Channels [Explicit Lyrics]

Editorial Reviews
About the Artist
The aim of Pigeonhole is to explore a multitude of influences and styles creating a versatile yet focused original sound. Pigeonhole recognizes that the song is where everything starts. Strong compositions combined with unique sounds and passionate performance is the formula for getting all the people high.

The band has evolved over the last three years and has recorded an album to represent this evolution. The result, "Channels," is a collection of songs that represent the cream of the crop from this developmental stage. Following in the footsteps of performers such as Pink Floyd, Radiohead, Tool, Nine Inch Nails, U2, Rush, and Peter Gabriel, Pigeonhole seeks to free itself from ultra-specific genres within rock while carving out it's own niche in rock history. Their first album and creation of grainofsalt.com indicates that they have taken a step in the right direction. The enhanced CD is available at several retail outlets in Florida and through the Internet. "Drown," the album's first single, is being played on Planet Radio 93.3 FM in Jacksonville.

Pigeonhole consists of Jay Peele on vocals, guitars, and ambient noise; Paul Lapinski on bass and studio magic; Danny Stimpson on drums; and Thomas Gapinski (the founding member of Casper's Nutbag) on vocals, guitars, synths, and fretless bass.

Pigeonhole live performances include something for everyone. Peele and Gapinski have already written new dynamic material that will excite audiences worldwide. An EP is scheduled for release on Grain of Salt Records for the summer of 2000. These musicians are committed to writing timeless music and ear-catching lyrics and are ready to work with a larger record label. Please consider working with Pigeonhole and Grain of Salt Records to help this band sell millions of albums throughout the next few decades. BAND_MEMBERS: * Jay Peele - vocals, guitars, synths, programming * Thomas Gapinski - vocals, guitars, synths, programming, fretless bass * Paul Lapinski - bass * Danny Stimpson - drums, percussion

Album Description
Following in the footsteps of artists such as Pink Floyd, Radiohead, Tool, Nine Inch Nails, U2, and Peter Gabriel, Pigeonhole seeks to free itself from ultra-specific genres within rock while at the same time carving out it's own niche in rock history. "Channels," the band's first effort, indicates that they have taken a step in the right direction.

Tracks:

Valse Sentimentale - Clara Rockmore
Oraison - Ens D'Ondes De Montreal
Etude Aux Chemins De Fer - Pierre Schaeffer
Williams Mix - John Cage
Klangstudie II - Herbert Eimert/Robert Beyer
Low Speed - Otto Luening
Dripsody - Hugh Le Caine
Forbidden Planet: Main Title - Louis Barron/Bebe Barron
Elektronische Tanzste: Concertando Rubato - Oskar Sala
Poem Electronique - Edgard Varese
Sine Music (A Swarm Of Butterflies Encountered Over The Ocean) - Richard Maxfield
Apocalypse-Part 2 - Tod Dockstader
Kontakte - James Tenney/William Winant
Wireless Fant - Vladimir Ussachevsky
Philomel - Milton Babbitt
Spacecraft - MEV

Tracks:

Cindy Electronium - Raymond Scott
Pendulum Music - Sonic Youth
Bye Bye Butterfly - Pauline Oliveros
Projection Esemplastic For White Noise - Joji Yuasa
Silver Apples Of The Moon, Part 1 - Morton Subotnick
Rainforest Version 1 - David Tudor
Poppy Nogood - Terry Riley
Boat-Woman-Song - Holger Czukay
Music Promenade - Luc Ferrari
Vibrations Composees: Rosace 3 - Francois Bayle
Mutations - Jean-Claude Risset
Hibiki-Hana-Ma - Iannis Xenakis
Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals: Drift Study '31/69 c.... - La Monte Young

Tracks:

He Destroyed Her Image - Charles Dodge
Six Fants On A Poem By Thomas Campion: Her Song - Paul Lansky
Appalachian Grove - Laurie Spiegel
En Phase/Hors Phase - Bernard Parmegiani
On The Other Ocean - David Behrman
Stria - John Chowning
Living Sound, Patent Pending Music For Sound-Joined Rooms Series - Maryanne Amacher
Automatic Writing - Robert Ashley
Canti Illuminati - Alvin Curran
Music On A Long Thin Wire - Alvin Lucier
Melange - Klaus Schulze
Before And After Charm (La Notte) - Jon Hassell
Unfamiliar Wind (Leeks Hills) - Brian Eno

