![]() ![]() In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its like-minded East Coasters. In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. To describe this records as a game-changer is an understatement. This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. She later revisited the song during the sessions for Blue, recording a version that included strings, that differs from the version that was later released as the b-side to her 1972 hit “You Turn Me On, I’m A Radio.” The final unreleased song is the studio recording for “Hunter,” another song that was cut from Blue at the last minute that Mitchell later performed live but never officially released on an album.Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. The other alternate take is for “Urge For Going.” Mitchell originally wrote the song in the mid-Sixties and often included in her early live sets. The first is a version of “River” that adds French horns, unlike the album version, which features Mitchell solo on piano. ![]() There are also two alternate takes on the EP. The striking cover of the BLUE 50 EP features the original Blue color treatment with a previously unseen alternate photo of Mitchell by Tim Considine from the same session as the original.Įach track on BLUE 50 (DEMOS & OUTTAKES) is a standout, including the demos for “California” and an early version of “A Case Of You” that features different lyrics from those heard on the final album. ![]() BLUE 50 (DEMOS & OUTTAKES), a digital EP that debuts five unreleased recordings from the making of Blue that will appear on the upcoming Archives collection. ![]()
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