Difference between revisions of "Resolver & Brutality"
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| + | __NOTOC__ | ||
| + | <div style="float:right;"> | ||
| + | {{Album Release Infobox | | ||
| + | Home = [[Bootlegs (by Cover)|Bootlegs]] | | ||
| + | Previous album = [[Mr. Gene's Greens - Detroit '68|Previous]] | | ||
| + | Next album = [[Perhaps The Most Outrageous Bunch So Far|Next]] | | ||
| + | Cover = Resolverinsert.jpg | | ||
| + | Name = Resolver & Brutality | | ||
| + | Released = 2005| | ||
| + | Related = See also:<br>[http://www.afka.net/resolver-brutality.htm afka article] | | ||
| + | }} | ||
| + | </div> | ||
| + | |||
| + | ==Players== | ||
| + | |||
| + | *[[Biography|Frank Zappa]] ([[Synclavier]]) | ||
| + | |||
==Tracks== | ==Tracks== | ||
| − | + | <div id="CS"><big>'''CS'''</big></div> | |
| − | + | '''Side A''' | |
| − | + | #[[Resolver ED.]] (19:57) | |
| − | + | #[[Big Sequence]] (15:54) | |
| − | + | #[[Brutality]] (4:22) | |
| − | + | #[[Bondage]] (3:31) | |
| − | + | #[[Oral Sex At Gunpoint]] (5:18) | |
| − | + | ||
| + | '''Side B''' | ||
| + | #[[Bondage|Bondage (Maniac Mix)]] (4:11) | ||
| + | #[[Oral Sex At Gunpoint|Oral Sex At Gunpoint (Maniac Mix)]] (1:49) | ||
| + | #[[Brutality|Brutality (Maniac Mix)]] (2:34) | ||
==Background Information== | ==Background Information== | ||
| − | + | From a tape [[Biography|Zappa]] recorded around 1985/1986 - about the time of [[Frank Zappa Meets The Mothers Of Prevention]] and the [[Z-Pack - Opening Letter|PMRC campaign]]. It is largely [[Synclavier]] compositions utilising vocal samples from assorted sources. | |
| − | <blockquote>For the sounds that don't | + | |
| − | resemble any other | + | '''Zappa explains Resolver:''' |
| − | instruments, we have a | + | <blockquote>"For the sounds that don't resemble any other instruments, we have a whole classification of noises: one being the Evolver, where a sound starts off to be one type of an instrument, and by the time the note is finished, it's been turned into maybe two or three other instruments, all with a smooth transition. Then we have Resolvers, where different types of resynthesized vocal or instrumental timbres are located on each of the four partials, and by depressing a single key on the keyboard, |
| − | whole classification of | + | you get a four-note chord that is actually four independent melody lines that resolve against each other to a final payoff. Then if you depress the key at the end of the payoff, you get a bonus of another bent. So you can have little melismas, little eight-note melodies, that occur, and all you do is push the key down, and it sings some kind of Renaissance cadence or whatever. Two of the partials could be resynthesized voices, one could be a resynthesized violin, and the other a resynthesized bassoon. Instant Renaissance ensemble when you hit each key. So you imagine what happens when you play a chord [laughs] -- it gets very absurd. It enables you to write things that you couldn't deal with under any other circumstance."</blockquote> |
| − | noises: one being the | + | <div align=right>— [[Biography|Frank Zappa]], ''[[The Sin In Synclavier]]'', [[Guitar Player Magazine]], June 1986.</div> |
| − | Evolver, where a sound | + | |
| − | starts off to be one type of an | + | ==Conceptual Continuity== |
| − | instrument, and by the time | + | |
| − | the note is finished, it's been | + | ==Versions== |
| − | turned into maybe two or | + | |
| − | three other instruments, all | + | {| {{Versions Table Header}} |
| − | with a smooth transition. | + | | align="center" | n/a |
| − | Then we have Resolvers, | + | | align="center" | '''1<br>Original<br>[[Wikipedia:Stereophonic sound|Stereo]]''' |
| − | where different types of | + | | align="center" | 1 |
| − | resynthesized vocal or | + | | align="center" | [[Wikipedia:Compact audio cassette|CS]] |
| − | instrumental timbres are | + | | None |
| − | located on each of the four | + | | Not released |
| − | partials, and by depressing a | + | | None |
| − | single key on the keyboard, | + | | None |
| − | you get a four-note chord | + | | [[Wikipedia:Bootleg recording|Bootlegs]] exist. |
| − | that is actually four | + | |} |
| − | independent melody lines | ||
| − | that resolve against each | ||
| − | other to a final payoff. Then | ||
| − | if you depress the key at the | ||
| − | end of the payoff, you get a | ||
| − | bonus of another bent. So you can have little melismas, little eight-note | ||
| − | melodies, that occur, and all you do is push the key down, and it sings some | ||
| − | kind of Renaissance cadence or whatever. Two of the partials could be | ||
| − | resynthesized voices, one could be a resynthesized violin, and the other a resynthesized bassoon. Instant Renaissance ensemble when you hit each key. | ||
| − | So you imagine what happens when you play a chord [laughs] -- it gets very | ||
| − | absurd. It enables you to write things that you couldn't deal with under any | ||
| − | other circumstance.</blockquote> | ||
| − | + | ==See Also== | |
| + | *[http://www.afka.net/resolver-brutality.htm article from afka (at) afka.net] | ||
[[category:bootlegs]] | [[category:bootlegs]] | ||
| + | [[Category:1985]] | ||
Latest revision as of 08:59, 28 September 2021
| Bootlegs | |
|---|---|
| Previous | Next |
| Released 2005 | |
| See also: afka article | |
Players
Tracks
Side A
- Resolver ED. (19:57)
- Big Sequence (15:54)
- Brutality (4:22)
- Bondage (3:31)
- Oral Sex At Gunpoint (5:18)
Side B
- Bondage (Maniac Mix) (4:11)
- Oral Sex At Gunpoint (Maniac Mix) (1:49)
- Brutality (Maniac Mix) (2:34)
Background Information
From a tape Zappa recorded around 1985/1986 - about the time of Frank Zappa Meets The Mothers Of Prevention and the PMRC campaign. It is largely Synclavier compositions utilising vocal samples from assorted sources.
Zappa explains Resolver:
"For the sounds that don't resemble any other instruments, we have a whole classification of noises: one being the Evolver, where a sound starts off to be one type of an instrument, and by the time the note is finished, it's been turned into maybe two or three other instruments, all with a smooth transition. Then we have Resolvers, where different types of resynthesized vocal or instrumental timbres are located on each of the four partials, and by depressing a single key on the keyboard, you get a four-note chord that is actually four independent melody lines that resolve against each other to a final payoff. Then if you depress the key at the end of the payoff, you get a bonus of another bent. So you can have little melismas, little eight-note melodies, that occur, and all you do is push the key down, and it sings some kind of Renaissance cadence or whatever. Two of the partials could be resynthesized voices, one could be a resynthesized violin, and the other a resynthesized bassoon. Instant Renaissance ensemble when you hit each key. So you imagine what happens when you play a chord [laughs] -- it gets very absurd. It enables you to write things that you couldn't deal with under any other circumstance."
Conceptual Continuity
Versions
| ZFT # | Version # | # discs | Format | Catalog # | Release (YYYY-MM-DD) |
Barcode (EAN-13) |
Artwork | Comment |
|---|---|---|---|---|---|---|---|---|
| n/a | 1 Original Stereo |
1 | CS | None | Not released | None | None | Bootlegs exist. |
