Coconut Hotel - Revision history

Dotclub: /* Reviews */

2024-08-07T19:26:51Z

Reviews

← Older revision		Revision as of 12:26, 7 August 2024
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	=== Testcard #1 ===		=== Testcard #1 ===
	September 1995<ref>https://www.testcard.de/titel/186/testcard-1-pop-und-destruktion</ref>		September 1995<ref>https://www.testcard.de/titel/186/testcard-1-pop-und-destruktion</ref>

			=== Heyfever ===
			1996<ref>https://archive.org/details/hayfever-2/page/n57/mode/1up</ref>

			Carsten Görig<blockquote>Ich war ja letzten Sommer mal bei einem Konzert in Hamburg im Knust und es war schönes Wetter und Gregor und York haben irgendeine Band interview! (ich glaube Flying Saucer Attack) undich stand vorder Tür und trank ein Weizen und ließ mich wärmen, als die vermutlich schönste Frau, die ich im letzten Jahr sah vorbeikam und mich mit weichen Knien da stehen ließ. Sie war dann auch im Knust und ich stand dann zwei Stunden in unglaublicher Nervosität rum, fand die Bands ja niedlich und alles, ging dann aber mit unglaublich mieser Laune da weg (ratet mal (und fragt mal meine beiden Mitfahrer oder Fahrer, je nachdem, nach meiner Laune)), nun jedenfalls spielten einige Wochen später auch Red Krayola am selben Ort ein fantastisches Konzert, aber diese Frau war nicht dort, was nichts machte. Diese Platte klingt nicht so, wie. Red Krayolaan diesem Abend waren, aber das macht auch nichts. Hier regnen Gitarren und kleine Mäuse irippeln über das Klavier und das alles wurde 1967 aufgenommen, als alle die, die in Neuseeland heute ähnliches versuchen noch mit roter Kreide Tafeln beschmierten. Erwartet keine Songs, aber gute frei Sachen, die aber dennoch sehr nach Red Krayola klingen, wieso ist mir ein Rätsel.</blockquote>

	=== AllMusic ===		=== AllMusic ===

Dotclub: /* Retrospectives */

2024-01-26T20:01:36Z

Retrospectives

← Older revision		Revision as of 13:01, 26 January 2024
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	To talk about experimental music and not know Cage seemed to us a fatuous proposition. You have to know these things. Our music was informed by steering a course through those things that we saw as landmarks, and various things that we saw us piles of dogshit in the street.		To talk about experimental music and not know Cage seemed to us a fatuous proposition. You have to know these things. Our music was informed by steering a course through those things that we saw as landmarks, and various things that we saw us piles of dogshit in the street.
	</blockquote>[[Mayo Thompson]], 2005<ref>''The Wire'', August 2005, pg.40</ref><blockquote>In a sense ''Coconut Hotel'' was more improvisatory than any of our other [[International Artists]] albums. Even though the tracks are much shorter. For instance, the piano piece that's on there is a pure improvisation in the sense of, OK, it's rolling. We didn't try 20 or 30 and take the best one. We took the first one. The guitar piece where the guitar has this completely eccentric tuning, I just had a go and that was it. The next thing we had was an organ build-up. It was like, this is what the organ sounds like, this is what it sounds like when you turn it on, this is what it sounds like when it goes from its quietest to its loudest note playing C.</blockquote>[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref>		</blockquote>[[Frederick Barthelme]]<ref>https://www.frederickbarthelme.com/nonfiction/the-red-crayola/</ref><blockquote>The second LP by the original group, which was released about thirty years later as ''Coconut Hotel'', was a refinement of what we were intrigued by—noise, cut up into hat-size sections. The “[[One-Second Piece\|one-second-pieces]],” where we each played single sounds at unplanned but orchestrated-by-watching-each-other intervals, were a high point, as were various other concept pieces (three minutes of organ, for example, six hands on a piano, pieces for various prepared instruments). This is what the Crayola was about in ’67. This is what we played in the clubs in Houston, and in concerts in California, and what we recorded when we recorded a (possibly still unreleased) [[Album with John Fahey\|LP with the late John Fahey]] in Berkeley in 1967. This is what we did at the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Festival]], and at the Angry Arts Festival in Venice, California, and at Joan Crystal’s Lousiana Gallery openings, and just about wherever they’d let us back then. We started with “House of the Rising Sun” and a year later were taping contact microphones to our throats, and putting big copper wires in the place as guitar strings, miking ice ([[Steve Cunningham]]’s great moment), and trying out small electric motors. The idea was that pure, saintly sound could save you from certain death and that rock & roll was—dare I say it?—fundamentally compromised. We were not entirely wrong, as history has demonstrated.</blockquote>[[Mayo Thompson]], 2005<ref>''The Wire'', August 2005, pg.40</ref><blockquote>In a sense ''Coconut Hotel'' was more improvisatory than any of our other [[International Artists]] albums. Even though the tracks are much shorter. For instance, the piano piece that's on there is a pure improvisation in the sense of, OK, it's rolling. We didn't try 20 or 30 and take the best one. We took the first one. The guitar piece where the guitar has this completely eccentric tuning, I just had a go and that was it. The next thing we had was an organ build-up. It was like, this is what the organ sounds like, this is what it sounds like when you turn it on, this is what it sounds like when it goes from its quietest to its loudest note playing C.</blockquote>[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref>

