KZSU is a great freeform station that covers most of the Bay Area, there are a lot of great shows on KZSU, icluding Music Casserole, orangeasm, Folktronic, lost and found, and Lost Adam. You can listen here. Check out the playlist! Its definitely one of the only radio station with Goblin, Fela Kuti and bands like us in the top 20 right now.

KZSU says:

"KZSU is a non-commercial station (meaning we don't play commercials, naturally) broadcasting at 90.1 megahertz on the FM band. Operations are funded mainly by Stanford student fees, plus underwriting and listener donations.

KZSU's staff is all volunteer, made up of assorted locals as well as Stanford students and staff. There are many ways to contact us, and also many ways to join us, if that's what you want to do.

On a good day, our 500-watt signal reaches from Oakland and parts of San Francisco in the north, to Fremont and points beyond in the east, and down to around Gilroy in the south. It's just about the whole Bay Area -- most of the coverage of commercial stations which broadcast at 50,000 watts and more. KZSU broadcasts in full stereo, and without much of the compression favored by most Bay Area commercial stations."

Many times we are somewhere and say, “why is this not more like the Zodiac Arts Club in Berlin in 1967?” Many times in school, getting bored, looking at the floor, saying “why is this not more like the Zodiac Arts Club in Berlin in 1967?” One of us was at the DMV in El Cerrito for four and a half hours, and the same question came up: “Why is this not more like the Zodiac Arts Club Club in Berlin in 1967?”. Why is the El Cerrito DMV not staffed by Rodelius, Cluster and Tangerine Dream? Shouldn't everything be more like the Zodiac Arts Club Club in Berlin in 1967?” Join us at Café Du Nord on Tuesday, January 12th and help answer that question!

Tickets are available now here: http://bit.ly/5fPc0g
All of The Lickets’ albums for free download: http://www.lickets.com/free

About The Lickets

Textura says “The Lickets deploy a mini-orchestra of acoustic instruments—cello, flute, acoustic guitar, organ, sitar, harmonium, hand percussion, et al.—to call into being undulating vistas of luminous mantras and soundscapes. The Lickets' raga-like settings suggest a strong Indian influence, and traces of visionary ‘60s jazz artists like John and Alice Coltrane, the time-transcending drones of La Monte Young and his Theatre of Eternal Music, and ‘60s psychedelic rock surface too as parts of the trio's trippy mix.”

http://www.myspace.com/thelickets

About Moon Duo

Insound says “Not strictly a duo, and not necessarily from THE moon, the group was conceived by Ripley Johnson of Wooden Shjips. Operating within the same discipline of steady beats and maxi-minimalist rock 'n' roll as the Shjips, the Moon Duo group utilizes machine rhythms and degrading riffs to create a stupor-ific miasma of sound.”

http:/ www.myspace.com/moonduo

About The Spyrals

The Spyrals are forging paths into the future with heaps of fuzz, 12-string drones, and underwater tape echo. Undoubtedly, they've embarked on a journey to rediscover the  wandering spirits of a timeless wisdom. With fire and fury, The Spyrals howl at the roots of rock n' roll, stripped down to capture its most primitive elements.

http://www.myspace.com/thespyrals

About DJ Stereo Steve

Steve is SF Weekly's Best Radio DJ 2009 who says: "The KUSF vet plays free jazz, garage-rock nuggets, and the stonier side of punk and metal. He time-travels through multiple eras, mixing '60s bands with their progeny in the '00s, the connecting thread being an experimental and/or psychedelic vibe to the music.

http://www.kusf.org/


About the Zodiac Arts Club in Berlin in 1967

http://bit.ly/78d6c5

Hello all. So we've decide to make all the albums free for the rest of the year, if you like them you can give back by donating here, but above all else enjoy!

All the Lickets albums are here: http://bit.ly/6iNwfw

Thanks everyone for coming out to the night we put together at Cafe Du Nord! It was an absolute blast, and we had no idea what a great surrealist environment Cafe Du Nord can become. DJ Stereo Steve was blaring natural bird sounds and at that point we realized you can basically make the environment anything you want it to be. A Shakuhachi player sat at a table nearby playing their instrument as the DJ moved to ocean sounds and obscure Indian music recordings. Julianna Barwick's set was amazing and most of us sat on the floor mesmerized. Then The Lickets played a set with more noise and sound masses than we usually do.

