Switched-On Rock

Last updated
Switched-On Rock
Switched-On Rock - the Moog Machine - 1969.jpg
Studio album by
the Moog Machine
Released1969
Genre Electronic rock
Length29:47
Label Columbia Records
Producer Norman Dolph
The Moog Machine chronology
Switched-On Rock
(1969)
Christmas Becomes Electric
(1969)

Switched-On Rock is an album by the Moog Machine, released in 1969 on Columbia Records. It comprises instrumental covers of popular songs from the 1960s, performed on the Moog synthesizer. It was one of a spate of albums capitalizing on the success of Switched-On Bach (1968), an album of Bach pieces performed on the Moog by Wendy Carlos.

Contents

Switched-On Rock was produced by Norman Dolph, who also wrote the liner notes. Dolph worked in the studio with colleagues Kenny Ascher and Alan Foust; they billed themselves as the Moog Machine for this and one more project. The album reached number 170 on the Billboard Top 200 and stayed on the chart for eight weeks. [1]

Background

Norman Dolph joined Columbia Records in 1964. As a marketing executive, he focused on recording projects aimed at the youth market. In 1967 he paid for the recording session of the album The Velvet Underground & Nico , and he helped engineer it. [2]

After the 1968 album Switched-On Bach was seen to sell 500,000 copies, a number of albums were made to satisfy this new demand for synthesizer music. Wendy Carlos followed up Switched-On Bach with The Well-Tempered Synthesizer in the classical music category. Popular albums such as Switched On Bacharach, Switched-On Country, Switched-On Santa, Switched-On Gershwin, Moog Power and Music to Moog By were produced by others. [3] [4] [5]

Production

The idea for Switched-On Rock was conceived by Columbia Records marketing executive Russell "Russ" Barnard. Barnard assigned the project to three men: Dolph supervised the album and he tuned the Moog modular synthesizer, and his associates jazz pianist Kenneth "Kenny" Ascher and arranger Alan Foust played the keyboards and wrote the song arrangements, respectively. An attempt was made to synthesize drum sounds for the songs, but Dolph felt that the results sounded "kind of mechanical and ricky-tick." Instead, a rock drum kit was played by session drummer Leon Rix. [6]

The Moog synthesizer was difficult to work with, as it is a very complex device with many knobs, and a slight movement of any knob could radically change the sound. It also tended to drift in musical pitch such that Dolph determined to tune it every 15 minutes. [6] Finally, the Moog was monophonic, meaning that only one note could be played at a time. If a chord was fingered on the Moog's keyboard, only the lowest note would sound; chords heard on the album were built up over several takes, or they were synthesized on a chordal device called the "protorooter". [6]

The songs were arranged by Foust as if any conceivable texture was available; following his charts, the Moog was tuned to synthesize each imagined texture. Some of the sounds heard on the album were discovered by "auspicious" accident while working toward something else. Using a 16-channel tape recorder, all ten songs were built up track-by-track in parallel; once a certain basic Moog sound was achieved, it could be used as appropriate for each song, with slight adjustments. Approximately 150 different textures were synthesized on the Moog for the album. In addition to the drum kit there was one other non-Moog instrument; in the liner notes Dolph challenged the listener to identify this instrument. [6]

Dolph said that the production team coined new words for some of the Moog textures, for instance they decided the word "gwiping" would describe "the act of sweeping a filter with a high regeneration setting... from top to bottom." Accordingly, a basic Moog organ sound which was "gwiped" became a "gworgan". They also coined "pagwipe" (a leaky bagpipe), "jivehive" (many bees swarming on the same pitch) and the "sweetswoop" (the roaring of a jet with harmonics). [6]

Critical reception

Switched-On Rock was not praised by critics: at the Los Angeles Times , Robert Hilburn said, "rarely has rock music sounded so bad," while the UK's Melody Maker called it boring and "an artistic failure." [7]

Track listing

No.TitleWriter(s)Original performerLength
1."Spinning Wheel [6] " David Clayton-Thomas Blood, Sweat & Tears 3:17
2."Jumpin' Jack Flash" Jagger/Richards The Rolling Stones 3:17
3."The 59th Street Bridge Song (Feelin' Groovy)" Paul Simon Simon & Garfunkel 2:39
4."Get Back" Lennon–McCartney The Beatles 2:38
5."Yummy Yummy Yummy" Arthur Resnick, Joey Levine Ohio Express 2:27
6."The Weight" Robbie Robertson The Band 2:23
7."Time of the Season" Rod Argent The Zombies 3:44
8."Aquarius/Let the Sunshine In" James Rado, Gerome Ragni, Galt MacDermot The 5th Dimension 3:10
9."You Keep Me Hangin' On" Holland–Dozier–Holland The Supremes 2:27
10."Hey Jude"Lennon–McCartneyThe Beatles3:45
Total length:29:47

Personnel

Legacy

After Switched-On Rock was released, Dolph, Ascher and Foust quickly regrouped as the Moog Machine to create one more album, this time featuring Christmas songs. The album Christmas Becomes Electric was released in late 1969.

