Artist: Jerry Hunt Title Of Album: Song Drapes Released: 1999 Genre: Abstract, Contemporary, Experimental Label: Tzadik – TZ 7045 Series: Composer Series – TZ 7045 Format: FLAC Quality: lossess Total Time: 1:13:08 Total Size: 383 MB Covers Tracklist: 01. Song Drape 1 4:30 02. Song Drape 2 "I can't Stop" - Karen Finley 4:47 03. String 1 1:02 04. String 2 "Mail Order Church" - Shelley Hirsch 1:21 05. String 3 4:25 06. Song Drape 3 "The Delicate Boy" - Karen Finley 1:21 07. String 4 3:05 08. String 5 "Birds" - Shelley Hirsch 3:05 09. String 6 1:55 10. Song Drape 4 "Think of me while you're fucking her" - Karen Finley 1:55 11. Song Drape 5 4:40 12. Song Drape 6 "Strip club" - Shelley Hirsch 5:45 13. String 7 3:39 14. String 8 "Ugly man" - Karen Finley 9:02 15. String 9 1:48 16. String 10 "The House" - Shelley Hirsch 2:26 17. String 11 2:35 18. Song Drape 7 "I Come" - Mike Patton 3:50 19. Song Drape 8 5:09 20. String 12 "Shut up and Love me" - Karen Finley 0:41 Personnel: Karen Finley Shelley Hirsch Jerry Hunt Mike Patton Notes: Born in Waco, Texas, Jerry Hunt was a friend of Jack Ruby, a pianist in strip clubs, a student of the occult and founder of his own mail order church at the age of 13. Jerry Hunt was also one of the great pioneers of live electronic music performance. Very much a modern-day shaman, he designed most of his own equipment and used it in unique ways to create backdrops for his magical performances that referred to, among many other things, exotic ritual, the esoteric traditions of Rosicrucianism, Aleister Crowley and modern science. The Song Drapes were some of Jerry's last and greatest creations—and this special first release, authorized by the Hunt estate, includes performances by two of Jerry's closest friends and collaborators, vocalist Shelley Hirsch and perfomance artist Karen Finley, and one track featuring the popular vocalist Mike Patton. /Tzadik/ Jerry Hunt's notes on Song Drapes: These song backgrounds were devised as settings for some vocal performance texts of Karen Finley for the Kitchen production Finley-Hunt Report in New York during 1992. A variety of approaches were discussed during the making of this material, but after some consideration, I decided to provide the most conservative and direct solution possible: a narrow intense through-composed wave-response to each of Karen's text associations and feelings. Several technical approaches were also considered, and again the most conservative approach was taken: a two-channel narrow-focus compact form of several permanent and irreducible features of the song background character. After this initial decision, the ways in which the multiple variations become possible are evident, and this paper attempts to list the principal guidelines for making a performance application using the Song Drapes. 1. the digital two-track must always appear as part of each Song Drape 2. some form of vocal communicative performance must always be used: I encourage the singer-vocalist to find any number of subordinate melody phrases through the songs, reinforce new aspects, suppress existing characteristics, etc., as the material requires (this was and continues to be within the program definition of these work Song backgrounds) 3. some extractive percussion layer must always be produced in the space of performance with the vocalist: this rhythmic layer is very important for alignment of phrase rhythmic and pulse shifts which vary and are ambiguous in the original material. 4. extensions for voice lines are always justified with the capacities of the base master channel pair to support the extensions (this allows a variety of chorus sung and spoken material, etc.) 5. reorganization of the base master track pair is permitted to the extent that this reorganization does not obliterate or undermine the clear rhythmic and harmonic intent of the Song Drapes.
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