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The final volume in the 4-LP set of Eugene Chadbourne's solo guitar recordings made while living in Calgary, Canada during the 70s, this 4th volume presenting four extended pieces blurring improvisation and experimental approaches to the instrument, alongside unusual percussive and sound devices, a quirky and technically amazing period of Doc Chad's incredible career. |
In Stock Shipping Weight: 16.00 units Quantity in Basket: None Log In to use our Wish List ![]() UPC: 769791975965 Label: Feeding Tube Records Catalog ID: FTR 396LP Squidco Product Code: 28565 Format: LP Condition: New Released: 2019 Country: USA Packaging: LP No recording data listed. Personnel: Eugene Chadbourne-guitar 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. ![]() ![]() Artist Biographies: • 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)1/14/2021 Have a better biography or biography source? Please Contact Us so that we can update this biography. ^ Hide Bio for Eugene Chadbourne ![]() SIDE A 1. Bow 2. The Bird 3. Be SIDE B 1. Men Tse Tung Did Not Have To Deal With People Who Were Watching Seven Hours of Television Every Day |
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 divers "Eugene Chadbourne is one of the great guitar players of the modern era. When he began recording in Canada in 1975, his music was a unique syncretic formulation of elements known and unknown. While its most obvious component was free improvisation in a style then most widely associated with English and European players, Chadbourne's vision also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways so diverse and intensely personalized it would take scholars decades to decode them. Volume 4-1/3 is the last of four Feeding Tube LPs in this series, documenting some of the music Dr. Chadbourne created in the years he lived in Canada, avoiding the shadow of Richard Nixon. As always, exact details of the recordings are vague, but trivial. Here are four tracks of improvisational guitar madness at its most glorious. Describing their textures is a fool's errand, but that is the job I was born to do. "Bow" is new to me, but the sonics suggest the title may be a practical description of how some of the effects are achieved. "The Bird," which has been issued on cassette previously, is a wonderful example of Eugene's most swinging jazzbo playing. "Be" is another piece that's new to me, with long sequences of bent-string attack accruing epic grandeur as they unspool. And "Mao Tse Tung Did Not Have to Deal with People Who Were Watching Seven Hours of Television Every Day," which was a bonus track on the CDR version of Solo Guitar Volume Two, is a sidelong ode to revolutionary techniques of all kinds, employing a bunch of them as it evolves, with results that are pure bananas. If you play all four volumes of this set in order, you will begin to imagine a whole new universe of guitar technique. We hope they fill in some gaps for you. We have been blown away by each and every one. And would like to thank Doctor Chadbourne for sharing his archives with us."-Byron Coley, 2020 e and intensely personalized it would take scholars decades to decode them. Volume 4-1/3 is the fourth of four Feeding Tube LPs in this series, devoted to documenting some of the music Dr. Chadbourne created in the years he lived in Canada, avoiding the shadow of Richard Nixon. As always, exact details of the recordings are vague, but trivial. Here are four tracks of improvisational guitar madness at its most glorious. Describing their textures is a fool's errand, but that is the job I was born to do. 'Bow' is new to me, but the sonics suggest the title may be a practical description of how some of the effects are achieved. 'The Bird', which has been issued on cassette previously, is a wonderful example of Eugene's most swinging jazzbo playing. 'Be' is another piece that's new to me, with long sequences of bent-string attack accruing epic grandeur as they unspool. And 'Mao Tse Tung Did Not Have to Deal with People Who Were Watching Seven Hours of Television Every Day', which was a bonus track on the CDR version of Solo Guitar Volume Two, is a sidelong ode to revolutionary techniques of all kinds, employing a bunch of them as it evolves, with results that are pure bananas. If you play all four volumes of this set in order, you will begin to imagine a whole new universe of guitar technique. We hope they fill in some gaps for you. We have been blown away by each and every one. And would like to thank Doctor Chadbourne for sharing his archives with us."-Byron Coley, 2020![]() Vinyl Recordings Improvised Music Rock and Related Improvised Rock Guitarists, &c. Solo Artist Recordings Chadbourne. Eugene New in Improvised Music Recent Releases and Best Sellers |