gathering of the tribe

NO ISBN SPECIAL EDITION

1 Head press e 1991sT

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H E A D P R E S SW W W . W O R L D H E A D P R E S S . C O M

GATHERING OF THE TRIBE




Much of the music discussed in Gathering Of The Tribe deals with the special power of sound and tone. Frank Zappa may have said that ‘writing about music is like dancing about architecture,’ but this book explains how music can — or for a moment believed it could — move mountains.

It is a matter of record that over the centuries composers and musicians have been consistently inspired by the occult. Few music lovers can fail to have been intrigued by the rumours of magick and mysticism that surround many of their favourite albums.

In chapters that cover the different musical styles, from jazz through folk, rock, pop, noise and experimental forms, Gathering Of The Tribe sketches a fascinating overview of this provocative and enduring relationship with heavy conscious creation, offering en route a guide to the ultimate occult record collection, ranging from the Beatles to the Stones, Led Zeppelin to Nick Cave, Captain Beefheart to the Wu Tang Clan, Debussy to Throbbing Gristle, Charles Manson, Barbara the Gray Witch, Coven and more.

Music and Heavy Conscious CreationMusic and Heavy Conscious Creation GATHERING

OF THE TRIBE

GATHERING

OF THE TRIBE

Music and Heavy Conscious CreationMusic and Heavy Conscious Creation

by Mark

Goodall

by Mark

GoodallMusic and Heavy Conscious Creation

by Mark GoodallMusic and Heavy Conscious Creation

by Mark Goodall

These are sample pages from a Headpress bookcopyright © Headpress 2013

For more information or to buya copy of the book visit

www.worldheadpress.com

iii

Music and Heavy conscious creation

of the tribeGatherinG

“There is in sounds a virtue to receive the heavenly gifts.” Henricus cornelius agrippa

with contributions by

thomas mCGrathKevin DonnellyJeremy DysonmiCK farren

PatriCK GlenJill GooD

DaviD KereKesPeter mills

Gary ramsaymarK reeve

marCel swiboDasimon trafforDJennifer wallis

riCharD wooDCoCK

by marK GooDall

iv



this book is dedicated to the spirits ofGraham collier and Michael Garrick

special thanks to all the contributors and to dick russell, John Gill, Marie Byatt and david Kerekes. Mark Goodall

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Freaky Folk

the inCredible strinG bandbe Glad for the song has no ending (Island, 1971)

ComewithMe•AllwritDown•vishangro•SeeAllthePeople•waitingforyou•TheSonghasNoEnding

The earth has a tone, but the landscape plays a melody. Peter Neal

TheIncredibleStringBand, formed inEdinburgh in 1966, were a unit wellversedintheartofheavyconsciouscreation.Fromtheirdeploymentofamind-bogglingarrayofexoticinstrumentsculledfromlengthytravelsaroundtheglobeto their association with the Scientology movement by way of the rituals ofCelticmythology, leadersRobinwilliamsonandMikeheronbroughtavividandmysterioussoundtracktotheesoteric.Be Glad for the Song has No Ending issuchasoundtrack—literally—asitisanauralaccompanimenttothefilmofthesamenamebyBritishmusicdocumentaryexpertPeterNeal.Neal’s1969filmisnosimpleconflationofpicturesandsoundrunningtogetherthroughtimeand space though. Neal desired to create a synaesthetic experience where themusicof the IncredibleStringBandbecomes thefilm in its visual form.Nealcalledthefilma“paralleluniversetotheStringBand”; itwasavisualsenseofthegroup’smusic.Nealhadnoticedwhen listening to themusicof thegroupthattheirstrangesoundswereanattemptatbringingalivethelandscapeoftheBritishIsles(thebandoriginatedinScotlandandwilliamsonhaslivedinwalesformanyyears).Theywereattempting,inNeal’s’words,tosing“thevibrationsofthiscountry.”Forthecreationofthisfilmthedirectorandhis‘subject’wereintotalsympathyinsharingapassionforthemythologicalstructureofthehistoryof the united Kingdom. The film was originally commissioned for the BBCOmnibus artsprogramme,keentocapitaliseonthegroup’shugepopularity,but

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asNealeschewedthenormalstricturesofadocumentary(therearenotediousexpositions,interviewsor‘backstory’)itwasrejectedbythebroadcaster.(Mikeheron’sstatementinthefilmthat“IfIcouldtellyouwhatitmeantIwouldn’tsing about it” bearing out the dislocation between the old guard broadcastersandthenewcounterculturalcreatives.)Thisrejectionmerelyconfirmsthefilm’ssuccessasatransgressivecounterculturaldocument.

ThefilmisstillstructuredaroundaportraitoftheIncredibleStringBandatworkandatplay(thesetwostatesusuallymerging)whichthenmysteriouslyflips into an extended twenty-six minute‘fable’ entitled‘The Pirate and theCrystalBall’whichisatripped-outmysteryplayforthefreakgenerationfilmedatthegroup’sdolmencrownedcommuneonthePembrokeshirecoast.Theplayisastreamofconsciousnesstaleofapiratewhostealsacrystalballfromthreespirits(orfates).Thefates,usinganancientstone-circlerite,callupthefigureofhernethehuntertopunishthepiratewhoisthenjudgedandcondemnedby a pair of gold-painted gods (played by williamson and heron who alsoin this sequenceplay instrumentsmadeoutof tin foil).There is a freak-outclimax of sacred and profane images and sounds as the figures dance wildlyinacircle.Adeliriousstateisconjureduphere.Afterasweetinterludewithanorganandviolinreel,asthefatesgivethankstoherne,thefilmsendswitha freeze-frameimageofChristine‘Licorice’McKechnie, themostmysteriousmemberofthegroup,wholaterdisappearedintoobscurity(thisimage,withher staring into the viewer, therefore becoming poignant in retrospect). ThefablewasfilmedatPenterIfan,amegalithicsiteinwales(theburialchamberwithahugecapstonedelicatelypoisedonthreeuprightsisclearlyvisibleinthissectionofthefilm).Thefabledrawsonmythicallegendsfromthisepoch,suchasthelorethatfairiesareseeninthissite:littlechildreninclotheslikesoldiersclothesandwithredcaps.

The LP recording for the film follows the same pattern; side one beingpreviously recorded standard‘songs’ and side two of the record being entirelydevoted to the instrumental sections which accompany the fable. The filmopenswithanincantationforthegroups’instrumentswhichwhenlistedaresoextensiveandunusualthattheybecomeholyrelics.Thereadingofthislist—likeNoah’slistofanimalsforhisark—isintercutwithoneofRobinwilliamson’sstrangepoems‘Thehead’fromwhichthetitleofthefilm/LPderives.Thecover

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Freaky Folk

oftheLPcontributestotheweirdnessoftheproject.Itfeaturesstillsfromthefilmincludingapirate,amaskedmusician,arobedghostfigurewithantlers,threefemale incarnationsofdestinyandagiant long-beakedbird.Thereversecoverfeaturesaclose-upoftheshimmeringcrystalballfromthepartofthefilmwhereitisstolenfromthegold-beakedbirdkilledbythepirate.

