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Analog Archaeology
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In the 50's as the superpowers started
to develop M.A.D weapons and the iron curtain fell across Eastern Europe,
so others began to discover and embrace the new era of electronica. As
television migrated from laboratory to lounge so the new technology began
to filter across to a more creatively-minded set of people, science-sensitive
people influenced by the onrush of rock and roll and circuit boards in
equal proportions. So it was for Robert Moog, a man driven by his love
of musical instruments and the nerd-ish desire of invention, was to create
a synthesizer that would become the standard-bearer for the electronic
revolution within rock and roll.
By the late sixties, Moog's invention was the hottest property on the
music scene; people with ability realised their wildest dreams by using
the synthesizer to produce noises unheard since our ancestors left the
mothership, whilst others saw a chance to shamelessly cash-in on the new
exciting sound. For each original, remarkable, fantastic Moog-driven album
released, so it was that the catalogue of novelty records would increase
almost exponentially...
As the human race entered the 70's, so it was that the age of electronica
reached its peak, with everybody using synthesizers regardless of creative
consequences. A whole industry of synthesizer-producing companies evolved,
providing the ammunition to fuel the need for electronic sound and eventually
provide the foundations of Prog Rock, a genre that stifled the creativity
of the synthesizer reducing their use to lengthy etherial landscapes or
cod-classical ononism.
The 80's were all about being modern, flash and affluent - so the dated
Moog and its counterparts were relegated to attics, second-hand shops
and rubbish tips along with the Atari Games Machine and your Evil Knievel
Stunt Rider. As the dawning of the Digital Age broke, so the Analog Age
was consigned to the history books...
..Until now. Shit has now come full circle. The archaeology of using analog
synthesizers is as attractive in this, the 21st century, as is the use
of the high-tech that propels us forwards into the unknown. The chance
to use a Moog on your latest track is the fashion, the kids straining
to hear the static-crackles with each depression of a dust-laiden key.
21st Century Moog emulators are fine, but so de rigueur....and with the
fashion comes price, even the later post-1975 analog models now commanding
a hefty price.
.....Back to the music. It is time to travel back in time, return to square-one
and cast a respectful eye over some of the great synthesizer albums of
the late sixties and early seventies; penned by the true pioneers of the
electronic groove - innovators in sound who did not realise then (and
probably still do not to this day) the influence they would have on those
who would come after them. What I have put together is, in my opinion,
the top ten Moog albums from that Age of Electronica... plug in and enjoy...
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Hugo Montenegro 'Moog
Power' (RCA Victor)
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For me, I think it the best overall
Moog-themed album released. Quite simply, it is a treat from start
to finish with plenty of tracks to appeal to all. I do not think
I am alone in these thoughts as this album is becoming increasingly
collectable and original copies now exchange for handsome sums.
Montenegro plays ten cover-versions, playing the Moog and re-synthesizing
the vocals and other instruments through the Moog - making for
some bizarre effects ! Best tracks are the racey cover of The
Doors "Touch Me", the only original composition on the album "Moog
Power" and his version of "Dizzy" the latter is often found on
compilation albums and rightly so, the vocals are played through
the Moog and really psyche-out the track ! |
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Dick Hyman 'The Electric
Eclectics of.." (Command)
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Some will rave about Hyman's other
Moog album "The Age Of Electronicus" as it includes a cover of
James Brown's "Give It Up Or Turn It Loose" which does need to
be heard to be believed - it really is a snorter ! But, apart
from the JB cover this album as a whole is not as good as "The
Electric Eclectics". Opening with "The Topless Girls Of Corfu",
a track I'm sure was used to open a schools science programme
when I was a kiddie back in the 70's! Next up is "The Legend Of
Johnny Pot", dedicated to the legend of a man who travelled across
the U.S. planting marijuana seeds and sending notes to his friends
back home such that they might later pop along and reap the harvest
! Side Two belongs to the epic "Minotaur" a sprawling Moog epic.
Totally hypnotic ! |
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Claude Denjean 'Moog!'
