Western Music Series Liner Notes (Tracklist and Artist Biographies)

Volume #1: INSTRUMENTALS

Compiled byJulian Lee withassistance fromMonica .B. ~S ~ and Hera *:sHEfi$i (Students, Zhangye Medical College)

What is an "instrumental" song? For our purposes, it is a song with no lyrics or words-just instruments and voices that sing no words. The goal of this compilation is to span many genres and subgenres of instrumental music (though there is admittedly a disproportionate amount of electronic music), great for listening, reading or dancing to. Though it's highly unlikely you will like every song, it is hoped that there is something for everyone included here. "Instrumental" ~1t .z. :@; ,~? t£i3:~ , instrumental m £ i~ ~ f,t lW\~~llIJ\iiiJ o ~i¥J jFFf A II ~l, ill n~

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TRACKLIST OrA *- ) Song Name -- Band Name (Minutes:Seconds) "I~; ~ "4 ~A ( 7H~ : *,..J;)

SIDE A l "btu aButterfly" ­

Foil SUb·subgBIIMl: PrOlll'i

by Steve Huey: Distinguished by their youth and eclectic taste, Nickel Creek became a word-of-mouth sensation on the progressive bluegrass scene and soon found their appeal spreading beyond the genre's core audience. Guitarist Sean Watkins, fiddler Sara Watkins (his younger sister), and mandolinJbanjolbouzouki playerChris Thile first started performing together in 1989, when all three were preteens and taking music lessons in their native San Diego. it SJ~ [IA B3 ~ l' tt !fS( :q::: $£ 81A ~13. fiX; ,

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, .. 3Lll\I Torso 16:141 UD: T

byCraig Harris: Originallyan instnunental trio, featuring violinist Bela Balogh, cellist GabeLeavitt, and accordionist Courtney VonDrehle, 3 Leg Torso is one of Portland, OR's truly eclectic bands. Their original tunes incorporate elements of modern chamber music, MiddleEastern and Eastern Euro­pean folk musicand Argentinean tango. CM] described the group's sound as "all the beauty of Astor Piazzolla's music and the spirit of the Kronos Quartet." itf,t. i¥J ~ ¥. ~.~ ~ oo~ ~¥~ ~* , 114 Astor Piazzola­ill it-;W :Ie1m B<r1J J:\; ;to e ~ 00 rp ;to if - ~ 0 ~ •

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3. "lluIIlorIl811I1s"-Tosca 16:23J It FI

by Craig Harris: Inspired by the workof late, great Argentinean tango king AstorPiazzolla, Tosca is the brainchild of GloverGill, formerpianist/accordionist/ body-art mascot for Austin, TX neo-swingsters 8 1/2 Souvenirs. Gill assembled the septet in 1998,when the swing revival appeared to be running its course. Perhaps thinking he'd honed in on the next craze, Gill recruited Luis Guerra, bassist for offbeat Austin outfit Ta Mere. He found the rest of the group ­pianist Jeanine Attaway, cellist Sara Nelson, viola player Ames Asbell, and violinists Leigh Mahoney and Tom Sender - through the University of Texas' School of Music, feeding them crucial bits of tango history as he nurtured them along. is: f,t -IE $I:~ J<: , ~~* ~ .~.M~ ffl ~ ffl ~ . • ~rr , - /r'-l =.:g B1~ ~ it -* 4J iL' 0 lit): : n + *f~~4J ~F o

4. "Yo Era ade .aza Alta" -TI'ldtionlt BlmJiIa/Saka13:021 G8lIrB: FI SlJIIIJmnt Latin Amerilan?