In C was endless, and counting rehearsals for many of us, this was the 5th time we played it in the last seven days. Playing In C is a beautiful and physically exhausting experience. You realize with a physical and emotional force that each beat is singular, vital, important, and different, like the rhythm of your own heart. You are totally free to listen to each performer as they make their decisions and watch each stream flow into a giant and beautiful river.

We want to thank everyone who made this night possible, all the musicians: Julianna, Danny Bowman (Keyboard), Ferrara Brain Pan (Bass Clarinet), Stephen Brown (Cello), Rob Cheifetz (Tenor Saxophone), Phillip Gelb (Shakuhachi), Samantha Guittard (Guitar), Alex Kaiser (Percussion), Matt Kane (Ukulele), Gregory Lucas (Melodica), Tyler McCauley (Guitar), Nick Mirov (Guitar), Rob (Concertina), Jamie Schlessinger (Cello), Jason Wexler (Guitar), Xin Zhang (Erhu), Stereo Steve, Nicole Browner at Bay Bridged,  Terry Riley and Tom Welsh,  Terra Reneau and everyone at Cafe Du Nord, and again to everyone who came out!

Thanks so much to Stereo Steve for having the Lickets on KUSF's Guest DJ Hour. We were excited to be asked and you can probably tell that from the interview! The full session is here. Stereo Steve's show is on Fridays from noon- 3pm on KUSF, another great example of how amazing radio can be when its freeform.

1.The Macrocosm That Spreads Out Infinitely - Hiroshi Miyagawa - from Space Battleship Yamato - Original Soundtrack, Part 1 Sony/Columbia 1997

“Set in the year 2199, an alien race known as the "Gamilas" are raining radioactive bombs on Earth, rendering the planet's surface dead and uninhabitable. Humanity lives in refuges built deep underground, but the radioactivity is slowly infiltrating the underground cities too. Earth's space fleet is hopelessly outclassed by the Gamilas and all seems lost until a message capsule from a mysterious crashed spaceship is retrieved on Mars. Blueprints for a faster-than-light engine are discovered inside the capsule, and an offering of help from Queen Starsha of the planet Iscandar in the Large Magellanic Cloud, who says that she has a device, the Cosmo-Cleaner D (Cosmo DNA), which can cleanse Earth of its radiation damage. The inhabitants of Earth secretly build a massive spaceship inside the ruins of the Japanese battleship Yamato, the Space Battleship Yamato for which the story is titled. Using Starsha's blueprints, they equip their new ship with a space warp drive, called the "wave motion engine", and a new, incredibly powerful weapon called the "wave motion gun" which fires from the bow.” -Wikipedia

2.Le Dragon - Brigitte Fontaine (with Areski Belkacem, Julie Dassin and Jacques Higelin) - from Brigitte Fontaine Saravah, 1972

 “In 1965 and then in 1968, she made two albums, one avant-pop and one free jazz, as well as two 45s with Jacques Higelin. In 1969, she began what would be a long collaboration with Kabyle musician Areski Belkacem. With Belkacem and in the company of Higelin, she conceived Niok, an innovative spectacle of theatre and song, for the Lucernaire theatre. Soon after, Fontaine wrote a series of works in free verse and prose which comprised the show Comme à la radio at the Théâtre du Vieux-Colombier before being turned into an album. Recorded with The Art Ensemble of Chicago, this album marks a clean break with traditional French songs, building the first bridges to world music. Brigitte Fontaine then became an incontrovertible figure in the French underground. In a half-dozen albums, the majority of which published by the independent label Saravah, Fontaine explored different poetic worlds without worrying about the charts. She renounced the use of rhyme, and using talk-over sometimes, she recorded, with very little means and often on two tracks, songs which addressed topics with humour or gravity, according to the mood, as various as death (Dommage que tu sois mort), life (L’été, l’été), alienation (Comme à la radio), madness (Ragilia), love (Je t’aimerai), or social injustice (C’est normal), the inequality of the sexes (Patriarcat) and racism (Y' a du lard). However, she also knew how to make light of herself (L'Auberge (Révolution)). Because they sail between pop, folk, electro and world music, the albums L’incendie and Vous et nous by the Areski-Fontaine duo figure among the most unclassifiable records of the French scene. Almost thirty years later, the international audience of these LPs (sinced re-edited for CD) is comparable to that of the cult record Histoire de Melody Nelson by Serge Gainsbourg and Jean-Claude Vannier, notably due to the enthusiastic remarks made by members of the band Sonic Youth in the Anglo-Saxon press.” –Wikipedia

