DREAMIES / BILL HOLT - AURALGRAPHIC ENTERTAINMENT - PSYCH / POP / EXPERIMENTAL
  £   20
  $   26

 


£ 20 Sold For
Nov 22, 2015 Sold Date
Nov 9, 2014 Start Date
1 Number Of Bids
  Great Britain Country Of Seller
eBay Sold at
 
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Description

DREAMIES - AURALGRAPHIC ENTERTAINMENT - PSYCH / POP / EXPERIMENTAL - NEW

LP MINT & UNPLAYED

A Program Ten   26:10 B Program Eleven   26:15

Living and working in Wilmington, Delaware as a state employee, Bill Holt was a closet musician.  In the early 1970s he bought an Ovation acoustic guitar, a Moog Sonic Six synthesizer and some recording equipment.  Quitting his job he spent two years learning how to play the instruments while recording what was to become "Auralgraphic Entertainment" in his home 'studio'.  A true one-man show, Holt's two side-long pieces clocked in at over 50 minutes (unheard of for a record album) and made for an amazing concept piece.  (The plotline's not particular clear to me, but I'm guessing it has something to do with America's loss of cultural innocence.)  One of those albums that should be heard on either a high end stereo or through a good pair of headphones, 'Program Ten' and 'Program Eleven' mixed attractive singer/songwriter fair with an almost indescribable mixture of sound effects (broken glass, crickets, gunshots, rain, explosions, a Beatles snippet, etc.), radio broadcast (snippets from interviews with John Kennedy, Muhammad Ali, Robert Kennedy, LBJ and Walter Cronkite), and interesting (if dated) synthesizer blips and bleeps.  It's one cool aural collage that's difficult to accurately describe.  Holt's accomplishment's even more amazing when you recognized that artists like Brian Eno and Kraftwerk didn't get around to similar moves for another three to six years.  How Holt managed to put it all together using rather primitive recording equipment (a four track TEAC recorder) is simply a mystery to me.  Mastered at Philadelphia International's Sigma Studios, Holt tried to find a deal with a major label, but ultimately ended up distributing the collection on his own Stone Theatre label with most sales coming through a series of ads placed in Rolling Stone magazine.

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