Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of The Marvellous Notebook, Metamatic (Original), A New Kind Of Man, Metamatic (Deluxe), The Machine, Howl, Tarzan And Jane Regained (single), Metal Beat, and 28 more. , and , . Purchasable with gift card Buy Digital Discography 175.83 GBP or more (35% OFF) Send as Gift Share / Embed 1. My Ghost 05:13 2. Howl 05:20 3. Everything Is Happening At The Same Time 04:53 4. Tarzan And Jane Regained 05:41 5. The Dance 04:39 6. New York Times 03:34 7. Last Time I Saw You 04:55 8. Strange Beauty 05:24 credits released July 24, 2020 license all rights reserved tags Tags benge electronic hannah peel john foxx modular synthesiser robin simon rock ultravox London Shopping cart total USD Check out about John Foxx London, UK
john foxx discography
Translucence and Drift Music are the two discs included in this set, and neither are particularly interesting or at all different from Harold Budd's previous work on The Plateaux of Mirror and other very similar albums in his discography. Honestly, it's hard to hear what contribution John Fox offers to this album, because nothing stands out at all from Budd's previous sound. Translucence is the piano-based ambient composition part of this set, featuring tracks that nearly sound identical in tone and atmosphere to each other. It's beautiful and ethereal, definitely, but by this time in his career, I'm somewhat tired of such a promising artist returning to the compositionally bland style that sounds the same as it did over three decades from the time this album was released. Still, as music that forces itself into the background due to lack of interesting moments or any standout tracks, this disc is still rather beautiful and would be suitable for relaxation.Drift Music is similar in tone to the first disc in this set, but is primarily dominated by ghostly ethereal synth atmospheres than being based on piano. Despite this, it practically sounds the same and still doesn't offer up any variety throughout its complete duration. It's beautiful, enigmatic, and calming atmosphere again make for great atmosphere, but gets tiring after about 10 minutes.This two disc set is overlong, by a long shot, considering neither of the discs go anywhere compositionally speaking and don't really establish any kind of emotional response other than perpetual emptiness and boredom, and one disc would have been just fine for such a response. It seems that at this point in his career, Harold Budd was hesitant to allow himself to progress and grow further from his roots that had since served him well, and this makes for a bland "it's been done before" feeling overall on Translucence/Drift Music. social review comments Review PermalinkPosted Monday, March 19, 2012 Review this album Report (Review #668390)
Selected discography
Solo albums
Metamatic Metal Beat/Virgin, 1980.
The Garden Virgin, 1981.
The Golden Section Virgin, 1983.
In Mysterious Ways Virgin, 1985.
Shifting City Metamatic, 1995.
Cathedral Oceans Resurgent, 1997.
The Pleasures of Electricity Metamatic, 2000.
Crash and Burn Universal, 2002.
Translucence/Drift Music Metamatic, 2003.
With Ultravox
Ultravox Island, 1977.
Ha! Ha! Ha! Island, 1977.
Systems of Romance Island, 1978.
As Nation 12
"Electrofear," Rhythm King, 1991.
"Remember," Rhythm King, 1991.
SourcesPeriodicalsNew Musical Express, August 13, 1977.
New York Times, November 7, 1980.
Online"Cathedral Oceans," All Music Guide, (July 9, 2005).
"John Foxx," All Music Guide, (July 9, 2005).
"John Foxx," Trouser Press, =john_foxx (July 9, 2005).
John Foxx Official Website, (July 9 2005).
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The Dootone Record label wasformed in 1951 by Walter (Dootsie) Williams in Los Angeles, California. The address of the company formany years was 9512 South Central Avenue, which originally was Williams' home in Watts. For anumber of years, the record label was run out of the enclosed front porch of the house, but later theWilliams family moved so that the record company could take over the whole house. Dootsie Williamshad started a label called "Blue Records" starting in 1949. In 1951, he changed the name of the label toDootone. Two of the first three singles on Dootone [#301 and #303] were by Johnny Creach, a violinistwho would become famous in the Woodstock era as "Papa John" Creach, and would be heard onJefferson Starship records two decades later.Dootone recorded rhythm and blues, jazz, comedy, gospel and popular music. The label name waschanged to Dooto in January 1957 (to avoid a lawsuit from Duo-Tone Records). Singles numbered 301to 409 were on the Dootone label, with the switch to Dooto coming at single #410. Albums changed fromDootone at #223, released in 1956, to Dooto at #224, released in 1957. Even though the name changedin 1957, some albums and possibly singles released after that time are known to still have the Dootonelabel. This is most likely due to using up old label-blank stock as a cost-saving measure, or in the caseof the later albums, as a nostalgia trip. Ascan be seen from the following discography, the vast majority of the albums released by the label wereraunchy party records, or "blue" material (as in, "swearing a blue streak"). As with most comedy recordsbefore the late 1960s, the language on these discs was not actually obscene at all, but rather,"suggestive," with the double-entendres. But in the 1950s, these records stayed under the record storecounter unless somebody came in and asked for them. The most successful comedian on the label wasRedd Foxx (real name: John Elroy Sanford), and he sold thousands of