ThesongsontheLPmaterializeinthefilminavarietyofways.ThefirsttoappearistheMikeheroncomposition‘AllwritDown’whichisperformedattheSoundTechniquesstudioinLondon,thelocationforallofthe‘witchseason’JoeBoyd/Johnwoodproduced-engineeredIncredibleStringBandworks.Thegroupappeartobeplayingandrecordingthesonglivebutthisseemsunlikelyasthereisnoseparationevident.Itmustbemimed.Thesongfeaturesheronandwilliamson on guitars.williamson plays the lead guitar lines, his instrumentaltered by a chorus effect, while heron issues the instruction to“be glad, besad.”Thesongalsofeaturesorgan,playedbyMcKechnieandacomplexalmostinverted bass part played skillfully by Rose Simpson (somewhat belying JoeBoyd’sfrequentcriticismofthefemalemembersoftheIncredibleStringBand’splayingprowess).‘AllwritDown’thoughpointsawayfromthepsychedelicfolkthatmadethegroupfamousandtowardsthemorerockorientatedstyleofthelatermanifestationsofthegroup(seetheLPNo Ruinous Feudforexample,aswellasheron’sfirstsoloLPSmiling Men with Bad Reputations).Thetwinguitar,bassandorganline-upisinitselfmore‘rock’orientated.Thegrouparealsoseenrecording‘TheIronStone,’anothersongaboutthesymbolsoftheoccult,takenfromthesuccessful1968LP,Wee Tam and the Big Huge.

‘SeeAllthePeople’isperformedliveataconcertgivenattheRoyalFestivalhallinMarch1968andfeaturesjustwilliamsonandheron.Thisconcertwasthe original impetus for the Omnibus documentary. There is a magical highpitched collection of guitar chords played arpeggio-style by heron, and thesparselyricsusedsparinglythroughoutthetrackareperformedinacontrapuntalstyle between both singers. The other songs on the first side of the LP weremasteredintofillouttherecordandweredrawnfromthewitchseasonvaults—outtakesfromearliersessionsortracksrejectedfromearlierrecords.‘ComewithMe’theopeningtrack,usesmaleandfemalevocallinesasechoesofeachotherbefore joining in harmonic unison. There are a capella sections and the pieceworksasanensemblepiece—alwaysoneofthegroup’sstrengths.‘veshangro’is

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atypicallymysticalwilliamsontrackthatbeganasadreamandthenbecameamusicalrealityspinningoutadventuresoflegendsblendingCeltic(Irish)historywithEasternphilosophy(theSufipoetRumi).williamsonsingsofaforcewhichmakes“cratersinmyeyes”andinducesa“boilingbrain.”Themusicmixeswispyfolk guitar with acoustic southern blues phrases.‘waiting foryou’ closes sideoneandisatypicallyobtusewilliamsontunebasedaroundavaudevilletheme.withafairgroundorgan,jazzypartsandspokensectionsitrecallstheworkofthe Scottish singer and producer Nicholas Currie, aka Momus. williamsonintroduceseachmemberofthegroup(thusmakingitasubsequentlivefavourite)beforeasking“moretea,vicar?”Allquitesurreal.

SidetwoofBe Glad for the Song has no Ending,therealcruxoftheLP,extendsinto more esoteric musical territory. The nine untitled instrumental passageswereusedtoinspirethecrazinessofthefablesegmentofPeterNeal’sfilm,andinturnwerecreatedfromtheoverall‘concept’ofthefilm.(Itisworthnotingthatthemusiciscutupandrestructuredsomewhatforuseinthefilm.)Themusicisasuiteofspiritmusicbeginningwithanensemblepiecetogowiththepirate’sarrivalontheshorewithacousticguitar,bassguitarandmandolinmadeupofoddtimesignaturesandchoralsinging.ThisisfollowedbyatypicallystrangeIncredibleStringBandpiecefeaturingastaccatopipeandorganriffbackedbyakazoo(thepiratemakeshiswaythroughthehiddenwoodsandseesthemagicstonesatthispoint).Thisblendsintoabriefintermissionofgentlewindchimesasthefatesworshipandcaressthecrystalball.Thenasectionstructuredaroundviolinandsitarexchanges,whichechoes‘TheIronStone,’begins.Thenextsectionincludesaveryfilmicambientphraseplayedonpianoandacousticguitarwherethelinesfolloweachotherquitefaithfully.Thisimprovisationmeandersalongbrieflyuntilarecordercomesin.Therequicklyfollowsatwelve-barbluespercussivesectionliftingthemusicintoabrightermode(andthishasaslightlycomiceffectinthefilmwhenthepiratechasesthegiantbirdwhohasacquiredthecrystalball).Thenextsectionismoreavant-gardeinstyleandisusedinthefilmtoillustratetheconfusedjudgementritualattheendofthefable.wildscrapingviolin,bagpipes,resonantgongs,cymbals,electronicnoiseandreverb-soakedgrowlsofangerandpainclashtogethertoinduceahallucinatorycondition.

Afterthistraumaticexperienceabeautifulchild-likemelodyplayedonorgan,violinsandbassfillstheair.Itislikeapsychedelicsea-shanty,designedtoliftthe

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Freaky Folk

spirits.harpsichord,violinandorganemerge,beforeasectionofchants(whichsoundlikethemeowofacat)andadroneending,wheretablabeatsclimaxinashortsectionofbells,chimesandopenstringguitarruns(simulatingasitar).Thefemalevocalchantsinthissectionarelovely.Thismusicisusedinthefilmbothtohypnotizethepirateandconjurehernethehunterwhoemergesfromthemistslikeaterrifyingghost.

Be Glad for the Song has No Ending is afineexemplarof theperiod in thelate1960swhen‘hidden‘or‘secret’knowledgebecameavailableatlastforamassaudience.AtthesametimethefilmandLPmarkedtheendof theIncredibleString Band’s more experimental and transcendent period. After their deepengagementwithScientologythegroup’ssongsmostlybecamemorestructuredand rigid. At their best the Incredible String Band makes music outside thebounds of time. The music came to the creators of the group’s songs throughcosmicthoughtsandvividdreams.PeterNeal’sfilmcapturesthisdreamworldlivedoutintheconcreteworldinapsychedelicmannerwhichisnowvirtuallyimpossibletoimagineorrepeat.

“Even though the String Band’s music pulled in all these exotic instruments, it was still very much from our landscape.”

