Annette Peacock, classic or dud?

Such a sequence! On an archived Wire show: slide the slider to 11:20 for the DJ's intro (if you wanna skip Moondog's "Invocation," a good crisp march, but seems like it should be half as long; and, from Japanese Fisco Records, the sounds of now-banned speed racing x spoken word w lounge Spanish guitars), for AP tracks:
the suggestive, defacto feminist "My Mama Never Taught Me How To", from X-Dreams; the lyrical, rude, Sunday brunch in bed sounds of "MJ," with Paul Bley, analog synths, and drums (from Dual Unity; and the upclose, not-particularly-bothering-with-loud, twisted blue "Pony," spot-on like Joplin, from (oh yeah) I'm The One
http://www.thewire.co.uk/audio/on-air/adventures-in-sound-and-music-26-june-2014

Seems like two sets of hands on them keys

"i belong to a world that's destroying itself" is available again at cdbaby, i tried to order it a while ago and it was sold-out.

nytimes' Ben Ratliff says it's on her site:

I BELONG TO A WORLD THAT’S DESTROYING ITSELF

“This is my first record,” runs Annette Peacock’s 14-word present-day liner note to a recording of music made in 1968 and 1969. “It was the right album, in the wrong century.” She is referring to a long out-of-print record called “Revenge,” released under the billing of the Bley-Peacock Synthesizer Show. Here it is again, retitled “I Belong to a World That’s Destroying Itself,” and she has released it on her own label, Ironic, under her own name. (It is available at http://www.annettepeacock.com.) This is as it should be. Ms. Peacock’s husband at the time was the jazz improviser Paul Bley, who plays on some of the record, alongside others, including the bassist Gary Peacock (her first husband), the drummer Barry Altschul, the clarinetist Perry Robinson and the pianist Mike Garson, who later played on David Bowie’s “Aladdin Sane.” But this is her sandbox. She wrote all the songs, sang them in a wide-range voice with humor and anger and streety edges, sometimes through Moog synthesizers, making wild sculptural streamers out of long vocal tones. But the gear is not the point. This record contains a rare order of creativity, ambitious and scruffy and hardheaded. (“Don’t tell me that you see nothing wrong,” she sings on the title track. “Let me scare you: We don’t have that long.”) It goes in several directions without establishing a hierarchy among them: blurry funk, free jazz and her slow, long-form, composed songs, which are dark and liquid and totally gripping, a kind of zero-gravity redefinition of the ballad.

http://youtu.be/i2_OGN-vod4

This is so great

pretty spot on nilsson sings newman track

dunno if people were aware that she's playing at cafe oto this month:

https://www.cafeoto.co.uk/events/annette-peacock-two/

Do wish somebody'd reissue the late 70s stuff. Everything's really pricey.
Would love a physical copy.
Dime had a couple of live sets from the time appear a couple of months back.

&is that 1st lp still around?

once "i'm the one" gets going it's an amazing song. love that robot thing.

yes

http://thequietus.com/articles/21949-annette-peacock-interview-2

the bits about how Eno was going to produce a record of hers for Obscure is amazing; too bad that didn't happen, that would have been an amazing combination. the record she did by herself, Skyskating, I haven't heard yet.

What's the best album as an intro?

duel unity

The Perfect Release is exactly that, imo

https://www.discogs.com/Annette-Peacock-My-Mama-Never-Taught-Me-How-To-Cook-The-Aura-Years-1978-1982/release/1102949
wish I'd been aware of how good she was when this was still available.

What's the best album as an intro?

― Carlotta's Portrait (Ross), Friday, April 7, 2017 5:39 PM (one hour ago) Bookmark Flag Post Permalink

I'm The One. Dual Unity is great too but more collaborative. I'm The One is a great introduction to her overall essence / vibe, which is singular and astonishing.

She's the greatest

I didn't realize how much of her stuff had been reissued in the last year or so. Search on Amazon.

Anyway, I'm The One is still where I'd start.

feel that i'd never get tired of a whole genre spawned from the closing minutes of 'i'm the one'

I'm not sure if anyone has posted this. I saw her in a tiny record store around this time, and was pretty knocked out. She's around 59 or 60 in the video. https://www.youtube.com/watch?v=mrlHECcQGfo

"i'm the one" from 3:35 on is like the best thing ever recorded

The whole song is great obviously, with its multiple movements, but if she had released a version that was just the last two minutes it would have been the most famous, most beloved song of all time.

And not just bc of r2 d2. her vocal performance is incredible

Just been listening through the 2 lps from the late 70s that got reissued last month.
They're up on Spotify which is about ok. Mainly checking them out prepurchase of the physical cds I think.
Definitely into X-Dreams and possibly the other thing Perfect Release.
Not sure about anything after that.

GOt the I'm The One she put out like 8 years ago or whatever. She looked pretty fine in that brown leather. I hear her photos in the other reissue were even better but haven't seen them.

x-dreams is great and The Perfect Release is very good, although they have been intermittently available over the last few years. The records I'd really like to see reissued are the releases on her Ironic label from the 80s. Of those, I only have Been in the Streets Too Long, apparently her only record never to come out on CD.

Those are both great records, but I definitely prefer The Perfect Release for its Rhodes-y fusion aesthetic

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

oh, i guess that is the same as what was posted above, no embeds

I love her!

That's good!

i'm the one

my favourites are x dreams and i have no feelings but i'm getting into the earlier collaborations with bley etc