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A guide to accessing the artists' books collection at the ECU Library. Includes a blog about books in the collection and thematic reading lists
This list is a selection of artists’ records and sounds recordings — from more traditional examples of artists acting as musicians, to artists collecting or documenting sounds, to personal voice recordings documenting their work.
Artists’ Sound Recording: Notes Towards a Photographic Practice / David Tomas, 1983.
"Cranfield and Slade: 12 Sun Songs" is a yellow vinyl album made up of covers of pop songs about the sun. Aping a 1970s concept album Cranfield and Slade present twelve songs arranged to represent a day, beginning with songs about sunrise and winding down with songs about sunsets. Tracks range from classics such as George Harrisons "Here Comes the Sun" and The Kinks "Waterloo Sunset," to the lesser-known "Sun" by singer-songwriter Margot Guryan or "Where Evil Grows" by Vancouvers The Poppy Family. The album combines field recordings made in various Vancouver locations with electronic sound and acoustic and electric instruments."--Publisher's statement.
"Remixed Water brings together a tall Texan, a bearded artist from New York and musicians from Belfast, London, Glasgow and San Francisco. Remixed water has been remixed from Ned Sublette and Lawrence Weiner's "Monsters from the Deep" (1997) and Ned Sublette, Lawrence Weiner and the Persuasions "Ships at sea, sailors and shoes" (1993)." -- Container.
Cranfield and Slades misremembered version, which plays forward on side A and in reverse on side B, is only the refrain section of the Pop-O-Pies remake, as if stuck on a partially remembered fragment of the song. The physical and mechanical action of flipping the record over (and over) suggests a perpetual loop, forever inhibiting the ability to fully recall the original. Cranfield and Slade are interested in the role pop music plays in simultaneously expressing and commodifyingand thereby potentially undermininggenuine feelings such as happiness and sadness. That ambiguity is inherent to pop music, which is somehow felt to be as intimate and precious as it is contrived and indifferent, a mere commercial good. Choosing neither side over the other, Cranfield and Slade consider the dialectic of the two to be most significant.--Fillip
2 Radio Solos employs a radio as instrument to create 2 different solo compositions. Michael Snow elucidates: "These 2 short-wave pieces are both "played" continuous improvisations. There was no editing, no post-facto electronic alteration. The sounds were found by paying intense attention to fate tuning in and out and between stations, changing bands, bass, treble and volume. The radio played is a circa 1962 Nordmende (pictured). The gradual change in pitch and speed on SHORT WAVELENGTH is an "accident": batteries were losing power during recording. The tapes were made at night in a remote North Canadian cabin lit by a kerosene lamp."--Art Metropole website.
"ANDREW ZEALLEY: THEMES & VARIATIONS is the third installment in Zealley's "How To Explain Silence To A Dead Hare" series of vinyl project editions. The album showcases selected film, video, installation and performance music by Zealley, commissioned by visual artists - including Luis Jacob, Joey Medaglia, Benny Nemerofsky Ramsay, and Scott Treleaven."--Art Metropole website.
High and lonesome -- Autumn complaint -- What's so funny (I don't get it) -- That's what it feels like to be -- Washed up in your own home town -- Gloomy decade -- Nighttime (I'm a lover) -- I'm a time waster -- An actor's life -- I hear wedding bells -- Just how low does your love-meter go? -- Music for the very old -- Belles of Paris -- Seein' stars -- I can take it, but barely -- Attributes of the criminal mind -- Theme from "The phonokinetoscope"
"A most elegant four-song 12-inch 45 RPM, 180 gram, vinyl record, "Garden Fete" presents alternative mixes of two original songs from Rodney Graham's CD release "Never Tell a Pal a Hard Luck Story" and two new covers of songs by Everley Brothers' "Take a Message to Mary" and The Kinks' "I'm on an Island," the latter is an uptempo version of the song which forms the soundtrack of Graham's sculptural installation in the Petuel Park, Munich, Germany. The work comprises and outdoor room defined by four nine foot hedges in which loudspeakers are hidden. Graham's performance of The Kinks' song is heard once a day at 4:15 in the afternoon." -- publisher's statement.
Dont Trust Anyone Over Thirty is a widely acclaimed live musical theater and video work about American culture, a collage-narrative composed by overlapping video media, puppet theater, opera, and musicals to create an unexpectedly beautiful hybrid. Dont Trust Anyone Over Thirty is a narrative comprised by the overlapping of video media, puppet theater, opera, and songs from musicals, the combination of which produces a hybrid collage hybrid of all its component forms. Continually splicing the disparate media of opera and rock, the proscenium and the television screen, the 1960s and the 2000s, live actors and puppets, the living experience and the installation, Dont Trust Anyone Over Thirty deliberately separates each component's visual and dramatic elements from each other, and thus underlines how narrative components can not only overlap but also make the objects and subjects of time and culture interchangeable to both the visual art and the audience.Dont Trust Anyone Over Thirty was directed by Dan Graham and Tony Oursler. The recorded songs were written and performed by Rodney Graham. The live music was written and performed by the band Japanther. Phillip Huber, the master puppeteer of Being John Malkovich, designed and constructed the marionettes."--Dissident Industries Inc.
Lyrics and music by Rodney Graham
THE PLANETS: A SUITE OF SIX 10-INCH RECORDS (MUSIC), 1984. Collected from special effects sound libraries, the music - like Jack Goldstein's paintings - communicates in images. The records are "spaces" for the imagination, Recollections of half-forgotten sci-fi soundtracks, they hover between the known and the unknown. The sound/images are shadowy remembrances gleaned from our all available culture of surveillance. In their recorded form they bear only a shadow of their former cultural life (of soundtrack movie music). New Music Distribution Service, Annual 1984. Cover: 6 records, 25cm, 33RPM, n.d.(1986), in a brown painted box. The records have black labels without defining text anywhere. They are packed in green protective covers, Neutral Records, New York, No. 7.
Afternoon nap -- (Not my) finest hour -- Sittin' on a million -- The singer couldn't make it -- Old pine casket -- Electric slim and the factory hen -- Why look for good times -- Canadian sunsets -- Waikiki wedding -- I shall roam nevermore -- You gotta be an animal/Quality Street -- Rave on (hope's long gone)