	<blockquote>		<blockquote>

Dotclub: /* Background */

2024-01-25T11:49:20Z

Background

← Older revision		Revision as of 04:49, 25 January 2024
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	[[File:Coconut-Hotel-Valle-Aridane.jpg\|thumb\|upright\|Valle Aridane Hotel, 2021<ref>https://twitter.com/emil784/status/1636485661275373572</ref>]]		[[File:Coconut-Hotel-Valle-Aridane.jpg\|thumb\|upright\|Valle Aridane Hotel, 2021<ref>https://twitter.com/emil784/status/1636485661275373572</ref>]]

	~~Recorded~~ in 1967 after ''[[The Parable of Arable Land]]''		The material for ''Coconut Hotel'' was recorded in 1967 shortly after ''[[The Parable of Arable Land]].''

	See also: Red Crayola's "[[The Group as It Is Today]]" essay, written June 1, 1967		See also: Red Crayola's "[[The Group as It Is Today]]" essay, written June 1, 1967

Dotclub at 11:30, 25 January 2024

2024-01-25T11:30:51Z

← Older revision		Revision as of 04:30, 25 January 2024
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	[[File:Coconut-Hotel-Valle-Aridane.jpg\|thumb\|upright\|Valle Aridane Hotel, 2021<ref>https://twitter.com/emil784/status/1636485661275373572</ref>]]		[[File:Coconut-Hotel-Valle-Aridane.jpg\|thumb\|upright\|Valle Aridane Hotel, 2021<ref>https://twitter.com/emil784/status/1636485661275373572</ref>]]

	Recorded in 1967		Recorded in 1967 after ''[[The Parable of Arable Land]]''

			See also: Red Crayola's "[[The Group as It Is Today]]" essay, written June 1, 1967

	=== Release ===		=== Release ===

Dotclub: /* Background */

2024-01-25T01:17:53Z

Background

← Older revision		Revision as of 18:17, 24 January 2024
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	[[File:Coconut-Hotel-Valle-Aridane.jpg\|thumb\|upright\|Valle Aridane Hotel, 2021<ref>https://twitter.com/emil784/status/1636485661275373572</ref>]]		[[File:Coconut-Hotel-Valle-Aridane.jpg\|thumb\|upright\|Valle Aridane Hotel, 2021<ref>https://twitter.com/emil784/status/1636485661275373572</ref>]]