3.Dawn -Salah Ragab and the Cairo Jazz Band - from Egyptian Jazz (Art Yard Records 2006)

“Salah Ragab was an Egyptian drummer and musician credited with founding Egyptian jazz. A Major in the Egyptian Army through the 1960s, he first attempted to form a jazz band in 1964, with American saxophonist Mac X. Spears. Together with Hartmut Geerken and Edu Vizvari, he founded one of the first Egyptian jazz big bands. Salah Ragab formed the first jazz big band in Egypt The Cairo Jazz Band in 1968, he was also the leader of the Military Music Departments in Heliopolis, some of the best musicians in Egypt of that time were members of the band, such as Zaki Osman (Trumpet), Saied Salama (Tenor Sax) - Khamis El -Kholy (Piano) and Ala Mostafa (Piano). On this recording the band consists of five saxophones, four trumpets, four trombones, piano, bass, drums and percussion and various other oriental instruments. The opening concert of The Cairo Jazz Band was in Ewart Memorial Hall at The American University 23/02/1969. There were many other concerts in various prestigious places such as the Old Opera House, The University of Alexandria and appearances on Egyptian TV Jazz Club Weekly. Salah Ragab accompanied the great band leader and composer Sun Ra on a Tour in Egypt, Greece, France and Spain in 1984. He also studied jazz theory and improvisation with the jazz musician and composer Osman Kareem, with whom he formed the first jazz quintet in Cairo in 1963, recording with the Radio Service of Cairo. He gave a series of educational lectures about Jazz History at the German Culture 'Goethe Institute'” -Wikipedia

4.Flute in a Quarry - Alejandro Jodorowsky - from El Topo Soundtrack Dagored 1970