Banabila/Saka are from The Netherlands. If YOu can

read Dutch, they have an entry in "De Encyclopedie VanDe Nederlandse Popmuziek" at: http://www.popinstituut.nl/bez!bz8375.htm ~f,t£~~~~T~~. o *~*~m~o. : A+ :q:::1~811W ttJ3 0 ... , •

byRichard S. Gincl: It is possible to call John Zorn a "jazz" musician, but that wouldbe much too limiting a descrip­tion. Whilejazz feeling is present in a good deal of his work, and the idea of

improvisation is vitally important to him, Zorn doesn't operate within any idiom'sframework, drawing fromjust about any musical. cultural, or noise source that a fellow who grew up in the TV and LP eras could experience. This calculating wildman started playing the piano as a child before taking up the guitar and flute at age ten. By the time he "vas 14, Zorn had discovered contemporary classical music and began composing; his college years in S1. Louis brought about his introduction to avant-garde jazz, particu­larly that of Anthony Braxton. He dropped out of college, settled in lower Manhattan, and began working with free improvisers, rock bands, and tape, sometimes working duck and bird calls into his arsenal. tEJohn Zorn~ 8"J'~: * 4J , ·1;1l ~~~ Y H34J I~H~ IDf 0

19~ :tm J3: f,t , * ~~ Hff EE M;tO l51t!!. 0 Zorn ~ l' t~ !fS( ~~ i¥J"modern classical" CfJiil.~a<r-S~tf )j~) ~ 1tH*o 1tMlcD B.-~--a-1' o

~~ i¥J~~~M~. , ~~ . ~ '~~ jazz" ( El B3 W± *) . W~&~~tt ffi ~ ft fii¥J Z* ~~~~*~~ o i3:f,tllJJ\* ElJ3:~ JU i¥J~-t CD o ~ : 11+iF 1~ B1 *jtJ3 0

iphy

With this release, Philosophy Major, who has produced tracks for Illegal Art and ArableFarmland, collaboratedwith NewYorkart-rockers, Rasputina, co-foundedSeattle's LoveCraft Technologies Inc., co-written and co-produced (withDub Maestro Prince Channing) Fantastic Voyage

Thisrecording is intended solely for educational purposesand isnot to be boughtor soldbyanyone. (WSCD029), and studied improvisationwithjazz legend

YusefLateef, bends his energies to the indoctrination of the uninitiated into the mysteriesof the new-alchemy and Black Ark orchestration. Building upon a solid foundation of dub groove-science, weaving samples culled from 78s and archival wax cylinders with some ofthe heaviest drum­machine mayhem sinceBig Black'sEarth Atomizer, and punctuated throughout with analog explosions of pure, sorcerous sound, Hypnerotomachia is a monument to the creative power of dissolution. *Albumdescriptionfrom wwwarnazon.com J.! 1ffW\~ JL ~{f ,*:1J it ffl ~,~ 0

"t§ ~ -1fit* ~A" f-~ ~ J1=l"DUB" ;fD eg -=-f if '* 0

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7. "Nii" -Daau l2:2ID

It translates as "The Anarchistic Evening Entertainment" , from Hermann Hesse's novel Steppenwolf. It is DAAU, and clearly this Belgian-based quartet is not interested in following the rules. On their album WeNeed NewAnimals, DAAU continues their eclectic, improvisation-based progress, demolishing conventional ideas about making music. The album constitutes a record of the versatility that makes DAAU (an abbreviation for "Dieanarchistische Abendunterhaltungl ") so unique -- their ability to assimilate and blend SOIUlds fromja zz, blues, rock, folk, trance, fla­menco, non-Western, and classical. Acoustic and electronic, pop and classical, this is alternative instrumental music at its best: passionate, unusual, something you truly can't find anywhere else. *This entry is from: http://www.sonyclassical.comJrelcases/ 60674.hOO Y... - -1-f3i ~ -T sVFrqJ 1'r''1 )3 J:\: :to({ ­ -*)L, l:~~U ij;J S<]DAUU:frJ.!£!: ~ ;jjt 1 I'J - ~- ret iWiPiX. ill:i!B<] Ef~ , .~ ffl:lf'ffl eg B<] '* ~ M*0

