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Tag Archives: Instrumental

Enoch Light and the Light Brigade - Future Sound Shock


Quadraphonic is something of a tantalizing mystery to me. I have in my collection several quad recordings but have never heard any in their proper 4-channel format, nor any quad recordings for that matter. My copy of Future Sound Shock is actually in stereo but that isn’t neither here nor there since it was converted to stereo MP3 for your listening pleasure.

I’ve always kind of felt that quadraphonic was just a product of a marketing hype machine during the 70’s in an effort to sell more gear. This album is a perfect example of that hype machine operating on all four turbocharged cylinders.

Have any of you heard a proper quadraphonic setup? Has my whole life as an advocate of stereophonic superiority been a sham? This album’s gatefold does its best to make me think so. Take a read of the following and see what I mean.

This record is available in both quadraphonic and stereo versions (this rip is from a stereo version). The quadraphonic version is compatible and will play on standard stereo equipment.

The following short review highlights the development of techniques in the recording studio.

The art of recording has made tremendous progress in the past 25 years. With the introduction of tape it became possible to produce much finer recordings, both in the quality of the sound as well as in the performance level. With tape, the producer could edit and delete errors in the performance and substitute from another “take”, a perfect performance of almost any particular musical selection. With tape, it became possible for both the producer and the performer to listen to the playbacks immediately during the recording session and thus judge whether the overall performance, the musical balance, the dynamics, the tempi, etc. achieve high standards of perfection. Shortly after the introduction of tape into the recording studio producers became aware of the needed for multi-microphone pick-ups so that they could place the different section of the orchestra as well as the individual soloists on individual and different types of sympathetic microphones and could consequently achieve a more satisfying sound and balance of the instruments. This improved sound and balance, contributed greatly to the vitality of the lifelike authenticity of the performance.

With the advent of stereo, approximately 15 years ago, further improvements in the recording field became possible. This was due to the possibility of separating soloists as well as musical sections, both in the studio sessions and also in the mixing of the master recording. Stereo affected not on y the balance of the individual instruments and orchestral sections but also influenced the concept of the orchestra. Arrangers began to think in terms of stereo and the great potential made possible by this new technical breakthrough started to happen (huh?).

During the past two or three years quadraphonic recording has been developed and it really opens up a completely new world of sound. By carefully planning the arrangement concept and by recording on 8, or 16, or 24 tracks, the musical effectiveness reaches a new high standard. Quadraphonic recording makes it possible to create a wrap-around sound ambiance and at the same time to pinpoint solo passages. In creating this musical ambiance, the beautiful contribution of 4-channel or quadraphonic recording is that the producer does not have to sacrifice any musical definition or excitement, and instead of just enveloping the listener in musical sound per se, he can envelop the listener in musical sound containing musical statements which have a definitive individuality and are warmly balanced in the total musical concept. The result is a most complete and satisfying listening experience. Actually, it is the first time the audience really hears the orchestra in the way as the conductor has been hearing the orchestra since the beginning of musical “time”.

At Project 3, we started to work with 4 channel concepts in 1963. We received a call from a research man at General Electric, who paid us a visit and told us about his concept of 4 channel recording. We worked together in the studio and finally, after many weeks of trial and error, produced a 4 channel or quadraphonic reel-to-reel tape. Unfortunately, this man, Dr. Lloyd Ryan, passed away shortly after we enjoyed this cooperative endeavor. After his demise, the whole project lay dormant for approximately seven years. Three years ago, we began, once again, to work with 4 channel concepts, and at the present time have available approximately 40 albums as 4 channel recordings, 4 channel cartridges and 4 channel reel-to-reel tape.

The wonderful and amazing thing about 4 channel sound is that once you allow yourself to really enjoy a good 4 channel recording, you will find it to be the most exciting and completely satisfying musical experience of your lifetime.

In this new album, FUTURE SOUND SHOCK, we have tried to achieve an overall exciting musical content with explores the potential of quadraphonic 4 channel recording. In order to help us do this we have used many instruments which produce highly unique sounds, such as regular sitar, bass sitar, finger cymbals, conga drums, bongos, vibraphones, cow bells, flues, piccolos, shakers, mirambas, vibraslap, English horn, flugal horn, alto flute, oboe, etc. These unusual instruments, use in solo context as well as in combination with other instruments, gave us an opportunity to “point up” the individual channels, and by using them in combination with the other instruments to create and ambiance which achieves a highly colored and dramatic musical impact. The songs were selected because most of them have achieved a great popular success and are also highly individualistic in their musical composition. The recording was done under the most modern studio conditions and involved many of the greatest popular musicians, as well as outstanding engineering talents.

We do hope that this recording will interest and intrigue you, and provide many enjoyable listening sessions.


Click here to download Future Sound Shock



Caravan was used as a sample on Bonobo’s “Flutter” Check it out.




