Gathering of the Tribe

GATHERING OF THE TRIBE Music and Heavy Conscious Creation

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.

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GATHERING OF THE TRIBE

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.

Music and Heavy Conscious Creation

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.

by by Mark Mark Goodall Goodall

GATHERING OF OF THE THE TRIBE TRIBE GATHERING Music and Heavy Conscious Creation

by Mark Goodall HEADPRESS

These are sample pages from a Headpress book copyright Š Headpress 2013

For more information or to buy a copy of the book visit www.worldheadpress.com

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by

Mark Goodall

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

Henricus Cornelius Agrippa

with contributions by

Thomas MCGrath Kevin Donnelly Jeremy Dyson Mick Farren PATRICK GLEN Jill Good David Kerekes Peter Mills Gary RamsAy Mark Reeve Marcel Swiboda Simon Trafford Jennifer Wallis Richard Woodcock

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This book is dedicated to the spirits of Graham 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 Band

Be Glad for the Song has No Ending (Island, 1971)

Come With Me • All Writ Down • Vishangro • See All the People • Waiting for You • The Song Has No Ending The earth has a tone, but the landscape plays a melody. Peter Neal The Incredible String Band, formed in Edinburgh in 1966, were a unit well versed in the art of heavy conscious creation. From their deployment of a mindboggling array of exotic instruments culled from lengthy travels around the globe to their association with the Scientology movement by way of the rituals of Celtic mythology, leaders Robin Williamson and Mike Heron brought a vivid and mysterious soundtrack to the esoteric. Be Glad for the Song has No Ending is such a soundtrack — literally — as it is an aural accompaniment to the film of the same name by British music documentary expert Peter Neal. Neal’s 1969 film is no simple conflation of pictures and sound running together through time and space though. Neal desired to create a synaesthetic experience where the music of the Incredible String Band becomes the film in its visual form. Neal called the film a “parallel universe to the String Band”; it was a visual sense of the group’s music. Neal had noticed when listening to the music of the group that their strange sounds were an attempt at bringing alive the landscape of the British Isles (the band originated in Scotland and Williamson has lived in Wales for many years). They were attempting, in Neal’s’ words, to sing “the vibrations of this country.” For the creation of this film the director and his ‘subject’ were in total sympathy in sharing a passion for the mythological structure of the history of the United Kingdom. The film was originally commissioned for the BBC Omnibus arts programme, keen to capitalise on the group’s huge popularity, but 99

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CHAPTER three as Neal eschewed the normal strictures of a documentary (there are no tedious expositions, interviews or ‘back story’) it was rejected by the broadcaster. (Mike Heron’s statement in the film that “If I could tell you what it meant I wouldn’t sing about it” bearing out the dislocation between the old guard broadcasters and the new countercultural creatives.) This rejection merely confirms the film’s success as a transgressive countercultural document.

The film is still structured around a portrait of the Incredible String Band at work and at play (these two states usually merging) which then mysteriously flips into an extended twenty-six minute ‘fable’ entitled ‘The Pirate and the Crystal Ball’ which is a tripped-out mystery play for the freak generation filmed at the group’s dolmen crowned commune on the Pembrokeshire coast. The play is a stream of consciousness tale of a pirate who steals a crystal ball from three spirits (or fates). The fates, using an ancient stone-circle rite, call up the figure of Herne the Hunter to punish the pirate who is then judged and condemned by a pair of gold-painted gods (played by Williamson and Heron who also in this sequence play instruments made out of tin foil). There is a freak-out climax of sacred and profane images and sounds as the figures dance wildly in a circle. A delirious state is conjured up here. After a sweet interlude with an organ and violin reel, as the fates give thanks to Herne, the films ends with a freeze-frame image of Christine ‘Licorice’ McKechnie, the most mysterious member of the group, who later disappeared into obscurity (this image, with her staring into the viewer, therefore becoming poignant in retrospect). The fable was filmed at Penter Ifan, a megalithic site in Wales (the burial chamber with a huge capstone delicately poised on three uprights is clearly visible in this section of the film). The fable draws on mythical legends from this epoch, such as the lore that fairies are seen in this site: little children in clothes like soldiers clothes and with red caps.

The LP recording for the film follows the same pattern; side one being previously recorded standard ‘songs’ and side two of the record being entirely devoted to the instrumental sections which accompany the fable. The film opens with an incantation for the groups’ instruments which when listed are so extensive and unusual that they become holy relics. The reading of this list — like Noah’s list of animals for his ark — is intercut with one of Robin Williamson’s strange poems ‘The Head’ from which the title of the film/LP derives. The cover 100

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freaky folk of the LP contributes to the weirdness of the project. It features stills from the film including a pirate, a masked musician, a robed ghost figure with antlers, three female incarnations of destiny and a giant long-beaked bird. The reverse cover features a close-up of the shimmering crystal ball from the part of the film where it is stolen from the gold-beaked bird killed by the pirate.

The songs on the LP materialize in the film in a variety of ways. The first to appear is the Mike Heron composition ‘All Writ Down’ which is performed at the Sound Techniques studio in London, the location for all of the ‘Witchseason’ Joe Boyd/John Wood produced-engineered Incredible String Band works. The group appear to be playing and recording the song live but this seems unlikely as there is no separation evident. It must be mimed. The song features Heron and Williamson on guitars. Williamson plays the lead guitar lines, his instrument altered by a chorus effect, while Heron issues the instruction to “be glad, be sad.” The song also features organ, played by McKechnie and a complex almost inverted bass part played skillfully by Rose Simpson (somewhat belying Joe Boyd’s frequent criticism of the female members of the Incredible String Band’s playing prowess). ‘All Writ Down’ though points away from the psychedelic folk that made the group famous and towards the more rock orientated style of the later manifestations of the group (see the LP No Ruinous Feud for example, as well as Heron’s first solo LP Smiling Men with Bad Reputations). The twin guitar, bass and organ line-up is in itself more ‘rock’ orientated. The group are also seen recording ‘The Iron Stone,’ another song about the symbols of the occult, taken from the successful 1968 LP, Wee Tam and the Big Huge.