records on college campusesbefore most people ever heard of him. Redd Foxx was a comedian on the burlesque circuit, providingthe comedy routines between the strippers. He had teamed up in Baltimore in the early 1950s withcomedian Slappy White as the duo "Redd & White." After the duo agreed to go their separate ways inthe mid- 1950s, Foxx relocated to California and signed a long contract with Dootsie Williams' Dootonelabel. Foxx and Williams had a falling out around 1963, but Foxx was legally tied to Dooto until FrankSinatra bought his contract for Sinatra's Loma label in 1967. Foxx went on to mainstream success withthe 1970s TV comedy series Sanford and Son, playing Fred G. Sanford (actually, his olderbrother's name - as well as his father's, whom he never met).If Dooto had only produced the "blue" material, it would probably be long forgotten by now (except, ofcourse, on web pages such as this). But the singles output of the label was a different story altogether.Before he got into blue comedy, Williams produced some great R&B vocal group records. Certainly themost successful, and many would say the best, was "Earth Angel" by the Penguins, a record that is oftennear to the top of oldie radio station lists of the greatest records of all time. The lead singer for thePenguins was Cleveland Duncan, and all the members attended Fremont High School in Los Angeles.In November, 1954, "Earth Angel" became one of the first R&B hit records to make the popular musiccharts on a national level, reaching #8. The members of the Penguins became unhappy with DootsieWilliams because he refused to give them advances on their royalties, so they got a new managernamed Buck Ram. Ram took the Penguins to Mercury Records, who were interested in buying thePenguins' contract. But as part of the deal, Ram insisted on a Mercury recording contract for anothergroup he managed, the Platters. Of course, history shows the Platters went on to tremendous successon Mercury, and interest in the Penguins waned. Even though many of the Mercury recordings by thePenguins were very good, they had little success after leaving Dootone, and by 1957, after Mercury haddropped them and they had but one single released on Atlantic, the dispirited group re-signed withDootsie Williams and his re-named label, Dooto.In 1954, Williams also recorded a group called the Medallions, with lead singer Vernon Green. They hada hit with "The Letter" in April and followed it up with "Buick 59" in July. Another group that had somesuccess on Dootone was Don Julian and the Meadowlarks. In June of 1955, they had a hit with "Heavenand Paradise". Even though they never had a big hit, the Calvanes' EP [205], titled "Voices For Lovers,"is cherished by vocal group collectors and sells for megabucks today.Group vocal albums of note on the Dootone/Dooto labels include Best Vocal Groups in Rhythm andBlues [Dootone DL-204], which is sometimes referred to as "the first Penguins album" since one sideis devoted to that group. (The other side has two songs each by the Medallions, Meadowlarks, andDootones.) This album first appeared with a Dootone label on red vinyl and is incredibly rare (but as withall rare records, look out for counterfeits or "reproductions"). It was reissued later with the Dooto label.An album by the Penguins alone, titled The Cool, Cool Penguins [Dooto DTL-242], was releasedlater, and this album, with the original yellow and red Dooto label, is also much in demand by collectors.Another album of note is Dootone DL-223, Rock and Roll vs. Rhythm and Blues, with six songsby Roy Milton and six songs by Chuck Higgins. This album was probably released with a Dootone labelbecause it was released prior to the label name change in 1957, but we have never seen one with thatlabel. Dooto DL-224, Best Vocal Groups in Rock and Roll is also much in demand by collectorsbecause it contains material by nine of Dooto's vocal groups.The Willie Hayden album [Dooto DTL-293] is also interesting. Hayden was the lead singer who frontedthe Dootone group, the Birds, although his name on those releases is listed as Willie Headen (whichmay have been the original spelling, although it was pronounced "Hayden."). The album contains theBirds group recordings in addition to Hayden solo. Some copies of this album have the original flatmaroon Dootone label; that is unusual because it was released 3 years after the label name change. Italso exists with a Dooto label.Dooto also recorded jazz, and jazz collectors seek early albums by pianist Carl Perkins, Curtis Counce,Buddy Collette, and Dexter Gordon on the label. Perkins, not to be confused with the Sun Recordsrockabilly artist, was a black pianist originally from Indiana, who was gaining a great reputation in theLos Angeles jazz scene when he died in 1958 at the age of 29. Gospel on the label includes the LillianRandolph Singers, the Zion Travelers, and the Soul Revivers.Authentic Records was a budget subsidiary of Dooto. Their discography is coveredseparately. The best days for the Dooto label were the mid-to-late 1950s, but the label survived into the 1970smostly by repackaging and selling the Redd Foxx comedy records. Although Foxx had ended hiscontract with Dootone/Dooto in 1967 and moved on, Williams, who was now calling himself "TheForemost Authority on American Humor," used the tried-and-true industry practice of shamelesslyrecycling old recordings, culminating in a 1972 album titled Sanford & Foxx, [Dooto DTL-853],trying to cash in on the hit TV show, Sanford & Son. Redd Foxx was not amused, nor was thenetwork. Although in tiny print on the bottom front of the record jacket