Peter neal

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psyCh-out and oCCult

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“All art constantly aspires towards the condition of music.” Walter Pater, The School of Giorgione



the peaCe and love FlIpsIde

Chapter FIve

PsyCh-oUt anD CoUnterCUltUral

oCCUlt

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r.d. lainG life before death (Charisma, 1978)

One•Two•Three•Four•Five•Six•Seven•Eight•Nine•Ten•Eleven•Twelve

Music more than anything else for me was a connection with the heart of humanity. R.D. Laing

RonaldDavidLaingwasapsychiatristandagitatorwhoshookupthemedicalestablishmentinthe1960s.Laing’sformof psychiatry was one to which mind-expandingdrugs,communallivinganda breaking down of existing barriersbetween‘patient’and‘doctor’wascritical.Like many postwar movements, thisprocess was a consciousness-raisingexercise beyond the safety of ‘normal’cultureandwasseekingtolocatewhatcouldbefreedinthemind—evenitsdarker phantasmagorical side. Laingwas a therapist, a witness to his ownfamily madness, who was not afraidto go straight into psychosis himselfandwaspreparedtotrytogetouttheothersideagain.Laingwasthusintoanintuitive form of ‘heavy consciousness’andwasdeterminedtofearlesslyexperimentinordertobetterunderstandthatstateofmind.FrancishuxleywroteofLaingpossessinga“shamanictemperament”whichcouldnot(andisstillnot)understoodbywesternpsychiatry.hepursued

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his search though the countercultural period of the 1960s and early 1970sbywriting radicalbooks, creatinga radicalhome for the so-called insane (thePhiladelphiaAssociation)andbywayofadeepimmersioninEasternspirituality,poetry,politicsandphilosophy.Laing’sfamousbooksareThe Divided Self (1960)and Sanity, Madness and the Family (1964), both of which revolutionised thethinkingonmentalillness,contributingastheydidtotheradicalpoliticalandsocietalupheavalofthatdecade.Laingwasaspeaker,seerandagentprovocateur.

healso,in1978,madethispeculiarrecord.For while Laing’s formative spiritual leader was Sigmund Freud, of equal

importance was his discovery of Frederic Chopin. Laing’s book Knots (1971),a delightful confusion of poetry and philosophy, was beautiful and elegantlycomposedonthepageandstructuredwithrepetitionandcadence,somadehisinterestandpassionformusicevident.ThecellistJacquelineDuPre,accordingtoMichaelholroyd,deriveda“blackenergy”fromthebook.The‘freeverse’ofthe text was‘musical.’ Laing frequently read Knots aloud in a musical fashion.ThemusicaltermDa Caposine fine endsoneofthebook’ssections.Knotswasadapted for the stage by Edward Petherbridge and first presented in 1973 bytheActors’CompanyofwhichPetherbridgewasafoundingmember.ThefilmadaptationofthisstageshowwasdirectedbyDavidMunro.Inthefilm,sectionsfromthebookarereadoutaccompaniedbyarhythmicdrumbeatplayedbyJuanMoreno.MusicisattheheartofthisworkandLife Before Death is acontinuationofLaing’smusicalobsession.

Life Before Death marksthekindofexistentialcrisisforLaingthatheattemptedto‘treat’inhispatients.Thestrikingimpacthisbooksofthe1960shadonthewidecounterculturalprojecthadbecomedimmedsomewhatinthe1970s.TheautobiographicalbookhewrotejustbeforethisLPcameout,The Facts of Life (1976),wasinscribedwiththequestion:“whoknowsif lifeisnotdeath,Anddeathlife?”whilethesmallbookofversehepublishedatthistimewasentitledDo You Really Love Me?Bothoftheseobsessions—loveanddeath—wouldfindtheirwayontothetracksofthisrecord.Meanwhileolderconcerns—thetheoryofthe‘dividedself ’—areclearinthelinesofthesesongs.InfactthemusicalformandstructureallowsLaingtoexperimentwiththevoicesofmadness.

JohnClayhasnotedhowLaing’squalitycontrolwasalwayssuspect,convincedashewasthateverythinghedidwasofequalmerit.ThismeantthatLaingwasa

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brilliantexperimenterandinnovatorbuttheresultswereoftenmixed—ormetwithamixedreceptionat least.TheswirlingchaossurroundingLaingandhisworkwasevidentataconferenceheattendedin1981wherehegavearenditionofsongsandversefromLife Before Death.Laingfrequentlygotdrunkandoffendedeveryone,atonestagechallengingthedelegatestoanIndianarm-wrestlingmatch.Onceagain,accordingtoClay,Laing“effectivelydestroyedsomethinghewantedtosetup.”

Laing’s lyrics to the songs are intriguing but even more song-like and lessphilosophicalthanthetextsinKnots.Laingknewthisandinaninterviewwiththe Observer magazine when the record was released noted:“My sonnet is acontemporaryuseofatraditionalform.”

you would perhaps expect the soundscape of this LP to be akin to BasilKirchin’s‘StatesofMind’wherementaldistressisconveyedusingexperimentalformsofsound.however,likethesurpriseawaitingthelistenerchancinguponCharles Manson’s music after expecting some doom-laden goth rock, thiscollection of sonnets put to music is not what is expected. Life Before Deathcreatesalamentforrelationshipsandisbroadlyconcernedwithtwothemes:thepainof loveandrelationships,and the spiritual, sometimes religiousquest forredemptionforalifelivedintrauma.whilethesoundoftherecord,withitslightpopformunderharshspokenrhymes,isunusualitisperhapsnotsosurprisingthata radicalpsychiatrist foundhiswayontorecord.Afterall therearemanyconnections between countercultural activity and the quest for an expandedconsciousnessandtheexplosionofexperimentalpopandrockmusicinthelate1960sandearly1970s.(ThefilmAh, Sunflower!containssomeinterestingfootageofsuchmeetingsofmindsandthe1967DialecticsofLiberationcongressheldattheRoundhouse—ahappeningmusicvenue—andpartlyorganisedbyLaingwas sprinkled with rock musicians and beat poets.) The music accompanyingLaing’s spoken texts was composed by Ken howard and Alan Blaikley, twosuccessfulpopcomposersandarrangerswhohadenjoyedchart-toppingsuccesswith,‘haveItheRight?’bythehoneycombsand‘TheLegendofXanadu’withDaveDee,Dozy,Beaky,Mick&Tich.Byallaccountstherecordingwasmadeaccording to the usual protocol for rock records of the time — improvisationwhiledrunkonmaltwhiskey.In1976,howardinvitedLaingtocontributetohisdocumentaryseriesLife Force,whileBlaikleywastrainingasapsychotherapistat

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thewestminsterPastoralFoundationwhereThe Divided Selfwasarequiredtext.Therecordsleeve,frontandback,consistsofparticularlystrikingphotographic

portraitsofLaing.Oneisalivingbreathingmanifestationoftheman,whiletheotherisadeadcorpse(theeyesarelikethesocketsofaskull).Thesimpleandelegant fontused for theLP is the sameas thatof thebookversionofKnots designedbyLaing’sthenwifeJutta.ThetwelvetracksontheLParetitledsimplybynumericalorder.ONEopenswithajauntybackingmadeupofacousticguitarand synthesiser patterns (Life Before Death partly suffers now from the datedsoundofearlysynthesizersusedasacheapsubstituteforrealinstruments).

