2013. Introduction Born in 1945, Robert Wyatt came to prominence in the 1960s as drummer and vocalist with Soft Machine – contemporaries of Syd Barrett-era Pink Floyd who toured America with the Jimi Hendrix Experience and became the first rock act to perform at the BBC Proms in London. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
SMOKE SIGNALS" (Cuneiform Rune 150)
Bio information: MATCHING MOLE Title: "SMOKE SIGNALS" (Cuneiform Rune 150) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: [email protected] http://www.cuneiformrecords.com FILE UNDER: ROCK/PROGRESSIVE ROCK Matching Mole was the band formed by drummer/vocalist Robert Wyatt after he left the pioneering UK outfit Soft Machine in July, 1971. Soft Machine were hugely popular in France, and Robert got the name of his new band as a play on the French translation of Soft Machine: Machine Molle. What eventually became the first Matching Mole album was begun as a solo album by Robert in late 1971. Midway through recording, he was joined by guitarist Phil Miller (Delivery, Hatfield & The North, National Health), organist Dave Sinclair (Caravan), bassist Bill MacCormick (Phil Manzaneraʼs 801) and guest electric pianist Dave MacRae (Mike Westbrook). These recordings became their self titled first album, released in early 1972. Sinclair left soon after the release of their album, and MacRae joined full time. This quartet performed often throughout Europe, and recorded a second album, Little Red Record, which was produced by Robert Fripp of King Crimson, and which was released in fall,1972. Shortly after the release of Little Red Record, Robert decided that he did not want the responsibilities of being a band leader & broke up the band. For a band that was only in existence for a year, Matching Mole was particularly active: two studio albums, over fifty concerts in Britain and continental Europe,and a number of TV and radio broadcasts. Smoke Signals compiles all previously unreleased performances from the bandʼs most intense gigging period, the spring of 1972, and has been assembled to replicate their continuous concert set. -
The History of Rock Music: 1966-1969
The History of Rock Music: 1966-1969 Genres and musicians of the Sixties History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Canterbury 1968-73 (These are excerpts from my book "A History of Rock and Dance Music") The Canterbury school of British progressive-rock (one of the most significant movements in the history of rock music) was born in 1962 when Hugh Hopper, Robert Wyatt, Kevin Ayers, Richard Sinclair and others formed the Wilde Flowers. Wyatt, Ayers, Hopper and their new friends Daevid Allen and Mike Ratledge formed the Soft Machine; whereas Sinclair and the others went on to form Caravan. Soft Machine (103), one of the greatest rock bands of all times, started out with albums such as Volume Two (mar 1969 - apr 1969) that were inspired by psychedelic-rock with a touch of Dadaistic (i.e., nonsensical) aesthetics; but, after losing Allen and Ayers, they veered towards a personal interpretation of Miles Davis' jazz-rock on Three (may 1970 - jun 1970), their masterpiece and one of the essential jazz, rock and classical albums of the 1970s. Minimalistic keyboards a` la Terry Riley and jazz horns highlight three of the four jams (particularly, Hopper's Facelift). The other one, Moon In June, is Wyatt's first monumental achievement, blending a delicate melody, a melancholy atmosphere and deep humanity. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Brian Eno • • • His Music and the Vertical Color of Sound
BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in -
An Introduction to Prog Rock Prof
An Introduction to Prog Rock Prof. J. Paradiso – MIT Media Lab Session 1: Intro - Things your dad should have told you about Prog Session 2; Canterbury Session 3: Rock in Opposition Session 4: Zeuhl Session 5: Space Rock and Neopsychedelia Session 6: French & Quebecois Prog Session 7: Rock Progressivo Italiano Session 8: Germany, Berlin, and Krautrock (perhaps some Scandavania too) Session 9: Japanese Prog Lecture 4 – The Canterbury Bands …and a few fascinating detours! IAP 2018 The City of Canterbury London Up Here An amazingly creative bunch of emerging musicians hung out at Robert Wyatt’s House & environs in the mid 60s Memories Brian & Hugh Hopper, Richard Sinclair, Kevin Ayers formed The Wilde Flowers in the early 1960s – Daevid Allen, David Sinclair, Richard Coughlin, etc. in the mix too Leading to Soft Machine, Caravan, Gong, and Kevin Ayers solo career Enter Soft Machine! Robert Wyatt, Hugh Hopper, Mike Ratledge (Daevid Allen, Kevin Ayers) Jimi was their colleague, friend, and fan He gave them their sound… We Did It Again Early Soft Machine 1968 1969 Why Are We Sleeping? As Long as he Lies Perfectly Still Hung out and toured with Jimi Hendrix Fuzzbox and pedals on organ are iconic in Canterbury Music Very intense live band Hope for Happiness (Live @ Middle Earth Club) - 1967 Live in France - 1968 Kevin Ayers splits for his solo career 1969 1970 1972 1974 Rheinhardt And Geraldine / Colores Para Dolores (1970) The Confessions Of Doctor Dream: Irreversible Neural Damage (1974) Becoming a (psychedelic) Jazz Band 1970 1971 1972 Last -
'You Can't Just Say “Words”': Literature and Nonsense in the Work of Robert Wyatt
