Samedi 10 décembre 2011 au Théâtre de l’Alhambra
“What is cold is new again”
Nouvelle composition de Jim O’ROURKE pour Présences Electronique 2011 (Paris).
Spatialisation : Christian ZANESI.Interview de Jim O’ROURKE pour Présences Electronique
Avec quels types de sons avez-vous travaillé…
26/11/03 » Jim O’Rourke
Jim O’Rourke’s old favourites that get him excited to go to work…
sparks -propaganda
claudio rocchi -volo magico no.1
juan hidalgo -rrose selavy
geino yamashiro gumi - oserezon
talking heads - more songs about buildings and food
roberto cacciapaglia - sei note in logica
souled american - frozen
supersister - spiral staircase
neil young - on the beach
jackie o motherfucker - the magick fire music
03/06/03 » Jim O’Rourke
ten top tunes turning on the turntable of mr jim o’rourke
cockney rebel “cavaliers”
alex harvey band “action strasse”
jan garbarek “blow away zone”
jay ferguson “thunder island”
tubeway army “listen to the sirens”
tisziji munoz “visiting this planet”
billy mernit “i’m open”
lady june “the letter”
sweet “yesterday’s rain”
whitehouse “you don’t have to say please”
30/01/03 » Jim O’Rourke
Jim O’Rourke’s Current Listening
jan dukes de gray “sun symphony”
conlon nancarrow “etude no. 20”
merzbow “puroland”
michael schumacher “room piece 24”
masayuki takayanagi “variations on a theme of qahafi”
30/01/03 » Jim O’Rourke
Some Of Jim O’s Favorite Songs
something in the air - thunderclap newman
rawhide - scott walker
davy the fatboy - randy newman
thank god it’s not christmas - sparks
the all golden - van dyke parks
somewhere in hollywood - 10cc
half a chance/where i belong - gerry rafferty
achilles last stand - led zeppelin
lifemask - roy harper
it - genesis
dancing queen - abba
the kiss - judee sill
the man - patto
laughing - david crosby
i’m so confused - mick softley
Not sure about when this book was published, but I think it dealt with a sort of of “Desert Island Discs” scenario. Jim was one of those surveyed for the book.
Van Dyke Parks “Song Cycle” (Warner Bros 1968)
How can life go on worth living without this? The most perfect musical statement I’ve ever heard. Really the extension of Charles Ives into our century, really the one that truly moves that vision into our time. His greatest song, greatest lyrics, arrangements that can’t be decoded until you arrange yourself into the ground, and an attention to the use of the studio as an arranging element that is still second to none.
Tony Conrad “Outside the Dream Syndicate” (Virgin Caroline 1972)
What can you say? Tony Conrad is the man. Along with Phill Niblock and Arnold Dreyblatt, truly the great minimalist, took the music to its honest conclusion, working for the music and its ability to move us. While I would want all of Tony’s recordings with me, this one has a special place in my heart. How could it not. Also of interest, young Tony on the cover looks exactly like Axel Dorner.
Sparks “Propaganda” (Island 1974)
Oh boy, lyrics that are the best match of misanthropy and angst filled laughs that I’ve heard, incredible songs, amazing arrangements, really words don’t suffice. “Kimono my house” comes a close second, but this one has the best riff break I’ve heard, end of Thanks but no Thanks. I have nearly crashed the car many times during this section. Not recommended for driving, but who drives on a desert island?
Roy Harper “Lifemask” (Harvest 1974)
It’s tough to choose one Roy Harper record. How could I pass up ”Valentine”, “Come out fighting…”, “Stormcock”??? Well, I choose ”Lifemask” for the B side full lenght The Lord’s prayer, which if I’d heard when I was 12, I woulda learned it note for note instead of learning ”Supper’s Ready”. Still my favourite Roy track. The genius can’t be stopped.
Led Zeppelin “Presence” (Swansong 1976)
There’s no argument. I don’t care what people say, THIS is Zeppelin’s best album. Usually people who don’t like this are either confusing it with “In through the out door” (ugh) or “Coda” (nevermind…) or have never heard it. Achilles last stand, c’mon, how can you not lose your head???
Talk Talk “Laughing Stock” (Verve 1991)
Another case of people think I’m talking about their new wave records, which were fine for what they were. But this, wew… One of the best sounding, best written, oh what’s the point, this record is beyond words. If only the organ solo at the end of “Spirit of Eden” album were on this, it’d be absolutely their ultimate statement.
Judee Sill “Judee Sill” (Asylum 1971)
What the hell was in the water in the early 70’s? Why do people bother buying records made now when they can buy David Crosby’s “If Only I Could Remember My Name” for a dollar, or 10cc “How Dare You” for 50 cents?? Why pay 14 bucks ah, whatever, 99% of what comes out now, I’m tellin’ ya, the standards have slipped! Judee’s first record is the best singer songwriter record of the period, bar none.