it said, "An Anthology," to avoidlegal problems, the jackets of this record were soon carrying a prominent sticker that said, "The materialin this album is not from or based on the television series Sanford and Son'." It was only a few albumslater, mostly more Redd Foxx reissues, that Dooto/Dootone finally closed up shop, around 1975. For allintents and purposes, the label had stopped being anything but a comedy album label when theystopped issuing 45s in 1964, and for the last few years had just hung on by reissuing the Redd Foxxcatalog.Walter "Dootsie" Williams died in 1991, the same year as Redd Foxx.Dootone/Dooto used an unusual numbering system, both 33 1/3 RPM LPs and 45 RPM extended playalbums were in the same series. In the following discography, we have indicated the format after thecatalog number. Few of the Dootone/Dooto albums were issued in stereo, primarily because most wererecorded before 1958, when stereo became viable. The 1970s issues were labeled stereo, but many ofthe Redd Foxx skits were recorded in mono, and appear in rechanneled stereo on these late albums. The first Dootone label was dark red or maroon with silver print. "DOOTONE"was in a silver field above the center hole. Shown far left is the 78-rpm label, and near left the labelused for early extended play (EP) 45s. Early Dootone albums (far left) had a label that was either flat or glossy maroon with silver print, graphicsthe same as the 45 or 78 labels. Many of the early Dootone albums were pressed on red vinyl. Early in1957, when the label name changed to Dooto, both the 45s and the EPs switched for a time to maroonlabels that were essentially the same graphics as the Dootone labels. LP albums probably did not usethis label variation. Starting with DTL-224 in 1957, the Dooto album label (far left) switched to a yellow and blue to replacethe maroon and silver, essentially keeping the same design. Singles and EP releases used a similarlabel (near left). This label, which we will call the "yellow and blue label #1", was used as late as DTL-270 in 1959. In 1958, some issues of both albums (illustration not shown) and singles/EPs (far left) used a yellowlabel with red print, with the same graphics as the yellow and blue label #1. This was at approximatelythe same time as the logo on the front of the album jackets changed to one resembling a musical noterather than the rounded logo used up until then. (The logos on the record labels did not change to themusical note logo, to our knowledge.) A second yellow and blue design was then used, starting in1959, one which we call the "yellow and blue label #2." The logo was narrowed at the top of the label,and included the slogan "Authentic High Fidelity" under the label name inside the logo. Albums (nearleft) and singles/EPs (see below) used similar designs. This design was used until late 1960 or early1961. At far left is the 45/EP version of "yellow and blue label #2." At about the start of 1961, Dooto went to anew black label with silver print (EP version, near left). "DOOTO" was spelled out twice on the perimeterof the label in white on an alternating blue and orange background for 45s and EPs. The album version of the black multi-color label is shown at far left, with "DOOTO" in white around theperimiter of the label three times, in alternating orange, blue, and gold fields. This label was used untilthe mid-1960s, when a version of the label with a brown background replaced it. The brown label onlyhad "DOOTO" once, at the top of the label. This label was used for the remainder of the LP issues,which lasted until the mid-1970s. At far left is the 45 counterpart of the brown Dooto LP label shown above. In the mid-1960s, the disputewith Duo-Tone Records finally resolved and forgotten, Dooto reissued many of its earlier singles on aversion of the brown label with "DOOTONE" as the label name once again. Putting dates and order to the Dootone/Dooto labels is not an exact science. Theoretically, one would beable to match the logos on the record jackets to the first release label, but the albums were reissued sooften, and the logos on the jacket front revised so often, and leftover label stock used so unpredictably,that this is just not easily done. The actual graphics of the album cover would change (and in one case,the album title) for many of the records upon reissue. We have attempted to sort out the labels andissue sequence as best as we can, but this discography should not be taken as the last word on thesubject. In the record jacket illustrations below, we have freely substituted later issues with the samegraphics (but with, say, a later logo style) to be able to illustrate how each cover appeared. EP issuesalmost invariably used the same graphics (to the extent they would fit with the EP text) as their LPcounterparts, so in cases where we could not obtain photos of EP covers, we have used the covers forthe LP for illustration. One last thing: EPs originally issued with the EPD- prefix were later reissued witha DTE- prefix.We would appreciate any additions or corrections to this discography. Just send them to us via e-mail. Both Sides Now Publications is an informationweb page. We are not a catalog, nor can we provide the records listed below. We have no associationwith Dootone/Dooto or Authentic Records. Should you be interested in acquiring albums listed in thisdiscography (which are all out of print), we suggest you see our Frequently Asked Questions page and follow theinstructions found there. This story and discography are copyright 2006, 2010 by Mike Callahan.
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