“El Topo (The Mole) is a 1970 allegorical, cult western movie and underground film, directed by and starring Alejandro Jodorowsky. Characterized by its bizarre characters and occurrences, use of maimed and dwarf performers, and heavy doses of Christian symbolism and Eastern philosophy, the film is about the eponymous character - a violent, black-clad gunfighter - and his quest for enlightenment. For many years the film could only be seen at midnight screenings. The movie takes place in two parts. The first half resembles a western; albeit a surreal one. The second is a love story of redemption and rebirth. The first half, set in an unnamed desert, opens with El Topo (played by Jodorowsky himself) traveling with his naked young son. They find a town whose citizens have been slaughtered and El Topo hunts down and kills the outlaws and their leader, a fat balding Colonel. El Topo abandons his son to the monks of the settlement's mission and rides off with a woman whom the Colonel and his outlaws had kept captive as a slave. The woman, whom El Topo names Mara, convinces him to defeat the four great gun masters to become the greatest gunman in the land. He duels each of them and during each duel, El Topo emerges victorious through trickery or luck. After the first duel, an unnamed woman with a male voice finds the couple and offers to serve as a guide. Her involvement will prove El Topo's downfall. Ridden with guilt, El Topo destroys his own gun and revisits the places where he killed those masters. The unnamed woman then confronts El Topo and shoots him multiple times in the manner of stigmata. Mara then betrays him and rides off with the woman after shooting El Topo. The second half of the movie takes place years later, after El Topo is rescued by a band of deformed outcasts. In their underground community he meditates on the "four lessons" and when he awakes, he is 'born again'. He decides to help the outcasts escape their subterranean prison and, together with a dwarf girl who becomes his lover, performs for the depraved cultists of the neighbouring town to raise money to buy dynamite for this cause. At the same time, a mysterious monk arrives in town and becomes the new priest. It is revealed that the new priest is actually El Topo's own son. He threatens to kill El Topo, but decides to spare El Topo's life until he finishes digging the escape for the underground people. With the help of his girlfriend and son, El Topo digs an exit out of the cave. Just as the exit appears, the underground people flee the mountain and are massacred by the cultists. El Topo helplessly witnesses his community being murdered by the cultists and is shot himself. He ignores his wounds and massacres the cultists in the town. After all are killed, El Topo takes an oil lamp and engages in self-immolation. El Topo's son and girlfriend survive the massacre and make a grave for his remains, which becomes as much a beehive as the first gun master's grave. His dwarf girlfriend gives birth to their child at the same time as his death, and the son of El Topo, now dressed in his father's garments, the dwarf, and the child ride off on a horse in the same fashion that the Son of El Topo and El Topo did in the beginning of the film.” -Wikipedia About Jodorowski: “Jodorowsky began his artistic activities at a very young age, inspired greatly by film and literature. He began publishing his poetry in Chile when he was 16. At this time, he worked alongside the Chilean poets Nicanor Parra and Enrique Lihn. He developed an interest in puppetry and mime. He published his first book of poetry when he was 16.[1] At 17, he debuted as an actor and a year later he created the pantomime troupe, Teatro Mímico. In 1953, Jodorowsky wrote his first play, El minotauro (The Minotaur). That same year he traveled to Paris to study pantomime with Etienne Decroux, the teacher of Marcel Marceau. The next year he joined Marcel Marceau theatre troupe; the performances realized during this collaboration toured worldwide. In 1955 he attended university in Santiago, Chile.[1] After performing in Mexico in 1960, Jodorowsky decided to continue his stay in order to pursue other theatrical endeavors. In February 1962, in Paris, Jodorowsky, along with Fernando Arrabal and Roland Topor, initiated the Panic Movement[1], an artistic movement centered around three basic elements: terror, humor, and simultaneity. These acts combine layers of physical postures inspired by the imagination and integrate artistic elements. Acts of this movement include Cuentos pánicos, Teatro pánico, Fabulas pánicas and Efímeros pánicos. Throughout the 60s and 70s, working in Paris and Mexico, Jodorowsky created over one hundred theatrical productions. He directed works of his own in addition to those written by Leonora Carrington, Samuel Beckett, Eugen Ionesco, August Strindberg and others. El acto efímero (or "ephemeral performances") was acted out in public spaces, drawing attention to the quotidian while promoting critical awareness in both participants and audience. During these ephemeral acts the public is often unaware that an act of drama is being performed. Jodorowsky once stated: "the panic man is not, he is ever becoming" to reference Alfred Korzybski's influence on his thought. Jodorowsky spent over fifteen years reconstructing the original form of the Tarot de Marseille. From this work he moved in to more therapeutic work in three areas: psychomagic, psychogenealogy and initiatic massage. Psychomagic aims to heal psychological wounds suffered in life. This therapy is based on the belief that the performance of certain acts can directly act upon the unconscious mind, releasing it from a series of traumas, some of which are passed down from generation to generation. Psychogenealogy includes the studying of the patient’s personality and family tree in order to best address their specific sources. Jodorowsky has several books on his therapeutic methods, including Psicomagia: La trampa sagrada (Psychomagic: The Sacred Trap) and his autobiography La danza de la realidad (The Dance