Mute is proud to announce a new digital reissue of "20 Jazz Funk Greats", the third studio album by British industrial music group Throbbing Gristle, originally released in December 1979. Great. There has to be discussion, there has to be assimilation, and sound is a fantastic medium for that because it tweaks little nerve endings in you that bypass any kind of conditioning you have had. See what other people are saying about 20 Jazz Funk Greats by Throbbing Gristle and discuss your favourite songs with other fans on Last.fm. Artist: Throbbing Gristle. Pitchfork ranked 20 Jazz Funk Greats at number 91 in its list of the 100 greatest albums of the 1970s. In a nostalgia for feeling totally sterile endless tribal music. my mum likes it. A counterfeit release of the original IR 0008 is in the shops! '20 Jazz Funk Greats' remains one of the key albums of the late-1970s - predicting most of what was to follow (electronica, industrial, avant-garde, ambient, new wave etc.) . Tantra of the subliminal, word falling, photo falling. Throbbing Gristle - 20 Jazz Funk Greats (1979) ... sequencing. The impetus for the record apparently came about from Genesis P-Orridges mums request that the band record something nice. It’s why Industrial Records, founded by the group, adopted as its logo, an image of Auschwitz—“one of the ultimate symbols of human stupidity,” P-Orridge told, in 1978, as in, “Humanity as a whole is stupid to allow anything like that to begin to occur.” And it’s why TG’s oeuvre sounds as uneasy, furious, and despairing as it does. Year: 1979. Back cover of 20 Jazz Funk Greats by Throbbing Gristle, 1979, photography by Clay Holden. , “Our main goal was: ‘Whatever we did last time, we have to do the opposite this time.’” And as shown here, TG were not opposed to controverting themselves either. And it was heavy. Sure, the sleeve of 20 Jazz Funk Greats was purposefully misleading, but the point was never to fool record buyers. 20 Jazz Funk Greats will take you to another mind-state from start to finish. As guitarist Cosey Fanni Tutti explained in 2010. it's nice. “Why can’t you do something nice?” she’d scolded him when he was home for Christmas in 1978. A little known fact about this cover relates to the Range Rover in the picture. A lot of music we do is more about sounds triggering those kinds of emotions than about the lyrics or the chord changes or the choruses. Sure, the sleeve of, was purposefully misleading, but the point was never to fool record buyers. Per P-Orridge, “Our main goal was: ‘Whatever we did last time, we have to do the opposite this time.’” And as shown here, TG were not opposed to controverting themselves either. We were making information.”, To that end, TG’s members toyed with constructions. With the band’s patented metal machine music dialed back, it involved some manner of singing, offered a diverse range of musical textures, and contained tracks of digestible lengths. It’s 1984. Emerging from that experimental daring, TG sought to forge a path and cut an edge beyond the limitations of the art world. Album: 20 Jazz Funk Greats. Bass Guitar [Bass Guitars], Violin, Vibraphone [Vibes], Synthesizer [Synthesiser], Vocals, Lead Guitar [Satellite Lead Guitar], Guitar [Gizmo Guitar], Synthesizer [Synthesiser], Cornet, Vocals, Synthesizer [Roland Synthesisers], Sequencer [Sequencers], Percussion [Rhythms], Vocals, Kaufe Vinyl, another 65 covers of my collection I like. Mute Records (1978 > TOMORROW) Thank you, your sign-up request was successful! referencing 20 Jazz Funk Greats, LP, Album, RE, RM, TGLP4 The outer sleeve craftsmanship for this is just awful. The album cover and title could easily deceive you as some by the numbers jazz record in the early 70s you would find in a cheap thrift shop bin. Or as P-Orridge, in 1977, sneered to an audience, “You can’t have anarchy and have music.”. On first listen, the record was almost conventional and even nice by TG standards. 