Now I know what it's like to assume you know what Arthur Russell sounds like. Back in the day, those comfortable with his modern classical accomplishments were baffled by his acetates of loopy leftfield disco. Likewise, lovers of these dance tracks were confounded by their beatless, beatific recasting on World of Echo.
Arthur Russell Calling Out Of Context
And then there were listeners astounded by the intimacy of his voice and cello work, stymied by both the pop songs and the classical works, all spinning in a vicious cycle of artistic assumptions. Smug with the presumption that I could accept all of his work, here comes the first release from the label now responsible for the Herculean task of gleaning the contents of hundreds of hours' worth of unreleased music from Arthur's tape archives. Culled from an unreleased album from 1985 called Corn and another slated for release on Rough Trade but never solidified, Calling Out of Context's twelve tracks are unlike anything I've ever heard from the man. Consider the immediately striking 'The Platform on the Ocean'; gone is the personal, arm-hair rubbed dub of cello, the atom-heart palpitations of layered drum skins, the murmuring, translucent voice in the chilly discofloor of space. In its stead is the rigorous drive of programmed drums and a heavily distorted cello that fuzzes like The Jesus & Mary Chain, chopping up the surface of the song. Arthur's killer whalesong voice, often a lone entity, bobs in multi-tracked rounds like schools of jellyfish on the unplumbed depths.
He sings about seeing the fish beneath him, yet he also hears the steam room churn behind him, and it makes for seven minutes of cycling pop strained between the pull of fluid motion and a more mechanistic push. I'm so used to hearing Russell be ahead of his time (the cover even shows him anticipating hipster style with a crooked trucker's cap!), that I'm surprised to find these twelve pop songs are simply of his time. While long-time collaborator Mustafa Sidahmed provides a good deal of percussion, he bolsters the beats with drum machines that would sound more familiar on a Mantronix track or Patti LaBelle comeback. The keyboard intro to 'That's Us/Wild Combination' could pass for a Mike Post theme song, but while the production is shiny at points, there's just enough of that innate, anachronistic ability of Arthur's that- though it marred his career during his lifetime- has guaranteed critical resurrection ever since his passing in 1992. With all these cheesy earmarks of an era, Arthur makes it seem unfamiliar: synth-pop in an alternate reality. 'I Like You!'
Takes simple sentiment and slices it with tin-canned handclaps, serrated cello, and ancient arcade game bleeps. 'Calling All Kids' takes a digital keychain and sets it as a destabilizing sound effect throughout the song, robotically intoning that 'grown-ups are crazy.' Despite the factory presets that date 'Arm Around You', Arthur's watery vocals convey that endearing, universal gesture of touching a lover's face yet never quite overcoming the space in-between. A poignant koan reiterates throughout the song: 'All alone and right next to you/ What I'm doing in a fine, this fine stretch of time.' As the title track runs on, the comforting cello and percussion rises up between the drum machine hits, and Arthur echoes through the space, conjuring both the Iowa fields of his youth and the Indian Ocean. There's that axis of intimacy and unrecoverable distance, of the tangible and ethereal, dealing with the hardware that makes music and the soft machines that do, too, inseparable no matter what song form gets explored. The disc proves Russell to be a changeling artist whose only parallel might be Miles Davis, constantly placing his individual sound in new contexts, constantly searching.
But whereas Miles' explorations- from cool nonets and electric washes to on-the-one funk and Cyndi Lauper- came over a forty year period, Arthur did it all at once; the genres undifferentiated in his mind and compacted into the infinity of a single decade.
Like, released ten years prior, stitches together an hour's worth of songs left behind by the late, increasingly known - and therefore unceasingly beloved -. According to liner notes from Audika's, the content here pulls from a finished 1985 album that never made it past the test-pressing phase, along with an unfinished LP that was recorded and toyed with throughout the latter half of the '80s and the dawn of the '90s. Despite the multiple sources, the consistency of the tracks - which all carry a hazy, memories-of-events-that-never-happened feel - and the sympathetic sequencing make the disc seem more like a proper album than a vault-clearing compilation.
9-23 - URN: urn:nbn:de:0111-opus-84981 in Kooperation mit / in cooperation with: www.pef.uni-lj.si. Pehkonen, Erkki; Naveri, Liisa; Laine, Anu: On teaching problem solving in school mathematics - In: CEPS Journal 3 (2013) 4, S. Reactive problem solving in school. Terms of use.
