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James Bailey; Dimensions

James Bailey; Dimensions

Canadian Custom Records
CCR 9250 LP
Long Playing Record

Sealed, original copies of this wonderful 1986 private-press home-studio Electronic Music outing, direct from the artist. I had this pegged as a Creel Pone "candidate" for ages; all of the trademarks are there across the three pieces, all recorded 1978-1984. 

I suppose there are myriad ways of starting liner notes, but in the absence of imagination, this will have to do. I hope they do not come off as too pretentious or formal, but I feel the sounds deserve some credit for what and why they are.

Two of the pieces were created using a tape delay technique in which two open reel tape recorders are placed side by side and the tape passed through the heads on the first to record and on the second to play back. The signal played back from the second deck is returned to the first for re-recording, resulting in an extended delay the duration of which is determined by the distance between heads. The signal will continue to loop like this until noise and signal loss cause it to decay beyond recognition. New signals may he added at any time, and will behave in the same manner. In this way, anything from a simple pattern to dense clusters may be built up. These two pieces provide good examples of this.

The other piece uses overdubbing whereby sounds are combined with others already existing on tape. This is how virtually all pop music is recorded today.

These are not multi-million dollar high quality studio recordings. They were made at home using simple Tandberg tape decks and good, although not professional-type tape. There are many flaws which the discerning listener will distinguish. I feel, however, that the sounds possess their own merit and deserve to be heard. I can only present them to you. Your own opinions will be determined by personal taste. All of the pieces are improvised, with little or no preconceived idea of their final form.

1. The Train to the Eighth Dimension (April, 1984)

This was created using a Mini-Moog synthesizer and tape delay. The right channel playback was returned to the left input and the left into the right. This results in the sound hopping or sweeping from side to side. It was built from white noise which was modulated and filtered. Both the modulation and filtering were slowly increased until the white noise became a sine wave signal after which the modulation was slowly decreased. As a result of the looping, phasing of both the signal and beat occurs at several points. Yes, the title was inspired by "The Adventures of Buckaroo Banzai"

2. From A Window· 1 a.m. (June, 1978)

One of my earliest attempts at a serious tape music composition. Many of the playing techniques were the result of experiments carried out shortly before recording. There are two basic sound sources for this piece. The first, and the one which inspired the overall structure, was a chorus of what must have been several hundred crickets outside my bedroom window one warm summer night. The rhythmic pattern they created prompted me to improvise, and attempt to mimic, along with them by bowing an electric guitar string with the spring from a ball point pen. Other sounds were created by "preparing" the guitar. That is, objects were placed under, between, and over the strings to alter the sound. The strings were then tapped with whatever mallett-like implement was at hand. The title should be obvious.

3. 4HC (July 11, 1982)

Recorded in the back garden the day Italy won the World Cup. I had attempted to make a tape delay recording of the many car horns which I was expecting to hear, but when this was less than successful due to my remoteness from the "scene of the action", I decided to plug in the electric guitar instead and doodle. This quaint and occasionally charming piece was one result. The title I would prefer to remain a mystery.

August 1986


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