2011 remaster, Format: 2×CD, Year: 2011, Label: Industrial Records (IRLCD003), Barcode: 5060174952159, Length: 1:36:57 And they’d had a lot of practice: the band grew out of performance art collective COUM Transmissions, whose pieces were provocative, often bloody meditations on sex, gender, and art itself. At the peak of their career, Throbbing gristle 1979 record "20 Jazz Funk Greats" is a whirlwind of orthodox industrial beats and a nightmarish soundscape. Do as you like. It turned ostensibly disco, electronic, and ambient forays—from, Then the masterstroke: the album’s cover, photographed by Clay Holden, capturing the band standing breezily amid a serene pastoral scene—flowers in the foreground, a shore by the edge, a car parked in the background. Be carefull! Go look for it or be careful. From cover to content, the record is revelatory and not least, typified a subversive, intransigent outfit. Which led him to consider, “It’s probably about the time to do that, but not for the reason that my mom thinks! XXJFG mixtape – Saga. With that, TG brought a grim dystopia to life. And the bad has to be spoken about. Throbbing Gristle were playing their first-ever live show or “disconcert,” delivering wholly improvised, relentlessly ominous drones, stormy with electronically treated violin and guitar, and sonorous with bass and synth echoes. Please come with us and enjoy.”, Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Tumblr (Opens in new window), Click to email this to a friend (Opens in new window), Only Human: John Lennon and Yoko Ono shared more than music on Two Virgins, An Axe To Grind: An eulogy for all the guitars sacrificed to Pete Townshend’s auto-destruction. I recently bought in London what feels to be a bootleg, probably by the same person(s) who pressed the SWANS Filth and the COIL Scatology boots. On 20 Jazz Funk Greats, Throbbing Gristle modeled a critically new and highly promiscuous way of relating to or inhabiting musical genre - where punk rock was passionate and direct, TG were arch and mysterious, perverse and cold. 20 Jazz Funk Greats is the third studio album by British industrial music group Throbbing Gristle, released on December, 1979 by the band's label Industrial Records.It is known for its tongue-in-cheek title and artwork, and has been hailed as the band's best work, with UK magazine Fact naming it the best album of the 1970s. my sister says. It probably is the most approachable TG-album, but still pushes the envelope with tracks like 'Discipline', 'Persuasion' & 'What a Day'. Instead, it effectively advanced a picture of a band, —ever-agitating and in constant flux. The audience was positioned not in front of the band, but in the next room, where they were invited to listen through the walls. However, if you search in the music press from the time, you will find that the Range Rover had nothing to do with the band. But is there a subtle way we can wind people up, confuse them, make them angry, and play with stereotypes?”. Except, the album did not arrive untouched by a nihilism that brewed a perverse and transgressive air. Does anyone know why the one in the pictures above has the date 1981 at the bottom of the back cover? Of course, the photos were at Beachy Head a famous suicide spot. Said Peter Christopherson, aka Sleazy, “My take on it was that it was meaningless if we were not making a statement to people of our own age, people whose lives might actually be affected by what we were doing, rather than the arts establishment, who were not really interested.” If a band could also reach an audience larger than COUM did, then, TG reasoned, they would be a band. By 1979, the TG aesthetic had arrived: the raw edges, harsh resonance, disorienting found noise, and panic-inducing tempos marinated in a mood equally morbid and menacing. For one, they began by dressing themselves in T-shirts, jeans, and leather jackets, conforming to the established image of a rock band. Coming to my ears at the same time as Getting A Head, Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella, Victory Through Grace, The Gospel Comes To New Guinea, Mix-Up, Normalette Surprise, Ausland, Information Overload Unit, the first records by The Residents and a wallop of avant-garde, experimental and world music records (borrowed from the incredible library run by Sjef Wiersma from his home in Oostelbeers, The Netherlands) this was just another one of those strange records with distinctly non-musical elements that was still oddly enjoyable to listen to and certainly contributed to integrate more of life into art and more of art into life. And like the album’s contents, the packaging was all spoof. 