Amazon.com

Opening with Clara Rockmore's reworking of Tchaikovsky with the theremin, and finishing with one of Brian Eno's ambient soundscapes, OHM artfully succeeds in its goal of giving a representative (as opposed to the impossible, comprehensive) overview of the first several decades of electronic music. Over 3 discs, 42 compositions, and 96 pages of notes and photos, OHM clearly illustrates the producers' and contributing writers' point that early electronic music is much of the foundation of contemporary music. Herein lies the connective tissue bridging musique concrète, 20th-century classical, electronic experimentation, and the theoretical avant-garde to psychedelia, ambient, dub, techno, electro, and synthpop and the globalization of sound. The groundbreaking uses of loops, sampling, drones, remixes, and cut-and-paste technology are put fully into context. The diversity of music included makes any sort of summation impossible, but that is also the point: electronic music is not really a genre, but an open field of endless possibility. From John Cage's famous "William's Mix" of tape snippets to Karkheinz Stockhausen's electronic orchestral compositions, from David Tudor and Holger Czukay's experiments in unrelated blendings of audio elements to David Behrman's supremely peaceful duet between computers and musicians, the aural renegades on OHM tread where none (save a few of their contemporaries) had gone before. The liner notes convey the incredible amount of hard work and experimentation it took to stitch together many of these pieces in the predigital era. Putting aside the inevitable quibbles about what's missing (much of it due to legal and/or logistical issues), a more complete collection of musical eggheads, eccentrics, and visionaries is hard to imagine. --Carl Hanni

Customer Reviews:

excellent but uncomplete.......2006-11-12

Althought most of the music here is an excellent collection of electronic music history, this 3 CDs lack of the important contribution given by the RAI phonology studios of Milan, Italy in the 50s
(which was bigger than Koln's WDR studios) with Bruno Maderna, Luciano Berio and Luigi Nono.
This is a big mistake. Milans studios were the biggest of europe and produced many important electroacoustic pieces.
If the collection aim to describe faithfully electronic music history, it should include this artists too.

To call it music may be a bit limiting. .......2006-10-24

Some of the tracks on here are "music". That is that they contain all the bits we're trained to experience as music -- melody, etc. Some are not, and the composers would be the first people to tell you that. A lot of these works are reactions to ingrained rules, so they're bound to be jarring.

A more successful way to approach such a broad and varied collection of audio experimentation is to think of it as curated sound. This isn't something to wash the dishes to, or to seduce someone to (although if you did manage to seduce someone with the recordings on this anthology, HOLD ON TO THAT PERSON, because they've got to be a keeper). These are unique sound textures that deserve a close, probably solitary listen, and I think if you're in the right frame of mind, it can be a very rewarding listen.

My main complaint is sequencing: each dicrete piece follows it's own internal logic, so there are more than a couple rough gear changes. However, since each piece is so different, and the collection is so varied, I'm not sure that you could totally escape that.

A worthwhile collection.......2006-01-11

The OHM collection contains some of those ground breaking electronic compositions that have shaped today's styles, from the early electronic instruments of Theremin and Martenot, through Pierre Schaeffer's Music Concrete tape music and the electronic music of Stockhausen and Subotnick, to the mainframe computer output of Risset and Chowning.

It is unfair to mark this collection down due to the production quality and 'musicality' of its contents, to do so would be to staggeringly miss the point of the development of electronic music through the 20th Century. What this collection shows is the ideas behind those at the cutting edge of the genre before many could even conceive of such output. That said it is hard going at points, as experimental music can be.

Highlights for me are no doubt Olivier Messiaen's 'Oraison' on CD 1, David Tudor's 'Rainforest Version 1' on CD 2 and on CD 3 David Behrman's 'On the Other Ocean' and Maryanne Amacher's 'Living sound Patent Pending'.