of Reality). To date he has published over 23 novels and philosophical treaties, along with dozens of articles and interviews. His books are widely read in Spanish and French, but are for the most part unknown to English-speaking audiences. Throughout his career, Jodorowsky has gained a reputation as a philosopher and scholar who presents the teachings of religion, psychology and spiritual masters, by molding them into pragmatic and imaginative endeavors. All of his enterprises integrate an artistic approach. Currently Jodorowsky dedicates much of his time to lecturing about his work. For a quarter of a century, Jodorowsky held classes and lectures for free, in cafés and universities all over the city of Paris. Typically, such courses or talks would begin on Wednesday evenings as tarot divination lessons, and would culminate in an hour long conference, also free, where at times hundreds of attendees would be treated to live demonstrations of a psychological "arbre généalogique" ("tree of genealogy") involving volunteers from the audience. In these conferences, Jodorowsky would pave the way to building a strong base of students of his philosophy, which deals with understanding the unconscious as the "over-self" which is comprised of many generations of family relatives, living or deceased, acting on our own psyche, well into our adult lives, and causing our compulsions. It is important to note that of all his work, Jodorowsky considers these activities to be the most important of his life. Though such activities only take place in the insular world of Parisian cafés, he has devoted thousands of hours of his life to teaching and helping people "become more conscious," as he puts it. Presently, these talks have dwindled to once a month and take place at the "Librairie Les Cent Ciels" in Paris. Women of Influence At a young age, Jodorowsky began to search for personal enlightenment. He was united with Ejo Takata, who taught him the practice of meditation and introduced him to Zen Buddhism. He then became associated with a group of women, each of whom was a master of her own craft; dona Magdalena: taught him initiatic/spiritual massage, La Tigresa: a famous Mexican Actress, Reyna D'Assia: the daughter of G.I. Gurdjieff, a spiritual leader, Maria Sabina: priestess of the sacred mushrooms, Pachita: a mystical healer, Violeta Parra: Chilean SingerEach of these women, although separate from his studies in Buddhism, greatly influenced Jodorowsky's ability to put into practice the lessons he had learned from Ejo Takata. He started his film career in Mexico with Fando y Lis (1968). The feature-length film debuted in Acapulco at the Film Festival and is famous for having incited a full scale riot there, requiring that Jodorowsky be smuggled out in a limousine. El Topo (1970), a mystical Western, was his second film and is now considered a cult classic. John Lennon and Yoko Ono helped to arrange the film's release and distribution in the United States through Beatles manager Allen Klein. It tells the story of El Topo, a Mexican gunslinger, in three main story arcs: (1) his revenge on a gang of bandits for their massacre of a small town's entire population; (2) his love for a woman, the woman's demands that El Topo take on four master gunmen who live in the desert, and El Topo's resulting fall from grace; and (3) El Topo's reawakening several years later in a colony of deformed people, his endeavor to release them from a mountain cave in which they are trapped, and his atonement. Jodorowsky's third film, The Holy Mountain (La montaña sagrada) (1973), was entirely financed by John Lennon and Yoko Ono through the production office of Beatles producer Allen Klein. It has been suggested that The Holy Mountain may have been inspired by Rene Daumal's surrealist novel Mount Analogue. The Holy Mountain was another complex, multi-part story that featured a man credited as "The Thief" and equated with Jesus Christ, a mystical alchemist played by Jodorowsky, seven powerful business people representing seven of the planets (Venus and the six planets from Mars to Pluto), a religious training regimen of spiritual rebirth, and a quest to the top of a holy mountain for the secret of immortality. During the completion of The Holy Mountain, Jodorowsky received spiritual training from Oscar Ichazo of the Arica School, who encouraged him to take LSD and guided him through the subsequent psychedelic experience[3]. Around the same time (2 November 1973), Jodorowsky participated[4] in an isolation tank experiment conducted by John Lilly. In December 1974, a French consortium led by Jean-Paul Gibon purchased the film rights to Dune from Arthur P. Jacobs. Jodorowsky was set to direct. In 1975, Jodorowsky planned to film the story as a ten hour feature, in collaboration with Salvador Dali, Orson Welles, Gloria Swanson, David Carradine, Geraldine Chaplin, Alain Delon, Hervé Villechaize and Mick Jagger. The music would be composed by Peter Gabriel. Jodorowsky set up a pre-production unit in Paris consisting of Chris Foss, a British artist who designed covers for science fiction periodicals, Jean Giraud (Moebius), a French illustrator who created and also wrote and drew for Metal Hurlant magazine, and H. R. Giger. Moebius began designing creatures and characters for the film, while Foss was brought in to design the film's space ships and hardware. Giger began designing the Harkonnen Castle based on Moebius' storyboards, and Dali was cast as the Emperor with a reported salary of $100,000 an hour. His son Brontis Jodorowsky was to play Paul. Dan O'Bannon was to head the special effects department. In 2000, Jodorowsky won the Jack Smith Lifetime Achievement Award from the Chicago Underground Film Festival (CUFF). He attended the festival and his films were shown, including El Topo and The Holy Mountain, which at the time had grey legal status. According to festival director Bryan Wendorf, it was an open question of whether CUFF would be allowed to show both films, or whether the police would show up and shut the festival down.” – Wikipedia