:\10 *1fi\ X1 ~ '* U\~ m}~~ @ Jj~~, 1M ~~ ~JT 1ili 1I'J CD11''1 3'::$0 ;Wi : 11-r- if- 1 ~ 8<] ~ !tIl 0

. Gypsy

by Johnny Loftus: New York-basedband Firewater, incorporated a global range of musical influences into their highly-dynamic sound. A loosely-knit ensemble centered around the lead vocals of ex-Cop Shoots Cop bass player Tod A. (born: Tod Ashley), Firewater tied together such influences as Klezmer, Indian wedding music, art-punk, and TomWaits­style cabaret poetry to create their heady, often quite danceable sound. Coupled with Tod A.'s acerbic, post-apocalyptic, and death-obsessed lyrics, Firewater was a band to be reckoned with almost from the beginning. Firewater (~ ± ,8,) *§ mg~ , m1~ t.r.1ljlj J[!!, ~l! *0 '2f -'Mf ;Pl 1~~ '* 0

i3: .~ i\'fX tJ<] :1J J:~ PJ ~, Sf?: ~ "Ib j;J; ~ M"'* ,* El = :)Jf~~_if·B<] CD "The Man on the Burning Tightrope" (tE~lrl¥.l~~ l: B<:J ~ A) ~ : = .?j~~ ~ o

l3:101 Gell'e: k e:

Savannah indie-rocker Paul Duncan recordsand releases his own music on his "HomeTapes" label. He also plays most of the instruments on this song. ~~ oo 1tr.¥f:l ~#H iti;tE fLti*J rtr l'r''.1 Paul Duncan )JHU[l ~F El D S<] CD, ~ ~tB m T j~$ 1~ J!tn1X 8<] ~1~ ~ 0 111; : =~~ ~ if.o

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I~L~., .~,L..::i..._.__. by Heather Phares : After the dissolution of Cibo Matto, YukaHonda began working on her own music, as well as collaborating with other artists. Her solo debut, Memories Are My Only Witness, arrived in 200I on Tzadik and featuredforrner CiboMatto musiciansTimo Ellis and Duma Love. The following year, Honda returned to Japan to col1aborate with the Boredoms'YoshimiP-We, the results of which became 2003's Flower With NoColor. Honda was also working on her second solo album, and Eucademix arrivedin fa112004 .

Yuka Honda :l«B~ - 1' B4;;: -.Ix A, 1 ili~ B<]a111~ tE~ OO~ A<] Ef;j '{I ~ tE B*0

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It ''Lon ·~ Rock Witch" . ADIJoxTwiJ [3:321

byJohn Bush: Exploring the experimental possibilities inherent in acid and ambience, the two major influences on home­listening techno during the late '80s, Richard D. James' recordingsasAphex Twinbrought him more critical praise than any other electronic artist during the 1990s. Aphex Twin -Ii!. iq: ~-3':: r$ Jti ff ;g fflIDM ~,* ~o 1m~*~ ~.~ffl ~~IA~~~ o 1m B1 r[li ~~ ~ ;Ii; ~ S{J ¥.i ~ 0 1m B1 t t: Nt ~f 1~ .- -t- Ir~ '.±', ~rltB~~~ ;g ~ ~ ~ ~ ~~$~~~~m~ o i3: 1ff~1I i :lf' ~~ 1't*1m) u 8<] if J:j~ 13'Ao~Di : .-,- --=-­JL i -~f~ B<] r:j:J 1Jj0

12. " I" m. n.." & lli:l6J

by Steve Huey: Although dance duo Arling & Cameron are based in Amsterdam, perhaps their closest musical affiliation lies in the eclectic late-'90s Japanese lounge/dance/pop scene. GerryArling and Richard Cameron first got together in 1994. J.!M1"A E~J *~A 11{Efili ~ S<] §f ~rl 0

.J}:B<] p3~ ffl '-~ f~~ j]U S<] eg ~*~g, n4 "theremin". ~ ~ OOE+~~ffl~#~~eg ~ ~~ ffli3: 1-'* ~* ~ 17 't: ffl ft if x. ?If! ~.0 XPJ 'ta , -R1Jn..t_~ - ftP )\:~ lt11~ B<] r~ 1~f:o fA : = ~ ~2~ if- c.