‘See All the People’ is performed live at a concert given at the Royal Festival Hall in March 1968 and features just Williamson and Heron. This concert was the original impetus for the Omnibus documentary. There is a magical high pitched collection of guitar chords played arpeggio-style by Heron, and the sparse lyrics used sparingly throughout the track are performed in a contrapuntal style between both singers. The other songs on the first side of the LP were mastered in to fill out the record and were drawn from the Witchseason vaults — outtakes from earlier sessions or tracks rejected from earlier records. ‘Come with Me’ the opening track, uses male and female vocal lines as echoes of each other before joining in harmonic unison. There are a capella sections and the piece works as an ensemble piece — always one of the group’s strengths. ‘Veshangro’ is 101

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CHAPTER three a typically mystical Williamson track that began as a dream and then became a musical reality spinning out adventures of legends blending Celtic (Irish) history with Eastern philosophy (the Sufi poet Rumi). Williamson sings of a force which makes “craters in my eyes” and induces a “boiling brain.” The music mixes wispy folk guitar with acoustic southern blues phrases. ‘Waiting for You’ closes side one and is a typically obtuse Williamson tune based around a vaudeville theme.

With a fairground organ, jazzy parts and spoken sections it recalls the work of the Scottish singer and producer Nicholas Currie, aka Momus. Williamson introduces each member of the group (thus making it a subsequent live favourite) before asking “more tea, vicar?” All quite surreal.

Side two of Be Glad for the Song has no Ending, the real crux of the LP, extends into more esoteric musical territory. The nine untitled instrumental passages were used to inspire the craziness of the fable segment of Peter Neal’s film, and in turn were created from the overall ‘concept’ of the film. (It is worth noting that the music is cut up and restructured somewhat for use in the film.) The music is a suite of spirit music beginning with an ensemble piece to go with the pirate’s arrival on the shore with acoustic guitar, bass guitar and mandolin made up of odd time signatures and choral singing. This is followed by a typically strange Incredible String Band piece featuring a staccato pipe and organ riff backed by a kazoo (the pirate makes his way through the hidden woods and sees the magic stones at this point). This blends into a brief intermission of gentle wind chimes as the fates worship and caress the crystal ball. Then a section structured around violin and sitar exchanges, which echoes ‘The Iron Stone,’ begins. The next section includes a very filmic ambient phrase played on piano and acoustic guitar where the lines follow each other quite faithfully. This improvisation meanders along briefly until a recorder comes in. There quickly follows a twelve-bar blues percussive section lifting the music into a brighter mode (and this has a slightly comic effect in the film when the pirate chases the giant bird who has acquired the crystal ball). The next section is more avant-garde in style and is used in the film to illustrate the confused judgement ritual at the end of the fable. Wild scraping violin, bag pipes, resonant gongs, cymbals, electronic noise and reverb-soaked growls of anger and pain clash together to induce a hallucinatory condition.

After this traumatic experience a beautiful child-like melody played on organ, violins and bass fills the air. It is like a psychedelic sea-shanty, designed to lift the 102

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freaky folk spirits. Harpsichord, violin and organ emerge, before a section of chants (which sound like the meow of a cat) and a drone ending, where tabla beats climax in a short section of bells, chimes and open string guitar runs (simulating a sitar). The female vocal chants in this section are lovely. This music is used in the film both to hypnotize the pirate and conjure Herne the Hunter who emerges from the mists like a terrifying ghost.

Be Glad for the Song has No Ending is a fine exemplar of the period in the late 1960s when ‘hidden ‘ or ‘secret’ knowledge became available at last for a mass audience. At the same time the film and LP marked the end of the Incredible String Band’s more experimental and transcendent period. After their deep engagement with Scientology the group’s songs mostly became more structured and rigid. At their best the Incredible String Band makes music outside the bounds of time. The music came to the creators of the group’s songs through cosmic thoughts and vivid dreams. Peter Neal’s film captures this dream world lived out in the concrete world in a psychedelic manner which is now virtually impossible to imagine or repeat.

“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 CHAPTER FIVE

Psych-Out and countercultural occult “All art constantly aspires towards the condition of music.”

Walter Pater, The School of Giorgione

The peace and love flipside

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psych-out and occult 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 Ronald David Laing was a psychiatrist and agitator who shook up the medical establishment in the 1960s. Laing’s form of psychiatry was one to which mindexpanding drugs, communal living and a breaking down of existing barriers between ‘patient’ and ‘doctor’ was critical.

Like many postwar movements, this process was a consciousness-raising exercise beyond the safety of ‘normal’ culture and was seeking to locate what could be freed in the mind — even its darker phantasmagorical side. Laing was a therapist, a witness to his own family madness, who was not afraid to go straight into psychosis himself and was prepared to try to get out the other side again. Laing was thus into an intuitive form of ‘heavy consciousness’ and was determined to fearlessly experiment in order to better understand that state of mind. Francis Huxley wrote of Laing possessing a “shamanic temperament” which could not (and is still not) understood by Western psychiatry. He pursued 199

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CHAPTER five his search though the countercultural period of the 1960s and early 1970s by writing radical books, creating a radical home for the so-called insane (the Philadelphia Association) and by way of a deep immersion in Eastern spirituality, poetry, politics and philosophy. Laing’s famous books are The Divided Self (1960) and Sanity, Madness and the Family (1964), both of which revolutionised the thinking on mental illness, contributing as they did to the radical political and societal upheaval of that decade. Laing was a speaker, seer and agent provocateur.

He also, in 1978, made this peculiar record.

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 elegantly composed on the page and structured with repetition and cadence, so made his interest and passion for music evident. The cellist Jacqueline Du Pre, according to Michael Holroyd, derived a “black energy” from the book. The ‘free verse’ of the text was ‘musical.’ Laing frequently read Knots aloud in a musical fashion.

The musical term Da Capo sine fine ends one of the book’s sections. Knots was adapted for the stage by Edward Petherbridge and first presented in 1973 by the Actors’ Company of which Petherbridge was a founding member. The film adaptation of this stage show was directed by David Munro. In the film, sections from the book are read out accompanied by a rhythmic drum beat played by Juan Moreno. Music is at the heart of this work and Life Before Death is a continuation of Laing’s musical obsession.

Life Before Death marks the kind of existential crisis for Laing that he attempted to ‘treat’ in his patients. The striking impact his books of the 1960s had on the wide countercultural project had become dimmed somewhat in the 1970s. The autobiographical book he wrote just before this LP came out, The Facts of Life (1976), was inscribed with the question: “Who knows if life is not death, And death life?” while the small book of verse he published at this time was entitled Do You Really Love Me? Both of these obsessions — love and death — would find their way onto the tracks of this record. Meanwhile older concerns — the theory of the ‘divided self ’ — are clear in the lines of these songs. In fact the musical form and structure allows Laing to experiment with the voices of madness.

John Clay has noted how Laing’s quality control was always suspect, convinced as he was that everything he did was of equal merit. This meant that Laing was a 200

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psych-out and occult brilliant experimenter and innovator but the results were often mixed — or met with a mixed reception at least. The swirling chaos surrounding Laing and his work was evident at a conference he attended in 1981 where he gave a rendition of songs and verse from Life Before Death. Laing frequently got drunk and offended everyone, at one stage challenging the delegates to an Indian arm-wrestling match.

