The Hitch Hikers Guide to the Galaxy Free
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Back from the Fourth Dimension Paddy Kingsland
Back From The Fourth Dimension Paddy Kingsland Posted: April 22, 2014 robinthefog.com/2014/04/22/back-from-the-fourth-dimension-paddy-kingsland/ As promised, following last week’s report for BBC World Service, here is the first of four interviews with the veterans of the Radiophonic Workshop, the ‘Godfathers of British Electronic Music’, now reformed and touring their collection of vintage analogue equipment and classic radiophonic works to rapturous reception. They’ll be featured in the order I interviewed them two weeks ago at the University of Chichester, so we’re starting with synthesiser legend Paddy Kingsland; the man who definitely put the ‘funk’ into radiophonics. Best known for The Fourth Dimension LP (essentially a Kingsland solo album), he has a string of classic BBC themes to his name, as well as providing incidental music for such classics as Hitchhiker’s Guide to the Galaxy, Dr. Who and many more. Paddy has also recorded solo albums, made library music and jingles for KPM and worked alongside composers such as Michael Nyman. His signature sound is melodic synthesiser workouts with a strong rhythmic back-bone and the track ‘Vespucci’ is a highlight of their revived set-list. This interview, slightly truncated here, took place in the artist’s green room at Chichester University; with moderate interruptions from the air conditioning... ! PK: I worked at the Radiophonic Workshop for the BBC between 1970 and 1981, which is quite a long time ago now. Of course I’ve done quite a lot of other things since then, but more recently I was approached by some other friends who worked at the BBC Radiophonic Workshop and was asked if I‘d be interested in doing some gigs with them – some live events. -
The Focus Group and Belbury Poly by Mark Fisher
Nostalgia for Modernism: The Focus Group and Belbury Poly ‘Myself and my friend Jim Jupp had been making music, independently and together for a while, and also obsessing over the same things – the cosmic horror of Machen, Lovecraft, the Radiophonic Workshop, weird folk and the occult. We realised that we wanted to put our music out, but also create our own world where we could play with all these reference points. Starting our own label was the only way to do it.’ Julian House is describing how he and his school-friend Jim Jupp came to found the Ghost Box label. Off-kilter bucolic, drenched in an over-exposed post-psyche-delic sun, Ghost Box recordings are uneasy listening to the letter. If nostalgia famously means ‘homesickness’, then Ghost Box sound is about unhomesickness, about the uncanny spectres entering the domestic environment through the cathode ray tube. At one level, the Ghost Box is television itself; or a television that has disappeared, itself become a ghost, a conduit to the Other Side, now only remembered by those of a certain age. No doubt there comes a point when every generation starts pining for the artefacts of its childhood – but was there something special about the TV of the 1970s which Ghost Box releases obsessively reference? ‘I think there definitely was something powerful about the children’s TV from that period,’ House maintains. ‘I think it was just after the 60s, these musicians and animators, film makers had come through the psychedelic thing and acid folk, they had these strange dark obsessions that they put into their TV programmes. -
2012 Selected Radiophonic Works on Radio 4 Extra
Selected Radiophonic Works on Radio 4 Extra There was a treat for fans of the Radiophonic Workshop on Radio 4 extra last Saturday evening, with 3 hours of programming based around their output. It was presented by Richard Coles, a former keyboard player and singer with The Communards who made an interesting post-pop career move of taking up the cloth (he is a C of E vicar, the Rev.Richard Coles), and, as far as his ecclesiastical duties allow, is an irregular but always welcome commentator on and presenter of arts programmes. As a sort of prelude, Stuart Maconie played John Baker’s Codename as the opening track on his Radio 6 Friday night programme The Freakier Zone. It’s Baker’s theme for a 1969 BBC spy adventure serial, and can be found on the first of the two excellent volumes of The John Baker Tapes released on Trunk Records a couple of years ago. It’s typical of his style, its springy melody riding effortlessly on infectiously sprightly rhythms, the source sounds (usually of humble, everyday origin) edited together with immaculate precision. Baroque portal - the entrance to the Maida Vale studio, home of the Radiophonic Workshop The Radio 4 extra celebration presented several archive programmes featuring the Workshop’s music and sound design, beginning with a 1971 documentary, Electric Tunesmiths. This was made at a pivotal moment in the Workshop’s history, with fundamental changes in production methods occurring. Principally, this was due to the arrival of synthesisers, and in particular to the installation of the mammoth EMS Synthi 100 in April 1971, nicknamed the Delaware after the road in which the Maida Vale studios, where the Radiophonic Workshop was based, were situated. -