Thisandtheothersongsonsideoneoftherecordarechieflyconcernedwithreflections on love and relationships. (“Love cannot help but always wish allwell/Todenyit,istoplungeintohell.”)InTwO,Laingraiseshismischievousinabilitytoseelovecynicallyandtocontrastprofoundemotionalquestionswithinebriatedescapismfromtruth(“we’reshipsinthenight/haveyoualight?”).This trackexemplifies thebizarrecollectionofmusical stylesemployedontherecord;herecanbefoundslideguitar/sitar,banjoandsyntheticenvelopes.Onthis track Laing speaks both voices of dialogue illustrating his theories of the‘dividedself.’hetakesonthevoiceofaGlaswegian‘wifey,’aregressivetactichewouldemployinreal-lifeduringdisputeswithhisvariouspartners.Thiswouldcommonlybedescribedasanaudiomanifestationofschizophreniarevealingthe‘splitpersonality,’butthiswouldbeanincorrectuseofthemedicalterm.ThREEisslowandmoodybutsurprisesattheendwhenthefinalverseevokesmusicality(“violinswhisper Iadoreyou/Butall I seemtodo isboreyou”)andbrieflyswitches to a 1920s flapper-era arrangement. FOuR begins with an angelicchoirofvoicesandthenbuildsintoabaroquerocknumberreminiscentofmidperiodSergeGainsbourg(whoseself-destructivelouchnessLaingshared).FIvEincludesnicelyfinger-pickednylonguitar,butagainLaingcan’tresistwallowinginmorbidself-pity(“Ican’trememberwhenIlastgotpissed/Ican’trememberwhen I was last kissed”). SIX draws comparisons with the arrangement andsoundofAlexharvey,afellowGlaswegiandrunk—“likewatertoadrowningman”—amelodramaticyetcuriouslyplaintivesong.

ThelastfewversesofthejazzinfusedtrackSEvEN,whichopenssidetwo,seemtodrawonthelanguageofZenpsychotherapeutictheory,adeviceitmustbesaidrarelyusedinrockmusic(“Achievetheintegrationofthehole/Andthen

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youare,andnotamighthavebeen”).The‘dividedself ’isagainevokedinEIGhTwhereLaing’svoicemovesfromlefttorightchannelsinthestereomix.Thetracksonthissideoftherecordgenerallydealwithreligiousimageryandlanguage,Lainginlaterliferevisitingthedevoutupbringingthathadhauntedhim.TrackNINEappearslikeasermonandisamediationonviolence.TrackTENisbleakerstill

—awords-onlypiecetellingthesadstoryofawoman’splightuponherhusbandbecomingblind.ItseemsasthoughthethemeofLarsvonTrier’sfilmBreaking the Waves (1996)derivesfromthissong.ELEvENrepresentsthedifficulttimeLaingwasgoingthroughinthelate1970s—hisdelusionsanddependencyonalcoholandthedamagingeffectthishasonrelationships(“Nowallourguestshavecomeandgoneaway”)anddecline(“Thebatonnowisinthehandofage”).TwELvEbeginsominouslywithaheartbeat(Laingdiedfromaheartattackwhileplayingtennis)beforemergingbizarrelyintoareggaebeat.Theendisinsight,the‘BirdofParadise’passed:“soon,soonthebirdwillleavethecage.”ThemelodramaticfilmsoundtrackfeeltothisfinaltrackworksbecauseoftheurgentnatureofwhatLaingcommunicates.Andhisdefiance—“Towriteasonnetinthisdayandage/Mayseemtosomealmostawantonwasteofinkuponapage/yetstillwerave”—ispalpable.

AlthoughcriticalopinionseemstoassessLife Before Death asthevainramblingsofaonceradicalfigurewhosepowersarefading,therecordcanbeviewedasadefiantstatementfromatrueinnovator.Laing’swordsatleastarestillhauntingandmoving,atypicaldiversionperhapsfromhisworkasaradicaltherapistandthinker,butonewhichseemsinitsdrivetodefineheavyconsciousnessfullyinaccordancewiththemottoofthePhiladelphiaAssociation:

I have set before you an open door and no man can close it

Athisfuneralin1989,asmallBuddhafigurineandaminiaturebottleofmaltwhiskeyweretossedintothegrave.AthismemorialserviceatStJames’sin Piccadilly, excerpts from Life before Death were played, Laing’s very ownMarche Funèbre.

462



Abrams, Bobby 292AC/DC 105Ackles, David 92Adam and the Ants 337Adler, Alfred W. 178Adorno, Theodor W. 345, 428Agrippa, Heinrich Cornelius 3,

7, 132, 213Aldred, Nannette 272nAli, Muhammad 146Allison, Deborah 256Allwright, Graeme 87,

109–113Alpert, Richard 3, 180, 437Amirkhanian, Charles 95Anderson, Ian 297Anderson, Laurie 198Anderson, Lindsay 217Andrews, Joel 180, 182,

414–417Anger, Kenneth 214, 230,

231, 255, 257, 268, 295, 351

Ant, Adam 335Antonioni, Michelangelo 239,

240, 241, 242, 243, 370Aphex Twin 284Aquino, Michael 353nArden, Jane 245Ardley, Neil 4, 64–67Ariès, Philippe 224Arkestra, the 79, 81, 83Armstrong, Louis 83Aronofsky, Darren 285Artaud, Antonin 141, 212,

213Arthur, Dave 90Arthur, Toni 90Ash, Vic 56Atkins, Susan 350, 356Atrax Morgue 447Attali, Jacques 2Austin, James 198Autechre 284Avalon, Frankie 338Axelrod, David 177, 191–194Baba, Meher 94, 410Bach, Johann Sebastian 75,

95, 244, 451

Back Door 71Bacon, Francis 427, 428Bad Seeds, the 354, 357Bailey, David 116Bainbridge, William Sims 310Baird, Ben 216, 217Baker, Ginger 319Baker, Jim 387Baker, Roy Thomas 295Ballard, J. G. 71, 135, 430,

444Barbara, the Gray Witch

172–174Barker, Clive 218Barnes, Clive 165Barnett, Anthony 342Barrère, George 9Barrett, Syd 289Barron, Bebe 169, 281Barron, Louis 169, 281Bartok, Béla 293Baschet, François 451Basho, Robbie 87, 94–98Bathory 302–308Batzella, Luigi 141Baudelaire, Charles 409Bayer, Mikkel 342BBC Radiophonic Workshop

429, 430, 432Beach Boys, the 265, 380,

381Beam, Jack 393, 396Beatles, the 19, 39, 73, 112,

168, 190, 226, 233, 250, 255, 265, 279, 280, 292, 344–353, 352n, 353n, 356, 380, 429, 440

Beausoleil, Bobby 230–233, 255–257, 352, 353n, 380, 383, 385, 386

Beaver, Paul 208, 209Beck, Julian 204, 264Beethoven, Ludwig 64Beiderbecke, Bix 56Bennard, George 378Bennett, Elizabeth 138Bennett, J. G. 139Bentue, Jordi 287Berkman, Franya 52, 53

Berkvens, Jeroen 403Berlioz, Hector 191Bernhard, Terry 373Bertolucci, Bernardo 285Bid 335–339, 339nBig Audio Dynamite 272nBirnes, William 450nBjörk 161Black Sabbath 295, 297,

301, 311Black Widow 145, 292,

294–298, 300Blaikley, Alan 201Blake, Tim 286Blake, William 61, 87, 177,

191Blanding, Don 405Blavastsky, Helena 133Blinko, Nick 314, 315, 317Blom, Gert-Jan 138Blum, Chris 195Boards of Canada 283, 284Bolan, Marc 264Bond, Diane 318Bond, Graham 291, 318,