	Recorded 1967		Recorded in 1967

			=== Release ===
	Mentioned as an upcoming release in July 1994<ref>https://groups.google.com/g/rec.music.industrial/c/cww1cA2q8zk/m/GclFO7Z5qRMJ</ref>		Mentioned as an upcoming release in July 1994<ref>https://groups.google.com/g/rec.music.industrial/c/cww1cA2q8zk/m/GclFO7Z5qRMJ</ref>

	Test pressing dated January 20, 1995<ref>https://www.ebay.com/itm/305010272442</ref>		Test pressing dated January 20, 1995<ref>https://www.ebay.com/itm/305010272442</ref>

	Released March 25, 1995		Released March 25, 1995 by [[Drag City]]

	== Personnel ==		== Personnel ==

Dotclub: /* Retrospectives */

2024-01-25T01:15:42Z

Retrospectives

← Older revision		Revision as of 18:15, 24 January 2024
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	== Retrospectives ==		== Retrospectives ==
	[[Mayo Thompson]], 2005<ref>''The Wire'', August 2005, pg.40</ref><blockquote>In a sense ''Coconut Hotel'' was more improvisatory than any of our other [[International Artists]] albums. Even though the tracks are much shorter. For instance, the piano piece that's on there is a pure improvisation in the sense of, OK, it's rolling. We didn't try 20 or 30 and take the best one. We took the first one. The guitar piece where the guitar has this completely eccentric tuning, I just had a go and that was it. The next thing we had was an organ build-up. It was like, this is what the organ sounds like, this is what it sounds like when you turn it on, this is what it sounds like when it goes from its quietest to its loudest note playing C.</blockquote>[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref>		[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref><blockquote>

	<blockquote>
	The [[The Parable of Arable Land\|first record]] did business. [[International Artists\|IA]] called me and said, let's have a second album, we need another album. We recorded a second album, ''Coconut Hotel'', which the label didn't like at all, which was this abstract music, the most extreme version of the logic that we could conceive of at that time, and also answered to our needs. I mean, if people are going to claim that they're making innovations, we felt anybody who makes these claims had better make them in light of what's going on in jazz, and what's going on in R&B, and places where music is--there's certain kinds of things where experimentation within forms, within closures, are going on.		The [[The Parable of Arable Land\|first record]] did business. [[International Artists\|IA]] called me and said, let's have a second album, we need another album. We recorded a second album, ''Coconut Hotel'', which the label didn't like at all, which was this abstract music, the most extreme version of the logic that we could conceive of at that time, and also answered to our needs. I mean, if people are going to claim that they're making innovations, we felt anybody who makes these claims had better make them in light of what's going on in jazz, and what's going on in R&B, and places where music is--there's certain kinds of things where experimentation within forms, within closures, are going on.

	To talk about experimental music and not know Cage seemed to us a fatuous proposition. You have to know these things. Our music was informed by steering a course through those things that we saw as landmarks, and various things that we saw us piles of dogshit in the street.		To talk about experimental music and not know Cage seemed to us a fatuous proposition. You have to know these things. Our music was informed by steering a course through those things that we saw as landmarks, and various things that we saw us piles of dogshit in the street.
	</blockquote>		</blockquote>[[Mayo Thompson]], 2005<ref>''The Wire'', August 2005, pg.40</ref><blockquote>In a sense ''Coconut Hotel'' was more improvisatory than any of our other [[International Artists]] albums. Even though the tracks are much shorter. For instance, the piano piece that's on there is a pure improvisation in the sense of, OK, it's rolling. We didn't try 20 or 30 and take the best one. We took the first one. The guitar piece where the guitar has this completely eccentric tuning, I just had a go and that was it. The next thing we had was an organ build-up. It was like, this is what the organ sounds like, this is what it sounds like when you turn it on, this is what it sounds like when it goes from its quietest to its loudest note playing C.</blockquote>[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref>