By Paddy Kingsland (1973) / "BBC Radiophonic Music" by Delia Derbyshire, John Baker and David Cain (1971)
R obin Carm ody, 2001 Thanks to Mark Cola, Darren Giddings and Martin Fenton. "The Fourth Dimension" by Paddy Kingsland (1973) / "BBC Radiophonic Music" by Delia Derbyshire, John Baker and David Cain (1971) I recently received copies of the above two LPs (the first albums of Radiophonic music released commercially by the BBC, though there had been single releases in the 60s) and have naturally added them to the expanding universe of Radiophonic history on Elidor (it's almost becoming a kind of microsite ...). Some of the sonics on The Fourth Dimensionare fairly conventionally of-the- time; the standard idea of the prog wonderboy amid a bank of analog synths, and certainly Kingsland's theme to the Radio 1 series "Scene and Heard" is fairly conventional trendiness circa 1970, and not great. "Just Love", written for BBC TV, could almost be Rick Wakeman and therefore is Not A Good Thing. "Vespucci", not a signature piece, sees Kingsland getting a little indulgent when left entirely to his own devices; it goes on at least a minute too long, but of course a track timed at 3'20" is mercifully short by the standards of certain bands very prominent in 1973, and it could pretty much fit into his extraordinary soundtrack for The Changes, and therefore has at least something going for it. But you feel it would be more resonant and moving if written to order; there's something emptily early 70s about it, as though it's waiting for a purpose to make it seem special, and that purpose cannot be found. -
University of Huddersfield Repository
University of Huddersfield Repository Adkins, Monty, Duque, Carlos and Karman, Gregorio The electronic music of Roberto Gerhard Original Citation Adkins, Monty, Duque, Carlos and Karman, Gregorio (2012) The electronic music of Roberto Gerhard. In: International Computer Music Conference Proceedings. MPublishing, University of Michigan Library, Ann Arbor, MI, pp. 22-29. This version is available at http://eprints.hud.ac.uk/16242/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ THE ELECTRONIC MUSIC OF ROBERTO GERHARD white noise and sine-tone generators, as well as to digitize all of the tapes as well as to produce a transformed timpani, flute and piccolo. complete catalogue of the contents of the archive. The current research project2 has digitized all of the Monty Adkins Carlos Duque Gregorio Karman 2. -
Shadowy Pioneers
Radiophonic Workshop: the shadowy pioneers of electronic sound As pop luminaries queue up to appear on their forthcoming LP, we talk to surviving members of the BBC's Radiophonic Workshop, responsible for the theme music for many classic shows, including Doctor Who The Observer, Saturday 23 November 2013 19.00 GMT ! Delia Derbyshire of the Radiophonic Workshop in a BBC studio in 1965. !Photograph: BBC Photolibrary As musical legends go, they're a funny bunch. Five well-turned-out but unassuming gents, harrumphing and making small talk, they could easily be retired accountants at the golf club – were it not for the fact that they're busy wiring together enough vintage synthesisers and tape machines to make a young hipster techno producer faint with joy, all while the most peculiar boinging noises emerge from various speakers. Oh, and their manager's on the phone to Hot Chip's people, while the drummer from the Prodigy is sitting in the corner tapping his sticks. As per usual, though, the veteran tinkerers are mostly concerned with matters electronic. Worried about their antique equipment going out of tune, Paddy Kingsland, 66, mutters, "don't breathe on the autoharp!" There's a sudden electrical buzz; "ooh, that's playing havoc with my pacemaker," deadpans Roger Limb (who won't reveal his age). "Quick," says 77-year-old Dick Mills, helpfully, "stand in this bucket of water." This is life with the Radiophonic Workshop – the electronic Buena Vista Social Club, a "band that never was", masters of their craft finally coming together late in life. -
