1,111 vinyl records combined with a live performace by Doc Chad (prepared guitar & banjo) and Mark Dixon (homemade and robotic instruments) in a tribute to the number 11.
Memorial Day 2019 Sale:
Shipping Weight: 3.00 units
Quantity in Basket: None
Log In to use our Wish List
Catalog ID: horror11
Squidco Product Code: 9198
Packaging: CDR in a cardboard sleeve with Dr. Chad's unique packaging
Click an artist name above to see in-stock items for that artist.
Highlight an instrument above
and click here to Search for albums with that instrument.
• Show Bio for Eugene Chadbourne
"A seemingly endless -- and endlessly eclectic -- series of releases made the innovative guitarist Eugene Chadbourne one of the underground community's most well-known and well-regarded eccentrics. Born January 4, 1954 in Mount Vernon, NY, Chadbourne was raised in Boulder, CO, by his mother, a refugee of the Nazi death camps. At the age of 11, the Beatles inspired him to learn guitar; later exposure to Jimi Hendrix prompted him to begin experimenting with distortion pedals and fuzzboxes. Ultimately, however, he became dissatisfied with the conventions of rock and pop, and traded in his electric guitar for an acoustic one, on which he began to learn to play bottleneck blues.
Perhaps Chadbourne's most significant formative discovery was jazz; initially drawn to John Coltrane and Roland Kirk, he later became an acolyte of the avant excursions of Derek Bailey and Anthony Braxton. Despite the huge influence music exerted over his life, however, Chadbourne first studied to become a journalist, but his career was derailed when he fled to Canada rather than fight in Vietnam; only President Jimmy Carter's declaration of amnesty for conscientious objectors allowed the vociferously left-wing Chadbourne to return to the U.S. in 1976, at which time he plunged headlong into the New York downtown music scene. After releasing his 1976 debut, Solo Acoustic Guitar, he began collaborating on purely improvisational music with the visionary saxophonist John Zorn and the acclaimed guitarist Henry Kaiser.
Quickly, Chadbourne carved out a singular style, comprised of equal parts protest music, free improvisation, and avant-garde jazz, topped off with his absurd, squeaky vocals. A complete list of Chadbourne's countless subsequent collaborations and genre workouts is far too lengthy and detailed to exhaustively document, although in the early '80s he garnered some of his first significant attention as the frontman of Shockabilly, a demented rockabilly revisionist outfit which also featured the well-known producer Kramer. Following the group's breakup, Chadbourne turned to his own idiosyncratic brand of country and folk, accurately dubbed LSD C&W on a 1987 release, the same year he joined the members of Camper Van Beethoven for a one-off covers project. In addition, he recorded with artists ranging from Fred Frith and Elliott Sharp to Evan Johns and Jimmy Carl Black, the original drummer in the Mothers of Invention; in between, he continued exploring unique styles inspired by music from the four corners of the globe, all the while issuing a seemingly innumerable string of records, most of them on his own Parachute label."-All Music (http://www.allmusic.com/artist/eugene-chadbourne-mn0000172925/biography)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Eugene Chadbourne
11 un-named tracks
descriptions, reviews, &c.
"It was no problem finding performers who wanted to pay tribute to the number eleven. Everyone wanted to be in on the action, so as a result the compositions Horror Part Eleven features excerpts from many of the greatest performances in the history of mankind, perfectly appropriate as there could be no mankind, and thus no history, without the number eleven.
1,111 vinyl records were combined with an actual live performance by myself and Mark Dixon of Greensboro, North Carolina. This original performance took place at Gate City Noise (R.I.P...) in 2005 and was freely improvised. I played a prepared acoustic guitar and a banjo and Dixon had filled the stage with his homemade instruments, many of them robotic in nature and some involving reclaimed apparatus such as typewriters and washing machines.
The recording, editing and mixing processes utilized sets of rules based on the number eleven - this seemed more reliable than personal taste. In recent times it has been my pleasure to receive correspondence from your listeners interested in the fantastic art of audio collage. Beginning with the previous Horror Part 10: Convert Band Massacre by Evil Spell, my horror series is now illustrating the superb possibilities of collage utilizing my studio's new 24-track system."-Eugene Chadbourne, from the liner notes
At The Squid's Ear!
Search for other titles on the Chadula label.