If you're familiar with the sound that and his accomplices made on singles like 'Let's Go Swimming' and 's 'School Bell/Treehouse,' you'll be familiar with the sound here. On these recordings, (who plays cello, guitar, keyboards, and percussion) is joined primarily by Mustafa Ahmed and, and the three of them produce an abstract cross between pop and R&B, constructed with drum machines and more organic instrumentation on top. None of these songs woo a crowd of dancers as so many of 's short-lived aliases did before; instead, they're more rooted in song-based pop. This goes for the structure of the tracks, and it also goes for the subject matter of the lyrics. One of the greatest joys of listening to these songs is the regular presence of 's gentle, somewhat timid voice, which delivers one heartwarming line after another. If you're thinking this might possibly resemble a shoestring-budget, avant-garde version of, you're not too far off. With the many hats wore, should hammer home the fact that he was also a dynamite writer of heart-on-sleeve love songs - not just a formidable cellist and innovative disco producer.
Arthur Russell started of as a classically trained cellist and composer, got bored of classical music, produced some disco records and then moved to synthpop and a shit ton of different genres. Calling Out Of Context is a compilation album of a bunch of unreleased recordings from nearly 20 years, up until his death after a long struggle with AIDS in 1993. These 12 songs are deeply personal testaments of love that are guided by his ghostly voice and some really unique song structure and production for the time (keep in mind a few of these songs date as far back as 1973). I think this album is a must have that is INCREDIBLY slept on by a lot of people. Arm Around You is another favorite song ever for me.
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(February 2018) Calling Out of Context by Released 2004 ( 2004) Recorded 1973-1992 Length 60: 11 Audika Records chronology (2004) 2004 Calling out of Context (2004) Calling Out of Context is a of songs written and recorded by the. It was released on March 16, 2004, by Audika Records in the United States and by in the United Kingdom. Nearly all of the songs on Calling Out of Context had not been previously released in any form.
Contents. Production The songs were recorded by Russell at his home and various studios between 1973 and 1992. Some of them, including 'That's Us/Wild Combination', were meticulously reworked and rerecorded dozens of times by Russell, up until his death in 1992. Calling Out of Context contains many previously unreleased tracks, including several songs from Russell's scrapped Corn album. In addition to singing and songwriting, Russell played many of the instruments on the album, including, percussion, and vocals. Many of the tracks feature percussion and by Mustafa Khaliq Ahmed, as well as and playing. Both Ahmed and Zummo were longtime collaborators with Russell.
The noted vocalist sang on 'That's Us/Wild Combination'. Steven Hall played on the record. This was the first album released by Audika Records, and was done after obtaining the exclusive licensing agreement with Russell's estate to issue previously unreleased and out of print material from the his vast archive. The compilation producers were Melissa Jones, Steve Knutson and Russell's longtime partner Tom 'Sisu' Lee. Reception Professional ratings Review scores Source Rating 7.9/10 (very favorable) A– Calling Out of Context received positive reviews, noted that 'with the many hats Russell wore, Calling out of Context should hammer home the fact that he was also a dynamite writer of heart-on-sleeve - not just a formidable cellist and innovative producer.' Wrote that ' Calling Out of Context demands that the world take pause and recognize the contributions Russell made to the disparate genres of, and.
His absolute fearlessness in lending his own unique style to even the most unlikely sound combinations is peerless.' Wrote that 'criminally overlooked for far too long, Russell is finally getting his due,' calling him 'a genius—never to be recognized in his own time, but to be enjoyed by generations to come.' Track listing All songs written by Arthur Russell. 'The Deer In The Forest Part 1' - 1:35. 'The Platform On The Ocean' - 8:04.
'You And Me Both' - 3:45. 'Calling Out Of Context' - 5:45. 'Arm Around You' - 6:32. 'That's Us/Wild Combination' - 6:58. 'Make 1,2' - 2:49.
'Hop On Down' - 6:02. 'Get Around To It' - 4:58.
'I Like You!' - 5:00. 'You Can Make Me Feel Bad' - 1:28. 'Calling All Kids' - 7:15 Technical personnel. Art direction, design – Melissa Jones. Compilation producer – Melissa Jones, Steve Knutson, Tom Lee.
Executive producer (compilation executive producer) – Steve Knutson. Liner notes – Steve Knutson. Mastered by – Ray Janos. Photography (cover photography) – Jeanette Beckman.
Producer, mixed by – Arthur Russell, Killer Whale (tracks: 1, 2, 4). Technician (post production and digital transfers) – Mikel Rouse (tracks: 3, 5, 6, 9 to 12). Words and music by – Arthur Russell References.
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