320, 355Bond, Jeff 235Bonham, Jason 353nBonham, John 352, 353nBorges, Jorge Luis 137Bornefeldt, Jørgen 341Bosch, Hieronymus 127Boston, Mark 185Boucher, Caroline 295Boucher, Catherine 194Boulanger, Nadia 437Boulé, Christian 286Box, Clive 298Boyd, Joe 101, 402Boyle, Kay 370Bradbury, Ray 234, 237Brakhage, Stan 97Brand, Grant 316Brandkommando 445Brassens, Georges 110Breach, Rick 297Bresson, Robert 215Breton, Andre 32Brian Jones presents the

Index

463



Pipers of Pan at Joujouka (see Pipers of Pan at Joujouka)

Britten, Benjamin 60, 125, 191

Brodsky Quartet, the 161Brookmeyer, Bob 56Brook, Peter 137Broughton, James 180, 183,

415Browne, Jackson 422Browning, Robert 403Brown, James 69Bruce, Jack 319Buckley, Tim 110Budge, Wallis 129Bugliosi, Vincent 353n, 381,

382Bundy, Ted 450nBuñuel, Luis 285, 443Bunyan, Vashti 89Burroughs, William 114–116,

327, 442Burton, Richard 45Byrne, David 67Cabaret Voltaire 430Cage, John 14, 169Cain, David 341Cale, John 14, 423, 424Cammell, Donald 232, 267,

268, 272nCanady, Jonathan 445, 446,

448, 450nCanned Heat 418Captain Beefheart 177,

184–190, 270Carberry, John 45Cardinal, Roger 367, 369Carpenter, Gary 124Carr, Ian 67Carr, Roy 322, 323Carter, Ron 165Cartmell, Mike 393, 394Cascella, Daniela 443Cash, Johnny 378, 386Castle, Geoff 67Caux, Daniel 77Cave, Nick 291, 354–359Cavett, Dick 240

Cazanove, Christopher 45Changes 309–313Chapelle, André 109Chapman, Mark 352Chatwin, Bruce 370Cherry, Don 249, 250, 253,

342Cheval, Ferdinand 401Chion, Michel 213Chkiantz, George 114Cholet, Jacques 451Chopin, Frederic 197, 200,

244, 246, 247Chusid, Irwin 369Cilento, Diane 122Clarence 13X 147, 148, 150Clarke, Kenny 58Clarke, Stanley 68, 70, 71Clayton, Merry 269Clearlight 286, 288Clegg, David 397Clémenti, Pierre 239, 264,

285, 286, 289Coaquette, Yvan 286Cocker, Jarvis 368Coe, Tony 66Coff, Richard 127Cohen, Leonard 109, 440Coil 272nColeman, John 352nColeman, Ornette 190Coleman, Ray 352nCole, Mike 123Cole, Nat ‘King’ 55Coleridge, Samuel Taylor

412Collier, Graham 33, 44–48Collins, Shirley 89Coltrane, Alice 31, 36, 49–53Coltrane, John 32–38, 51, 53Coltrane, Ravi 35, 38Como, Perry 381Connor, Bruce 76Connors, Bill 69Cooder, Ry 184, 268–272,

272n, 278Cooper, Rod 272nCope, Julian 157, 341Corea, Chick 41, 43, 68

Corman, Roger 285Cornillac, Aude 453Costello, Elvis 166Cotton, Jeff 185Coven 299–301Coward, Noël 402Cowell, Simon 359Crazy Horse 269Crichton, Michael 281Crisp, Quentin 334, 339Crium Delirium 109Crosby, Bing 381Crowley, Aleister 145, 174,

230, 232, 245, 255, 256, 295, 349, 353n, 355, 363

Currie, Nicholas 102Curtis, Ian 335Cutler, Ivor 65Cutler, Sam 325Dalì, Salvador 443Dalton, David 4, 292, 322,

324, 380, 422D’Amato, Maria 371Damned, the 314Daniel, Julius 377Dankworth, John 4, 54–58d’Arcy, Chantal 76Darla, Sheila 204Darwin, Charles 174Daumal, René 250, 253, 254Dave, Dee, Dozy, Beaky,

Mick & Tich 201Davis, Colin 368Davis, Erik 156Davis, Miles 32, 39–43, 56,

74, 190Davis, Paul 145Dawson, Jinx 299–301Deane, Ada 134Death in June 124, 445Deathpile 428, 445–450,

450nDebord, Guy 46, 139, 443Debussy, Claude 8, 9–14, 20,

56, 191, 235, 435de Grimston, Robert 309,

312de Hartmann, Thomas 112,

137, 407

Index

464



Delired Cameleon Family 285–289

Derbyshire, Delia 429, 431Deren, Maya 96, 169Derrida, Jacques 368de Saint Phalle, Niki 245,

246, 248de Salzmann, Alexandre 250de Salzmann, Jeanne 137Devo 384Dickinson, Emily 413Dick, Philip K. 327Didion, Joan 381Dien, Sylvie 113Disney, Walt 403DJ Food 198DJ Shadow 160, 192Dolenz, Micky 274, 275, 277,

279Donat, Mischa 56, 57, 58Donne, John 413Donnelly, K. J. 272nDonovan 226, 311Doors, the 211Dors, Diana 398Dostoevsky, Fyodor 195Doves 124Drake, Gabrielle 401, 402Drake, Molly 368, 401–404Drake, Nick 110, 401–404,

423Drake, Rodney 401Dransfield, Barry 87, 89Dransfield, Robin 89–93Dr Dre 192Dubuffet, Jean 397Dudon, Jacques 109Dumas, Henry 80, 84nDunbar, John 118Duncan, Isadora 415Duvall, Jeanne 412Dwyer, Simon 396Dylan, Bob 86, 89, 109, 422Eagles, the 355Earhardt, Amelia 377Eckstine, Billy 434Eisler, Hans 403, 423Ekalnd, Britt 123Electric Prunes, the 191

Electronauts, the 282Eliot, T. S. 137Ellington, Duke 59, 81, 83,

413Ellis, Havelock 105Ellison, Joshua 191Eno, Brian 67Ensiferum 308Enslaved 308Epplay, Vincent 288Epstein, Brian 344, 346Ernst, Max 432Ertegün, Ahmet 353nEvans, Gil 191Evers, Medgar 79Fabian, Robert 142Fahey, John 95, 239, 242,

291, 368, 369, 418–421Fairport Convention 89Faithfull, Marianne 232, 257Fall, the 292, 326–333Fanshawe, David 87,

104–108Fariña, Richard 373Farrar, Stuart 141, 143, 145Farren, Mick 291Farrow, Mia 226, 229, 353nFarrow, Prudence 353nFaryar, Cyrus 208Father Yod 387–391Feinstein, Barry 94Fellini, Federico 240, 252,

422Felton, David 4, 380Fender, Freddy 362, 363Ferbus, Jean-Pol 219Ferguson, Otis 31Fernow, Dominick 449Fichelscher, Daniel 261Ficion, Marsilio 8Fisher, Margaret 399Fisher, Mark 368Fitzgerald, Ella 55Fludd, Robert 7, 133Folwie, Wallace 409Ford, Derek 142Ford, Michael 258Fort, Charles 325Foster, Stephen 379