Once again, according to Clay, Laing “effectively destroyed something he wanted to set up.”

Laing’s lyrics to the songs are intriguing but even more song-like and less philosophical than the texts in Knots. Laing knew this and in an interview with the Observer magazine when the record was released noted: “My sonnet is a contemporary use of a traditional form.”

You would perhaps expect the soundscape of this LP to be akin to Basil Kirchin’s ‘States of Mind’ where mental distress is conveyed using experimental forms of sound. However, like the surprise awaiting the listener chancing upon Charles Manson’s music after expecting some doom-laden goth rock, this collection of sonnets put to music is not what is expected. Life Before Death creates a lament for relationships and is broadly concerned with two themes: the pain of love and relationships, and the spiritual, sometimes religious quest for redemption for a life lived in trauma. While the sound of the record, with its light pop form under harsh spoken rhymes, is unusual it is perhaps not so surprising that a radical psychiatrist found his way onto record. After all there are many connections between countercultural activity and the quest for an expanded consciousness and the explosion of experimental pop and rock music in the late 1960s and early 1970s. (The film Ah, Sunflower! contains some interesting footage of such meetings of minds and the 1967 Dialectics of Liberation congress held at the Roundhouse — a happening music venue — and partly organised by Laing was sprinkled with rock musicians and beat poets.) The music accompanying Laing’s spoken texts was composed by Ken Howard and Alan Blaikley, two successful pop composers and arrangers who had enjoyed chart-topping success with, ‘Have I the Right?’ by the Honeycombs and ‘The Legend of Xanadu’ with Dave Dee, Dozy, Beaky, Mick & Tich. By all accounts the recording was made according to the usual protocol for rock records of the time — improvisation while drunk on malt whiskey. In 1976, Howard invited Laing to contribute to his documentary series Life Force, while Blaikley was training as a psychotherapist at 201

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CHAPTER five the Westminster Pastoral Foundation where The Divided Self was a required text.

The record sleeve, front and back, consists of particularly striking photographic portraits of Laing. One is a living breathing manifestation of the man, while the other is a dead corpse (the eyes are like the sockets of a skull). The simple and elegant font used for the LP is the same as that of the book version of Knots designed by Laing’s then wife Jutta. The twelve tracks on the LP are titled simply by numerical order. ONE opens with a jaunty backing made up of acoustic guitar and synthesiser patterns (Life Before Death partly suffers now from the dated sound of early synthesizers used as a cheap substitute for real instruments).

This and the other songs on side one of the record are chiefly concerned with reflections on love and relationships. (“Love cannot help but always wish all well / To deny it, is to plunge into hell.”) In TWO, Laing raises his mischievous inability to see love cynically and to contrast profound emotional questions with inebriated escapism from truth (“We’re ships in the night / Have you a light?”).

This track exemplifies the bizarre collection of musical styles employed on the record; here can be found slide guitar/sitar, banjo and synthetic envelopes. On this track Laing speaks both voices of dialogue illustrating his theories of the ‘divided self.’ He takes on the voice of a Glaswegian ‘wifey,’ a regressive tactic he would employ in real-life during disputes with his various partners. This would commonly be described as an audio manifestation of schizophrenia revealing the ‘split personality,’ but this would be an incorrect use of the medical term. THREE is slow and moody but surprises at the end when the final verse evokes musicality (“Violins whisper I adore you / But all I seem to do is bore you”) and briefly switches to a 1920s flapper-era arrangement. FOUR begins with an angelic choir of voices and then builds into a baroque rock number reminiscent of mid period Serge Gainsbourg (whose self-destructive louchness Laing shared). FIVE includes nicely finger-picked nylon guitar, but again Laing can’t resist wallowing in morbid self-pity (“I can’t remember when I last got pissed / I can’t remember when I was last kissed”). SIX draws comparisons with the arrangement and sound of Alex Harvey, a fellow Glaswegian drunk — “like water to a drowning man” — a melodramatic yet curiously plaintive song.

The last few verses of the jazz infused track SEVEN, which opens side two, seem to draw on the language of Zen psychotherapeutic theory, a device it must be said rarely used in rock music (“Achieve the integration of the hole / And then 202

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psych-out and occult you are, and not a might have been”). The ‘divided self ’ is again evoked in EIGHT where Laing’s voice moves from left to right channels in the stereo mix. The tracks on this side of the record generally deal with religious imagery and language, Laing in later life revisiting the devout upbringing that had haunted him. Track NINE appears like a sermon and is a mediation on violence. Track TEN is bleaker still — a words-only piece telling the sad story of a woman’s plight upon her husband becoming blind. It seems as though the theme of Lars von Trier’s film Breaking the Waves (1996) derives from this song. ELEVEN represents the difficult time Laing was going through in the late 1970s — his delusions and dependency on alcohol and the damaging effect this has on relationships (“Now all our guests have come and gone away”) and decline (“The baton now is in the hand of age”).

TWELVE begins ominously with a heartbeat (Laing died from a heart attack while playing tennis) before merging bizarrely into a reggae beat. The end is in sight, the ‘Bird of Paradise’ passed: “soon, soon the bird will leave the cage.” The melodramatic film soundtrack feel to this final track works because of the urgent nature of what Laing communicates. And his defiance — “To write a sonnet in this day and age / May seem to some almost a wanton waste of ink upon a page / Yet still we rave” — is palpable.

Although critical opinion seems to assess Life Before Death as the vain ramblings of a once radical figure whose powers are fading, the record can be viewed as a defiant statement from a true innovator. Laing’s words at least are still haunting and moving, a typical diversion perhaps from his work as a radical therapist and thinker, but one which seems in its drive to define heavy consciousness fully in accordance with the motto of the Philadelphia Association: I have set before you an open door and no man can close it At his funeral in 1989, a small Buddha figurine and a miniature bottle of malt whiskey were tossed into the grave. At his memorial service at St James’s in Piccadilly, excerpts from Life before Death were played, Laing’s very own Marche Funèbre.