Philip Glass “Einstein on the Beach” (Tomata 1974)
When I was a teenager, it was easier to find albums of Glass, Reich, etc. than the other bunch. When I was 18 THIS was my Black Sabbath, my Zeppelin. The original recording, played loud, can still send shivers up my spine. Along with “Music in 12 parts” all of Reich’s stuff until 78 (inclusive!) really really made life worth living.
Harumi Hosono “Cochin Moon” (King 1978)
Sadly one of his least known records. I love his Dr. John inspired records like “Hosono House”, or his Van Dyke-ish stuff, but his pre-YMO record is still the record that blows my mind. When I asked him about, it took him a minute to even remember the record, oh it’s a weird world.
Bill Fay “Time of the Last Persecution” (Deram Nova 1972)
While I also love his first record “Bill Fay”, this album somehow taps some sense of serious grave digging that I’ve not heard before on a record. With amazing backing from Ray Russel’s group (Ray himself was involved in some awesome rock record at the time, like the first rock Workshop record, ”Running Man”, and his own mind blowing “Secret Asylum”). Really one of the great lost treasure.
(P.S. I think maybe Patto’s The Man is the most perfect rock song I’ve ever heard.)
Back in July of 2007, Jim was on the Watt from Pedro show. Stream or download that here. The guys talk and play really interesting, great records from the likes of Albert Marcoeur, Sachiko Kanenobu, and T.2. for about three hours. Amazing stuff!
Jim also had an appearance in Watt’s Brother’s Sister’s Daughter, playing keyboard. Watch them run through the Stooges’ “Fun House” below.
Jim’s Sonic Youth pedals, part three.
Jim’s Sonic Youth pedals, part two.
Jim’s Sonic Youth pedals, part one.
“Thanks But No Thanks”
Sparks cover from the “DRIVE from 2000” compilation.
Jim O’Rourke playing with Michiyo Yagi and Tamaya Honda on April 29th, 2011.
Jim O’Rourke interview, originally posted here. Translated from French via Google Translate, so the English is a bit broken.
April 14, 2002. Auditorium du Louvre in Paris
Jim O’Rourke was invited as part of the cycle of films “makeup, face painting to cinema,” to set to music Tears of Clown, a 1924 silent film by Victor Sjörström with Lon Chaney. I decided to take my time express in Paris that weekend, to try my luck and meet the unconventional musician. I dreaded having to battle with the whole gang Parisian music journalist (Inrocks, Magic, Libération who knows?). Press Service unavailable this Sunday, of course, was wrong barred. But as they say, “nothing ventured, nothing gained”, so I went to the home of the Louvre, to the base, asking to speak to Mr. O’Rourke …
- One moment I will see the charge …
- yes, why?
- uh, Radio Campus Grenoble. (Yes it was at the time) 2 minutes later
- Jim has 10 minutes to give you.
- Thank you.
That’s it, I was present. First impressions: it is not much the old man, he is a little puffy on Jim. But first, Jim O’Rourke is very friendly, true to his reputation. Despite his many hours of travel before arriving in Paris the same after-noon, Jim has kindly take a break from his work in preparing for his performance in the evening, before being called to the scales. Here is the transcript of maintenance that we had that day. Too bad I can not get you, dear readers, the many laughs! (There is not enough space on the server PurJus.net to make sound, sorry)
Good evening Jim …
Hi.
We are at the Auditorium du Louvre. You are going to present the music you created for a silent film from the 20’s. Do you do this kind of thing Often?
I have not done it in many years. Usually I do not do it. Usually I do not enjoy doing music to film. Now, I think I remember Why, now I’ve been working on this one! (Laughter.)
… I read somewhere goal on the Internet that you very much liked movies, and maybe your interest in movies was your interest Stronger than in music? …
Yeah… my interest in film has nothing to do with the music in it! (Laughter) Usually it’s the least interesting thing for me.
well, I must admit I’m not very familiar with all what you did, you do a lot of things. One particular thing is very striking in your interviews :you seem to always mention tons of artists names. Do you think people should like you “investigate” in music, always try to be alert ? Do you feel comfortable with people just listening to the radio without botheringwho’s behind ?
Oh, I think everybody should investigate. It should be an active pursuit. I don’t understand how people just wait for things to be given to them. I need to find out things constantly. if i like something and I see a name related to it that I don’t know, a name on the liner note, an article with a name I know, I want to find out what the other name is. I always in need to know. I’d hope everybody would do that.
to a certain extent we –students, fellow worker for www.purjus.net– try to do that. But it’s a hell of a time-consuming job !
(laughs.)Yyeah, it takes up most of your time.
…and most of your money buying records.
Yeah. I mean, if you can’t buy records, you just find people who have them to hear them.