Foucault, Michel 239Fox, James 267Frangipane, Ron 249, 250,

253Franju, Georges 224Frankenheimer, John 352nFraser, Robert 114Frechette, Mark 240, 370French, John 185, 189Freud, Sigmund 178, 200,

316Fricke, David 242Fricke, Florian 259, 262Fricke, Ron 76Fripp, Robert 137, 318, 319Fuest, Robert 434Furekaaben 340–343Gainsbourg, Serge 4, 113,

202, 422Gannon, Jim 295Garcia, Jerry 239, 242Garnarek, Jan 342Garny, Dominique 219, 220Garret, Kay 295Garrick, Michael 3, 47, 56,

59, 64Garrick’s Fairground 59–63Garson, Mort 208Gavoty, Bernard 24Gentry, Curt 353nGershwin, George 395Ghandi, Mahatma 52Ghostface Killah 149Giampietro, Rob 158Gilliam, Terry 285Ginsberg, Allen 3Giovanni, Paul 119–125, 217Glass, Philip 76, 159Gleason, Ralph J. 43Glen, Irma 368, 405–408Godard, Jean-Luc 115, 286,

323Godwin, Joscelyn 2, 8, 54Goethe, Johan 177, 196Goffin, Gerry 274, 275, 276Goldman, Albert 352nGoldschmidt, Victor 64Goldsmith, Jerry 234–238Gong 286

Index

465



Good, Jill 134Goodman, Benny 164Goodman, Steve 450nGorightly, Adam 346, 352n,

353nGothard, Michael 263Gould, Mark 398Graham, Davey 421Graham, Martha 165Grainger, Percy 88Grateful Dead, the 239, 242,

322, 377Greeley, Andrew 135Greene, David 434Green, Etta 376, 377Green, Peter 233Gretch, Rich 319Grogan, Steve ‘Clem’ 231Group Image, the 204–207Grunenberg, Christopher

272nGude, David 371Guerin, Jean 452Guerra, Tonio 240Guillen, Tomas 450nGunn, Thom 386Gurdjieff, G. I. 7, 16, 64, 76,

112, 133, 134, 136–140, 178, 250, 407

Guthrie, Woody 377Gysin, Brion 114–116, 118GZA 149Haggard, Merle 376Haggard, Piers 217, 218,

229Haining, Peter 142Halprin, Daria 240, 243Hamrick, Don 352nHamri, Mohamed 115, 116Hancock, Herbie 74Haney, J. D. 339nHanna, David 353nHansen, Ed 173Happy Mondays 272nHardy, Robin 119Harker, Dave 87Harkleroad, Bill 185Harris, Jonathan 272nHarrison, Dennis 63

Harrison, George 51, 73, 211, 252, 348, 353n

Harry, Bill 352nHart, Tim 338, 339Harvey, Alex 202Hawking, Stephen 174Hawkins, Screamin’ Jay 291,

355Hayden, Victor 185Heard, Gerald 406Heckstall-Smith, Dick 319Heede, Vivi Jo 340Hegarty, Paul 450nHeller, K. Dustin 173Henderson, Fletcher 83Hendrix, Jimi 40, 43Henry, Pierre 8, 16, 427, 428,

437–440Henschel, Joan 54Henschel, Mary 54Hentoff, Nat 34, 413Herndon-Consagra,

Francesca 158Heron, Mike 88, 99–101Herzog, Werner 250, 253,

259, 266Hicks, Tony 71Hinman, Gary 230, 255Hitchcock, Alfred 241Hodgkinson, Colin 71Hodgkinson, Will 293Hodgson, Brian 428, 429,

431Holcomb, Roscoe 239, 241Holiday, Billy 395Holland, Eugene 31Holmes, David 272nHolroyd, Michael 200Holy Magick 318–321Holzman, Jac 104Hooker, John Lee 357Hope, William 134Hopkins, Nicky 323Hopper, Dennis 243Howard, Ken 201Howlin’ Wolf 184Hubbard, L. Ron 68, 134Huebner, Louise 167–171,

173

Huerta, Baldemar ‘Freddy Fender’ 360

Hughes, Jean 22Hugo, Victor 398Hunter, Meredith 322Hunter, Tommy 81Hurley, Michael 92Hutchins, Ashley 89Huxley, Aldous 137, 177–180Huxley, Francis 199Incredible String Band, the

73, 89, 91, 99–103, 204, 324, 384

Iron Maiden 300, 302Ito, Teiji 96Ives, Charles 238Jackson, Brendan 328Jackson, Michael 394Jacopetti, Gualtiero 252Jagger, Mick 114, 231,

255–258, 267–269, 271, 272, 272n, 323–325, 352

Jakiwo, Lawrence 108James, M. R. 327, 333James, Rick 150James, William 3, 177Jarre, Jean Michel 284Jay Z 151Jeanneau, Francois 287Jefferson Airplane 204, 205Jenner, Peter 126Jethro Tull 297Jodorowsky, Alejandro

249–254, 266Joel, Billy 311Johnson, Melvin 394Johnson, Robert 269, 272,

291, 354Jolivald, Catherine 111Jones, Brian 73, 87, 114,

118, 267, 268, 270, 272n, 323, 422

Jones, Charles Stansfeld 44Jones, Clive 294, 297Jones, Curtis 291Jones, Davy 274, 276, 278,

279Jones, Jim 392Jones, Leroi 32, 33

Index

466



Jones, Marceline 395Joplin, Janis 206Joseph, Michael 325Joyce, James 346Joy Division 335, 339Jung, Carl 178, 245, 440Kadaver 447Kaempfert, Bert 226Kahn-Harris, K. 308nKaleidoscope, the 239, 241Kalfon, Jean Pierre 263, 264Karas, Anton 419Katz, David 153, 154Kaufman, Phil 383Kendall, Lukas 235Kennedy, Robert F. 352nKepler, Johannes 54, 64Keppel, Robert 450nKevin, Brian 396Khan, Ustad Ali Akbar 368,

409–413Kindred, Lisa 370–375King, Carole 274–276, 278King Tubby 153Kinski, Klaus 260, 262Kirchin Band, the 434Kirchin, Basil 201, 428,

433–436Kirkpatrick, John 89Kitt, Eartha 300Klarwein, Abdul Mati 40, 43Klein, Allen 250Klein, Yves 196Kneale, Nigel 218Knudsen, Thorkid 343Kofsky, Frank 31, 33, 36, 38Komeda, Krzysztof 225–229Konate, Famoudou 155Korda, Albert 383Kramer, Billy J. 346Krasnow, Bob 185Krause, Bernard 269Krause, Bob 208Krupa, Gene 58Kubrick, Stanley 213, 453Kweskin, Jim 370, 371,

375–379Lagrange, Valérie 263, 286,

287

Laing, R. D. 176, 177, 199–203

Lakatos, Stefan 166Landau, Jon 325Larkin, Philip 32, 33Lasry, Jacques 427, 451–453Lasry, Ted 452, 453Lasry, Yvonne 451Last Poets, the 269, 272nLaVey, Anton 145, 226, 255,