20 Jazz Funk Greats contains little to no jazz or funk, the cover is a ruse in the style of TISM's Machiavelli and the four seasons the unassuming backdrop is Beachy Head a popular suicide spot. Cover and labels looked ok, industrial 0008. poster, except that it only has Matrix / Runout (Side A, hand-etched runout): IR 008 A and Matrix / Runout (Side B, hand-etched runout): IR 008 B. The evening’s forbidding sonic atmosphere had been heralded in a press release, crafted by lead singer Genesis P-Orridge, which advertised “MUSIC FROM THE DEATH FACTORY.” It went on, From the outset, TG’s assignment was as much about making music as it was about finding new ways to, Where bands released albums and did promotion, TG would issue annual reports and press releases, and function under a corporate identity, complete with, And it was heavy. & also being one of those varied long-players common to that era (see Can's 'Tago Mago', Faust's 'IV' or Eno's 'Another Green World'). As guitarist Cosey Fanni Tutti, to an audience, “You can’t have anarchy and have music.”, was the answer. Regarding the 'Footnote' about the Range Rover in the notes section: I reckon that can safely be put down to deliberate misinformation that TG were happy to run with, given their (especially Gen's) fondness for pranks and fake stories - see also the madeup Hamburger Lady story from one of their artist friends in the US. Matrix / Runout (Side A, hand-etched runout): IR+0008+A oR SA. Hence the picture of the Range Rover on its own on the cover back. '20 Jazz Funk Greats' remains a classic, do I sound like a care that the technology has dated? Without this, a lot of other bands and records thereafter may not exist, or … I am interested in what society, culture and human beings are capable of doing to one another, good and bad. We weren’t making product. Post was not sent - check your email addresses! Please check your e-mail inbox. The location was Beachy Head in East Sussex, the highest chalk headland in England and by 1979, the site of 124 deaths, at least 115 of them suicides. For your information: I bought a new 20 Jazz funk greats LP in Berlin. Here comes the Muzak to breathe, survive, and stand up to oppression across the galaxy. It turned ostensibly disco, electronic, and ambient forays—from “20 Jazz Funk Greats” to “Exotica”—into arch, offbeat parodies that spun sensuality into kitsch, passion into cloying claustrophobia. https://rateyourmusic.com/release/album/throbbing-gristle/20-jazz-funk-greats It’s more like having an experience than music, considering Throbbing Gristle is more of an art than music. In 20 one software driven the firmware by reversing the sure page. Imagine walking down blurred streets of havoc, post-civilization, stray dogs eating refuse, wind creeping across tendrils. Sorry, your blog cannot share posts by email. Format: Vinyl, Year: 1983, Label: Mute (MIR003) Cover Art. 20 Jazz Funk Greats (2011 remaster) 2×CD: 11 + 9: GB 2011-11-14; Industrial Records: IRLCD003: 5060174952159: 20 Jazz Funk Greats: Digital Media: 13: XW 2011-11-24; Industrial Records: IRLDDL003: ... Cover Art provided by the Cover Art Archive. P-Orridge, in any case, had apparently been receiving grief from his mother for his work with TG. The audience was positioned not in front of the band, but in the next room, where they were invited to listen through the walls. Press Enter / Return to begin your search. Let’s give it a really inappropriate name [Throbbing Gristle is Yorkshire slang for an erection]. The cover was designed to look like a cheesy 'nice' LP of the type sold in bargain bins in shops from this period. From the off-putting album cover, where the four members look like Jest to pierwsze w pełni studyjne wydawnictwo zespołu; poprzednie płyty zawierały bowiem zarówno fragmenty ze studia nagrań, jak i koncertów. For your information: I bought a new 20 Jazz funk greats LP in Berlin. Film music to cover the holocaust. '20 Jazz Funk Greats' remains one of the key albums of the late-1970s - predicting most of what was to follow (electronica, industrial, avant-garde, ambient, new wave etc.) , stormy with electronically treated violin and guitar, and sonorous with bass and synth echoes. ... Definitely in the sense that cover seems pretty warm and welcoming, only to have the music completely flip that around. Nothing in TG’s discography comes close to representing the band’s conceptual impetus than 20 Jazz Funk Greats. On first listen, the record was almost conventional and even nice by TG standards. 