Nicola Candlish Phd 2012
Durham E-Theses The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio CANDLISH, NICOLA,ANNE How to cite: CANDLISH, NICOLA,ANNE (2012) The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3915/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio’ Nicola Anne Candlish Doctor of Philosophy Music Department Durham University 2012 Nicola Anne Candlish ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the Bids to Establish a National Studio’ This thesis traces the history and development of the facilities for electronic music in the UK. -
Doctor Who 1 Doctor Who
Doctor Who 1 Doctor Who This article is about the television series. For other uses, see Doctor Who (disambiguation). Doctor Who Genre Science fiction drama Created by • Sydney Newman • C. E. Webber • Donald Wilson Written by Various Directed by Various Starring Various Doctors (as of 2014, Peter Capaldi) Various companions (as of 2014, Jenna Coleman) Theme music composer • Ron Grainer • Delia Derbyshire Opening theme Doctor Who theme music Composer(s) Various composers (as of 2005, Murray Gold) Country of origin United Kingdom No. of seasons 26 (1963–89) plus one TV film (1996) No. of series 7 (2005–present) No. of episodes 800 (97 missing) (List of episodes) Production Executive producer(s) Various (as of 2014, Steven Moffat and Brian Minchin) Camera setup Single/multiple-camera hybrid Running time Regular episodes: • 25 minutes (1963–84, 1986–89) • 45 minutes (1985, 2005–present) Specials: Various: 50–75 minutes Broadcast Original channel BBC One (1963–1989, 1996, 2005–present) BBC One HD (2010–present) BBC HD (2007–10) Picture format • 405-line Black-and-white (1963–67) • 625-line Black-and-white (1968–69) • 625-line PAL (1970–89) • 525-line NTSC (1996) • 576i 16:9 DTV (2005–08) • 1080i HDTV (2009–present) Doctor Who 2 Audio format Monaural (1963–87) Stereo (1988–89; 1996; 2005–08) 5.1 Surround Sound (2009–present) Original run Classic series: 23 November 1963 – 6 December 1989 Television film: 12 May 1996 Revived series: 26 March 2005 – present Chronology Related shows • K-9 and Company (1981) • Torchwood (2006–11) • The Sarah Jane Adventures (2007–11) • K-9 (2009–10) • Doctor Who Confidential (2005–11) • Totally Doctor Who (2006–07) External links [1] Doctor Who at the BBC Doctor Who is a British science-fiction television programme produced by the BBC. -
Discographic Workshop Part 2 a – Solo Albums
http://bbcrecords.co.uk/blog/?p=77 12TH JUNE 2017 BY SNORGATE Discographic Workshop Part 2 A – Solo Albums • Part 2A • Credit Where It’s Due • Maddalena Fagandini – Language Courses • Desmond Briscoe & Dick Mills – Narrow Boats • David Cain – The Seasons • Let’s Workshop this! • Man and the Seasons • Hullo clouds hullo sky • Visual Stimulus • Summery (sic) • Music By David Cain From Four Radio Plays • Sleeve Design • The Hobbit • Much Ado About Nothing • Hajji Baba • The Jew of Malta • Alas poor Munrow • Sources Part 2A Welcome to part 2 of an exhausting exhaustive review of The BBC Radiophonic Workshop’s releases on the BBC Enterprises vinyl and cassette labels. Part 2 covers solo LPs and I’ve included some production credits here too. Well, they had to go somewhere. This is Part 2 ‘A’ because it became too long to publish everything I wanted to say in a single post. Part 2 is now split into 3 posts, A, B and C. Credit Where It’s Due The composers at the Workshop were somewhat anonymous for most of their career. The most famous example of this is that the ‘Doctor Who’ theme was credited only to the composer of the score, Ron Grainer, and The Radiophonic Workshop. However, this injustice was corrected later and the composer and Workshop were given equal billing. The situation came about simply because in the early days there was no music being created at the Workshop. The drama department were the sponsors and the product was not musical. That was why Daphne Oram left – she wanted to make music. -
2017 the BBC Radiophonic Workshop
