“There's no real objection to escapism, in the right places... We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality... It's a fiction which does concern itself with real issues: the origin of man; our future. In fact I can't think of any form of literature which is more concerned with real issues, reality.”
― Arthur C. Clarke
Friday, October 24, 2014
Annette Peacock
Annette Peacock, the avant garde American composer, collaborator with
Salvador Dalí, friend of Albert Ayler and Moog-synth pioneer, brought
this seismically influential session out in 1972 – its synth-warped
banshee vocals, morphed jazz ballads, Motown grooving and squelchy
electronics were to touch many jazz and pop artists in that decade, most
David Bowie and Mick Ronson. Early on, Peacock's spacey, harmonically
drifting pieces were regularly interpreted by her second husband, the
jazz pianist Paul Bley – but she's since been covered by everyone from
Busta Rhymes to Pat Metheny and Marilyn Crispell. Peacock has finally
reacquired I'm The One's rights from Sony-BMG, and reissued this
long-unavailable classic. And for all the familiarity of
computer-assisted vocals now, nothing prepares you for the howl of her
searingly high notes spiralling up out of spooky organ chords and
soul-brass riffs on the title track, or against the rolling blues groove
of Pony, or the dark and prowling one of Blood. Elvis's Love Me Tender
is the only cover, a blend of soft, lyrical intimacy and fierce
exhortation. The underpinnings are as 1970s soul/blues-rooted as any
classic-pop listener could wish, but the uncompromising,
sound-manipulating focus still sounds contemporary.
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