Richard Elliott, You Can’t Just Say ‘Words’, pre-publication draft (2014) ‘You can't just say “words”’: Literature and Nonsense in the Work of Robert Wyatt Richard Elliott Pre-publication draft of chapter published in Litpop: Writing and Popular Music, ed. Rachel Carroll and Adam Hansen (Farnham: Ashgate, 2014). Throughout his career, the British musician Robert Wyatt has explored the interaction of words, language, sound and sense. His lyrical and musical delivery, by turns absurdist, infantile, angry and melancholic, deconstructs everyday phrases and invites listeners to question the borders of sense and nonsense. Linguistic experimentalism has been a mainstay of Wyatt’s work from his early days in the jazz-rock group Soft Machine, through the short-lived Matching Mole and on to a distinguished series of albums released under his own name since the early 1970s. Wyatt has also engaged in numerous collaborative projects, providing further evidence of his predilection for pushing at the boundaries of sense. Both solo work and collaborations have strengthened Wyatt’s connection to a variety of art worlds – literary, musical, visual, avant-garde – influenced by the linguistic turn of the twentieth century. This chapter offers a selective assessment of such art worlds by examining connections between Wyatt’s work and a range of literary voices, particularly those associated with nursery rhyme, nonsense verse and absurdism. A further aim is to explore the role of sense and nonsense in popular music. If one of the ways in which music differs from literature is through its ability to communicate without words, can there be a relationship between sense and nonsense in musical language that correlates 1 Richard Elliott, You Can’t Just Say ‘Words’, pre-publication draft (2014) with that found in literature? In what ways can musical language be said to make or not make sense? These are big questions and a chapter of this length could not hope to explore them in depth. -
MATCHING MOLE Title: "MARCH" (Cuneiform Rune 172)
Bio information: MATCHING MOLE Title: "MARCH" (Cuneiform Rune 172) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: [email protected] http://www.cuneiformrecords.com FILE UNDER: ROCK/PROGRESSIVE ROCK Matching Mole was the band that drummer/vocalist Robert Wyatt formed after he left the pioneering UK outfit Soft Machine in July, 1971. Soft Machine had been hugely popular in France, and Wyatt named his new band after a play on the French translation of Soft Machine: machine molle. Over the course of its brief, one-year existence, Matching Mole developed a characteristic sound, a unique take on fusion, with interesting structures that encouraged individualistic expression through solos. Its legacy included two studio albums, over fifty concerts in Britain and continental Europe, and a number of TV and radio broadcasts. Matching Mole’s first, self- titled album was released in early 1972. Wyatt originally began it as a solo album in 1971, but midway through the recording broadened its scope. Matching Mole as released featured the band’s first quartet line-up – Wyatt and guitarist Phil Miller (Delivery, Hatfield & The North, National Health), organist Dave Sinclair (Caravan), and bassist Bill MacCormick (Phil Manzanera’s 801) – as well as a guest, electric pianist, Dave McRae (Mike Westbrook). The group supported the album with shows at home and a European tour. Not long after, Sinclair left the band and McRae joined full time. The quartet of Wyatt, Miller, MacCormick and McRae proved to be Matching Mole’s most experimental as well as most active lineup, performing numerous concerts throughout Europe. -
EURASIA MAILORDER British List 2021/8/2 Updated How to Order
EURASIA MAILORDER British List 2021/9/1 updated How to Order 10CC [HOW DARE YOU!] (UK / MERCURY / 75 / FOC/WI) EX/EX USD 16 / EURO14 10CC [SAME] (UK / UK RECORD / 74 / WI) EX/EX USD 25 / EURO21 10CC [SHEET MUSIC] (UK / UK RECORD / 74 / WI) EX/EX USD 23 / EURO19 11.59 [THIS OUR SACRIFICE OF PRAISE] (UK / DOVETAIL / 74 / WI) EX+/EX USD 180 / EURO152 9.30 FLY [SAME] (UK / EMBER / 72 / FOC) EX+/EX USD 342 / EURO288 ABSOLUTE ELSEWHERE [IN SEARCH OF ANCIENT GODS] (UK / WB / 76 / GIMC/WB) EX/EX USD 61 / EURO52 ABSOLUTE ELSEWHERE [IN SEARCH OF ANCIENT GODS] (UK / WB / 76 / GIMC/WB/SOC) EX/EX USD 34 / EURO29 ABSOLUTE ELSEWHERE [IN SEARCH OF ANCIENT GODS] (UK / WB / 76 / GIMC/WB) EX+/EX USD 52 / EURO44 ACHOR AND FRIENDS [HOSANNA TO THE SON OF DAVID] ( / / / ) EX+/EX+ USD 52 / EURO44 ADRIAN WAGNEFR [DISTANCES BETWEEN US] (UK / ATLANTIC / 74 / ) M-/EX USD 43 / EURO36 ADRIAN WAGNEFR [INSTINCTS] (UK / CHARISMA / 77 / ) EX/EX USD 34 / EURO29 AFFINITY [SAME] (ITA / AKARMA / / FOC) M-/M- USD 34 / EURO29 AFTER THE FIRE [SIGNS OF CHANGE] (UK / RAPID / 78 / WI) EX/EX USD 144 / EURO121 AFTER THE FIRE [SIGNS OF CHANGE] (UK / RAPID / 78 / ) EX/EX USD 108 / EURO91 AL ET AL [STRANGE AFFER] (UK / ARNY'S SHACK / / ) VG/VG+ USD 252 / EURO212 ALAN BOWN [STRETCHING OUT] (UK / ISLAND / 71 / FOC) EX/EX USD 34 / EURO29 ALAN BOWN [STRETCHING OUT] (UK / ISLAND / 71 / FOC) EX/EX USD 25 / EURO21 ALAN COHEN BAND [BLACK BROWN & BEIGE] (UK / ARGO / 73 / WI) EX/EX USD 90 / EURO76 ALAN SKIDMORE QUINTET [TCB] (UK / PHILIPS / 70 / ) EX+/EX+ USD 295 / EURO248 ALEANNA [SAME] (UK /