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INDEX Abrams, Bobby 292 AC/DC 105 Ackles, David 92 Adam and the Ants 337 Adler, Alfred W. 178 Adorno, Theodor W. 345, 428 Agrippa, Heinrich Cornelius 3, 7, 132, 213 Aldred, Nannette 272n Ali, Muhammad 146 Allison, Deborah 256 Allwright, Graeme 87, 109–113 Alpert, Richard 3, 180, 437 Amirkhanian, Charles 95 Anderson, Ian 297 Anderson, Laurie 198 Anderson, Lindsay 217 Andrews, Joel 180, 182, 414–417 Anger, Kenneth 214, 230, 231, 255, 257, 268, 295, 351 Ant, Adam 335 Antonioni, Michelangelo 239, 240, 241, 242, 243, 370 Aphex Twin 284 Aquino, Michael 353n Arden, Jane 245 Ardley, Neil 4, 64–67 Ariès, Philippe 224 Arkestra, the 79, 81, 83 Armstrong, Louis 83 Aronofsky, Darren 285 Artaud, Antonin 141, 212, 213 Arthur, Dave 90 Arthur, Toni 90 Ash, Vic 56 Atkins, Susan 350, 356 Atrax Morgue 447 Attali, Jacques 2 Austin, James 198 Autechre 284 Avalon, Frankie 338 Axelrod, David 177, 191–194 Baba, Meher 94, 410 Bach, Johann Sebastian 75, 95, 244, 451

Back Door 71 Bacon, Francis 427, 428 Bad Seeds, the 354, 357 Bailey, David 116 Bainbridge, William Sims 310 Baird, Ben 216, 217 Baker, Ginger 319 Baker, Jim 387 Baker, Roy Thomas 295 Ballard, J. G. 71, 135, 430, 444 Barbara, the Gray Witch 172–174 Barker, Clive 218 Barnes, Clive 165 Barnett, Anthony 342 Barrère, George 9 Barrett, Syd 289 Barron, Bebe 169, 281 Barron, Louis 169, 281 Bartok, Béla 293 Baschet, François 451 Basho, Robbie 87, 94–98 Bathory 302–308 Batzella, Luigi 141 Baudelaire, Charles 409 Bayer, Mikkel 342 BBC Radiophonic Workshop 429, 430, 432 Beach Boys, the 265, 380, 381 Beam, Jack 393, 396 Beatles, 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, 209 Beck, Julian 204, 264 Beethoven, Ludwig 64 Beiderbecke, Bix 56 Bennard, George 378 Bennett, Elizabeth 138 Bennett, J. G. 139 Bentue, Jordi 287 Berkman, Franya 52, 53

462

Berkvens, Jeroen 403 Berlioz, Hector 191 Bernhard, Terry 373 Bertolucci, Bernardo 285 Bid 335–339, 339n Big Audio Dynamite 272n Birnes, William 450n Björk 161 Black Sabbath 295, 297, 301, 311 Black Widow 145, 292, 294–298, 300 Blaikley, Alan 201 Blake, Tim 286 Blake, William 61, 87, 177, 191 Blanding, Don 405 Blavastsky, Helena 133 Blinko, Nick 314, 315, 317 Blom, Gert-Jan 138 Blum, Chris 195 Boards of Canada 283, 284 Bolan, Marc 264 Bond, Diane 318 Bond, Graham 291, 318, 320, 355 Bond, Jeff 235 Bonham, Jason 353n Bonham, John 352, 353n Borges, Jorge Luis 137 Bornefeldt, Jørgen 341 Bosch, Hieronymus 127 Boston, Mark 185 Boucher, Caroline 295 Boucher, Catherine 194 Boulanger, Nadia 437 Boulé, Christian 286 Box, Clive 298 Boyd, Joe 101, 402 Boyle, Kay 370 Bradbury, Ray 234, 237 Brakhage, Stan 97 Brand, Grant 316 Brandkommando 445 Brassens, Georges 110 Breach, Rick 297 Bresson, Robert 215 Breton, Andre 32 Brian Jones presents the

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INDEX Pipers of Pan at Joujouka (see Pipers of Pan at Joujouka) Britten, Benjamin 60, 125, 191 Brodsky Quartet, the 161 Brookmeyer, Bob 56 Brook, Peter 137 Broughton, James 180, 183, 415 Browne, Jackson 422 Browning, Robert 403 Brown, James 69 Bruce, Jack 319 Buckley, Tim 110 Budge, Wallis 129 Bugliosi, Vincent 353n, 381, 382 Bundy, Ted 450n Buñuel, Luis 285, 443 Bunyan, Vashti 89 Burroughs, William 114–116, 327, 442 Burton, Richard 45 Byrne, David 67 Cabaret Voltaire 430 Cage, John 14, 169 Cain, David 341 Cale, John 14, 423, 424 Cammell, Donald 232, 267, 268, 272n Canady, Jonathan 445, 446, 448, 450n Canned Heat 418 Captain Beefheart 177, 184–190, 270 Carberry, John 45 Cardinal, Roger 367, 369 Carpenter, Gary 124 Carr, Ian 67 Carr, Roy 322, 323 Carter, Ron 165 Cartmell, Mike 393, 394 Cascella, Daniela 443 Cash, Johnny 378, 386 Castle, Geoff 67 Caux, Daniel 77 Cave, Nick 291, 354–359 Cavett, Dick 240

Cazanove, Christopher 45 Changes 309–313 Chapelle, André 109 Chapman, Mark 352 Chatwin, Bruce 370 Cherry, Don 249, 250, 253, 342 Cheval, Ferdinand 401 Chion, Michel 213 Chkiantz, George 114 Cholet, Jacques 451 Chopin, Frederic 197, 200, 244, 246, 247 Chusid, Irwin 369 Cilento, Diane 122 Clarence 13X 147, 148, 150 Clarke, Kenny 58 Clarke, Stanley 68, 70, 71 Clayton, Merry 269 Clearlight 286, 288 Clegg, David 397 Clémenti, Pierre 239, 264, 285, 286, 289 Coaquette, Yvan 286 Cocker, Jarvis 368 Coe, Tony 66 Coff, Richard 127 Cohen, Leonard 109, 440 Coil 272n Coleman, John 352n Coleman, Ornette 190 Coleman, Ray 352n Cole, Mike 123 Cole, Nat ‘King’ 55 Coleridge, Samuel Taylor 412 Collier, Graham 33, 44–48 Collins, Shirley 89 Coltrane, Alice 31, 36, 49–53 Coltrane, John 32–38, 51, 53 Coltrane, Ravi 35, 38 Como, Perry 381 Connor, Bruce 76 Connors, Bill 69 Cooder, Ry 184, 268–272, 272n, 278 Cooper, Rod 272n Cope, Julian 157, 341 Corea, Chick 41, 43, 68