A1  St. Thomas! Everybody! 3:19
A2  Cute 3:16
A3  Recado Bossa Nova 3:11
A4  Caravan 3:30
A5  Pick Yourself Up 3:09
B1  Perdido 3:09
B2  Samba De Orfeu 2:26
B3  Give Joy To The World 3:42
B4  One Note Samba 2:27
B5  Baubles, Bangles & Beads 2:43
B6  The Girl From Ipanema 3:20

Sick of the deadly Midwestern freezin’? Get yourself some easy San Francisco breezin’!

Starring Rebuilt Tranny, featuring the song “Indian Lady”.

>>>Click here to download Electric Bath at 320 kbps


A1 Indian Lady 8:06
Composed By – D. Ellis*
A2 Alone 5:33
Composed By – H. Levy*
A3 Turkish Bath 10:18
Composed By – R. Myers*
B1 Open Beauty 8:28
Composed By – D. Ellis*
B2 New Horizons 12:22
Composed By – D. Ellis*

If you’re a proud American that loves Civil War-based western movies, written and directed by Italians, that are filmed in Spain you MUST download this soundtrack.

I’ve been working my way through the Dirty Harry films lately and was reminded how much of a badass Clint Eastwood used to be. Long before he was directing films about girls that punched other girls Clint Eastwood was blasting motherfuckers on the silver screen. Not a couple of ne’er-do-wells, mind you, but a battalions-worth of sweaty outlaws.


the good the bad and the ugly

Of course sheepskin vests are tough. You don't know what you're talking about.


Clint took the Western crown from the bloated head of John Wayne and made it cool. Yes, he didn’t say much on screen but he didn’t need to. His sharp-tongued Harder/Spencer rifle did the talking for him from a 1000 yards away.

And over the chatter of Clint’s peacemaker boomed the sonorous roar of God with Hugo Montenegro conducting.


Click here to download the soul of a gunslinger at 320 kbps.



A1 The Good, The Bad And The Ugly 2:43
A2 March With Hope 2:25
A3 The Story Of A Soldier 2:59
A4 The Ecstacy Of Gold (From The Film “The Good, The Bad And The Ugly”) 2:33
A5 Theme From “A Fistful Of Dollars” 2:04
B1 For A Few Dollars More 2:39
Co-producer – Al Schmitt
B2 Aces High 3:10
B3 The Vice Of Killing 2:15
B4 Sixty Seconds To What? (From The Film “For A Few Dollars More”) 2:18
B5 Square Dance (From “A Fistful Of Dollars”) 2:06
B6 Titoli (From “A Fistful Of Dollars”)

First off, I want to say thanks to Jeremy and Yoshiko for translating the album name and track titles for the site. If it hadn’t been for those two love birds this post would have been labeled “Japanese Spaghetti Dinner”. The Koto and Shamisen, mixed with an accordion on the first track, evoked images of Yakuza and Mafiosos caught in a mortal struggle for the last piece of garlic bread during an ill-conceived dinner date.

According to Yoshiko the title of this album has a double meaning. “Ruten directly translated means “never ending change,” or something of that nature. In this case, though, it probably means a wandering musician who doesn’t have a particular destination.” Pretty nifty.

The rest of the album cover, mainly the track descriptions, uses pretty antiquated Japanese wordage and wasn’t translated. Maybe you happen to know early 21st century formal Japanese script really well and want to take a look. You can peep them here:



Koto Musicians

Sachiko Tanaka

Shigeru Kubo

Shamisen Musicians

Sadano Jyou

Jyou Ji

>>>Click here to download Ruten


1. Ruten

2. Street Corner In Shanghai

3. 13th Night Of Lunar Month

4. The Moon In Otone

5. Parting Vessel

6. News From Shanghai

7. Little Song Of Nozaki

8. Atami Blues

9. Green Horizon

10. Manchurian Girl

11. Tokyo Love Story

12. Meiji Woman

Click here to download barrels of fun at 320 kbps!

Festival season once again reared its drunken head in Covington this past weekend. I figured I’d share a little sweet treat to celebrate the upcoming months of Hudy Delight, Goetta Balls and common-law love in the Commonwealth. Here’s a collection of traditional Dutch carnival music to creep your balls off. The album features the following jolly time instruments:

The Carillon

Introducing Willem, the star attraction for ladies' night at the Amsterdam public library.

The Music Box

Kiss your 808 goodbye!

 The Barrel Organ

There are also a lot of other instruments on here that don’t seem to exist anymore in a functional capacity, at least on the first 3 pages of any YouTube or Google Image search. These include but are not limited to the canary organ, the tongue organ, and the belly organ. The weenis organ is featured on the rare 7″ epidermis-colored bonus disc for this album that, unfortunately, isn’t in my collection.

It’s my hope that someone will take this album and sample a bit of it in the worst way possible. That, of course, would be in the same vein as the following song by Mark Mothersbaugh:

Please, I need it…so badly.