I learned that you’ve got a degree in composition…
(laughs.)
… do you think one must study music to understand it? or is it just a bonus?
Yeah, it just lets you know about other aspects of it. I don’t think you need to study at all, like formerly study, like university. If anything, I think it gets in the way. because it put too much value on things that aren’t necessarily the most important things in music. It puts more value on technique and analysis than on music and what it does. So, I think school gets in the way, personnally. I think the best school in listening, is your turntable.
What do you think then about that “intellectual” jazz : in concerts it’s usually a championship for who will recognize the standard theme the first
A lot of times that’s what that is, yeah. A lot of times “using material” gets confused with “using material to make something else”. And many people just stop at the point of using things, and don’t think of what te references mean outside of playing them. “what does it mean socially ? what kind of things does it connotate ?”.
Do you fear that happening in so-called “experimental” music ? Some artists are just banging things on walls, or things like that… Does this kind of music appeal to you ?
There’s just as much bad music in experimental music as anything else. Because people are afraid to say that some experimental music is bad. Some of it’s great, some of it’s good, some of it sucks ! Just like any other kind of music. But it seems to be… It seems you can’t have an opinion about these kinds of music. You know the terms, the definition of them are so vague for many people that to start making jugements… not jugements, but having an opinion about them seems difficult. Nobody’s going to make a big stink if you say “that last Old Dirty Bastard record really sucked !” because there is sort of an understood set of criteria for what makes that good or bad. But it’s a lot more vague in experimental music. Yeah, there’s definitely bad stuff ! being experimental doesn’t mean it’s good !
…and when there’s a famous name on the liner notes, it doesn’t mean it’s good
Usually not! A lot of times, just like anything else…there’s a lot of famous names that are awesome, some are terrible. It really depends on your taste. There are plenty of famous names you couldn’t pay me to go and see. And there’s plenty of small names you couldn’t pay me to go and see. And there’s plenty of big and small names that I will always go see or listen to. It depends on one’s taste, like anything else.
A few days ago, a friend of mine listened to a Fenn O’Berg record, and he just couldn’t get into it. Do you mind?
I don’t listen to it! (laughs.) I don’t know what that record is, it’s a strange one. No, I mean it’s fine, if it’s not for them, it’s not for them. I don’t expect them to listen to… an Ace of Base record or something. I listen to Boney M. records but i don’t know many people who do ! (laughs.) It doesn’t bother me if someone doesn’t like it. There’s plenty of people who don’t like it ! So, if I had a problem, I’d be in deep trouble.
I also read that you have a strong interest in French “musique concrète”, but do you like some earlier French composers : like Ravel or Debussy…
Sure. Growing up I listened to all that stuff. And then I got into the Luc Ferrari and Pierre Henry and all that. Yeah, I mean, of course a lot of the 20th century composers. I always liked Milhaud very much. I like that stuff just as well.
we only spoke of “occidental” music. What about Asian music, South American music…
Japanese music. I’m crazy about it. I have a huge collection of Japanese music. There’s a whole history of music in Japan. Most people know about stuff like the noise bands, the Boredoms, things like that, which are all great. But the country has an entire history. In the 70’s there were amazing, amazing, records in Japan. There were rock bands, there were folk-rock band, there were folk bands, singer-songwriters. There’s tons of that stuff. I’m crazy about it. I go there 4 or 5 times a year just buying everything I can get my hands on. I just came back with another box full. 2 boxes full !
Do you manage to listen to all of it ?
Oh yeah, I listen to everything.
So you basically live for music. You don’t do anything else ?
No, I don’t do anything else. I watch movies but otherwise… I consider it all work but no, I don’t do anything else. What else is there to do ? (laughs.)
You work with numerous artists, many of which you admire. Do you still have people in mind you’d love to work with ?
There always is. You know, I’ve been very lucky to get to work with a lot of great people. An people I never thought I would be able to get to work with.(pause) I don’t know. I think I need a break from working WITH people! (laughs.) It’s been like ten years straight of it. There’s a lot of people I would love to do things with but it wouldn’t be necessarily collaborate. Because a lot of people I like, they do great on their own. I don’t want to mess it up. For instance I love Albert Marcoeur, if I could do like reissue the records or help them get more available. But collaborate ?… I’d rather him just make a new record of his own than collaborate. (laughs.) A lot of people I like I just want them to keep doing their stuff.
Lately you put out 2 very different records. Insignificance on Domino for Europe, and I’m happy and I’m singing… on the German label Mego. In what direction will you go next ?
I’m sure I won’t make another record for another 2 years. So I have no idea. I doubt I’ll make a record for a long time.
You’ll be on the road …
No, it’s just that it takes me years to make a record. Most of the stuff on the Mego record is already like 3 years old. I just take a long time to do records on my own.