463

Corman, Roger 285 Cornillac, Aude 453 Costello, Elvis 166 Cotton, Jeff 185 Coven 299–301 Coward, Noël 402 Cowell, Simon 359 Crazy Horse 269 Crichton, Michael 281 Crisp, Quentin 334, 339 Crium Delirium 109 Crosby, Bing 381 Crowley, Aleister 145, 174, 230, 232, 245, 255, 256, 295, 349, 353n, 355, 363 Currie, Nicholas 102 Curtis, Ian 335 Cutler, Ivor 65 Cutler, Sam 325 Dalì, Salvador 443 Dalton, David 4, 292, 322, 324, 380, 422 D’Amato, Maria 371 Damned, the 314 Daniel, Julius 377 Dankworth, John 4, 54–58 d’Arcy, Chantal 76 Darla, Sheila 204 Darwin, Charles 174 Daumal, René 250, 253, 254 Dave, Dee, Dozy, Beaky, Mick & Tich 201 Davis, Colin 368 Davis, Erik 156 Davis, Miles 32, 39–43, 56, 74, 190 Davis, Paul 145 Dawson, Jinx 299–301 Deane, Ada 134 Death in June 124, 445 Deathpile 428, 445–450, 450n Debord, Guy 46, 139, 443 Debussy, Claude 8, 9–14, 20, 56, 191, 235, 435 de Grimston, Robert 309, 312 de Hartmann, Thomas 112, 137, 407

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INDEX Delired Cameleon Family 285–289 Derbyshire, Delia 429, 431 Deren, Maya 96, 169 Derrida, Jacques 368 de Saint Phalle, Niki 245, 246, 248 de Salzmann, Alexandre 250 de Salzmann, Jeanne 137 Devo 384 Dickinson, Emily 413 Dick, Philip K. 327 Didion, Joan 381 Dien, Sylvie 113 Disney, Walt 403 DJ Food 198 DJ Shadow 160, 192 Dolenz, Micky 274, 275, 277, 279 Donat, Mischa 56, 57, 58 Donne, John 413 Donnelly, K. J. 272n Donovan 226, 311 Doors, the 211 Dors, Diana 398 Dostoevsky, Fyodor 195 Doves 124 Drake, Gabrielle 401, 402 Drake, Molly 368, 401–404 Drake, Nick 110, 401–404, 423 Drake, Rodney 401 Dransfield, Barry 87, 89 Dransfield, Robin 89–93 Dr Dre 192 Dubuffet, Jean 397 Dudon, Jacques 109 Dumas, Henry 80, 84n Dunbar, John 118 Duncan, Isadora 415 Duvall, Jeanne 412 Dwyer, Simon 396 Dylan, Bob 86, 89, 109, 422 Eagles, the 355 Earhardt, Amelia 377 Eckstine, Billy 434 Eisler, Hans 403, 423 Ekalnd, Britt 123 Electric Prunes, the 191

Electronauts, the 282 Eliot, T. S. 137 Ellington, Duke 59, 81, 83, 413 Ellis, Havelock 105 Ellison, Joshua 191 Eno, Brian 67 Ensiferum 308 Enslaved 308 Epplay, Vincent 288 Epstein, Brian 344, 346 Ernst, Max 432 Ertegün, Ahmet 353n Evans, Gil 191 Evers, Medgar 79 Fabian, Robert 142 Fahey, John 95, 239, 242, 291, 368, 369, 418–421 Fairport Convention 89 Faithfull, Marianne 232, 257 Fall, the 292, 326–333 Fanshawe, David 87, 104–108 Fariña, Richard 373 Farrar, Stuart 141, 143, 145 Farren, Mick 291 Farrow, Mia 226, 229, 353n Farrow, Prudence 353n Faryar, Cyrus 208 Father Yod 387–391 Feinstein, Barry 94 Fellini, Federico 240, 252, 422 Felton, David 4, 380 Fender, Freddy 362, 363 Ferbus, Jean-Pol 219 Ferguson, Otis 31 Fernow, Dominick 449 Fichelscher, Daniel 261 Ficion, Marsilio 8 Fisher, Margaret 399 Fisher, Mark 368 Fitzgerald, Ella 55 Fludd, Robert 7, 133 Folwie, Wallace 409 Ford, Derek 142 Ford, Michael 258 Fort, Charles 325 Foster, Stephen 379

464

Foucault, Michel 239 Fox, James 267 Frangipane, Ron 249, 250, 253 Franju, Georges 224 Frankenheimer, John 352n Fraser, Robert 114 Frechette, Mark 240, 370 French, John 185, 189 Freud, Sigmund 178, 200, 316 Fricke, David 242 Fricke, Florian 259, 262 Fricke, Ron 76 Fripp, Robert 137, 318, 319 Fuest, Robert 434 Furekaaben 340–343 Gainsbourg, Serge 4, 113, 202, 422 Gannon, Jim 295 Garcia, Jerry 239, 242 Garnarek, Jan 342 Garny, Dominique 219, 220 Garret, Kay 295 Garrick, Michael 3, 47, 56, 59, 64 Garrick’s Fairground 59–63 Garson, Mort 208 Gavoty, Bernard 24 Gentry, Curt 353n Gershwin, George 395 Ghandi, Mahatma 52 Ghostface Killah 149 Giampietro, Rob 158 Gilliam, Terry 285 Ginsberg, Allen 3 Giovanni, Paul 119–125, 217 Glass, Philip 76, 159 Gleason, Ralph J. 43 Glen, Irma 368, 405–408 Godard, Jean-Luc 115, 286, 323 Godwin, Joscelyn 2, 8, 54 Goethe, Johan 177, 196 Goffin, Gerry 274, 275, 276 Goldman, Albert 352n Goldschmidt, Victor 64 Goldsmith, Jerry 234–238 Gong 286

Gathering

of the Tribe Conscious Creation

Music and Heavy

INDEX Good, Jill 134 Goodman, Benny 164 Goodman, Steve 450n Gorightly, Adam 346, 352n, 353n Gothard, Michael 263 Gould, Mark 398 Graham, Davey 421 Graham, Martha 165 Grainger, Percy 88 Grateful Dead, the 239, 242, 322, 377 Greeley, Andrew 135 Greene, David 434 Green, Etta 376, 377 Green, Peter 233 Gretch, Rich 319 Grogan, Steve ‘Clem’ 231 Group Image, the 204–207 Grunenberg, Christopher 272n Gude, David 371 Guerin, Jean 452 Guerra, Tonio 240 Guillen, Tomas 450n Gunn, Thom 386 Gurdjieff, G. I. 7, 16, 64, 76, 112, 133, 134, 136–140, 178, 250, 407 Guthrie, Woody 377 Gysin, Brion 114–116, 118 GZA 149 Haggard, Merle 376 Haggard, Piers 217, 218, 229 Haining, Peter 142 Halprin, Daria 240, 243 Hamrick, Don 352n Hamri, Mohamed 115, 116 Hancock, Herbie 74 Haney, J. D. 339n Hanna, David 353n Hansen, Ed 173 Happy Mondays 272n Hardy, Robin 119 Harker, Dave 87 Harkleroad, Bill 185 Harris, Jonathan 272n Harrison, Dennis 63