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IT'. Mozart/Scan . l2:3ID Genre:

by SteveHuey: Scatterbrain was born out of the remains of Ludichrist, when vocalistTonuny Christ and guitarists Glenn Cummings and Paul Nieder got tired of playing conventional metal. They added drummer Mike Boykoand bassist Guy Brogna. Scatterbrain's music is much more wide-ranging than

This recording is intended solely foreducational purposesandis not to be boughtor soldbyanyone. Ludichrist's; the band can cover rap, funk , and even classical

influences as well as metal. Their lyrics arc often humorous, and the band as a whole is usually quite creative. Scatterbrain (1ll!~~ ) If]{fr ~ ~tA .gjl :5t S~ " heavv metal" ~ pA =ff~qqJ $ ¥f- If] Jj;r.t. :tE~:.ljHeWol fg~ ng Amadeus Mozart:ft~ B~ ·iJlX 1~ P.lZ ItT ~1m A~W~ . mt: -nn- if .

," -YngwiB.L 8 [1:29)

Coo~ '

by Robert Taylor: After toiling with classical references ill his music for most of his career, guitarist YngwieMalmsteen finally dedicated himself to writing a concertofor electric guitar. The combination is not unique, as several rock groups, including Metallica , have been backed by full orchestras, but this is the first work of its kind to feature the electric guitar as the lead instrument in a concerto. One ofMalmstecn's biggest target's for criticism has been his inability to move beyond his speed demon reputation that he acquired after bursting on the scene in the early '80s. Seemingly stuck in arrested musical development this work proves that at least he's trying. There are many intriguing moments here and plenty of pyrotechnics, however, as a collective body of work, there is a lack of cohesiveness between his sometimes monotonous riffing and the orchestra. Despite the unevenness (unfortunately a Malmsteen trademark), this ranks as one of his best recordings. Recommended more for guitar fans than the classical connoisseurs, although the later may find the combination intriguing and perhaps even refreshing. ~ 1fL* 13 ~ t ~ If]It T ~ 1m If] Ay fjJ=ff1 ~$ AiA~~:tEJ7J1:...t.:fllfrj-s{ni1'-5if!.~1m*Jt~plf]--1'- .

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[4:29J SubllllnrB:

SUrf

By Jason Anke: Siberian surf-rockers the Red Elvises

formed in Los Angeles in 1996; founded by singer! guitarist Igor Yuzov and singerlbassist Oleg Bernov ­Russian natives who previously teamed in the cult­favorite folk-dance group Limpopo - the group later grew to include balalaika virtuoso Zhenya Kolykhanov and drummer Avi Sills (the lone Ameri­can-bornmember). Combining classic rock'n'roll witha slew of ethnic influences (and featuring lyrics sung in both English and Russian), the Red Elvises rapidly began selling out clubs throughout the L.A. area, and in mid-1996 issued their debutLP Grooving to the Moscow Beat. i&~pA~IJSWA.!J.l~*tE~WP1~8qTJlm­mt~ " U~A~ ", ill~ iU~ ~ 11+if 1~~'1 ":tff1 ~x "Elvis Preslev , ~:tff1mJjA Il 4 " surr' ({TP1~) 0

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[4:14]

by John Bush: Alternating influences from neo­psychedelia, noise pop, and Ennio Morricone film scores, Swellformed in San Francisco in 1989 when vocalist/guitarist David Freel and dnunmer Sean Kirkpatrick decidedto recordan album.Enlisting second guitarist John Dettman and bassist Monte Vallier, the band recorded a self-titled debut album and released it on their own Psycho Specific label in April 1990. Swell*EJ 1m''''1~:¥:fJt~)Hffiwr~4 . 1~ $ ~f1\~ :tEDav id Freel a~mT lf iG:1RS~ . P.tX : 11+fF-1~B<] *1J3 0

