Ok . MORE Arthur Russell (But This Is Great)

So great and dubbed out. Kind of a Holy Grail achieved just to hear this!

Master Mix: Red Hot + Arthur Russell really is a fine joint.

Too, I mean (thanx for latest links!)

this is incredible, cheers!

xxxxp looks like its on discogs? http://www.discogs.com/sell/item/199411487

"Notes
total duration of side B is 15:49 "

im 99.9% sure that's not it. i've fallen for it being that one before which is why i have ended up with several copies all the same that aren't the one in the video.

really? the title and running time are exactly the same. what's the difference?

looks like the seller is Joseph Colbourne, a friend and a friend of many a DJ I know. May be worth contacting him and asking.

i've contacted him just in cas. i have a copy with those exact running times on the label but the actual record is just the original instrumental. there was a label misprint. trust me, i've been looking for 15 years. :-)

case.

this is amazing, thank you

^^

is that ginsberg on in the light of the miracle?

Sounds like him!

What year is that "LOTM" remix from? Sounds recent. Maybe it's the House pulse running underneath.0

it is ginsberg. it was scheduled for release in '96 but never got past the promo stage. i guess it was done around that time.

AR shows up several times in Ginsberg's box set,Holy Soul Jelly Roll, to very good effect. Dylan plays on a couple of the same tracks.

T. Heads, "Psycho Killer" with Arthur on cello ( 'tube comments incl. that it's a bonus track on Talking Heads 77, dunno if it's same version though.)Note big chunks of AR on this same youtube page:

https://www.youtube.com/watch?v=xoclXuB6JOU

I have a new album in the works of previously unreleased music, more in the vein and left of Calling Out Of Context material.
Some of the material is from similar sessions as 'Platform On The Ocean'. I'm hoping to have it out late Spring 2014.

Wonder what the status of this is?

attn englanders:

https://twitter.com/Cafeoto/status/581447893325840385

woah
that's quite a line-up
day after Eurovision though
I will be hungover

wish i hadn't told my friends about it, looks like getting tickets is going to be a vicious, bloody battle

Really hoping this event is documented better than with someone's cell phone.

What time did it sell out? I completely forgot to check until 4pm or so.

Wonder whether they would be able to put on a second show the next day.

it managed to break the site, when it started functioning again after around an hour down it sold out in a matter of minutes. i was successful!

Damn, good work Merdey!

Was lucky enough to be checking my Twitter feed (which I m/l never do) around the time that the new venue was announced and extra tickets were released, so I am going to this. Hopla!

http://content-iad.xx.fbcdn.net/hphotos-xpa1/v/t1.0-9/10339780_824440714299874_6398739041397457071_n.jpg?oh=548f83ac748132d723120481e5d90be3&oe=55A9E648
Out in June!

wow!

Arthur Russell fans buoyed by this 2014 vinyl edition of World Of Echo can look forward to vinyl re-presses of the compilations Love Is Overtaking Me and Calling Out Of Context, as well as an upcoming album of unreleased material entitled CORN: “The material is for the most part solo, and to the left of Calling Out Of Context. Programmed drum machine, heavy metal cello, multi-layer Casio drones, and all very rhythmic."

http://www.thevinylfactory.com/vinyl-factory-releases/the-story-of-arthur-russell-world-of-echo/

I thought a lot of the Corn material showed up on Calling Out Of Context? Or is this new album different to the original unreleased Corn album?

anyway new material is always welcome

Love is Overtaking Me is a real grower

Extra London date! Kind of wish I'd waited...

01 Lucky Cloud
02 Corn
03 Keeping Up
04 See My Brother, He's Jumping Out (Let's Go Swimming #2)
05 This Is How We Walk on the Moon
06 Corn (Continued)
07 Hiding Your Present From You
08 They and Their Friends
09 Ocean Movie

can you even imagine hearing alternate versions of some of these songs

I cannot believe this thread failed to alert me to the "Pop Your Funk" reissue:

http://www.discogs.com/Loose-Joints-Pop-Your-Funk/release/6922282

Times being what they are I've put my copy of "Tower Of Meaning" up for sale on Discogs. Yeah, pricey but it's in great shape and rare and yadda yadda. Sad day.

Rhys Chatham has been tweeting from the AR tour w Peter Gordon.

A friend asks who played on the version of "In The Light of The Miracle"on The World of Arthur Russell, but my copy of the Soul Jazz CD doesn't credit players on the track list (although a few are mentioned, for a few tracks, in the very conversational booklet). Does anybody know?

As far as I know "In The Light of The Miracle" was originally performed by 'The Singing Tractors' – Arthur, Elodie Lauten, Mustafa Ahmed and Peter Zummo in 1982. The version on The World of Arthur Russell was produced by Steve D’Aquisto and Steven Hall and then mixed by Danny Krivit & Tony Smith.

apart from Arthur -

Keyboards, Vocals – Elodie Lauten
Percussion – Mustafa Ahmed
Trombone – Peter Zummo
Vocals (Additional) – Julius Eastman

Thanks guys! Somebody really needs to write a book about all this. Wild Combination is an excellent biodoc, but we need more about his life in music, the music-making process especially.

https://www.dukeupress.edu/Hold-On-to-Your-Dreams/

http://thequietus.com/articles/03425-review-excerpt-hold-on-to-your-dreams-arthur-russell-and-the-downtown-music-scene-1973-1992-by-tim-lawrence

Excellent, will pass that along too, thanks

Excellent bio.

Haven't had a chance to stream this yet:
http://www.npr.org/2015/05/31/409801534/first-listen-arthur-russell-corn

Finally got to the npr stream of Corn. Haven't done any comparative listening, but these versions are consistently perky, with the usual wide open spaces for contemplation (his "Buddhist bubblegum" ideal is not too far away). Demo-y at first, but several if not most are what a lot of people (quite possibly excluding AR, as usual) would consider good finished product. Faves so far incl. "Corn (Continued)," which got me up and dancing in headphones, and the finale, which sounds like he might've had Hendrix on his own headphones while playing.

