JOHN EATON +SYN-KET synth psych 45 “Bone Dry” moog HEAR

$

39

JOHN EATON + SYN-KET synth psych 45 “Bone Dry” moog HEAR

Artist:   JOHN EDWARDS and His SYN-KET

Titles:  “Bone Dry” / “Blues Machine”

Label:   DECCA.  Pink label promotional copy.  Catalog number is 32220.  

Year:   1967  

NOTE:  Mega rare 60's promo only issue featuring two of the world's greatest early electronic pop songs by John Eaton and the synket synthesizer.

Some info on the release: Woefully unheard promo single with two of the greatest early electronic pop songs. Apparently, at some point while John Eaton was establishing himself as an experimental electronic composer, Decca requested that he record something with more commercial potential. Eaton decided to try his hand at funky instrumentals using his favorite early synth, the Syn-Ket (a microtonal electronic multi-keyboard instrument invented in 1964 by Paulo Ketoff, generally regarded as the first live electronic performance instrument). Eaton plays psychedelic freakout Syn-Ket solos, relying heavily on strange-sounding microtonal intervals, portamento effects, filters, and synthetic overtones, over funky blues-based backbeats of drums, bass, and rhythmic electronic bleeps. On both tracks, the Syn-Ket wavers (intentionally!) in and out of tune with the backing rhythm section, sounding like a warped record or a doppler effect and highlighting microtonal relationships between the notes. The label subtitles this single as "Electronic Instrument With Rhythm Accompaniment" and credits production to Decca jazz producer Isreal (Is) Horowitz. The electronic music instruments, named synket, touch sensitive instruments, both to pressure and sideways movement, each one of the movements on them can have a different effect on the quality, timbre, loudness and pitch of the tone.

Eaton studied under Milton Babbitt, Edward Cone, and Roger Sessions, worked with Gunther Schuller and Zubin Mehta, and was among the first composers to work with early synthesizers, especially the Syn-ket and the Moog; he is known for his experiments in microtonal pitch relationships and contemporary opera, and is credited with giving in 1965 the first ever public performance using a synthesizer. This record needs to be heard by anyone interested in the tradition of microtonal composers like Harry Partch, Ivan Wyschnegradsky, Lou Harrison, La Monte Young, Glenn Branca, Alvin Lucier, Pauline Oliveros, Terry Riley,Rhys Chatham, Tony Conrad, but also mostly of Pierre Henry, Tom Dissevelt, Dick Raaijmakers, Raymond Scott, Theremin, ARP, Buchla, Oskar Sala/Trautonium, Mort Garson, Paul Beaver, Bernie Krause, Roger Roger/Cecil Leuter, Ondes Martenot, Hugh Le Caine etc. (kind courtesy of keymap records)

Condition:    Nice VG+ to VG++ with 100% of original gloss.  There are a couple light scuffs that produce a couple isolated soft tics, but no serious marks or problems.  Fidelity is excellent.  Labels are clean and pristine except for a small label affixed to one side with the name “Hutzler’s” (an old Baltimore Department Store).

Comes with original vintage DECCA RECORDS factory sleeve in excellent condition.

Guaranteed to be vintage and authentic.  I do not sell bootlegs or modern reissues. 

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