Newsgroup: it.arti.musica.rock
Titolo: Re: Tony Conrad & Faust Live [su Table of the Elements]

 quel mona sembra proprio conrad. e' lui che lo dice.
E infatti Nettelbeck era il signor Faust.
s

uscita prevista a dicembre.
--------------------------------
TONY CONRAD WITH FAUST
Outside the Dream Syndicate ALIVE
CD
Table of the Elements 2005
TOE-CD-48
Minimalist pioneer Tony Conrad and notorious krautrock
progenitors Faust met just three times: in the studio
to record the groundbreaking "Outside the Dream
Syndicate" in 1972, and twice on the concert stage in
the mid-1990s. This recording documents their third
and final encounter, at Queen Elizabeth Hall, London,
February 18, 1995. The difference between the original
session and this live event is astonishing. While
Conrad's aggressive string sound was tamed in the
studio by producer Uwe Nettlebeck (Conrad has
complained that the mix made him "sound like a
hippy"), here it is full of menace and ferocity, and
in tandem attack with the equally belligerent violin
of Jim O'Rourke, it conjures a raging wall of sound.
(Special props to O'Rourke who, along with Conrad and
John Cale, is only the third person on the planet to
master this excruciatingly difficult performance
idiom.) When the Faust rhythm section finally kicks
in, no one is in the mood for restraint, and the whole
thing bolts on a merciless, scorched-earth gallop.
Bassist Jean-Herve Peron plays with such fury that he
snaps a string (no easy feat on a bass guitar), shreds
the flesh on his fingers, and is soon covered in
blood; meanwhile drummer Werner "Zappi" Diermaier
pounds away, standing, in his inimitable, robotic
style. After a relentless 40-minute onslaught, Peron
signals the set's abrupt conclusion by smashing a
brick with a sledgehammer, while Diermaier destroys
his drum kit a la Keith Moon. At this point the
elegant atmosphere of Queen Elizabeth Hall thoroughly
disintegrates, and the antagonized crowd nearly riots.
Hecklers and supporters continue to shout each other
down -- until they're drowned out by a rollicking
encore.
The booklet contains brief interviews with Conrad and
Peron, and a first-person account from Gang of Four's
Andy Gill, who sounds justifiably intimidated by the
entire performance. The packaging includes alternate
photos from the 1965 photo-booth strip that graced the
original studio release, plus stickers and a silver
foil stamp.

 hippy"), here it is full of menace and ferocity,
Povero Nettelbeck, a lui e Graupner si deve tutta la 
*massima* fantasia di un epoca, e arriva un mona qualsiasi
a dirci come e quanto Conrad non era o non c'era per colpa 
di chi, chi, chichichi.
Che dio salvi Wumme e il suo spirito.
bye
s
--
Nous devons peut-etre accorder nos passés?

stanz ha scritto:

forse.
ma fu anche colui che, a detta di joachim irmler, cerco' di *vendere* faust
alla virgin, chiudendo Faust IV all'insaputa dei musicisti che ancora lo 
consideravano
un work in progress, scegliendo la scaletta e la chiosa di 'it's a bit 
of a pain' registrata
a wumme 2-3 anni prima (side B del 7" So Far). a causa di cio', irmler e 
sosna abbandonarono
lo uk tour del 73, rimpiazzati da blegvad e trepte...
---
f

stanz ha scritto:

quel mona sembra proprio conrad. e' lui che lo dice.
---
fab

 of a pain' registrata a wumme 2-3 anni prima 
I produttori 60 e 70 sono sempre stati degli incredibili 
figli di buona donna, eppure hanno saputo generare abissi da 
dischi che in mano a tanti "buoni produttori d'oggi" e non 
si sa come, suonerebbero o prosaici o noiosamente 
cacofonici. Vuoi che parliamo del produttore dei Moby Grape, 
o di quello dei Chocolate Watch Band, o dell'antipatico (a 
Barrett) Norman Smith?
bye
s