5. A Linnet - Ivor Cutler - from Jammy Smears Virgin Records 2004

“Ivor Cutler was a Scottish poet, songwriter and humorist. He became known for his regular performances on BBC radio, and in particular his numerous sessions recorded for John Peel's influential radio programme, and later for Andy Kershaw's programme. He appeared in the Beatles' Magical Mystery Tour film in 1967 and on Neil Innes' television programmes. Cutler also wrote books for children and adults and was a teacher at A. S. Neill's Summerhill School and for 30 years in inner-city schools in London. In live performances Cutler would often accompany himself on a harmonium. Phyllis King appears on several of his records, and for a number of years was a part of his concerts. She usually read small phrases but also read a few short stories. The two starred in a BBC radio series, King Cutler, in which they performed their material jointly and singly. Cutler is known to have had a long term relationship with King, but they never married or set up home together. Cutler also collaborated with pianist Neil Ardley and singer Robert Wyatt. Cutler was an anti-intellectual and noted eccentric, dressing in a distinctive style including plus-fours and hats adorned with many badges, travelling mainly by bicycle and often communicating by means of sticky labels printed with "Cutlerisms", one of which, "never knowingly understood" came to be summary applied by supporters and detractors alike. Others included "Kindly disregard", reserved for official correspondence, and "to remove this label take it off", designed to confuse pedants. Many of Cutler's poems and songs involve conversations delivered as a monologue and, in these, one party is often Cutler as a child, a part of his intended "bypassing the intellect". Cutler describes poverty and neglect from his parents with great stoicism. He focuses on acceptance and gratitude for the basic elements of life, nature and love…Cutler recited his poems in a gentle Scottish burr, and this, combined with the absurdity of the subject matter, is a mix that earned him a faithful cult following. John Peel once remarked that Cutler was probably the only performer whose work had been featured on Radio 1, 2, 3 and 4. Cutler was a member of the Noise Abatement Society and the Voluntary Euthanasia Society. He retired from performing in 2004, and died on 3 March 2006.His home contained a number of pieces of ivory cutlery (as a pun).” –Wikipedia

6. Robin's Theme - The Sensational Guitars of Dan & Dale (Sun Ra Arkestra/Al Kooper’s Blues Project - from Batman and Robin Universe Italy 2001

“In 1966, a toy company in Newark, New Jersey released a children's record called Batman and Robin to cash in on the popular Adam West TV series of the same name. The music on the LP was credited to "The Sensational Guitars of Dan and Dale," but in fact the band was one of the greatest uncredited session combos of all time, including the core of Sun Ra's Arkestra and Al Kooper's Blues Project. To keep the music licensing fees to a minimum, all the tracks were based on public domain items like Chopin's Polonaise Op. 53, the horn theme from Tchaikovsky's Fifth Symphony and the love theme from Romeo and Juliet, and generic rock riffs. It's all instrumental, with the exception of http://static.delicious.com/img/play.gifRobin's Theme (MP3), featuring an uncredited vocalist who I hope some reader will be able identify. “ –WFMU