257, 299, 338, 346, 350, 351, 353n, 355, 362

Lawrence, D. H. 139Lawrence, Roseanna 229Lazar, Zachary 114Leary, Timothy 3, 131, 180,

353n, 406, 437LeBlanc, Georgette 140Ledbetter, Huddie 377Led Zeppelin 40, 231, 291,

302, 320, 351, 353nLee, Christopher 120, 122Leibovitz, Annie 353nLeigh, Malcolm 142Lennon, John 250, 346, 348,

349, 351, 352, 352n, 353n, 356, 357

Leoonardi, Lino 139Lerner, Murray 368Lerris, Michael 291Lesy, Michael 379Levin, Ira 225Lewis, Jerry Lee 355Lewisohn, Mark 352n, 353nLil Wayne 151Little Feat 268Lomax, Alan 89Lomax, John 377London Musicians Collective

431Love 230, 255Lovecraft, H. P. 292,

315–317, 327, 330, 332Lovin’ Spoonful, the 205Lowry, Malcolm 119Ludwig, Arnold M. 134Lugosi, Bela 278Lundborg, Patrick 378Lustig, Jo 89

Lyman Family, the 370–375Lyman, Mel (see also Lyman,

Mel) 240, 367, 368, 370–378

Lynch, David 214Lytton, Paul 431MacCabe, Colin 271, 272nMacDonald, Ian 353nMacero, Teo 40Machen, Arthur 325, 327,

330–332Mackie, Leslie 121MacLean, Mary Ann 309MacLeod, Duncan 398Maier, Michael 127Mallarme, Stéphane 10, 11Malsonus 450nManet, Édouard 11Manowar 302Mansfield, Kathleen 137Manson, Charles 4, 63, 112,

133, 225, 230, 232, 239, 255, 258, 267, 292, 298, 301, 310, 343, 348, 353n, 368, 380–387, 419, 443, 446

Manson Family, the (see also Manson, Charles) 185, 348, 350, 352n

Manson, Marilyn 291Marconi, Pathé 288Marshall, D. W. 308nMarshall, William 410Martin, George 211Martin, Mia 246Martyn, John 66, 67Marx, Harpo 415Mason, Nick 241Mason, Stewart 433Mathias, Gilles 110Mattei, Bruno 265Matthews, Grant 315Maysles, Albert 322McAloon, Paddy 166, 414McCallum, David 191McCartney, Paul 346, 347,

429McGinn, Matthew 90McKechnie, Christine

Index

467



‘Licorice’ 100, 101McLaughlin, John 43Meek, Joe 209Meinert, Carsten 341Melle, Gil 281–284Meltzer, Richard 86, 176,

207, 291Merry Clayton Singers, the

272nMerzbow 445Messiaen, Olivier 20–24,

56, 437Metallica 105Method Man 149Metzner, Ralph 437Michaux, Henri 224Miles, Barry 352nMilky Way, the 353n, 380Miller, Arnold L. 193Miller, Daniel 430Miller, Jimmy 324Mimieux, Yvette 368,

409–413Mingus, Charles 30Minn, Paul 127Minns, Paul 127Misra, Pandit Mahapurush

410Misunderstood, the 334Mitford, Jessica 219Mitrinović, Dimitrije 178Mobb Deep 146Monkees, the 273–280Monk, Meredith 18, 157–161Monochrome Set, the 292,

334–339, 339nMoody Blues, the 211Moog, Robert 208, 272nMoondog 162–166Moon, Doug 189Moreshead, John 319, 320Morricone, Ennio 235Morrison, Bill 159Morrison, Jim 356, 357Morrison, Sterling 364, 385Morton, Shadow 204Mosse, Kate 11Motley Crue 105Mouskouri, Nana 109

Moynihan, Michael 233, 291, 308n

Mozart, Wolfgang Amadeus 398

Muddy Waters 291Muldaur, Geoff 370, 373Munro, David 200Murphree, Debra 355Myth-Science Arkestra (see

also Arkestra, the) 79Nas 146Nath, Pandit Pran 74, 76, 78Neal, Peter 99, 102, 103Necromondo 447Nesmith, Michael 274, 277,

279Newman, Randy 269Nicholson, Jack 275, 279Nichols, Preston 352nNick Cave and the Bad

Seeds (see also Cave, Nick) 354–359

Nico 368, 422–425Nietzsche, Friedrich 118,

311, 408Niezgoda, Joseph 352nNight, Fern 96Nilsson, Harry 274, 279Nin, Anaïs 169Nitzsche, Jack 267–272, 275Niven, David 142Nordine, Ken 177, 195–198,

208, 209Novello, Ivor 402Numan, Gary 284Nuttall, Jeff 382Nyman, Michael 316Ochs, Max 95, 98Ochs, Phil 151Ogier, Bulle 263, 264Ol’ Dirty Bastard, the 146,

149–151Ono, Yoko 250, 342, 347,

352, 352n, 353nOrbison, Roy 241Osbourne, Ozzy 355Ouspensky, Peter 135, 178,

328Owen, Janet 143, 144

Page, Jimmy 231, 351, 355Page, Patti 239, 241Pallenberg, Anita 118, 232,

255, 256Paracelcus 13Parfrey, Adam 309Parker, Charlie 165Parker, Evan 433Pasolini, Pier Paolo 285Passage, the 334Passeronne, Félix 437Patton, Charley 418Pauwels, Louis 134Pavlov, I. P. 353nPaxton, Tom 109Pearls Before Swine 95, 127Peel, John 129Péladan, Joséphin 12Pentangle 166People’s Temple Choir

392–396Perry, Arlis 353nPerry, Jean-Jacques 21Perry, Lee ‘Scratch’ 152–156Petherbridge, Edward 200Phillips, Sam 355Pierre, Alain 219–224Pinch, Trevor 208, 257Pink Floyd 66, 126, 239, 241,

263–266, 281Pipers of Pan at Joujouka

114–118Pitt, Ingrid 120Plant, Robert 2, 296, 352Plato 64Pluskowski, A. G. 308nPoe, Edgar Allan 193, 195,

245, 328, 330, 412Poitrenaud, Jacques 422Polac, Michel 78Polanski, Roman 225, 228,

349, 352nPolselli, Renato 141Ponti, Carlo 240Popol Vuh 259–262P-Orridge, Genesis 442Porter, Cole 246Potier, Suki 114Power, Cat 93

Index

468



Prefab Sprout 166Presley, Elvis 291, 357Priestley, J. B. 137Procul Harum 91Project, Trebus 368Prurient 445, 449Ptolemy 54Pynchon, Thomas 327Pythagoras 64Quaife, Arthur 223Quorthon 303–305, 307, 308Raekwon 149Ramirez, Richard 446Ransohoff, Martin 349Rapp, Tom 95Ra, Sun (see Sun Ra)Rautio, Erkki 256Rawls, Lou 191Rayns, Tony 256Reed, Ishmael 81, 82Reed, Lou 34, 316, 423Reggio, Godfrey 76Reich, Steve 106, 158, 159,