Harrison, George 51, 73, 211, 252, 348, 353n Harry, Bill 352n Hart, Tim 338, 339 Harvey, Alex 202 Hawking, Stephen 174 Hawkins, Screamin’ Jay 291, 355 Hayden, Victor 185 Heard, Gerald 406 Heckstall-Smith, Dick 319 Heede, Vivi Jo 340 Hegarty, Paul 450n Heller, K. Dustin 173 Henderson, Fletcher 83 Hendrix, Jimi 40, 43 Henry, Pierre 8, 16, 427, 428, 437–440 Henschel, Joan 54 Henschel, Mary 54 Hentoff, Nat 34, 413 Herndon-Consagra, Francesca 158 Heron, Mike 88, 99–101 Herzog, Werner 250, 253, 259, 266 Hicks, Tony 71 Hinman, Gary 230, 255 Hitchcock, Alfred 241 Hodgkinson, Colin 71 Hodgkinson, Will 293 Hodgson, Brian 428, 429, 431 Holcomb, Roscoe 239, 241 Holiday, Billy 395 Holland, Eugene 31 Holmes, David 272n Holroyd, Michael 200 Holy Magick 318–321 Holzman, Jac 104 Hooker, John Lee 357 Hope, William 134 Hopkins, Nicky 323 Hopper, Dennis 243 Howard, Ken 201 Howlin’ Wolf 184 Hubbard, L. Ron 68, 134 Huebner, Louise 167–171, 173

465

Huerta, Baldemar ‘Freddy Fender’ 360 Hughes, Jean 22 Hugo, Victor 398 Hunter, Meredith 322 Hunter, Tommy 81 Hurley, Michael 92 Hutchins, Ashley 89 Huxley, Aldous 137, 177–180 Huxley, Francis 199 Incredible String Band, the 73, 89, 91, 99–103, 204, 324, 384 Iron Maiden 300, 302 Ito, Teiji 96 Ives, Charles 238 Jackson, Brendan 328 Jackson, Michael 394 Jacopetti, Gualtiero 252 Jagger, Mick 114, 231, 255–258, 267–269, 271, 272, 272n, 323–325, 352 Jakiwo, Lawrence 108 James, M. R. 327, 333 James, Rick 150 James, William 3, 177 Jarre, Jean Michel 284 Jay Z 151 Jeanneau, Francois 287 Jefferson Airplane 204, 205 Jenner, Peter 126 Jethro Tull 297 Jodorowsky, Alejandro 249–254, 266 Joel, Billy 311 Johnson, Melvin 394 Johnson, Robert 269, 272, 291, 354 Jolivald, Catherine 111 Jones, Brian 73, 87, 114, 118, 267, 268, 270, 272n, 323, 422 Jones, Charles Stansfeld 44 Jones, Clive 294, 297 Jones, Curtis 291 Jones, Davy 274, 276, 278, 279 Jones, Jim 392 Jones, Leroi 32, 33

Gathering

of the Tribe Conscious Creation

Music and Heavy

INDEX Jones, Marceline 395 Joplin, Janis 206 Joseph, Michael 325 Joyce, James 346 Joy Division 335, 339 Jung, Carl 178, 245, 440 Kadaver 447 Kaempfert, Bert 226 Kahn-Harris, K. 308n Kaleidoscope, the 239, 241 Kalfon, Jean Pierre 263, 264 Karas, Anton 419 Katz, David 153, 154 Kaufman, Phil 383 Kendall, Lukas 235 Kennedy, Robert F. 352n Kepler, Johannes 54, 64 Keppel, Robert 450n Kevin, Brian 396 Khan, Ustad Ali Akbar 368, 409–413 Kindred, Lisa 370–375 King, Carole 274–276, 278 King Tubby 153 Kinski, Klaus 260, 262 Kirchin Band, the 434 Kirchin, Basil 201, 428, 433–436 Kirkpatrick, John 89 Kitt, Eartha 300 Klarwein, Abdul Mati 40, 43 Klein, Allen 250 Klein, Yves 196 Kneale, Nigel 218 Knudsen, Thorkid 343 Kofsky, Frank 31, 33, 36, 38 Komeda, Krzysztof 225–229 Konate, Famoudou 155 Korda, Albert 383 Kramer, Billy J. 346 Krasnow, Bob 185 Krause, Bernard 269 Krause, Bob 208 Krupa, Gene 58 Kubrick, Stanley 213, 453 Kweskin, Jim 370, 371, 375–379 Lagrange, Valérie 263, 286, 287

Laing, R. D. 176, 177, 199–203 Lakatos, Stefan 166 Landau, Jon 325 Larkin, Philip 32, 33 Lasry, Jacques 427, 451–453 Lasry, Ted 452, 453 Lasry, Yvonne 451 Last Poets, the 269, 272n LaVey, Anton 145, 226, 255, 257, 299, 338, 346, 350, 351, 353n, 355, 362 Lawrence, D. H. 139 Lawrence, Roseanna 229 Lazar, Zachary 114 Leary, Timothy 3, 131, 180, 353n, 406, 437 LeBlanc, Georgette 140 Ledbetter, Huddie 377 Led Zeppelin 40, 231, 291, 302, 320, 351, 353n Lee, Christopher 120, 122 Leibovitz, Annie 353n Leigh, Malcolm 142 Lennon, John 250, 346, 348, 349, 351, 352, 352n, 353n, 356, 357 Leoonardi, Lino 139 Lerner, Murray 368 Lerris, Michael 291 Lesy, Michael 379 Levin, Ira 225 Lewis, Jerry Lee 355 Lewisohn, Mark 352n, 353n Lil Wayne 151 Little Feat 268 Lomax, Alan 89 Lomax, John 377 London Musicians Collective 431 Love 230, 255 Lovecraft, H. P. 292, 315–317, 327, 330, 332 Lovin’ Spoonful, the 205 Lowry, Malcolm 119 Ludwig, Arnold M. 134 Lugosi, Bela 278 Lundborg, Patrick 378 Lustig, Jo 89