20 Jazz Funk Greats – trzeci album studyjny brytyjskiej grupy industrialnej Throbbing Gristle, wydany w 1979 roku. “We did the cover so it was a pastiche of something you would find in Woolworth’s bargain bin,” said Tutti. Remastered edition of Throbbing Gristle's best known and most suavely subversive LP, the one that completely re-defined the meaning of industrial music. Release Date December 1, 1979. As P-Orridge once said of the band’s use of concentration camp imagery, “I’m fascinated with images that seem innocuous, unless you’re given additional information.”, Nothing in TG’s discography comes close to representing the band’s conceptual impetus than. Daniel points out that 20 Jazz Funk Greats actually includes none, and plenty of both, the album representing TG’s unique tongue-in-cheek perspective on jazz music and funk, in addition to their normal industrial-strength Sturm und Drang. As TG’s first press release revealed, the band was given to art and music that reflected on the dark and heinous elements of the humanity. Do as you like. With a nice pair of headphones and a dark room, it really will move you. Throbbing Gristle’s deceptively normal and presentable 20 Jazz Funk Greats is as good a place as any to start a music review blog, I think.In this review I’m going to set a precedent for future reviews. Instead, it effectively advanced a picture of a band being—ever-agitating and in constant flux. Compared to earlier and subsequent Throbbing Gristle albums, 20 Jazz Funk Greats is more structured, betraying the band’s facility for actual composition underneath its confrontation. all nl a good listen. Obviously only one thing to say at the moment. They eventually toned that down for something “even more ordinary.” TG associate John Balance would later characterize TG’s image as an “English domestic look that you wouldn’t expect to be associated with the type of heavy music they were producing.”. We do not currently have any cover art for 20 Jazz Funk Greats.. Log in to upload cover art After several live shows and two albums of such viscerally and psychologically pummeling work, it had become for the band’s cult audience—alas!—an expectation. “Let’s set up a band. Very English domestic. Go look for it or be careful. All 're becoming having the 20 jazz funk greats cover is the sensitivity. At every turn, however, the group’s love of horror peeks out of even the most innocuous track. The tame cover photo shows the nattily dressed band - white disco j “We want to keep people guessing,” wrote P-Orridge in 1978, “unsure where we fit in.”, Where bands released albums and did promotion, TG would issue annual reports and press releases, and function under a corporate identity, complete with logo and the commanding slogan, “Industrial Music For Industrial People.” P-Orridge explained in 2017, “There’s a difference between information and product. The location was Beachy Head in East Sussex, the highest chalk headland in England and by 1979, the, of 124 deaths, at least 115 of them suicides. “It was so people would recognize certain things as familiar whereas the music we were playing wasn’t familiar at all,” said Sleazy. It’s the death factory society, hypnotic mechanical grinding, music of hopelessness. Copied. From cover to content, the record is revelatory and not least, typified a subversive, intransigent outfit. Industrial music was thus inaugurated. Announcing a black vinyl repress of 20 Jazz Funk Greats the landmark 1979 album from industrial music pioneers Throbbing Gristle. 20 Jazz Funk Greats by Throbbing Gristle on WhoSampled. On July 6th, 1976, the newly opened AIR Gallery on London’s Shaftsbury Avenue hosted a difficult birth. TV Children trying to prepare themselves, meditating on, cease to exist. Recorded at the Studios of Industrial Records in the weeks ending September 3rd, 1979. Matrix / Runout (Side B, hand-etched runout): IR+0008+B OR. 20 Jazz Funk Greats was the answer. Track list: 1. Then the masterstroke: the album’s cover, photographed by Clay Holden, capturing the band standing breezily amid a serene pastoral scene—flowers in the foreground, a shore by the edge, a car parked in the background. The catch? Is anyone aware of which version of Throbbing Gristle – 20 Jazz Funk Greats (Industrial Records IR0008A / IR0008B) resembeling the original release incl. 20 Jazz Funk Greats is a music studio album recording by THROBBING GRISTLE (Progressive Electronic/Progressive Rock) released in 1979 on cd, lp / vinyl and/or cassette. Finished reading Saga at last. "20 Jazz Funk Greats" Track Info. “We never wanted that.” So they set about putting together an expansive record that from its title onwards, would fulfill TG’s mission to counteract and contradict. Except, the album did not arrive untouched by a nihilism that brewed a perverse and transgressive air. Very English domestic. Therefore buyers may buy it thinking it was easy listening and then be shocked when they heard it! As P-Orridge once said of the band’s use of concentration camp imagery, “I’m fascinated with images that seem innocuous, unless you’re given additional information.”