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Annette Peacock
I Belong to a World That’s Destroying Itself. (aka Revenge) [Expanded Edition] (2014)

Annette Peacock — I Belong to a World That’s Destroying Itself. (aka Revenge) [Expanded Edition] (2014)

 Annette Peacock — I Belong to a World That’s Destroying Itself. (aka Revenge) [Expanded Edition] (2014)I Belong to a World That’s Destroying Itself. (aka Revenge) [Expanded Edition] (2014)•••  A unique force in avant–garde jazz as a singer, composer, and multi–instrumentalist. This is Annette Peacock's first album. A Moog'd out, pre–punk electronica prophecy — comprising her first raps and the first three recordings of her free–form song genre — as if broadcast from the other side of the universe.             Born: in 1941 in Brooklyn, New York
Location: New York
Album release: 1971
Record Label: Ironic Records
Duration:     49:09
01 A Loss of Consciousness     6:59  
02 The Cynic     3:38  
03 I Belong to a World That’s Destroying Itself     4:40  
04 Climbing Aspiration     1:37  
05 I’m the One     4:55  
06 Joy     7:17  
07 Daddy's Boat (A Lullaby)     7:32  
08 Dreams (If Time Weren’t)     4:32  
09 Flashbacks     3:30  
10 Anytime with You     3:29
•••  Barry Altschul Drums
•••  Paul Bley Piano (Electric), Synthesizer
•••  Laurence Cook Drums
•••  Tom Cosgrove Guitar
•••  Mike Garson Organ, Piano
•••  Steve Haas Drums
•••  Tod Levine Mixing, Remastering
•••  Rick Marotta Drums
•••  Bob Mason Piano (Electric)
•••  Glen Moore Bass
•••  Michael Moss Sax (Tenor)
•••  Annette Peacock Arranger, Composer, Electric Vibraphone, Moog Synthesizer, Producer, Vocals
•••  Apache Rose Peacock Prepared Piano
•••  Gary Peacock Bass
•••  Perry Robinson Clarinet
•••  Kirsten Weinhold Photography
•••  Mark Whitecage Sax (Alto)
•••  Stu Woods Bass
•••  Richard Youngstein Bass                                                                           Editorial Reviews
•••  This is Annette Peacock's extraordinary first solo album — and historically the first known instance of a vocalist singing through synthesizers — recorded 1968–69. It was originally titled Revenge and finally released on LP in 1971 under the group name Bley–Peacock Synthesizer Show, although Bley only on three of the eight tracks). Ms. Peacock has retitled it "I Belong To A World That's Destroying Itself." (track 3) for this new edition. This 2014 edition is the first appearance of this album on any media in 43 years, and also its worldwide CD debut, which INCLUDES 2 PREVIOUSLY UNRELEASED BONUS CUTS! Ms Peacock personally remixed and oversaw the digital mastering of this edition, and has released it on her own Ironic Records US label. Its still rough (in 1968, engineers had no experience recording bands with synthesizers played in real time alongside the other players), young and tough, unabashed vanguardist attitude is Annette Peacock's ecological electronica, pre–punk prophecy. As well, it contains the first recorded version of one of her mainstay anthems, 'I'm The One', which was subsequently re–recorded for her more widely–known legendary 2nd album of the same name released in 1972. (Ms. Peacock also personally remastered that album for a 2010 signed, collectors edition release on her Ironic label) Ms. Peacock wrote, arranged, sang, and produced this album, also programming and playing the Moog and electric vibraphone. Musicians supporting her on the various tracks include: guitarist Tom Cosgrove, bassists Stu Woods, Gary Peacock, Glen Moore, Richard Youngstein; drummers Rick Marotta, Laurence Cook, Barry Altschul, Steve Haas; keyboardists Mike Garson, Paul Bley, Bob Mason; saxophonists Mark Whitecage, Michael Moss; and Perry Robinson on clarinet.
Phenomenal 1st Album — finally re–released after four decades!
