Robert Wyatt Old Rottenhat Mp3, Flac, Wma

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Robert Wyatt Old Rottenhat mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Old Rottenhat Country: Netherlands Released: 1985 Style: Abstract MP3 version RAR size: 1165 mb FLAC version RAR size: 1377 mb WMA version RAR size: 1365 mb Rating: 4.1 Votes: 959 Other Formats: AUD FLAC RA DXD AA MP1 ADX Tracklist A1 Alliance A2 The U.S. Of Amnesia A3 East Timor A4 Speechless A5 The Age Of Self A6 Vandalusia B1 The British Road B2 Mass Medium B3 Gharbzadegi B4 P.L.A. Credits Artwork By [Cover Paintings] – Alfreda Benge Artwork By [Design] – Caryn Gough (Multi-Modis) Recorded By – Bill Gill Gilonis*, John McGowan Written-By – Robert Wyatt Notes For Michael Bettany Recorded '84 at West 3 Studios, Acton by John McGowan and '85 at Acre Lane Studios, Brixton by Bill Gill Gilonis. Thanks to Charles Gray and Vicky Aspinall for invaluable help and advice and thanks Duncan. Other versions Category Artist Title (Format) Label Category Country Year Robert Old Rottenhat (LP, UK & ROUGH 69 Rough Trade ROUGH 69 1985 Wyatt Album, Gat) Europe Robert Old Rottenhat (CD, Hannibal HNCD 1434 HNCD 1434 UK 2004 Wyatt Album, RE) Records Robert Old Rottenhat (CD, VDP-5081 Rough Trade VDP-5081 Japan 1987 Wyatt Album, RE) Robert Old Rottenhat (CD, Hannibal HNCD 1434 HNCD 1434 US 1998 Wyatt Album, RE) Records VG 50148, Robert Old Rottenhat (LP, Rough Trade, VG 50148, Greece 1985 062-VG 50148 Wyatt Album) Rough Trade 062-VG 50148 Related Music albums to Old Rottenhat by Robert Wyatt Robert Wyatt - Robert Wyatt Robert Wyatt - Mid-Eighties Robert Wyatt & SWAPO Singers - The Wind Of Change Robert Wyatt - Nothing Can Stop Us Hot Chip With Robert Wyatt And Geese - Hot Chip With Robert Wyatt And Geese Robert Wyatt - Ruth Is Stranger Than Richard Various - Requiem By Rough Trade Robert Wyatt - '68 Robert Wyatt - Compilation Robert Wyatt - Shleep Wyatt Blair - Robert Wyatt - The End Of An Ear.

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Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
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Jason Jägel La Machine Molle February 7 - March 27, 2020 Opening Reception Friday February 7, 6-9Pm
JASON JÄGEL LA MACHINE MOLLE FEBRUARY 7 - MARCH 27, 2020 OPENING RECEPTION FRIDAY FEBRUARY 7, 6-9PM Gallery 16 is pleased to welcome artist Jason Jägel for his second solo exhibition with the gallery, La Machine Molle. Jägel presents a new series of paintings, works on paper and sculptures. There will be an opening reception for the artist on Friday, February 7th, from 6-9pm. La Machine Molle is French for The Soft Machine, the title of a 1961 cut-up novel by American author William S. Burroughs, as well as the name of seminal Canterbury scene band, Soft Machine. After being kicked out of his own band (Soft Machine), Robert Wyatt started a new band which he named Matching Mole, a linguistic pun on the French name for Soft Machine. The images in a new series of paintings refer to the 1972 live performance of Wyatt’s group on the French television program Rockenstock. Jägel broad admiration for Wyatt includes his use of everyday speech, wry humor, and self-referential elements in his lyrics. There is a kinship in the way both Jägel and Wyatt bring together elements of improvisation and lyrical narrative. In his own unique and poetic way, Jason Jägel's work cultivates a strong improvisational component, born out of a form of autobiographical fiction, his love of music, comics, and literary fiction. In the words of Kevin Killian, he is an “ace raconteur” and, above all, Jägel's work tells a story. His compositions often appear as fragments where experiences, dreams, people, places, individual narratives and past experiences intersect and intertwine to create open-ended, conversational stories full of rhythm and flow.
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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.
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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.
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'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.
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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.
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Heteroglossia and ‘Hagiography’: Authorship, Authorisation and the Collective/ Individual Couplet in Different Every Time and Associated Public Works
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository October 2017 Heteroglossia and ‘hagiography’: Authorship, authorisation and the collective/ individual couplet in Different Every Time and associated public works Marcus O’Dair M00436085 Faculty of Arts and Creative Industries Contextual statement submitted to Middlesex University in partial fulfilment of the requirements for the degree of PhD by Public Works 1 Abstract In this contextual statement, I critically reflect on the accompanying public works, including my authorised biography of the British musician Robert Wyatt. The contribution to knowledge is twofold. Firstly, there is the fact that, despite his status as a musician, mine is to date the only Robert Wyatt biography, while one of my journal articles has at least begun to fill the gap in academic literature about Wyatt. The three media articles I submit, meanwhile, are novel in presenting Wyatt not as a lone individual of innate ‘genius’ but as multiply determined – and an exemplar of collective, rather than individual, creativity. Studying Wyatt’s career, then, sheds new light on the tension between the individual and the collective. Wyatt’s career is also worthy of study because his music has been so influential and because Wyatt has been present at key moments in popular history over a prolonged period. Secondly, my contribution to knowledge derives from critically reflecting, in this contextual statement, on what is at stake in writing a particular type of biography: the authorised biography of a living subject. To Renders (2017: 163), such ‘texts by ghostwriters hired by famous people’ can be dismissed as ‘untrustworthy trash’; they are essentially hagiographic.
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