6. "SWeet limo" . Euphoria/Fila Brazila[li:68J Genre: E1ectrl '

by Sean Cooper: Hull-based duoFila Brazillia are the most popular and acclaimed of the noted Pork Recordings stable. Formed in 1991 by producers Steve Cobby and Dave McSherry, Fila followed Cobby's association with Ashley & Jackson, a moderately successful pop/dance group signed to Big Life!which went belly up as tile label began demand-

Thisrecording is intended solely for educational purposesandisnot to be bought or soldbyanyone.

ing more and more pop and less dance. Returning to his native Hull from Manchester, Cobby met OJ/dabbler Dave Pork, and the two forged a creative alliance which continues to this day. Fila Braz;llia :J£ 1'-~~ ~~ 00 It:f 'ff *~A 0

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D:Rock

Do you think this song is too noisy? That's precisely the band's intent. This style could be considered to be of tile sub-genre "noise-rock", whose music includes all kinds of sounds-even the noise of machinery can be heard as music. Pachinko is a gambling machine commonly found in Japan, and indeed the band has at least one Japanese member. Perhaps the song is to sound like a pachinko machine being broken. ~~~~~.~~ T~?Wmt ~ ~~If]§~ . ~Jj;r.tPJ ~ J¥: "No i se Rock" , 'E1tiS.ftff.ft¥l" S~ J5-g- · -lfr ~ ~Jl ~~ EfJ ni PI ill ~ JJX:{fr7~ • Pachinkojf B*~1~:iffi$s<]~twj. m~~ (~~!?J -1'-pA1T.df'::B*A) ,

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' -Tha [4:031 Rock

by John Bush: Basically the concern of just one man, Bob Green, the Grassy Knoll has explored a variety ofcutting­edge musical styles, including ambient techno, acid jazz and dub, each under-pinned by Green's affinity forjazz fusion. Born in the Dallas area, Green listened to the usual '60s and '70s rock sources, from the British Invasion to early heavy metal, but soon became infatuated with fusion, specifically Miles Davis' mid-'70s period. He went to study photogra­phy at the San Francisco Art Institute, and had returned home by 1990, when he began recording with a computer and sampler. ~ I;j,. R~~ ::j:ff - ,~ tift t.£,­

~~m~~ m~ ( ~~ oo m~. M ffl ~~mm ) JFK,g~1963a<] BfL~ . :E~ a<J ~A !11 Bob Green7~tE ];;:~

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8. "Phanm PoWDl'''-ms-oo[3:291 Electronic SImn'8: IIrtIn &

byMacKenzieWilson: KentRayhill, Deb Schimmel, and JayRajecktweaka mad beat as TRS-80. This Chicago electric trio formed in 1997, shaping a soundsimilar to the likes of Amon Tobin and Boards of Canada. ~JJ\8~ ;g * ~ fu*f .~U ~ .Zj 11'~ )(~UliljrI~ "The Phantom of the Opera" (l:JJ\ m1j s<] .9Hl.). Xl(; mlj B<] 1} ~f-~ ~~ 11''1 )Xl. ~ l1lG ~ e

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by John Bush: One of the premiere names in the field of electronichome­listeningmusic, Mike Paradinas' recordings retained the abrasiveflavor of early techno pioneersand exploredthe periphery ofexperimental electronica even while coddling to his unusual ear for melody, the occasional piece of vintage synthesizer, and distorted bcatbox rhythms. While his side projects ­including Diesel M, Jake Slazengcr, Gary Moscheles, Kid Spatula, and Tusken Raiders - have often emphasized (or satirized) his debts tojazz, funk, and electro,Paradinas reserved his mostoriginal and excitingwork for majoralbum releases as )J -Ziq. Mike Paradinasfth~ 1~~~~, Kid Spatula .R7~Jtrp B<]-~ o 1thB<]if~5jL~R: i±IlifoJ a<]IDM ( "intelligent dance music" FJTi~ S<]" 1f~ j] a<J ~&~ i'-* " 0