By DTMGallery on May 16, 2014
√   I’ve been knocked out by this since first discovering it 30 years ago — but the following quote says it better than I can:
“...she was one of the first musicians to experiment with synthesizers and remains one of the few to have perceived and harnessed their potential as a means of processing other sounds, rather than as a new model of electronic organ... Inasmuch as her lyrics have dealt with issues such as fetishism, masturbation, celibacy, nuclear disarmament, and individual responsibility in a political context, and they are delivered via an extraordinarily expressive and distinctive vocal style... her singular character and approach results in a singular music that defies definition. Not that she’s unique in this respect; it’s more that other artists who could reasonably be described thus make more impersonal, more emotionally abstract music (e.g., Captain Beefheart, Bjork and even David Bowie) that demands a less direct connection from the listener. Annette Peacock’s music, both in its lyrical style, mode of delivery, and song form, is more organic, more conversational and confessional — more the ideal of the so–called singer–songwriter approach. However, her work reaches far beyond the one–dimensional platitudes of the cliched archetype of that genre than that of most so–called cult figures of contemporary music.” — Richard Mason                                      
AllMusic Review by Thom Jurek;  Score: ****
•••  Annette Peacock gets it right again. In the lyric booklet here she writes "This is my first record. It was the right album, in the wrong century." Startling but true. An earlier version of I Belong to a World That’s Destroying Itself was released as Revenge by Polydor in 1971 — the same year as her classic I'm the One on RCA, which is usually regarded as her debut. The former album was credited to the Bley–Peacock Synthesizer Show. Her then–husband Paul Bley got top billing, despite the fact he played on only half the record. Peacock's Ironic label corrects this historical inaccuracy in deluxe fashion. Recorded live in various studios in 1968 and 1969 (written and arranged completely by Peacock), this is one of, if not the, very first record to feature a Moog Synthesizer modulating lead vocals. The rough recording aspect — understandable given technological limitations at the time — is actually a boon to this version; it is remarkably fresh, raw, energizing, and prophetic even now. This set marks the first showcase for Peacock's iconic free–form songwriting style — which has inspired three successive generations of musicians across several genres — and her trademark phrasing and delivery. As evidenced here, she pioneered a radical technique of commanding the synthesizer to serve her singing in perfect complement — she made the instrument actually sound passionate. Check the way she makes it strain to meet her high–pitched soaring on "A Loss of Consciousness." The electric bass, trap kit, and a fingerpopping acoustic piano vamp behind her foster the groove. Tom Cosgrove's guitar adds funky leads and the band matches them, while her rhythmic pulse — processed through the synth — takes it over the margin somewhere else entirely. The testifying title track is an environmental anthem that demands a return to natural sources; its poetry is just as bracing in the 21st century, and absolutely free of idle sentiment. The gospel stomp of the B–3, electric bass, and breaking drums frame her distorted vocal, adding primal urgency and steely poignancy. This set also contains the first version of "I'm the One." With its rickety upright piano and slightly reverbed vocals, it is at once earthy and otherworldly. On "Joy," with its bumping bassline and grooving Rhodes–and–organ groove, Peacock marshals the Moog to add emotive adornments in the instrumental mix as well as to her voice. She lyrically embraces life and love because of their impermanence. This edition includes two bonus cuts: "Flashbacks," a hard–driving funk jam with a lyric comprised of a diary entry (complete with rough–cut studio moments) that leads directly into "Anytime with You," a deeply moving, souled–out number with clean vocals and Cosgrove's guitar as a second voice. Not that it was required, but I Belong to a World That's Destroying Itself further cements Peacock's role as a singular artist whose searing and provocative musical vision has always been decades ahead of itself.                                                        Artist Biography by David R. Adler
•••  Annette Peacock's work as a vocalist, pianist, and composer is austere, cryptic, laconic, minimalistic, and relentlessly individual. Her dry delivery and penchant for stark, stripped–down musical "environments" have made her something of a cult figure and an icon of the avant–garde. An early participant (1961–1962) in Dr. Timothy Leary's psychedelic culture experiments and a longtime adherent of Zen Macrobiotics, Peacock has been releasing albums since 1968. But her career has been marked by fairly long periods of silence; this partly explains her relative obscurity.
