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・ The American Journal of Medicine
・ The American Journal of Pathology
・ The American Journal of Pharmaceutical Education
・ The American Journal of Psychoanalysis
・ The American Journal of Semiotics
・ The American Journal of Surgical Pathology
・ The American Journal of the Medical Sciences
・ The American Language
・ The American Lawyer
・ The American Magazine
・ The American Males
・ The American Mall
・ The American Manufacturer
・ The American Melody Hour
・ The American Mercury
The American Metaphysical Circus
・ The American Monomyth
・ The American Museum (magazine)
・ The American Museum of the Miniature Arts
・ The American Naturalist
・ The American News
・ The American Outdoorsman
・ The American Outlaws
・ The American Pageant
・ The American People (book)
・ The American Philatelist
・ The American Place Theatre
・ The American Plague
・ The American Plan
・ The American Poetry Review


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The American Metaphysical Circus : ウィキペディア英語版
The American Metaphysical Circus

''The American Metaphysical Circus'' is a 1969 psychedelic album by Joseph "Joe" Byrd. It was recorded after his departure from the band The United States of America, and featured some of the earliest recorded work in rock music extensively utilizing synthesizers and vocoder, along with an extended group of West Coast studio musicians Byrd named "The Field Hippies".
==Musical overview==
The album is most noted for "The Sub-Sylvian Litanies", which opened Side A. This three-part suite has been described as () "an entire acid trip in 11 minutes". Other album highlights include the equally psychedelic "The Elephant at the Door", and the politically charged "Invisible Man", written for and aimed squarely at President Lyndon B. Johnson. Two of the more unusual tracks on the record are "Mister Fourth of July" — a ragtime tune complete with scratchy 78RPM-style effects, and "Leisure World", featuring narration from long-time ABC voice-over and "Ghoulardi" originator Ernie Anderson in an ode to California's first retirement mega-community.
Among the musicians featured on the record are prominent West Coast studio musicians Tom Scott and the late Ted Greene, who is credited with the album's stellar guitar work in one of his few recorded appearances. (Meyer Hirsch ) was a member of the Buddy Rich Big Band and is an experimental composer. Vocalist (Victoria Bond ) has gone on to a prominent career as a classical composer, conductor and vocalist. Fred Selden, a student of Byrd's at UCLA, joined the Don Ellis Orchestra (led by Byrd's partner in the UCLA New Music Workshop), received a Grammy nomination, and later returned to UCLA to receive his Ph.D.
The extensive use of effects, delays, echoes, backwards vocals and other recording tricks and techniques are reminiscent of some of the experiments and work carried out by George Martin as well as Pink Floyd. Byrd in fact referenced Martin in a 2004 interview ().

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