466

Lyman Family, the 370–375 Lyman, Mel (see also Lyman, Mel) 240, 367, 368, 370–378 Lynch, David 214 Lytton, Paul 431 MacCabe, Colin 271, 272n MacDonald, Ian 353n Macero, Teo 40 Machen, Arthur 325, 327, 330–332 Mackie, Leslie 121 MacLean, Mary Ann 309 MacLeod, Duncan 398 Maier, Michael 127 Mallarme, Stéphane 10, 11 Malsonus 450n Manet, Édouard 11 Manowar 302 Mansfield, Kathleen 137 Manson, 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 291 Marconi, Pathé 288 Marshall, D. W. 308n Marshall, William 410 Martin, George 211 Martin, Mia 246 Martyn, John 66, 67 Marx, Harpo 415 Mason, Nick 241 Mason, Stewart 433 Mathias, Gilles 110 Mattei, Bruno 265 Matthews, Grant 315 Maysles, Albert 322 McAloon, Paddy 166, 414 McCallum, David 191 McCartney, Paul 346, 347, 429 McGinn, Matthew 90 McKechnie, Christine

Gathering

of the Tribe Conscious Creation

Music and Heavy

INDEX ‘Licorice’ 100, 101 McLaughlin, John 43 Meek, Joe 209 Meinert, Carsten 341 Melle, Gil 281–284 Meltzer, Richard 86, 176, 207, 291 Merry Clayton Singers, the 272n Merzbow 445 Messiaen, Olivier 20–24, 56, 437 Metallica 105 Method Man 149 Metzner, Ralph 437 Michaux, Henri 224 Miles, Barry 352n Milky Way, the 353n, 380 Miller, Arnold L. 193 Miller, Daniel 430 Miller, Jimmy 324 Mimieux, Yvette 368, 409–413 Mingus, Charles 30 Minn, Paul 127 Minns, Paul 127 Misra, Pandit Mahapurush 410 Misunderstood, the 334 Mitford, Jessica 219 Mitrinović, Dimitrije 178 Mobb Deep 146 Monkees, the 273–280 Monk, Meredith 18, 157–161 Monochrome Set, the 292, 334–339, 339n Moody Blues, the 211 Moog, Robert 208, 272n Moondog 162–166 Moon, Doug 189 Moreshead, John 319, 320 Morricone, Ennio 235 Morrison, Bill 159 Morrison, Jim 356, 357 Morrison, Sterling 364, 385 Morton, Shadow 204 Mosse, Kate 11 Motley Crue 105 Mouskouri, Nana 109

Moynihan, Michael 233, 291, 308n Mozart, Wolfgang Amadeus 398 Muddy Waters 291 Muldaur, Geoff 370, 373 Munro, David 200 Murphree, Debra 355 Myth-Science Arkestra (see also Arkestra, the) 79 Nas 146 Nath, Pandit Pran 74, 76, 78 Neal, Peter 99, 102, 103 Necromondo 447 Nesmith, Michael 274, 277, 279 Newman, Randy 269 Nicholson, Jack 275, 279 Nichols, Preston 352n Nick Cave and the Bad Seeds (see also Cave, Nick) 354–359 Nico 368, 422–425 Nietzsche, Friedrich 118, 311, 408 Niezgoda, Joseph 352n Night, Fern 96 Nilsson, Harry 274, 279 Nin, Anaïs 169 Nitzsche, Jack 267–272, 275 Niven, David 142 Nordine, Ken 177, 195–198, 208, 209 Novello, Ivor 402 Numan, Gary 284 Nuttall, Jeff 382 Nyman, Michael 316 Ochs, Max 95, 98 Ochs, Phil 151 Ogier, Bulle 263, 264 Ol’ Dirty Bastard, the 146, 149–151 Ono, Yoko 250, 342, 347, 352, 352n, 353n Orbison, Roy 241 Osbourne, Ozzy 355 Ouspensky, Peter 135, 178, 328 Owen, Janet 143, 144

467

Page, Jimmy 231, 351, 355 Page, Patti 239, 241 Pallenberg, Anita 118, 232, 255, 256 Paracelcus 13 Parfrey, Adam 309 Parker, Charlie 165 Parker, Evan 433 Pasolini, Pier Paolo 285 Passage, the 334 Passeronne, Félix 437 Patton, Charley 418 Pauwels, Louis 134 Pavlov, I. P. 353n Paxton, Tom 109 Pearls Before Swine 95, 127 Peel, John 129 Péladan, Joséphin 12 Pentangle 166 People’s Temple Choir 392–396 Perry, Arlis 353n Perry, Jean-Jacques 21 Perry, Lee ‘Scratch’ 152–156 Petherbridge, Edward 200 Phillips, Sam 355 Pierre, Alain 219–224 Pinch, Trevor 208, 257 Pink Floyd 66, 126, 239, 241, 263–266, 281 Pipers of Pan at Joujouka 114–118 Pitt, Ingrid 120 Plant, Robert 2, 296, 352 Plato 64 Pluskowski, A. G. 308n Poe, Edgar Allan 193, 195, 245, 328, 330, 412 Poitrenaud, Jacques 422 Polac, Michel 78 Polanski, Roman 225, 228, 349, 352n Polselli, Renato 141 Ponti, Carlo 240 Popol Vuh 259–262 P-Orridge, Genesis 442 Porter, Cole 246 Potier, Suki 114 Power, Cat 93

Gathering

of the Tribe Conscious Creation

Music and Heavy

INDEX Prefab Sprout 166 Presley, Elvis 291, 357 Priestley, J. B. 137 Procul Harum 91 Project, Trebus 368 Prurient 445, 449 Ptolemy 54 Pynchon, Thomas 327 Pythagoras 64 Quaife, Arthur 223 Quorthon 303–305, 307, 308 Raekwon 149 Ramirez, Richard 446 Ransohoff, Martin 349 Rapp, Tom 95 Ra, Sun (see Sun Ra) Rautio, Erkki 256 Rawls, Lou 191 Rayns, Tony 256 Reed, Ishmael 81, 82 Reed, Lou 34, 316, 423 Reggio, Godfrey 76 Reich, Steve 106, 158, 159, 166 Reich, Wilhelm 252 Reid, Keith 91 Return to Forever 68–72 Reynolds, Simon 447, 450n Richards, Keith 114, 256, 257, 272n, 292, 322, 323 Ridgway, Gary 446, 448, 450, 450n Riley, Terry 32, 73–78, 109 Rix, Professor Leon Luther 205 Roach, Max 58 Robbe-Grillet, Alain 214 Rock, Mick 63 Roeg, Nic 267 Roehrs, Barbara (see Barbara, the Gray Witch) Rogers, Dayton Leroy 450n Rolle, Richard 134 Rolling 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 272n Ronaldo, Cristiano 149 Rosemont, Franklin 86 Rosenbaum, Bob 70 Ross, Alex 8, 10 Ross, Ronnie 57 Rostand, Claude 21 Roszak, Theodore 87 Rousseau, Henri 11 Rudimentary Peni 291, 314–317 Rumi 97, 98, 102 Ryan, Leo 392 Rybczyński, Zbigniew 164 RZA 149 Sachs, Oliver 135 Saint-Saëns, Camille 419 Sanders, Alex 134, 135, 141–145, 167, 170, 172, 294, 331, 349, 353n Sanders, Ed 310, 353n, 381, 386 Sanders, Maxine 143 Santana 297 Satan and Deciples 360–365 Satchidananda, Swami 49 Satie, Erik 8, 11, 12, 97 Scaffer, Anthony 122 Scattini, Luigi 142 Scemama, Hubert 110, 111 Schaeffer, Pierre 16, 140, 428, 437 Schaffer, Anthony 119 Schroder, Barbet 263 Schuller, Gunther 32 Schwartz, Tony 162, 198 Scorsese, Martin 291 Scott, Cyril 8, 244 Scott, N. 308n Scott, Ronnie 56 Scriabin, Alexander 56, 244 Scully, Rock 322 Seeger, Pete 89 Sellers, Peter 218 Sennitt, Stephen 338 Shaffer, Peter 217 Share, Catherine 384 Sheff, David 353n Shore, Michael 79

