So I was “commissioned” to make a companion Colliding Vinyl clock to the Barry Manilow one (third photo) I made a year a half ago; it had ended up staring at people while they used the toilet in their Santa Barbara bathroom, and she wanted the same vibe for a bathroom in their other home (blended family). So this has Barry saying he “came in through the bathroom window.” Floating on a Grunt Records release, what else?
Posts Tagged ‘David Gordon Schmidt’
Tags: 70s music, Art with LPs, art with records, Barry Maniow, Colliding Vinyl, Colliding Vinyl Timepieces, David Gordon Schmidt, She Came in Through the Bathroom Window
Tags: Colliding Vinyl Timepieces, David Gordon Schmidt, LP vinyl, Motown collage, Motown record labels
Tags: Colliding Vinyl, David Gordon Schmidt, Dust in the Wind, Rare Earth, Sinatra Point of No Return
Tags: art with records, David Gordon Schmidt, LP Art, Warner Bros. records
I haven’t gotten back to my 60’s music history audioblog yet, but lounging in my off hours in Seattle, and my love of the tactile vinyl (both LPs and 45s) has yielded a “craft” hobby. Collages. And some are ending up as clocks. I gave away two at Christmas. This one, titled“SoCal Cycle (Burbank Bikin’),” complete with 3D handlebars, now belongs to son Greg (and Ann) in L.A. Lots of Warner Brothers, plus Island records, and Mercury.
Tags: David Gordon Schmidt, David Ossman, Escapist's Fair, Everything you know is wrong, Firesign 2011, Firesign Kirkland, Firesign Seattle, Firesign Theatre, I Think We're All Bozos, Peter Bergman, Phil Austin, Phil Proctor
I went to see Firesign Theatre last night in Kirkland (Seattle area). The original four guys, who have been collaborating together for 45 years. They’re my audio-theatre comedy heros and inspiration, going way back to my college radio days in Ann Arbor, as my cohorts and I distracted ourselves from our studies by producing an FM-freeform comedy show, Escapist’s Fair.
Austin, Ossman, Proctor and Bergman are the masters of multi-layered, social-commentary, high-lo-intellect, just-plain-good-bullshit “comedy” recordings. Great characters, great voices, that both honor and parody radio/TV/pop culture idioms and politics. True audio eclecticism. We were lucky enough to do a little work with them when they ventured to the Midwest back in the later 70s.
The anchor of the well-attended Seattle shows was most of “I Think We’re All Bozos on this Bus,” their strange tale, written and recorded in 1971, about a futuristic amusement park where “Ah…Clem,” Barney (a bozo) and others “talk” to a holographic president Nixon and get a canned answer to their questions. This was before the digital revolution (only mainframes were around) and voice-recognition – but here’s Clem breaking into the system with “maintenance” voice commands. Predicting technology was one of their talents.
At the show, they mixed in segments from their late 90s series of comeback CDs, Nick Danger,
and some fresh political and social references. I also saw them a few months ago in LA on the Art Hill, with only about 60 of the faithful in attendance, including music-industry people and Weird Al.
Here’s the amazing part. Peter Bergman noted that they started in 1967 on the radio and with live shows, and no big-league rock band from that era has worked regularly with the original members for that long (at least that he knows of).
So, as a tribute, the same week as their November 17, 1966 debut, here’s a brief segment from their first album (recorded in 1967). In recent decades, doing parodies of game shows is stock- and-trade comedy skit material (Saturday Night Live does one almost every week), but I’m thinking that this one might have well been the first.
My Addenda: besides “Bozos,” here’s some of my favorite Firesign albums, and where to find out more about them and/or buy them.
So it appears Firesign has a new generation of fans. These guys did a home-made movie using “Everything You Know…” as the soundtrack. Lip-sync and all. Not bad, check out the first 6 minutes.
Their third album: Don’t Crush that Dwarf, Hand me the Pliers. While in high school, I listened to the tales of More Science High.
More recently, there’s their 1999 tribute to LA and Y2K, Give Me Immortality, or Give me Death