http://www.toppermost.co.uk/bbc-radiophonic-workshop/ The BBC Radiophonic Workshop October 16, 2017 The BBC Radiophonic Workshop (l to r): Desmond Briscoe, Dick Mills, Delia Derbyshire, Keith Salmon, Brian Hodgson Contributor: Duncan Harman “Established in 1958 to provide original sound treatment for Third Programme drama,” intones the dry and unassuming blurb on the back cover of the 1968 LP BBC Radiophonic Music, “we now provide a creative service for radio, television, local, regional and external broadcasting.” Which is one way of describing the BBC Radiophonic Workshop – and were we merely discussing the sound effects unit of a public service broadcaster, we could settle on an underwhelming summary, tidying away references to experimentalism and musique concrète and batshit crazy. The point being that the Workshop was so much more than a bunch of disparate technicians and composers tasked by Auntie Beeb to add a little pizazz to Play Of The Week; through the corridors of the BBC’s Maida Vale complex skulked some of the leading figures of mid-20th century sonic radicalism – Daphne Oram, Delia Derbyshire, Brian Hodgson, Maddalena Fagandini. By definition their musical output was atmospheric – otherwise TV and radio producers wouldn’t have commissioned it – yet it was also weird, textured, nuanced, esoteric, pioneering, and – above all else – fascinating. Sound as bricolage, subverting boundaries between music and noise. And whilst the Workshop was an umbrella beneath which artists functioned primarily on an individual basis, there’s also a commonality in play; a framework through which spliced tape, ring modulators and early synths became states of mind as much as base instrumentation. -
Download the Digital Booklet
1 Scene & Heard (2.13) 7 Fourth Dimension (2.20) Bonus Tracks: 2 Just Love (1.42) 8 Colour Radio (2.30) 13 Rugby Special (1.40)* 3 Vespucci (3.17) 9 Take Another Look (2.21) 14 Willie Banks and The Administrative Machine (2.23)* 4 Reg (2.07) 10 Kaleidoscope (1.17) 15 The Ramsbottom File (2.02)* 5 Tamariu (2.45) 11 The Space Between (3.10) 6 One Eighty-One (1.54) 12 Flashback (2.52) * Previously Unreleased Music heard on radio and television (including Test Card Transmissions) Composed and Realised by Paddy Kingsland, BBC Radiophonic Workshop (BBC Music) Original Record Produced by Desmond Briscoe Original Record Co-ordinated by Jack Aistrop Produced and Remastered by Mark Ayres Sleeve Design and Photography by Andrew Prewett All titles published by Paddy Kingsland (PRS) Executive Producers for Silva Screen Records Ltd: Reynold D’Silva and David Stoner Digital Manager James Borrer Layout by Stuart Ford Notes by Desmond Briscoe The synthesisers used on this disc are both television drama, documentaries and children’s British, and both made by E.M.S. of London. programmes, to drama and schools programmes One aspect of the work of the BBC Radiophonic They are the VCS3, an amazingly versatile on radio and to many local radio stations. In all, Workshop is the composition and realisation of miniature synthesiser, and its big brother, the more that 200 different commitments a year are signature tunes and incidental music for BBC Synthi ‘100’, known within the Radiophonic undertaken. Radio and Television programmes. Programme Workshop as ‘The Delaware’, after the address producers come to the Workshop with varying of the Workshop. -
31 May-7 June 2014 >]Abs`Rsawu\SRPg9Sdw\1]Eo`R
3ReO`R/ZRS`b]\BVSOb`S Edward#0`O[^b]\@]OR0SfZSgVSObV9S\b2/%"3H Alderton Theatre Non-Professional 0O`]^S\a(% ! ^ [ >S`T]`[O\QSPSUW\a(&^[BWQYSba(&[S[PS`a /\]\^`]TSaaW]\OZ^`]RcQbW]\ The Tempest By William Shakespeare Directed by Mark Campbell 31 May-7 June 2014 >]abS`RSaWU\SRPg9SdW\1]eO`R Box0]f=T¿QS( Office: 020 &!##&" 8301 5584eeeSReO`ROZRS`b]\]`UProgramme £1.00 www.edwardalderton.org EAT NEws DirEctor’s notes and sUmmAry Auditions Plot summary Auditions for Pygmalion by Bernard Shaw, directed by Tony Donnelly, will take place at the theatre on sunday 15 June 2014 at 3pm. Information will shortly be found on our website. The performance dates lonso, the king of Naples, is returning from his daughter’s wedding in Tunis accompanied are 18-25 October 2014. by his son Ferdinand, his brother Sebastian, and Antonio, the Duke of Milan. Gonzalo, a Acouncellor, is also on board. The ship is wrecked in a storm and the passengers and crew are Another round of auditions for Terry and Gary in ‘Dulci Jubilo’, written and directed by Ian Long, will washed up unharmed on a remote island. take place at the theatre on sunday 15 June 2014 at 2pm. Information can be found on our website. The performance dates are 6-13 December 2014. Prospero, the former Duke of Milan, and his daughter Miranda, are watching the shipwreck from the island. Twelve years earlier his brother Antonio had usurped him, but with Gonzalo’s help they had escaped in a boat. Prospero had turned the only inhabitant, the savage Caliban, into his slave and Selected highlights of Hancock’s Hour and a Half now online released the spirit Ariel from imprisonment by the witch Sycorax, whereupon she became his servant.