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Tracklisting:

L's GA, Ballad, Octet (Polydor #24-5001, 1969)

1-01. L'sGA for Gas-Masked Politico Helium Bomb & Tape [1] (9:27) 1967
1-02. L'sGA for Gas-Masked Politico Helium Bomb & Tape [2] (7:47) 1967
1-03. L'sGA for Gas-Masked Politico Helium Bomb & Tape [3] (7:14) 1967

1-04. Ballad (11:52) 1966
1-05. Octet (7:04) 1963

David Burge Plays New Piano Music (Advance Recordings #FGR-3, 1966)

1-06. Cocktail Music (4:59) 1962

From The University Of Iowa (Composer's Recordings Inc. [CRI] #CRI SD 324, 1974)

1-07. Chansons Innocentes (6:35) 1974

Electronic Music From The University Of Illinois (Heliodor #HS-25047, 1967)

2-01. Lejaren A. Hiller; Machine Music (13:10) 1964
2-02. Kenneth Gaburo; Lemon Drops [Tape Alone] (2:55) 1965
2-03. Kenneth Gaburo; For Harry [Tape Alone] (4:50) 1966
2-04. Charles Hamm; Canto (6:28) 1963

2-05. Herbert Brün; Futility [For Speaker And Tape] (7:54) 1964
2-06. Salvatore Martirano; Underworld (16:59) 1965

From The University Of Iowa (Composer's Recordings Inc. [CRI] #CRI SD 324, 1974)

2-07. Peter Tod Lewis; Gestes (9:48) 1973

[CP 006 CD] Salvatore Martirano, et.al; L's GA, Ballad, Octet, Electronic Music From The University Of Illinois +

Creel Pone

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September 2024; much needed top-up on this great, early Creel Pone classic, here adding the entirety of the "Electronic Music From The University Of Illinois" set (Heliodor #HS-25047, 1967; featuring pieces by Lejaren Hiller, Kenneth Gaburo, Charles Hamm, Herbert Brün, and of course Marto's epic side-length Free-Jazz Noise-Blast-laden "Underworld [1965]") along with his pieces from the "David Burge Plays New Piano Music" (Advance #FGR-3, 1966) & "From The University Of Iowa" (Composers Recordings Inc. #CRI SD 324, 1974) sets to the end of Disc 1 (and... for no particular reason other than that it slays & fits nicely, saving us from compiling it elsewhere: Peter Tod Lewis' piece "Gestes" from the latter CRI title at the tail-end of Disc 2!)

This wasted slab of late-60s Aggro-Politco Tape-Collage sentiment is held in only the highest regard by yours truly, up there with Mimaroglu’s “Sing Me a Song of Songmy” in it’s blending of era topics and psychotropic noise; I’ve described and/or recommended this record to many folks over the years, always making a point to mention that is consists almost entirely of slowed down screaming. It - again - just has to be heard to be believed.