468

Shorter, Wayne 43 Showaddywaddy 298 Silver, Alan 410 Simpson, Rose 101 Sims, Zoot 56, 57 Sinatra, Frank 352n, 381 Sinker, Mark 326 Sirhan Sirhan 352n Sisters of Mercy, the 314 Slayer 448 Smith, Carlton 450n Smith, Harry 372 Smith, John 59, 62, 63 Smith, Mark E. 143, 292, 326, 328, 331, 333 Smith, Mayne 376 Smith, Ursula 128 Smith, Will 150 Sneaker Pimps, the 124 Snell, David 56 Søderlind, D. 308n Sofaer, Abraham 279 Soft Machine 34 Soleri, Paolo 241 Somers, Roger 180 Sonic Youth 4 ‘Son of Sam’ 353n Source Family, the 387, 390 South, Harry 164 Spengler, Oswald 312 Squarepusher 284 Stacey, Kevin 320 Stanley, Owsley 204 Stanshall, Vivian 205 Starr, Ringo 347, 353n Steeleye Span 338 Steel Hook Prostheses 447 Steely Dan 72, 266 Steiner, Rudolf 54, 63, 64, 176, 177 Stephenson, Ray 128 Stereolab 21 Stern, Toni 278 Stills, Stephen 279 Stockhausen, Karlheinz 8, 15–19, 74 Stoneham, Harry 435 Strache, Wolf 180 Strick, Philip 240, 241

Gathering

of the Tribe Conscious Creation

Music and Heavy

INDEX Suicide 77 Sun Ra 15, 19, 79–84, 190 Swaggart, Jimmy 355 Sweeney, Glen 126, 127 Szwed, John 83, 84n Takahashi, Samon 288 Tangerine Dream 191 Tarkovsky, Andrei 213 Tate, Sharon 142, 225, 228, 349, 350, 352n Tavener, John 191 Taylor, Gilbert 410 Taylor, Karen 311 Taylor, Mike 64 Taylor, Paul 137 Taylor, Robert 310–313 Telemann, Georg Philipp 293 Terry, Clark 56, 58 Terry, Maury 353n Tesluk, Nicholas 310 Thiele, Bud 34 Third Ear Band 4, 126–130 Thomas, Dylan 195 Thompson, Barbara 66 Thompson, J. Lee 142 Thompson, Richard 89 Thorgerson, Storm 66 Thorne, Ken 277, 280 Throbbing Gristle 428, 441–444, 446 Tibet, David 401 Tikiman 152 Tiny Tim 205 Tippet, Michael 60, 134 Tomlin, Dave 130 Toop, David 9 Tork, Peter 274, 275, 277–280 Trafford, Simon 308n Travis, Merle 378 Trebus Project, the 397–400 Trevor, Kip 294, 296 Trocco, Frank 208, 257 Trunk, Jonny 218, 433 Valadon, Suzanna 12 Valery, Paul 427 van Schaick, Charles 379 Varèse, Edgard 21 Vaughan, Sarah 434

Velvet Underground, the 204, 316, 324, 384, 422, 423, 442 Verdaux, Cyrille 285, 286, 289 Verney, Rachel 123 Vincent, Gene 354 Vinding, Hans 342 Vogel, Amos 169, 219 Von Helden, I. 308n von Schmidt, Eric 373 von Trier, Lars 158, 202 Vorhaus, David 429 Wagner, Richard 64, 143, 144, 191, 305 Waits, Tom 190, 198 Walker Brothers, the 386 Walker, Peter 67 Waller, Thomas ‘Fats’ 57 Walser, R. 308n Warhol, Andy 422 Warren, Dale 394 Wasson, Reed 376 Waterson, Mike 92 Waters, Roger 265 Watkins, Paul 383 Watson, Charles ‘Tex’ 290, 348, 349, 381, 384 Watts, Alan 63, 176–183, 415 Watts, Charlie 325 Wavy Gravy 205 Weavers, the 208 West, Kanye 151 Wexler, Haskell 239 Wheeler, Kenny 433 Whicker, Alan 104 Whitehead, Peter 244–248 Whitehouse 445 White, Lenny 40, 71 White Noise, the 429–432 Who, the 74, 265 Wilkinson, Marc 216–218, 293 Williams, David E. 446 Williams, John 64 Williamson, Robin 88, 91, 99–102 Williams, Paul 77, 370

469

Wilmer, Valerie 31 Wilson, Al 418 Wilson, Dennis 381, 384, 385 Wilson, Jacques 208, 209, 211 Winstone, Norma 47, 61, 63, 65, 66 Wise, Robert 281, 282 Wittgenstein, Ludwig 198 Witts, Dick 339n Witts, Richard 425 Wolfe, Burton H. 353n Wood, John 101 Woods, Phil 56, 57 Wright, John S. 84 Wright, Steve 272n Wu Tang Clan, the 146, 149, 150 Wylie, Timothy 310 Wyllie, Edward 134 Wyman, Bill 323, 324, 325 Lewis, Wyndham 326 X, Malcolm 79 Ya Ho Wa 13 368, 387–391 York, Steve 319 Yorty, Sam 167 Youngblood, Gene 213 Young, Christopher 218 Young, La Monte 74, 75 Young, Neil 180, 380 Young, Rob 88 Zappa, Frank 5, 184–189 Zawinul, Joe 41 Zeno, Thierry 219 Zimba, Pino 28, 29 Zimbaria 25–29 Zinovieff, Peter 429 Zodiac, the 208–211 Zyklus 65

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