	[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref>

	<blockquote>		<blockquote>

Dotclub: /* Background */

2024-01-25T01:13:34Z

Background

← Older revision		Revision as of 18:13, 24 January 2024
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	Mentioned as an upcoming release in July 1994<ref>https://groups.google.com/g/rec.music.industrial/c/cww1cA2q8zk/m/GclFO7Z5qRMJ</ref>		Mentioned as an upcoming release in July 1994<ref>https://groups.google.com/g/rec.music.industrial/c/cww1cA2q8zk/m/GclFO7Z5qRMJ</ref>

	Released March 1995		Test pressing dated January 20, 1995<ref>https://www.ebay.com/itm/305010272442</ref>

			Released March 25, 1995

	== Personnel ==		== Personnel ==

Dotclub: /* Retrospectives */

2023-12-28T00:23:31Z

Retrospectives

← Older revision		Revision as of 17:23, 27 December 2023
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	== Retrospectives ==		== Retrospectives ==
	[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref>		[[Mayo Thompson]], 2005<ref>''The Wire'', August 2005, pg.40</ref><blockquote>In a sense ''Coconut Hotel'' was more improvisatory than any of our other [[International Artists]] albums. Even though the tracks are much shorter. For instance, the piano piece that's on there is a pure improvisation in the sense of, OK, it's rolling. We didn't try 20 or 30 and take the best one. We took the first one. The guitar piece where the guitar has this completely eccentric tuning, I just had a go and that was it. The next thing we had was an organ build-up. It was like, this is what the organ sounds like, this is what it sounds like when you turn it on, this is what it sounds like when it goes from its quietest to its loudest note playing C.</blockquote>[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref>

	<blockquote>		<blockquote>

Dotclub: /* Background */

2023-12-23T09:54:19Z

Background

← Older revision		Revision as of 02:54, 23 December 2023
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	Recorded 1967		Recorded 1967

	Released 1995		Mentioned as an upcoming release in July 1994<ref>https://groups.google.com/g/rec.music.industrial/c/cww1cA2q8zk/m/GclFO7Z5qRMJ</ref>

			Released March 1995

	== Personnel ==		== Personnel ==

Dotclub: /* Retrospectives */

2023-10-31T19:35:04Z

Retrospectives

← Older revision		Revision as of 12:35, 31 October 2023
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	== Retrospectives ==		== Retrospectives ==
	[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref><blockquote>The [[The Parable of Arable Land\|first record]] did business. [[International Artists\|IA]] called me and said, let's have a second album, we need another album. We recorded a second album, ''Coconut Hotel'', which the label didn't like at all, which was this abstract music, the most extreme version of the logic that we could conceive of at that time, and also answered to our needs. I mean, if people are going to claim that they're making innovations, we felt anybody who makes these claims had better make them in light of what's going on in jazz, and what's going on in R&B, and places where music is--there's certain kinds of things where experimentation within forms, within closures, are going on.		[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref>