166Reich, Wilhelm 252Reid, Keith 91Return to Forever 68–72Reynolds, Simon 447, 450nRichards, Keith 114, 256,

257, 272n, 292, 322, 323Ridgway, Gary 446, 448, 450,

450nRiley, Terry 32, 73–78, 109Rix, Professor Leon Luther

205Roach, Max 58Robbe-Grillet, Alain 214Rock, Mick 63Roeg, Nic 267Roehrs, Barbara (see

Barbara, the Gray Witch)Rogers, Dayton Leroy 450nRolle, Richard 134Rolling Stones, the 112, 114,

115, 118, 126, 255–257, 267, 268, 270, 271, 272, 272n, 287, 292, 322–325, 351, 355

Romeo, Max 356

Romney, Jonathan 272nRonaldo, Cristiano 149Rosemont, Franklin 86Rosenbaum, Bob 70Ross, Alex 8, 10Ross, Ronnie 57Rostand, Claude 21Roszak, Theodore 87Rousseau, Henri 11Rudimentary Peni 291,

314–317Rumi 97, 98, 102Ryan, Leo 392Rybczyński, Zbigniew 164RZA 149Sachs, Oliver 135Saint-Saëns, Camille 419Sanders, Alex 134, 135,

141–145, 167, 170, 172, 294, 331, 349, 353n

Sanders, Ed 310, 353n, 381, 386

Sanders, Maxine 143Santana 297Satan and Deciples 360–365Satchidananda, Swami 49Satie, Erik 8, 11, 12, 97Scaffer, Anthony 122Scattini, Luigi 142Scemama, Hubert 110, 111Schaeffer, Pierre 16, 140,

428, 437Schaffer, Anthony 119Schroder, Barbet 263Schuller, Gunther 32Schwartz, Tony 162, 198Scorsese, Martin 291Scott, Cyril 8, 244Scott, N. 308nScott, Ronnie 56Scriabin, Alexander 56, 244Scully, Rock 322Seeger, Pete 89Sellers, Peter 218Sennitt, Stephen 338Shaffer, Peter 217Share, Catherine 384Sheff, David 353nShore, Michael 79

Shorter, Wayne 43Showaddywaddy 298Silver, Alan 410Simpson, Rose 101Sims, Zoot 56, 57Sinatra, Frank 352n, 381Sinker, Mark 326Sirhan Sirhan 352nSisters of Mercy, the 314Slayer 448Smith, Carlton 450nSmith, Harry 372Smith, John 59, 62, 63Smith, Mark E. 143, 292, 326,

328, 331, 333Smith, Mayne 376Smith, Ursula 128Smith, Will 150Sneaker Pimps, the 124Snell, David 56Søderlind, D. 308nSofaer, Abraham 279Soft Machine 34Soleri, Paolo 241Somers, Roger 180Sonic Youth 4‘Son of Sam’ 353nSource Family, the 387, 390South, Harry 164Spengler, Oswald 312Squarepusher 284Stacey, Kevin 320Stanley, Owsley 204Stanshall, Vivian 205Starr, Ringo 347, 353nSteeleye Span 338Steel Hook Prostheses 447Steely Dan 72, 266Steiner, Rudolf 54, 63, 64,

176, 177Stephenson, Ray 128Stereolab 21Stern, Toni 278Stills, Stephen 279Stockhausen, Karlheinz 8,

15–19, 74Stoneham, Harry 435Strache, Wolf 180Strick, Philip 240, 241

Index

469



Suicide 77Sun Ra 15, 19, 79–84, 190Swaggart, Jimmy 355Sweeney, Glen 126, 127Szwed, John 83, 84nTakahashi, Samon 288Tangerine Dream 191Tarkovsky, Andrei 213Tate, Sharon 142, 225, 228,

349, 350, 352nTavener, John 191Taylor, Gilbert 410Taylor, Karen 311Taylor, Mike 64Taylor, Paul 137Taylor, Robert 310–313Telemann, Georg Philipp 293Terry, Clark 56, 58Terry, Maury 353nTesluk, Nicholas 310Thiele, Bud 34Third Ear Band 4, 126–130Thomas, Dylan 195Thompson, Barbara 66Thompson, J. Lee 142Thompson, Richard 89Thorgerson, Storm 66Thorne, Ken 277, 280Throbbing Gristle 428,

441–444, 446Tibet, David 401Tikiman 152Tiny Tim 205Tippet, Michael 60, 134Tomlin, Dave 130Toop, David 9Tork, Peter 274, 275,

277–280Trafford, Simon 308nTravis, Merle 378Trebus Project, the 397–400Trevor, Kip 294, 296Trocco, Frank 208, 257Trunk, Jonny 218, 433Valadon, Suzanna 12Valery, Paul 427van Schaick, Charles 379Varèse, Edgard 21Vaughan, Sarah 434

Velvet Underground, the 204, 316, 324, 384, 422, 423, 442

Verdaux, Cyrille 285, 286, 289

Verney, Rachel 123Vincent, Gene 354Vinding, Hans 342Vogel, Amos 169, 219Von Helden, I. 308nvon Schmidt, Eric 373von Trier, Lars 158, 202Vorhaus, David 429Wagner, Richard 64, 143,

144, 191, 305Waits, Tom 190, 198Walker Brothers, the 386Walker, Peter 67Waller, Thomas ‘Fats’ 57Walser, R. 308nWarhol, Andy 422Warren, Dale 394Wasson, Reed 376Waterson, Mike 92Waters, Roger 265Watkins, Paul 383Watson, Charles ‘Tex’ 290,

348, 349, 381, 384Watts, Alan 63, 176–183,

415Watts, Charlie 325Wavy Gravy 205Weavers, the 208West, Kanye 151Wexler, Haskell 239Wheeler, Kenny 433Whicker, Alan 104Whitehead, Peter 244–248Whitehouse 445White, Lenny 40, 71White Noise, the 429–432Who, the 74, 265Wilkinson, Marc 216–218,

293Williams, David E. 446Williams, John 64Williamson, Robin 88, 91,

99–102Williams, Paul 77, 370

Wilmer, Valerie 31Wilson, Al 418Wilson, Dennis 381, 384, 385Wilson, Jacques 208, 209,

211Winstone, Norma 47, 61, 63,

65, 66Wise, Robert 281, 282Wittgenstein, Ludwig 198Witts, Dick 339nWitts, Richard 425Wolfe, Burton H. 353nWood, John 101Woods, Phil 56, 57Wright, John S. 84Wright, Steve 272nWu Tang Clan, the 146, 149,

150Wylie, Timothy 310Wyllie, Edward 134Wyman, Bill 323, 324, 325Lewis, Wyndham 326X, Malcolm 79Ya Ho Wa 13 368, 387–391York, Steve 319Yorty, Sam 167Youngblood, Gene 213Young, Christopher 218Young, La Monte 74, 75Young, Neil 180, 380Young, Rob 88Zappa, Frank 5, 184–189Zawinul, Joe 41Zeno, Thierry 219Zimba, Pino 28, 29Zimbaria 25–29Zinovieff, Peter 429Zodiac, the 208–211Zyklus 65

Index

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