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Catalog ID: INT047
Squidco Product Code: 1737
Condition: Sale (New)
Packaging: Jewel Tray
Eugene Chadbourne-voice, guitar, dobro, banjo
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• 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)
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descriptions, reviews, &c.
All compositions Eugene Chadbourne except "Naima" by John Coltrane. "These 'Ends to Slavery' Eugene Chadbourne refers to in his title are just that: the pieces he played to end his own cultural and musical slavery. To this end, in the liner notes, he discusses -- sometimes at length -- what happens in particular works, or, more interestingly, what they're about and who they're for. The opening track, "Amber," is about a family cocker spaniel who had to be gassed because of her age -- and the fact that she was too old to go draft-dodging with the guitarist during the Nixon era. He puts the blood for the crime firmly where it belongs -- on Nixon. More importantly, he also discusses his use of Albert Ayler's folk melodies in the creation of the work, and through those movements he creates a textural dimension and soul that Chadbourne rings out of the guitar. His cover of Coltrane's "Naima" is, without question, a stunningly beautiful and deeply felt rendition that reveals great technical skill and emotional depth. The other element here is how inventive Chadbourne can make humor sound, as he does on the four-part suite "Symphony for Weirdness" that occurs in just over four-and-a-half-minutes with scraped surfaces, feedback, pluck,s and plonks, rattling microphones, and even chewing food. It's funny, yes, but awesome, too. Let's not forget "Oil of Hate," with its hilarious lyrics (unsung), and multi-tracked guitars that walk somewhere between a Spanish folk song and the blues -- kind of like Loren Mazzacane Connors but with lots of movement and a varied emotional palette. In sum, it's all Chadbourne doing what he does best: everything. He's not only a technical genius on his instrument, he's a menace to cultural snobbery at every turn."-Thom Jurek, AllMusic.com
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