Do as you like. On first listen, the record was almost conventional and even nice by TG standards. It turned ostensibly disco, electronic, and ambient forays—from “20 Jazz Funk Greats”  to “Exotica”—into arch, offbeat parodies that spun sensuality into kitsch, passion into cloying claustrophobia. Jest to pierwsze w pełni studyjne wydawnictwo zespołu; poprzednie płyty zawierały bowiem zarówno fragmenty ze studia nagrań, jak i koncertów. “Let’s set up a band. With a nice pair of headphones and a dark room, it really will move you. Emerging from that experimental daring, TG sought to forge a path and cut an edge beyond the limitations of the art world. Album: 20 Jazz Funk Greats. 20 Jazz Funk Greats is the third studio album by British industrial music group Throbbing Gristle, released on December, 1979 by the band's label Industrial Records.It is known for its tongue-in-cheek title and artwork, and has been hailed as the band's best work, with UK magazine Fact naming it the best album of the 1970s. Matrix / Runout (Side B, hand-etched runout): IR+0008+B OR. 20 Jazz Funk Greats contains little to no jazz or funk, the cover is a ruse in the style of TISM's Machiavelli and the four seasons the unassuming backdrop is Beachy Head a popular suicide spot. Of course, the photos were at Beachy Head a famous suicide spot. It’s the death factory society, hypnotic mechanical grinding, music of hopelessness. The audience was positioned not in front of the band, but in the next room, where they were invited to listen through the walls. However, if you search in the music press from the time, you will find that the Range Rover had nothing to do with the band. Or as P-Orridge, in 1977, sneered to an audience, “You can’t have anarchy and have music.”. The impetus for the record apparently came about from Genesis P-Orridges mums request that the band record something nice. And they’d had a lot of practice: the band grew out of performance art collective COUM Transmissions, whose pieces were provocative, often bloody meditations on sex, gender, and art itself. 20 Jazz Funk Greats (2011 remaster) 2×CD: 11 + 9: GB 2011-11-14; Industrial Records: IRLCD003: 5060174952159: 20 Jazz Funk Greats: Digital Media: 13: XW 2011-11-24; Industrial Records: IRLDDL003: ... Cover Art provided by the Cover Art Archive. The tame cover photo shows the nattily dressed band - white disco j referencing 20 Jazz Funk Greats, LP, Album, RE, RM, TGLP4 The outer sleeve craftsmanship for this is just awful. By 1979, the TG aesthetic had arrived: the raw edges, harsh resonance, disorienting found noise, and panic-inducing tempos marinated in a mood equally morbid and menacing. The album cover and title could easily deceive you as some by the numbers jazz record in the early 70s you would find in a cheap thrift shop bin. From the off-putting album cover, where the four members look like Throbbing Gristle were playing their first-ever live show or “disconcert,” delivering wholly improvised, relentlessly ominous drones, stormy with electronically treated violin and guitar, and sonorous with bass and synth echoes. As P-Orridge once said of the band’s use of concentration camp imagery, “I’m fascinated with images that seem innocuous, unless you’re given additional information.”, Nothing in TG’s discography comes close to representing the band’s conceptual impetus than. Cover and labels looked ok, industrial 0008. 20 Jazz Funk Greats – trzeci album studyjny brytyjskiej grupy industrialnej Throbbing Gristle, wydany w 1979 roku. Be carefull! The only reality is waiting. Except, the album did not arrive untouched by a nihilism that brewed a perverse and transgressive air. Regarding the 'Footnote' about the Range Rover in the notes section: I reckon that can safely be put down to deliberate misinformation that TG were happy to run with, given their (especially Gen's) fondness for pranks and fake stories - see also the madeup Hamburger Lady story from one of their artist friends in the US. Which led him to consider, “It’s probably about the time to do that, but not for the reason that my mom thinks! A lot of music we do is more about sounds triggering those kinds of emotions than about the lyrics or the chord changes or the choruses. The record is etched 0004, what you hear is the third and final report. ... Definitely in the sense that cover seems pretty warm and welcoming, only to have the music completely flip that around. “We had this idea in mind that someone quite innocently would come along to a record store and see [the record] and think they would be getting 20 really good jazz/funk greats, and then they would put it on at home and they would just get decimated.” That is, if they weren’t thrown off by the record’s reverse cover, featuring Tutti herself mooning the camera and informing the viewer exactly whom the joke is on. 20 Jazz Funk Greats by Throbbing Gristle on WhoSampled. It turned ostensibly disco, electronic, and ambient forays—from, Then the masterstroke: the album’s cover, photographed by Clay Holden, capturing the band standing breezily amid a serene pastoral scene—flowers in the foreground, a shore by the edge, a car parked in the background. From the outset, TG’s assignment was as much about making music as it was about finding new ways to be a band. And like the album’s contents, the packaging was all spoof. Coming to my ears at the same time as Getting A Head, Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella, Victory Through Grace, The Gospel Comes To New Guinea, Mix-Up, Normalette Surprise, Ausland, Information Overload Unit, the first records by The Residents and a wallop of avant-garde, experimental and world music records (borrowed from the incredible library run by Sjef Wiersma from his home in Oostelbeers, The Netherlands) this was just another one of those strange records with distinctly non-musical elements that was still oddly enjoyable to listen to and certainly contributed to integrate more of life into art and more of art into life. 20 Jazz Funk Greats (0:00) 2. At the peak of their career, Throbbing gristle 1979 record "20 Jazz Funk Greats" is a whirlwind of orthodox industrial beats and a nightmarish soundscape. It