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10. "Freo inaBox"-Datach'l [4;00] Genro: Electronic SUb-SlIImenre: Glitl

by John Bush: Datach'i's Joseph Fraioli is a manic, sampladelicproducer/processorwith all the grace­lessness (but not artlessness) of experimental techno producersfromKid606 to AlecEmpire.Based in New York, Fraiolireleased hisfirstworkon 1999's 10110101 (Reo-Play). The album earned great reviews in the underground press soon after its release on Caipirinha, and Fraoli followed with his second, We Arc Always WellThank You, in 2000. JosephFraioli ~~~~a<J ~IH~ Eg -f'&"* ~~~ 0

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by Sean Cooper: In similar company with new-school French progressive dance artists such as Motorbass, Air, Cassius, and DimitriFromParis, ParisianduoDaft Punk quickly rose to acclaim by adapting a love for first-wave acid house and techno to their younger rootsin pop, indie rock, and hip-hop. Daft Punk* ~ rt 00 , "itt iVEg ~ ~&~=g.~ " B<J-~:E~ sfJrp {j' O 1fHJL~pX; JJJ Sg *~Arp, Daft Punk~ ~ 1<. ~ J11~ jE (j{J, ~ OO ~ illfr ~~ ~PJ ~~~ID OO .-~~o ;It ~ 1th f fJ ~ 2 X·Hm1Y~-~ , ~!lUH~ riL hip-hop, ~ ~~~1& ~S<] ~~ o lVr-~A " ho usc " ~~~~~ ps~~m~1f~ oo ~+ ~~ B<J

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12. "cantim"-.km GeD1'8: Rtn:k o

by Doug Stone: According to the wackeM.I.R.V website. the monikerof this San Francisco Bay band signifies: (I ) Multiple IndependentlytargetedRe­entry Vehicles, (2) Many Inebriated Rude Vermin, (3) Mutant Industrial RockVaudeville, or (of) Men in Red Velvet. In all actuality, chancesare M.I.R.V stands for c1ear­haired lead loon Mirv Haggard. Likegrade Z Zappas, this quartet aims at the big and easy target of hard rock.M.I.R.V likes to fly off the handle, writing songs about whatever subject they want played in whatever style tickles their fancyat the moment. M.I.R.V debuted with the odd opera Cosmodrome on kindred tweekerLes Claypool'sPrawn Song label. Feeding Time on Monkey Island freed the "Unabomber" which wrapped a methadone melody around Copsand Yngwie Malmsteen quotes. Dancing Naked in a Mine Field continued the insane antics, but none of these platters touch M.I.R.V 's live work, where the boyscontinu­ally set new standards in heavydementia. W~1.f:: ~ ~ ~ OO~ ffl ••~~ • • • ~ a<Jfu~ Zappa 8g ~lljiiJ f ~ ];;: o ~~ :~;<.x1:E~~~ OOfFJJ[;~ , a -tf *~ rp ~ ~/J \ Xl(; A5 Ij , 1~l1-njj; -JJ[; o

* ~)\a<J~ ¥~ JL 1'~PJ i-f, /I' ;ct];;: fPi a<J ,~( ,\~tfjk - 1'rRIT.! s<J ~ * Mirv. 1& iTCDs<] ~ -i'.: u~ ''It "* s<J tE1ri 'jijlR ~&~~ " 0

~ -m- m; * *rr ~ ~!l~.t a<J14 *= ~J1!! EtJ.~ "Star Wars"o Mt : - n A ::=-fF .

[2:47J Subgenre:

Artistandbandbiographies are excerptedfromthe All Music Guide, online at www.allmusic.com, unless otherwise noted. When possible, the original author's nameislisted.

Thisrecordingis intended solely for educational purposesandisnot to be boughtor soldbyanyone.