The third of four volumes in Feeding Tube's series of solo albums from guitarist Eugene Chadbourne documents recordings made in Calgary, Canada in the 70s while he waited out Vietnam & Nixon; Chadbourne programmed this volume to reveal material never heard before, improvised in a creative period of playing influenced by jazz, country, folk, blues and free experimental styles.
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Label: Feeding Tube Records
Catalog ID: FTR 395LP
Squidco Product Code: 27845
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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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1. East Was
2. Texas Was
3. The Shreeve
4. Evil Was
5. What Was
1. Superman's Problem
sample the album:
"Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them.
Volume 3-1/3 is the third of four LPs Feeding Tube is releasing, devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the conscriptive powers of Richard Nixon and his ilk.
Exact details of the recordings are vague, but that's trivial. Here are seven tracks of improvisational guitar madness at its most glorious. Describing them is almost impossible, but I can at least tell you their names "East Was," "Texas Was," "The Shreeve," "Evil Was," "What Was," "Superman's Problem," and "Reflections." The "Was Tetrology" was a piece I believe to have been originally conceived and performed while in the lair of Davey Williams, R.I.P. (and associated members of the Alabama Surrealist Cabal). "The Shreeve" is another take of a track originally recorded for the timeless Volume Two LP. "Reflections" and "Superman's Problem" probably date to a Clouds & Water session in early '79. Heard together they suggest an entire parallel universe of guitar history
Solo Guitar Volume 3-1/3 is an even more amazing spin than the last one. And there's still one more to come!"--Byron Coley, 2019
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