. This album came out in 1979, right? The album's cover photograph was taken at Beachy Head, a chalk headland on the south coast of England known as one of the world's most notorious suicide spots. Jazz Funk Greats. It was, said Tutti, “just to let [listeners] understand that this is a work in progress. It’s really good. Cover and labels looked ok, industrial 0008. Please come with us and enjoy.”. The catch? As TG’s first press release revealed, the band was given to art and music that reflected on the dark and heinous elements of the humanity. 20 Jazz Funk Greats Throbbing Gristle. And like the album’s contents, the packaging was all spoof. Genre: Industrial. Written By Cosey Fanni Tutti, Peter Christopherson, Genesis P-Orridge & 1 more. 13 June 2020 Mixtape: #BlackLivesMatter. On similar reissues of other TG material the other covers don't seem to collapse outwards and dilate, not sure why this one does it. 10 July 2020 Mixtape: Saga. Country: United Kingdom. The record is etched 0004, what you hear is the third and final report. “It was very literally an experiment,” recalled P-Orridge. The record is etched 0004, what you hear is the third and final report. Discover all of this album's music connections, watch videos, listen to music, discuss and download. It was, said Tutti, “just to let [listeners] understand that this is a work in progress. 20 Jazz Funk Greats (0:00) 2. The only reality is waiting. & also being one of those varied long-players common to that era (see Can's 'Tago Mago', Faust's 'IV' or Eno's 'Another Green World'). The evening’s forbidding sonic atmosphere had been heralded in a press release, crafted by lead singer Genesis P-Orridge, which advertised “MUSIC FROM THE DEATH FACTORY.” It went on. I like it. It was actually owned by a couple who had committed suicide off the cliff in the background. “We had this idea in mind that someone quite innocently would come along to a record store and see [the record] and think they would be getting 20 really good jazz/funk greats, and then they would put it on at home and they would just get decimated.” That is, if they weren’t thrown off by the record’s reverse cover, featuring Tutti herself mooning the camera and informing the viewer exactly whom the joke is on. Released at the tail end of the 1970s, Throbbing Gristle's third official full-length, 20 Jazz Funk Greats, found the pioneering industrial group making a grand leap toward accessibility.This move wasn't entirely unprecedented, as their 1978 single "United" was an uplifting slice of utopian synth pop, and eventually became one of the band's biggest-selling records. Now this part is all well known. It’s why Industrial Records, founded by the group, adopted as its logo, an image of Auschwitz—“one of the ultimate symbols of human stupidity,” P-Orridge told NME in 1978, as in, “Humanity as a whole is stupid to allow anything like that to begin to occur.” And it’s why TG’s oeuvre sounds as uneasy, furious, and despairing as it does. “We did the cover so it was a pastiche of something you would find in Woolworth’s bargain bin,” said Tutti. Let’s not have a drummer because rock bands have drummers. With the band’s patented metal machine music dialed back, it involved some manner of singing, offered a diverse range of musical textures, and contained tracks of digestible lengths. From the outset, TG’s assignment was as much about making music as it was about finding new ways to be a band. “We had started to get a following of people that seemed to think they knew what we were going to do,” said Tutti. Mortal. In a 2012 interview, Cosey explained the album cover and tongue-in-cheek title: my brother is nice, there are not many vocal but still makes us shake. directors of Planers on my 20 jazz deactivating the used driver means then hampered the browser in shariJcrs. It never ends. Thee tribe of mutations, street gangs lobotomized in the Death Factory. Let’s not learn how to play music.” The aim here was to flout and explode every parameter that came with being a band—in look, sound, and delivery. Revelatory and not least, typified a subversive, intransigent outfit one,! 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