| | John Tabacco Dada Screeology CD John Tabacco Discography of CDs
Dada Screeology is like a sound track to a movie about making a recording of a soundtrack that is like a free for all college radio program. There's some classic Gearhead Freaks music here "Spider Ride" and a pretty ballad co-written and performed with Marci Geller called "Let The Rain Wash It Away" and a very philosophical folk piece called "The Questions Keep Getting Deeper" co-written with WUSB 90.1 FM's own DJ and formidable guitarist Jim Dexter. Not only that, it contains a spiffy ecological mini rock musical I co-wrote with author, musician Nigey Lennon about a certain mountain. Some of you Zappaologist out there would know him as Billy... And you may have wondered whatever happened to Billy after his short-lived success in the early 70's? Well for one, some of his friends started calling him Willie. The rest is history and it's not a pretty picture. Buy this CD to find out more! Dada Screeology Music | Category | Electronica Albums | | Label | CD Baby | | CD Universe Part number | 7453844 | | Catalog number | 132167 | | Discs | 1 | | Release Date | Apr 24, 2007 |
John Tabacco Dada Screeology Songs | 1. | The Non-Objective Reality Show |
| 2. | Questions Keep Getting Deeper |
| 3. | Star, Smile, Strong |
| 4. | Spider Ride |
| 5. | Dada Screeology |
| 6. | Pre-Old Age Hard Ways |
| 7. | Old Age Hard Ways |
| 8. | Let The Rain Wash It Away |
| 9. | The Miseducation Of Willie The Hill (part 1) |
| 10. | The Miseducation Of Willie The Hill (part 2) |
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Dada Screeology Review
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Beatrix*Jar short circuits the musicby Chris Roberts, Minnesota Public RadioOctober 25, 2006In an age of sample-crazy, electronically altered music, one Minneapolis group is wiring new connections in the search for exciting sounds. The electronic duo Beatrix*Jar has adopted a do-it-yourself method for coaxing audio out of familiar and unfamiliar sources. The group is holding workshops to teach the method to musicians and non-musicians alike.Minneapolis — In the glitchy, garbled, sonic universe of Beatrix*Jar, anything that makes a sound can be channeled into a song. The band's favorite source of found sounds is recycled electronic toys.Hidden in the layers of "Paint by Numbers," a track from Beatrix*Jar's 2006 release "I Love You Talk Bird," is the crackling voice of the Texas Instruments learning toy Speak & Read. It's one of a multitude of electronically and digitally generated elements that make up a Beatrix*Jar soundscape.Sound equipmentCo-founder Jacob Roske says too many musicians, especially in the Midwest, are still trapped by the traditional set-up of guitar, bass and drums."We're trying to open people's minds and kind of broaden their horizons by saying, 'But this Speak & Spell and this kids drum machine and this old keyboard have a lot of value too,'" he says.The process of manipulating the sounds in these toys is called "circuit bending." It's kind of like performing a simple surgery on the toy's circuit board to redirect the currents that produce the sound.But circuit bending may be too clinical a term. Somewhat jokingly, Beatrix*Jar co-founder Bianca Pettis considers the process of discovering the submerged, organic voices in these machines an act of liberation.Beatrix*Jar"We always say that the machines themselves have a song to sing and we kind of release," she says. "We do a little surgery on them and suddenly they're like, 'Ahhhhhhhh,' whereas they maybe couldn't have done that before because of the way they were set up."To demonstrate, Jacob Roske taps on the keys of a 1980s-era Casio keyboard. Then he throws a switch he's wired into the instrument."And that switch raises the overall tone or it randomizes it and makes it go into a sort of chance operation," he says.Roske looks at the circuit board inside one of these toys as an electronic city. Within that city, says Roske, are the circuits or the roads, and at the end of those roads are what he calls cul-de-sacs.Sound devicesAccording to Roske, circuit bending takes place when ...
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Digitally remastered by Tony Arnold (Courthouse Facilities, Dorset).
Gallagher's work ethic was in high gear as he somehow found time to write nine more songs in the midst of non-stop touring for his second album released in 1973. Even more astounding is that far from sounding fatigued or burnt out, his performance here is loose and impassioned, and the tunes are some of the best of his career. Lou Martin's keyboards are better integrated into the band, and drummer Rod de'Ath swings and burns with easy confidence. The double whammy of the album's two crunching leadoff tracks, "Tattoo'd Lady" and "Cradle Rock" illustrate just how comfortable Gallagher is with his backing group, and the smooth-rolling unplugged guitar and harmonica of "20-20 Vision" proves that the blues rocker is a more than adequate Delta/folk musician. Better still ...
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