OhMyGodHowDreadful.......2005-08-15

Ok, this collection is supposed to be early works and, thus not expected to be very sophisticated or polished. But the OHM collection sounds like the first attempt of a spastic cat turned-loose on a Moog keyboard. When it is not boreing, this collection of random and dissonant sounds (I can't call it music) is without any redeeming qualities to make it worth while. Don't get me wrong, I am a long-time fan of Wendy (nie Walter) Carlos and some other real pioneers of electronic music. However, I find that the Ohm collection has no similar qualities and is a major disappointment.

Kid Stockhausen.......2003-01-17

This is required listening for anybody interested in the history of electronic music. Although implicitly aiming for the techno music audience, this audio history is overwhelmingly focused on the classical avant-garde of electro-acoustic composers. The closest you'll get to pop electronica is the Brian Eno track at the end of the third disc. No Kraftwerk, no Moroder, etc. Instead "OHM" manages to point to the continuities between, say, John Cage and artists currently working at the experimental edges of electronica (so-called IDM). It seems to be saying, "You think Kid 606 is visionary? Well check out this Stockhausen track from '59!"

Admittedly, some of the songs are much more interesting to think about than they are to listen to. Some of the early pieces that were made through thosuands of hours of pains-taking tape-splicing could be made today in an afternoon with a digital audio editor and a few effects plug-ins.

Tracks:

Dread Iternal
Thunupa
Cybotron
Ethiopia/ The Lower Ground

Album Description

ROIR, in conjunction with Bill Laswell, has put together an excellent collection from our four wide-ranging Laswell releases- not necessarily a best of Laswell as that's far too subjective, but an authoritative look into his work with ROIR. Laswell has created four albums for ROIR with our eclectic musical taste in mind. The bass is heavy and the accompanying musicians world-renowned. Laswell's ROIR Dub Sessions offers the listener a superb occasion to immerse oneself in the Laswell sound! Economically Priced!!! Over 45 Minutes!!!

Customer Reviews:

Laswell is Phatness Personified.......2005-01-05

The first thing I heard from Bill Laswell was his work with Buckethead on the album Colma. I just really liked the ambient bass guitar sound that he creates. The mixture of dub reggae with awesome soundscape-creating vocals and horns on this album is well worth a listen for anyone who likes music. If you listen to anything from Bob Marley to Pink Floyd, or if you just like to chill out to some really tight grooves, this is the album for you.

Average customer rating:

greatest love songs ever written
Overrated Group
Right on Alan !!!!!
The Channels represented the best NY Doo Wop
Love Songs That Go Straight To The Heart....!

New York's Finest
Earl Lewis & The Channels
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

Doo Wop | Oldies | Pop | Styles | Music

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Release Date: 1990-04-19

Tracks:

The Closer You Are
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My Love Will Never Die
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My Heart Is Sad
The Gleam In Your Eyes
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I Really Love You ( Slow Version )

Customer Reviews:

greatest love songs ever written.......2005-07-07

Eerl Lewis,the leader of Channels were written some of my favorite love songs incluede everybody knows "The Closer You Are".
He's not great singer of all time I think,not compare with Famous Solo Singers like ELVIS,or not as good as Johnny Maestro or somebody in Doowop category.
I know that he is out of note sometimes.
but His singing has more important factor of this kind of music.
like many of his songs,I feel warmth and cheerfulness in his voice all time. he has "frames in heart" I feel.
"the closer you are" is the most simple and heartful song I ever heard.

Overrated Group.......2005-01-18

When I first started to get into Doo Wop, back in the early '70's, the records of the Channels were some of my favorites. I played "The Closer You Are" a zillion times on my stereo. It just had this a particularly striking sound that you couldn't put into words. Earl Lewis' voice, to me at that time. was unlike nothing I'd ever heard, and nothing I'd ever hear again. I was caught up by the beauty of the "New York sound", and loved it. The same was true with many of the other Channels records that I got to add to my collection. To me, they were always at the top of my favorites list, or close to it. Nothing could dissuade from loving each and every one of their records.