	To talk about experimental music and not know Cage seemed to us a fatuous proposition. You have to know these things. Our music was informed by steering a course through those things that we saw as landmarks, and various things that we saw us piles of dogshit in the street.</blockquote>[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref><blockquote>That music got us invited to the festival in Berkeley. It was the penultimate step before making sounds that raised the question: is that music? The label never really heard it. Lelan Rogers—our producer on the '[[The Parable of Arable Land]]'—and Billy Jo Dillard, one of the lawyers who owned the label, sat on the grass out in front of the studio while we recorded. It’s our riposte, in a way, to what everyone else was doing. From the start we thought of putting paid to everything. Ideas were consumed in the making. We were making gestures after which there would be nothing left to do but quit, or repeat—go thematic—idiomatic—rehash—play kitsch and or camp it up—provide plentitude—all nice of course—entertainment. We understood that people like music. We, too, of course. 'Coconut Hotel' was recorded at Walt Andrus’ studio—where we made ‘The Parable of Arable Land’. We worked on it with him and with Frank Davis, dear people. We recorded stereo, everything live, no overdubs. We had some plans and improvised on them. We knew it was likely unlike anything else going on. A bit mad-science perhaps, but in a good way I think, not meant unfriendly. It’s finally out on [[Drag City\|Drag City Records]].</blockquote>[[Mayo Thompson]], 1999<ref>The Wire, January 1999, pg.10</ref><blockquote>''Coconut Hotel'' is the key to the ''[[Live 1967]]'' stuff. It is both thoughtful and freeform. The improvisational aspects come out of jazz and chance music, like John Cage. The reason that it sound coherent today is that we got quite good at it. As far as raw musical talent goes, I have a limited amount. What I bring to music is an ear for a sound that accommodates a lot of things that don't typically go together.</blockquote>[[David Grubbs]], 2022<ref>https://twitter.com/blackfaurest/status/1479228505124745219</ref><blockquote>Sitting in a studio in Chicago with Mayo and [[Albert Oehlen]] and listening to the master tape of this the first time it had been played in decades was one for the ages. Wild, wild record.</blockquote>		<blockquote>
			The [[The Parable of Arable Land\|first record]] did business. [[International Artists\|IA]] called me and said, let's have a second album, we need another album. We recorded a second album, ''Coconut Hotel'', which the label didn't like at all, which was this abstract music, the most extreme version of the logic that we could conceive of at that time, and also answered to our needs. I mean, if people are going to claim that they're making innovations, we felt anybody who makes these claims had better make them in light of what's going on in jazz, and what's going on in R&B, and places where music is--there's certain kinds of things where experimentation within forms, within closures, are going on.

			To talk about experimental music and not know Cage seemed to us a fatuous proposition. You have to know these things. Our music was informed by steering a course through those things that we saw as landmarks, and various things that we saw us piles of dogshit in the street.
			</blockquote>

			[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref>

			<blockquote>
			That music got us invited to the festival in Berkeley. It was the penultimate step before making sounds that raised the question: is that music? The label never really heard it. Lelan Rogers—our producer on the '[[The Parable of Arable Land]]'—and Billy Jo Dillard, one of the lawyers who owned the label, sat on the grass out in front of the studio while we recorded. It’s our riposte, in a way, to what everyone else was doing. From the start we thought of putting paid to everything. Ideas were consumed in the making. We were making gestures after which there would be nothing left to do but quit, or repeat—go thematic—idiomatic—rehash—play kitsch and or camp it up—provide plentitude—all nice of course—entertainment. We understood that people like music. We, too, of course. 'Coconut Hotel' was recorded at Walt Andrus’ studio—where we made ‘The Parable of Arable Land’. We worked on it with him and with Frank Davis, dear people. We recorded stereo, everything live, no overdubs. We had some plans and improvised on them. We knew it was likely unlike anything else going on. A bit mad-science perhaps, but in a good way I think, not meant unfriendly. It’s finally out on [[Drag City\|Drag City Records]].</blockquote>[[Mayo Thompson]], 1999<ref>The Wire, January 1999, pg.10</ref><blockquote>''Coconut Hotel'' is the key to the ''[[Live 1967]]'' stuff. It is both thoughtful and freeform. The improvisational aspects come out of jazz and chance music, like John Cage. The reason that it sound coherent today is that we got quite good at it. As far as raw musical talent goes, I have a limited amount. What I bring to music is an ear for a sound that accommodates a lot of things that don't typically go together.
			</blockquote>

			[[David Grubbs]], 2022<ref>https://twitter.com/blackfaurest/status/1479228505124745219</ref>
			<blockquote>Sitting in a studio in Chicago with Mayo and [[Albert Oehlen]] and listening to the master tape of this the first time it had been played in decades was one for the ages. Wild, wild record.
			</blockquote>

	== Reviews ==		== Reviews ==