•••  Aside from a brief period of formal study at Juilliard during the 1970s, Peacock is entirely self–taught. Born in Brooklyn, she began composing by the time she was five. •••  Her first professional association was with saxophonist Albert Ayler, with whom she toured Europe in the 1960s. She soon began to write in an idiom she calls the "free–form song," which emphasizes the use of space in contrast to the busy, cacophonous tendencies of free jazz. During this period she met and married her first husband, the double bass virtuoso Gary Peacock. She also began to write material specifically for the avant–garde pianist Paul Bley and his trio. For decades, Bley has remained one of her most devoted interpreters.
•••  Among her other accomplishments, Peacock is an unsung pioneer of electronic music. Years before the commercial emergence of synthesizers, she received a prototype from inventor Robert Moog. This prompted her to synthesize her own voice, which according to most reports had never been done before. Ultimately these experiments brought about an innovative 1971 album, The Bley/Peacock Synthesizer Show.
•••  Feels Good to Me Despite her decidedly unorthodox profile, Peacock has had several interesting points of contact with mainstream culture. In 1978 she sang three songs on Feels Good to Me, a minor classic by progressive rock drummer Bill Bruford. •••  Her song "My Mama Never Taught Me How to Cook" appears on the soundtrack of Kevin Smith's 1997 film Chasing Amy. And a sample from Peacock's song "Survival" crops up in "Tell 'Em Yu Madd" by Militant the Madd Rapper featuring Busta Rhymes. •••  Most notably, David Bowie has shown interest in Peacock's work over the years. •••  On his 1999 album Hours, the rock legend makes a fairly explicit reference to Peacock's song "I'm the One." Bowie subsequently invited Peacock to collaborate.
•••  Pianist Marilyn Crispell saluted Peacock with a 1997 ECM disc titled Nothing Ever Was, Anyway: The Music of Annette Peacock. Peacock’s one–track guest performance on the album ended a 12–year recording hiatus (her longest yet). But her official return to the studio came in 2000 with her own An Acrobat’s Heart, also on ECM. Although many of her compositions appeared on Paul Bley’s ECM titles through the years, Peacock had never herself previously recorded for the German–based label.
Website: http://annettepeacock.com/
CD Baby: http://www.cdbaby.com/cd/apeacock5
Facebook: https://www.facebook.com/annettepeacock
Annette Peacock: I’m The One – review
John Fordham, Thursday 14 July 2011 21.15 BST;  Score: ****
•••  http://www.theguardian.com/music/2011/jul/14/annette-peacock-im-the-one-review                                                                                        Discography:
•••  Bley–Peacock Synthesizer Show "Revenge" The Bigger the Love the Greater the Hate (Polydor, 1968)
•••  Annette Peacock I’m The One (RCA, 1972);
•••  Annette & Paul Bley: Dual Unity (Freedom, 1972)
•••  Improvisie (America, 1972)
•••  X–Dreams (Aura UK, 1978)
•••  The Perfect Release (Aura UK, 1979)
•••  Sky–skating (ironicrecords, 1981)
•••  "Been in the Streets Too Long" (ironicrecords, 1983)
•••  I Have No Feelings (ironicrecords, 1986)
•••  Abstract–Contact (ironicrecords, 1988)
•••  An Acrobat’s Heart (ECM, 2000)
•••  31:31 (ironic US, 2006)
•••  I'm The One CD reissue (ironic US, 2010) at: annettepeacock.com, Amazon & CD Baby
•••  “I Belong To A World That’s Destroying Itself.” aka Revenge (ironic US, 2014) 


Annette Peacock
I Belong to a World That’s Destroying Itself. (aka Revenge) [Expanded Edition] (2014)




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