never ends. Go look for it or be careful. Year: 1979. Bass Guitar [Bass Guitars], Violin, Vibraphone [Vibes], Synthesizer [Synthesiser], Vocals, Lead Guitar [Satellite Lead Guitar], Guitar [Gizmo Guitar], Synthesizer [Synthesiser], Cornet, Vocals, Synthesizer [Roland Synthesisers], Sequencer [Sequencers], Percussion [Rhythms], Vocals, Kaufe Vinyl, another 65 covers of my collection I like. This album came out in 1979, right? Daniel points out that 20 Jazz Funk Greats actually includes none, and plenty of both, the album representing TG’s unique tongue-in-cheek perspective on jazz music and funk, in addition to their normal industrial-strength Sturm und Drang. Remastered edition of Throbbing Gristle's best known and most suavely subversive LP, the one that completely re-defined the meaning of industrial music. The location was Beachy Head in East Sussex, the highest chalk headland in England and by 1979, the site of 124 deaths, at least 115 of them suicides. As guitarist Cosey Fanni Tutti explained in 2010. On July 6th, 1976, the newly opened AIR Gallery on London’s Shaftsbury Avenue hosted a difficult birth. Except, the album did not arrive untouched by a nihilism that brewed a perverse and transgressive air. Here comes the Muzak to breathe, survive, and stand up to oppression across the galaxy. Nothing in TG’s discography comes close to representing the band’s conceptual impetus than 20 Jazz Funk Greats. Instead, it effectively advanced a picture of a band, —ever-agitating and in constant flux. 20 Jazz Funk Greats will take you to another mind-state from start to finish. “We did the cover so it was a pastiche of something you would find in Woolworth’s bargain bin,” said Tutti. And the bad has to be spoken about. poster, except that it only has Matrix / Runout (Side A, hand-etched runout): IR 008 A and Matrix / Runout (Side B, hand-etched runout): IR 008 B. At every turn, however, the group’s love of horror peeks out of even the most innocuous track. XXJFG mixtape – Saga. As TG’s first press release revealed, the band was given to art and music that reflected on the dark and heinous elements of the humanity. And it was heavy. The evening’s forbidding sonic atmosphere had been heralded in a press release, crafted by lead singer Genesis P-Orridge, which advertised “MUSIC FROM THE DEATH FACTORY.” It went on, From the outset, TG’s assignment was as much about making music as it was about finding new ways to, Where bands released albums and did promotion, TG would issue annual reports and press releases, and function under a corporate identity, complete with, And it was heavy. Is anyone aware of which version of Throbbing Gristle ‎– 20 Jazz Funk Greats (Industrial Records IR0008A / IR0008B) resembeling the original release incl. Said Peter Christopherson, aka Sleazy, “My take on it was that it was meaningless if we were not making a statement to people of our own age, people whose lives might actually be affected by what we were doing, rather than the arts establishment, who were not really interested.” If a band could also reach an audience larger than COUM did, then, TG reasoned, they would be a band. Copied. Let’s not have a drummer because rock bands have drummers. As guitarist Cosey Fanni Tutti, to an audience, “You can’t have anarchy and have music.”, was the answer. But is there a subtle way we can wind people up, confuse them, make them angry, and play with stereotypes?”. On first listen, the record was almost conventional and even nice by TG standards. Jazz Funk Greats. Press Enter / Return to begin your search. Recorded at the Studios of Industrial Records in the weeks ending September 3rd, 1979. It was, said Tutti, “just to let [listeners] understand that this is a work in progress. my mum likes it. In a 2012 interview, Cosey explained the album cover and tongue-in-cheek title: The record is etched 0004, what you hear is the third and final report. Compared to earlier and subsequent Throbbing Gristle albums, 20 Jazz Funk Greats is more structured, betraying the band’s facility for actual composition underneath its confrontation. Tantra of the subliminal, word falling, photo falling. With that, TG brought a grim dystopia to life. In 20 one software driven the firmware by reversing the sure page. It was actually owned by a couple who had committed suicide off the cliff in the background. A counterfeit release of the original IR 0008 is in the shops! directors of Planers on my 20 jazz deactivating the used driver means then hampered the browser in shariJcrs. Film music to cover the holocaust. Genre: Industrial. Please come with us and enjoy.”, Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Tumblr (Opens in new window), Click to email this to a friend (Opens in new window), Only Human: John Lennon and Yoko Ono shared more than music on Two Virgins, An Axe To Grind: An eulogy for all the guitars sacrificed to Pete Townshend’s auto-destruction. Very English domestic. It probably is the most approachable TG-album, but still pushes the envelope with tracks like 'Discipline', 'Persuasion' & 'What a Day'. Throbbing Gristle - 20 Jazz Funk Greats (1979) ... sequencing. . & also being one of those varied long-players common to that era (see Can's 'Tago Mago', Faust's 'IV' or Eno's 'Another Green World'). Announcing a black vinyl repress of 20 Jazz Funk Greats the landmark 1979 album from industrial music pioneers Throbbing Gristle. “It was so people would recognize certain things as familiar whereas the music we were playing wasn’t familiar at all,” said Sleazy. Written By Cosey Fanni Tutti, Peter Christopherson, Genesis P-Orridge & 1 more. "20 Jazz Funk Greats" Track Info. The catch? Artist: Throbbing Gristle. 20 Jazz Funk Greats Throbbing Gristle. Obviously only one thing to say at the moment. Imagine walking down blurred streets of havoc, post-civilization, stray dogs eating refuse, wind creeping across tendrils. Post was not sent - check your email addresses! The audience was positioned not in front of the band, but in the next room, where they were invited to listen through the walls. Great. “It was very literally an experiment,” recalled P-Orridge. 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