(Phase 4 Recordings)
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An album dedicated in total to cover
versions - twelve in all - and what an excellent job was made
of them ! A big plus with this recording is Denjean's use of the
Moog to compliment live drums, bass and organ creating a remarkable
overall sound. The album kicks off with "Na Na Hey Hey Kiss Him
Goodbye", a version that sees many plays in the Vultures live
sets - the bass and Moog power the song from start to finish with
a super drum and bass breakdown thrown into the middle just for
good measure. "Venus" is very similar, faithful to the original
and ultra-funky. The Beatles "Come Together" is also a favourite
due to its wigged-out strangeness, but for me it is the former
two tracks that make this album a classic. |
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The Electronic Concept
Orchestra 'Moog Groove' (Limelight)
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This album, like the Claude Denjean
album above, combines the Moog with live instruments to full effect.
Claiming to be the first album of electronic rock, versions of
"Aquarius" and "Hey Jude" are respectful but ultimately faithful
and lack inventiveness. But, the versions of "Feelin' Alright"
and "Rock Me" are worth the price of the album alone and so the
record is recommended on the strength of these
two tracks. What a couple of tracks they are though ! "Rock Me"
has everything,
funky drums, bass and percussion and some seriously sassy Moog
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Jean Jacques Perrey
'Moog Indigo' (Vanguard)
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Of all of my Perrey albums, I think
this is the best. Most people recognise this album instantly due
to the inclusion of "EVA" - singularly one of the best moog-based
tracks ever recorded. A fantastic mix of Moog, organ, funky bass
and tubular bells! Revered by many, remixed by a few, this track
has been played to death in clubs and on TV. Obviously, "EVA"
is the highlight of the album but there are others! The opener
"Soul City" also rocks and the title track is worthy of plays.
But, avoid Side Two of this album at all costs, believe me it
isn't worth it ! |
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Synthesonic Sounds
'Moog At The Movies' (Pye)
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I picked this up from Dr Forster
years ago and I have not seen one for sale since! I
remember mentioning this album to an American Moog fanatic last
year and he was offering me silly money to get his hands on a
copy ! I can see some of the attraction, "Shaft" is well covered,
"Duelling Moogs" is a lot of fun and "Superfly" is the
pick of the bunch for the sheer freakiness of the Moog on this
track! |
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Hot Butter 'Popcorn'
(Pye Records)
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There are many different releases
of this album on a variety of labels but I think this version
is one of the originals. As you would expect, the album opens
with the famous Gershon Kingsley classic but there are some rather
ropey cover versions. Also included is a version of "Apache",
but that is about it - not many funky tracks to recommend.
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Perrey & Kingsley
'Kaleidoscopic Vibrations' (Vanguard)
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Recorded using a Moog and an Ondioline
keyboard, this is the second album that Jean Jacques Perrey and
Gershon Kingsley produced together. The album scores highly on
the freaky-Moog scale but there are not many tracks that you could
call funky. Top of the pile is the "One Note Samba/Spanish Flea"
medley that features some seriously splendid moog effects. There
is also a cover of "Mas Que Nada" that raises a smile. The
album contains four original compositions in total, all are worth
checking out. On the downside though, the versions of "Strangers
In The Night" and "Moon River" are unnecessary. Plenty of beard-stroking
notes regarding multiple tape channels and sonic permutations
on the sleeve are thrown in for good measure. |
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The Electric Hair
'Electric Hair' (Evolution Records)
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Regardless of the fact that this
is a Moog album, it is also my favourite 'Hair' album. A recent
find, this Moog-Hair experience really is a killer! The version
of "Three Five Zero Zero" is pure space-pop, as is "Let The Sunshine
In" - two excellent tracks. Splendid cover, but lacking in detail
as to where the credit lies.
I think this is the least common of the Moog-Hair albums, check
out our Moog Gallery to see others.
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Klaus Wunderlich
'Sound 2000' (Telefunken)
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Leiber Schallplattenfreund ! Mr
Wunderlich's vision of the future resulted in him introducing
us all to his new Moog synthesizer in 1973, the album was created
entirely by his new toy with the exception of drums, tambourine
and bongos. It is a bit of a mixed-bag of a record, but "Krimoogulus"
is worth the cost of the vinyl on its own, it is the one track
that captures a bit of the spirit of Perrey and Kingsley, unlike
the other instrumentals.
I have traded several copies of this album, it is quite common
to pick these up on a
regular basis - always popular. |
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