WSJ Review of the BAM Concert:

The visionary musician and composer Arthur Russell was recently honored in the “Master Mix: Red Hot + Arthur Russell!” concerts at the Brooklyn Academy of Music.
By Jim Fusilli
June 2, 2015 5:31 p.m. ET
Brooklyn, N.Y.

During a career that started four decades ago and lasted until his death at 40 in 1992, Arthur Russell seemed to anticipate several trends of today’s popular music. A composer and cellist who played several other instruments, Russell understood that musicians with disparate creative interests could occupy, however briefly, a shared space to work together; that the avant-garde need not shun a rock following or the pursuit of popularity; that the line between rock and dance music was an artificial commercial construct; that folk-based music could withstand nontraditional arrangements; and that the use of electronics would provide textures and inspiration for musicians driven to create rather than follow. Some of the most vital contemporary music embraces these philosophies, and many rock and pop fans profit from the result.

To say that Russell, who died from HIV/AIDS-related complications, foresaw the future doesn’t quite capture his achievement. What now seems an inevitable environment for adventurous, open-spirited musicians did not exist until he helped make it so. That Russell wasn’t embraced by a wide audience is a consequence of such inventiveness. But if he didn’t have a diverse peer group in popular music back then, he does now, as demonstrated by this past weekend’s “Master Mix: Red Hot + Arthur Russell!” concerts at the Brooklyn Academy of Music. Fueled by a ferocious house band, Friday evening’s show included performances by the folk musician Sam Amidon; the pop group Cults; Devonté Hynes, a funk-and-rock musician who records under various names; Richard Reed Parry of Arcade Fire; and the indie dance band Rubblebucket, among others. Together, they tapped into the many planets within the Russell universe of music.

At BAM, the performers swiftly revealed Russell’s democratic approach to popular music. With polyrhythms provided by Chris Vatalaro and Reinaldo de Jesus of Antibalas on drums and percussion, respectively, Jake Shears of Scissor Sisters and Kalmia Traver of Rubblebucket kicked off the show with a disco medley. Tenor saxophonist Stuart Matthewman, formerly of Sade and now with the jazz duo Twin Danger, joined Cults for a hefty “Planted a Thought,” which hadn’t grown much beyond the demo stage when Russell recorded it. A versatile five-piece horn section led by Stuart Bogie added appropriate and thoughtful support throughout the evening; in Thao Nguyen’s bluesy reading of “Nobody Wants a Lonely Heart,” it framed her voice with Mr. Bogie’s clarinet and Ms. Traver’s baritone sax.

The Iowa-raised Russell’s folk compositions for voice and guitar are an endearing mix of fragility and resolution. Discarding Russell’s arrangement, Mr. Amidon played banjo as he sang “Lucky Cloud” with Mr. Parry on upright bass and Rebecca Foon on cello. Later, Redding Hunter strummed chords on electric guitar as he softly sang a bittersweet “Close My Eyes.” Mr. Parry’s reading of “Just a Blip,” accompanied by the warmth of upright bass, cello, bass harmonica, tuba and baritone sax, was one of the evening’s most exquisite moments.

The richness of Russell’s catalog grew more evident as the evening moved on. Mr. Hunter led the ensemble in a solemn reading of the gentle “You Can Make Me Feel Bad” that felt like a finale, but then the musicians returned to their instruments for a rousing “Wild Combination,” a disco number that drove members of the audience to dance gleefully in front of the stage. With Ms. Foon’s cello and Mr. Parry’s bass offering a supple introduction, Mr. Amidon and Laurel Sprengelmeyer, who performs as Little Scream, sang “Keeping Up,” which seemed to contain all of Russell’s colors in one joyous, poignant number.

Russell’s music is enjoying an extended period of revival. He was the subject of Matt Wolf’s clear-eyed documentary “Wild Combination: A Portrait of Arthur Russell,” released in 2008, and his music provided the soundtrack to Ira Sachs’s 2012 film “Keep the Lights On.” There are many worthy Russell compilation albums, including “Corn,” which will arrive next week on the Audika label, the loving custodian of his huge collection of previously unreleased material. He was the subject of an album in the Red Hot Organization’s series that raises funds for HIV/AIDS relief and awareness; the 2014 tribute to Russell, which has the same title as the BAM shows (minus the exclamation point), includes performances by José González, Glen Hansard, Hot Chip, Phosphorescent, Robyn, Sufjan Stevens and others. If it seems like Arthur Russell’s time has finally arrived, it’s worth remembering it was in plain sight all along.

Mr. Fusilli is the Journal’s rock and pop music critic.

I wasn't blown away by Corn when I first heard it but I'm really liking it now, in case anyone was wondering

Also does anyone know what's up with the letters and numbers code on the insert? Someone (presumably Arthur himself) wrote a bunch of words with numbers beside them eg:

B 2
I 9
G 7

C 3
O 6
R 9
N 5

For the letters A-I it's an A=1, B=2 code but I can't work out what's going on past the letter I. Said code also appears on the insert that comes with Calling Out Of Context

A1 R9 T2 H8 U3 R9 R9 US S1 S1 E5 L3 L3

(from Calling Out Of Context)

Corn is easily my favourite release with Arthur Russell's name on it.

Oh I just realised the code only uses the digits 1-9. So J=1, K=2. I was never that good at maths

Corn is easily my favourite release with Arthur Russell's name on it.

really? i love it and it has it my new favourite ever version of "let's go swimming" on it but i can't ever see it being my favourite.