7. I Only Have Eyes For You - The Flamingos - from The Films of Kenneth Anger, Vol. 1 - Fantoma 2006

One of four songs making up the soundtrack to Kenneth Anger’s Rabbit Moon 1972 edit. “Rabbit's Moon is a short avant-garde film directed by Kenneth Anger in the style of both mime and Kabuki theatre. The title refers to the Japanese myth about a rabbit on the moon. The story focuses on Pierrot trying to obtain the unattainable moon. Harlequin appears and entertains Pierrot with sword play, juggling, and dance. Pierrot remains distraught, so Harlequin summons Columbina to help uplift Pierrot. Although the film was originally made in 1950, two further cuts were created, one in 1972 and another in 1979, both with different soundtracks. The 1972 version soundtrack features the 1950's and 1960's pop songs catalogued below, interspersed with folk chanting and sound effects. The 1979 version soundtrack is the song "It Came in the Night" by A Raincoat, a UK-based band.” - Wikipedia Soundtrack to Kenneth Anger’s Rabbits moon" Anger used a rich pancultural texture of myth to explain his own psychological condition in Rabbit's Moon. The rabbit in the moon is lifted out of Japanese myth, with the moon in Crowleyan terms representing the female principal. The character Pierrot was based on Crowley's tarot card of the Fool, which meant divine inspiration in spiritual or creative matters, but folly, mania, or death in everyday affairs. The highly stylized mime movements of the actors, which was part of early 20th century avant-garde theatre, recalls both Kabuki and commedia dell'arte, where Columbine emotionally tortures Pierrot with Harlequin's assistance. The set itself resembles the art decoforest of silver trees in A Midsummer Night's Dream." - Bill Landis, Anger

8. Marc Wilkinson Blood on Satans Claw: Fiend Discovered And Titles, Trunk Records 1971

The film's soundtrack was composed by Marc Wilkinson. It was released on CD and limited edition vinyl LP by Trunk Records in 2007. "It is set in 17th century England, and tells the story of a village taken over by demonic possession." -Wikipedia “Directed by Piers Haggard in 1971, Blood on Satan's Claw has slowly gathered a cult following for lots of reasons, it's beautifully shot and art directed, it stars The Devil, evil naked maidens, and of course the music accompanying all the horror is quite extraordinary. Written by Marc Wilkinson, former director of music for the National Theatre, this soundtrack takes its lead from "The Devil's Interval". Musical appearances from the Ondes Martenot (the earliest electronic instrument) and Cimbalom add to the overall spookiness of this recording.” -Moviegrooves

9. Moogies Bloogies – Delia Derbyshire/ Anthony Newly - unreleased, made available by Delia Derbyshire Recordings 1966

“Delia Ann Derbyshire (5 May 1937 – 3 July 2001) was an English musician and composer of electronic music and musique concrète. She is best known for her electronic realisation of Ron Grainer's theme music to the British science fiction television series Doctor Who and for her work with the BBC Radiophonic Workshop.” An unreleased perv-pop classic in the 1966 novelty vein, recorded with Anthony Newley. The future Mr Joan Collins was after an electronic backing track and called in Delia (he wasn't alone - Paul McCartney considered using Delia's electronic backing for Yesterday before using a string quartet). Delia said of this track: "I'd written this beautiful little innocent tune, all sensitive love and innocence, and he made it into a dirty old raincoat song. But he was really chuffed!" Sadly Newley decamped to Hollywood before he could progress beyond this demo recording. Delia was initially disappointed with the recording, but as the years passed she became exceptionally fond of it, and insisted it was featured on this site.” – from www.delia-derbyshire.org “In 1966, while still working at the BBC, Delia with fellow Radiophonic Workshop member Brian Hodgson and EMS founder Peter Zinovieff set up Unit Delta Plus, an organisation which they intended to use to create and promote electronic music. Based in a studio in Zinovieff's townhouse in Putney, they exhibited their music at a few experimental and electronic music festivals, including The Million Volt Light and Sound Rave at which The Beatles' "Carnival of Light" had its only public playing. After a troubled performance at the Royal College of Art, in 1967, the unit disbanded. Also in the late sixties, she again worked with Hodgson in setting up the Kaleidophon studio in Camden Town with fellow electronic musician David Vorhaus. The studio produced electronic music for various London theatres and, in 1968, the three used it to produce their first album as the band White Noise. The trio, using pseudonyms, also contributed to the Standard Music Library. Many of these recordings, including compositions by Delia using the name "Li De la Russe" (note the anagram of Delia), were later used on the seventies ITV science fiction rivals to Doctor Who; The Tomorrow People and Timeslip.” -Wikipedia

For Monday, November 16th 2009 Café du Nord asked the Lickets(San Francisco, CA) to put together a night, and this is what we came up with. We wanted to do something crazy and insane and wondrous, use the opportunity to think out loud about the heritage of our music, and also play with as many of our amazing contemporaries as possible.  This is likely the last Lickets show in SF for the year, and we hope everyone can join us for a 20 piece orchestra, a performance by Julianna Barwick, and a performance by The Lickets. Tickets here: http://bit.ly/3yFuZ6