In 1972, Isao Tomita produced a similar album of rock covers using the Moog synthesizer for CBS/Sony, Japan and was originally titled Switched On Hit & Rock with no artist credited on the cover. In 1974 it was subsequently issued in the UK on CBS as Electric Samurai: Switched on Rock. Tomita also incorporated his experiments in voice synthesis. [8]

Switched-On Rock has been sampled by a handful of artists. In 1994, the Beastie Boys sampled the Moog Machine's cover version of "Aquarius/Let the Sunshine In" for their song "Get It Together", using the sample prominently as a loop. In 2000 the Avalanches used several samples of "Aquarius/Let the Sunshine In" for the songs "Close to You" and "Diners Only" on their debut album Since I Left You , an album which used approximately 3,500 samples from a wide range of vinyl pressings. [9]

Related Research Articles

Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means. Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups, power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and the electric guitar.

<span class="mw-page-title-main">Electronic musical instrument</span> Musical instrument that uses electronic circuits to generate sound

An electronic musical instrument or electrophone is a musical instrument that produces sound using electronic circuitry. Such an instrument sounds by outputting an electrical, electronic or digital audio signal that ultimately is plugged into a power amplifier which drives a loudspeaker, creating the sound heard by the performer and listener.

<span class="mw-page-title-main">Vocoder</span> Voice encryption, transformation, and synthesis device

A vocoder is a category of speech coding that analyzes and synthesizes the human voice signal for audio data compression, multiplexing, voice encryption or voice transformation.

Wendy Carlos is an American musician and composer best known for her electronic music and film scores.

<span class="mw-page-title-main">Music technology (electronic and digital)</span>

Digital music technology encompasses digital instruments, computers, electronic effects units, software, or digital audio equipment by a performer, composer, sound engineer, DJ, or record producer to produce, perform or record music. The term refers to electronic devices, instruments, computer hardware, and software used in performance, playback, recording, composition, mixing, analysis, and editing of music.

Synth-pop is a music genre that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the Krautrock of bands like Kraftwerk. It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s.

<span class="mw-page-title-main">Analog synthesizer</span> Synthesizer that uses analog circuits

An analogsynthesizer is a synthesizer that uses analog circuits and analog signals to generate sound electronically.

<span class="mw-page-title-main">Minimoog</span> Synthesizer

The Minimoog is an analog synthesizer first manufactured by Moog Music between 1970 and 1981. Designed as a more affordable, portable version of the modular Moog synthesizer, it was the first synthesizer sold in retail stores. It was first popular with progressive rock and jazz musicians and found wide use in disco, pop, rock and electronic music.

<span class="mw-page-title-main">Isao Tomita</span> Japanese composer (1932–2016)

Isao Tomita, often known simply as Tomita, was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analog synthesizer arrangements. In addition to creating note-by-note realizations, Tomita made extensive use of the sound-design capabilities of his instrument, using synthesizers to create new sounds to accompany and enhance his electronic realizations of acoustic instruments. He also made effective use of analog music sequencers and the Mellotron, and featured futuristic science-fiction themes, while laying the foundations for synth-pop music and trance-like rhythms. Many of his albums are electronic versions and adaptations of familiar classical music pieces. He received four Grammy Award nominations for his 1974 album based on music by Claude Debussy, Snowflakes Are Dancing.

<span class="mw-page-title-main">Electronic keyboard</span> Musical instrument

An electronic keyboard, portable keyboard, or digital keyboard is an electronic musical instrument based on keyboard instruments. Electronic keyboards include synthesizers, digital pianos, stage pianos, electronic organs and digital audio workstations. In technical terms, an electronic keyboard is a synthesizer with a low-wattage power amplifier and small loudspeakers.

<i>Switched-On Bach</i> 1968 studio album by Wendy Carlos

Switched-On Bach is the debut album by American composer Wendy Carlos, originally released in October 1968 by Columbia Records. Produced by Carlos and Rachel Elkind, the album is a collection of pieces by Johann Sebastian Bach performed by Carlos and Benjamin Folkman on a Moog synthesizer. It played a key role in bringing synthesizers to popular music, which had until then been mostly used in experimental music.

