POP Record/evolving (7″ on RRRecords, playable at any speed).
From the liner notes:
“One problem with vinyl records is that they start virgin and degenerate. Another problem, as John Cage complained, is that recorded performances are frozen, with no life to them.
It was Cage’s complaint that caused me to act. I made a recording of record surface noise, the sounds found before and after the recorded selections, and had this cut to acetate, which is notorious for wearing away quickly. (Although vinyl does not degenerate as rapidly as acetate, the process is essentially the same). The result is a record which constantly evolves and never gets any “worse.” The degeneration – old pops wearing away and new ones appearing as the acetate/vinyl breaks up – becomes regeneration, solving Cage’s problem with “static” recording as well. The original tape (cassette with Dolby B) was mastered to acetate at Fleetwood Studios in Revere, MA, by Bill Ferruzzi, December, 1985.
Side B features four bars of Bach’s Fugue XVI inscribed by hand into the vinyl (done January, 1998). I had planned this in 1985, but it was not executed on the original acetate until 1994. A recording of this appears as the final track on “Roger Miller’s Exquisite Corpse: UNFOLD (SST CD 307).”
The record was part of two gallery shows, both involving manipulation of vinyl. The NYC show was in 1988. Other artists included Christian Marclay; The Beatles; Grandmaster Flash; Nam June Paik; LaMonte Young; Lou Reed; Yves Klein and others . The Toronto show was in 2008.
POP Record/evolving was originally issued as Fun World Product 003, only one copy made.
The RRRecords disc is now officially OOP.
POP Record/evolving was part of two Gallery Exhibitions focusing on vinyl:
1. Extended Play, curated by Christian Marclay at the Emily Harvey Gallery in NYC, 1988.
2. Needle and the Damage Done, curated by Dave Dyment, at the Harbourfront York Quay Centre, Toronto, 2005.