Before sampling and loops were everywhere, there were people like Terry Riley coming up with things like In C. It’s a wild and beautiful organism that changes every time it’s played. It is comprised of 53 short phrases that a large number of musicians play - at the discretion of each musician - to achieve an effect that leaves a lot up to chance and a kind of feeling that is indefinable. It’s leaderless, almost like each performance is a curve or a writing style, and feels like a wall of graffiti writers with hundreds of different voices bringing a unique and singular force into the overall whole. The group of musicians that have been assembled by The Lickets for this performance is going to be in the spirit of the craziness and wild beauty of In C. For more about the performance: http://www.lickets.com/insea

Julianna Barwick (Brooklyn, NY) is amazing, ecstatic and inventive. A recent review in NY Times sez,  “for her show, which can be transfixing to the point of debilitation, she stands in front of a small set-up through which she records and loops her vocals on the spot, creating largely glorious (and yes, sometimes grating) squealing washes of sound. Her ethereal multi-tracked harmonies have the devotional quality of gospel choirs, and the oddball allure of Bjork or Yoko Ono.”

Textura describes The Lickets as, “shamans...[who] deploy a mini-orchestra of acoustic instruments—cello, flute, acoustic guitar, organ, sitar, harmonium, hand percussion, et al.—to call into being undulating vistas of luminous mantras and soundscapes. The Lickets' raga-like settings suggest a strong Indian influence, and traces of visionary ‘60s jazz artists like John and Alice Coltrane, the time-transcending drones of La Monte Young and his Theatre of Eternal Music, and ‘60s psychedelic rock surface too as parts of the trio's heady mix.” Another review states, “they create these long-form, ever-evolving beds of tonal textures. Looping riffs from a variety of classical, acoustic instruments and muddled voices carry along, changing and moving in a style that truly defies category… Why does music need to be defined anyway? That gift of avoidance while still grasping at the imagination is what I look for in music. It’s what I dream of. It’s what makes something worth listening to… more than just entertains or amuses, it captivates.”

The 20 piece orchestra for IN C will feature: Danny Bowman (Keyboard), Ferrara Brain Pan (Bass Clarinet), Stephen Brown (Cello), Lena Buell (Double Bass), Karl A.D. Evangelista (Guitar), Phillip Gelb (Shakuhachi), Mitch Greer (Guitar), Samantha Guittard (Guitar), Alex Kaiser (Percussion), Matt Kane (Ukulele), Gregory Lucas (Melodica), Tyler McCauley (Guitar), Nick Mirov (Guitar), Rachel Smith (Flute), Jason Wexler (Guitar), Xin Zhang (Erhu)

Café du Nord (San Francisco, CA) asked The Lickets to put together a night, and this is what we came up with. We wanted to do something crazy and insane and wondrous, and in addition to a performance by us and Julianna Barwick, we are trying to put together an anarchestra to perform Terry Riley's In C by  for Monday, November 16^th.  Tickets are available here: http://bit.ly/3yFuZ6 It will be crazy and fun. We have a lot of great musicians confirmed already, and this is the last call. The stage is only so big! Not everyone knows what In C is; if you know all about it, don’t want to bore you so skip reading starting here >>....

It’s basically considered one of the earliest if not the first minimalist compositions, and it’s a really amazing thing. It’s comprised of 53 phrases played at the discretion of each individual musician. The original recording is here http://www.youtube.com/watch?v=OjR4QYsa9nE and there is a version for 124 musicians here: http://www.youtube.com/watch?v=vJSEcoeCgus&feature=related . There is no leader or conductor, just one person keeping a pulse on a string beat in C.

Start reading again here>>

We have Terry Riley’s notes, sheet music, and guitar tab for anyone who needs it, and we think all we need is one rehearsal with everyone before the actual performance. Anyone who wants to participate is welcome. According to the notes, really any instrument can play, but we will probably have to stop at 20 people due to Café Du Nord’s size. This should be really amazing if we can pull it off. Anyone who wants to take part in this can contact us through myspace.