<span class="mw-page-title-main">Moog Music</span> American synthesizer manufacturer

Moog Music Inc. is an American synthesizer company based in Asheville, North Carolina. It was founded in 1953 as R. A. Moog Co. by Robert Moog and his father and was renamed Moog Music in 1972. Its early instruments included the Moog synthesizer, followed by the Minimoog in 1970, both of which were highly influential electronic instruments.

<span class="mw-page-title-main">Moog synthesizer</span> Electronic musical instrument

The Moog synthesizer is a modular synthesizer invented by the American engineer Robert Moog in 1964. Moog's company, R. A. Moog Co., produced numerous models from 1965 to 1981, and again from 2014. It was the first commercial synthesizer and established the analog synthesizer concept.

Robotic voice effects became a recurring element in popular music starting in the second half of the twentieth century. Several methods of producing variations on this effect have arisen.

<span class="mw-page-title-main">Synthesizer</span> Electronic musical instrument

A synthesizer is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and frequency modulation synthesis. These sounds may be altered by components such as filters, which cut or boost frequencies; envelopes, which control articulation, or how notes begin and end; and low-frequency oscillators, which modulate parameters such as pitch, volume, or filter characteristics affecting timbre. Synthesizers are typically played with keyboards or controlled by sequencers, software or other instruments and may be synchronized to other equipment via MIDI.

<i>The Dream Weaver</i> 1975 studio album by Gary Wright

The Dream Weaver is a solo album by American singer and musician Gary Wright released in July 1975.

<span class="mw-page-title-main">Analog sequencer</span>

An analog sequencer is a music sequencer constructed from analog (analogue) electronics, invented in the first half of the 20th century.

<span class="mw-page-title-main">Electronics in rock music</span>

The use of electronic music technology in rock music coincided with the practical availability of electronic musical instruments and the genre's emergence as a distinct style. Rock music has been highly dependent on technological developments, particularly the invention and refinement of the synthesizer, the development of the MIDI digital format and computer technology.

Norman Dolph was an American songwriter, painter, music industry executive and entrepreneur. He is most known for producing the first recordings of the rock band The Velvet Underground while a sales executive at Columbia Records. Dolph reportedly received an original painting from Andy Warhol in payment for his work.

<i>Rock and Other Four Letter Words</i> 1968 studio album by Marks and Lebzelter

Rock and Other Four Letter Words is a collaborative album by American writer J Marks and composer Shipen Lebzelter, released in December 1968 by Columbia Masterworks. Produced by John McClure, it is the companion to Marks' paperback book of the same name, which profiled the writer's interviews with many major rock musicians and personalities. He and Lebzelter created the album using the Moog III synthesizer and cut-up excerpts of the interview tapes, which featured 27 hours of conversation with 53 musicians.

References

  1. "Charts and Awards". AllMusic . Retrieved April 14, 2015.
  2. Harvard, Joe (2007) [2004]. The Velvet Underground and Nico. 33⅓. New York, NY: Continuum International Publishing Group. ISBN   978-0-8264-1550-9.
  3. Brend, Mark (2012). The Sound of Tomorrow: How Electronic Music Was Smuggled into the Mainstream. A&C Black. p. 17. ISBN   9781623565299.
  4. Pinch, Trevor J. (March 5, 2015). "Between Technology and Music: Distributed Creativity and Liminal Spaces in the Early History of Electronic Music Synthesizers". In Raghu Garud; Barbara Simpson; Ann Langley; Haridimos Tsoukas (eds.). The Emergence of Novelty in Organizations. Oxford University Press. p. 135. ISBN   9780198728313.
  5. Pinch, Trevor J.; Trocco, Frank (June 30, 2009). Analog Days: The Invention and Impact of the Moog Synthesizer. Harvard University Press. pp. 166–7. ISBN   9780674042162.
  6. 1 2 3 4 5 6 7 Dolph, Norman; Ballard, Russ. (1969) Switched-On Rock liner notes. Partially reproduced in Mark Jenkins (2009), Analog Synthesizers: Understanding, Performing, Buying – From the Legacy of Moog to Software Synthesis. CRC Books, page 143. ISBN   9781136122781
  7. Sewell, Amanda (2020). Wendy Carlos: A biography. Oxford University Press. p. 69. ISBN   9780190053475.
  8. Jenkins, Mark (2007), Analog synthesizers: from the legacy of Moog to software synthesis, Elsevier, pp. 133–4, ISBN   978-0-240-52072-8
  9. Pytlik, Mark (November 2002). "The Avalanches: The Avalanches Darren Seltmann & Robbie Chater". Sound on Sound . SOS Publications Group. Archived from the original on December 25, 2011. Retrieved April 14, 2015.