Until, in 1970, reality set in. I saw them live at a "rock and roll revival" show, at the Academy Of Music Theater, in Manhattan. They were billed, along with 8 other groups, in a outstanding show. Once the Channels showed up on stage, one problem became obvious: Earl Lewis couldn't sing to save his life. And these, supposedly, were the best years of his voice. True, he attempted to get through "the Closer You Are", "The Gleam In Your Eye", "That's My Desire", and several of their other local hits with the group. But every time he did so, it became apparent that the guy had no pitch. He just couldn't find the notes. The result was one of the worst listening experiences of my life. "Pain In My Heart" was a pain in my ears.

You could say that Earl simply had a bad night. I wish that was the case, but every time I saw them on stage, probably six times in all, through the next four years, featured along with a number of other groups in other shows, it was the same story. When the group backed away, and Earl Lewis had his solo parts to do, he was about as sour and as off-key as a singer could get. (That's still the case, even these days.) And what was remarkable to me was how the auduence, at every show, never noticed. They applauded and cheered, as though everything was just the way it should've been. How sad. There was more attention placed on the nostalgia of the song, than how well or poorly it was performed.

These experiences made me go back to my collecton, and listen to my Channels records with some better insight. I began to think that on a few of them, Earl Lewis simply got lucky on a few takes, and actually found the notes! The backup group, while adequate (and also somewhat off-key), isn't the greatest ensemble to hear, either. For proof, listen to their disastrous version of "That's My Desire", and compare it to the Flamingos' recording. For better, exquisite singing, check out the Harptones, the Moonglows, the Jive Five, the Dubs, or anything by the Flamingos. In my opnion, as far as the records of the Chanels are concerned, the best of the bunch are "Bye Bye Baby" and "MY Love For You Will Never Die". They were a better than average (on a few of their recordings) NY group, but hardly worthy of the praise they're given. And believe me: Until I saw them live, I used to be awed by what I thought was incredible talent. Not anymore. I hate to burst anybody's bubble, but it helps to put it all in perspective.

Right on Alan !!!!!.......2004-03-27

This is(!) the best doo-wop group ever. Epitomizes the genre. This CD's great, although they did omit All Alone/Alter of Love and That's My Desire/Stay As You Are, which were other terrific Channels 45's.

The Channels represented the best NY Doo Wop.......2003-07-05

Hi I just had to respond to that guy from Canada, who doesn't think much of the Channels. You can name the record labels and a bunch of groups including obscure ones. So can I, ever hear of the Mistakes " I Lost My Job" Couldn't sing unless drunk. I'm 60 yrs old, grew up in Brooklyn NY and I can say The Channels were one of the best [my personal favorite] doo wop groups.. It's not how many you sold, many stations outside of NYC were not playing doo wop. They were playing the white guys of Phila. A lot of this doo wop was heard either on Alan Freed, or the black stations in NY. Dr. Jive, Jocko were playing strictly doo wop. The Channels were from Brooklyn also as were many of the groups. Back then it wasn't how many were sold it was in what areas. By the way The Flamingoes were from Chicago There were many fine groups back then, but the Channels alone epitomized New York City Doo Wop. Everyone tried to sing their songs.

Love Songs That Go Straight To The Heart....!.......2000-04-12

Earl Lewis & The Channels aren't just New York's Finest...They are T-H-E-E-E Finest Ever....These Love Songs go right to the Heart of what relationships are really all about....Their first Hit, "The Closer You Are" makes me Fall In Love with my husband all over again...and again, and again. The Sweet, Harmonizing Melodies are the product of Real Musical Talent; and Classic Talent like this never goes out of style.

"My Love Will Never Die" and "My Heart Is Sad" are Beautiful, Sensual Rhapsodies that Touch the Deepest Emotions in all of us....Mood Music Indeed! This Doo Wop Sound takes me back to a More Innocent Time when guys and girls Really Cared for each other.

The 50's Music is Reminiscent of a time when The Pace of Life was Slower, Easygoing, and Love was Pure and Uncomplicated. This CD takes us out of the rat race and back to a Time When Love & Passion Were An Important Part of Our Lives... When Life was Less complicated, Less hurried, Less Demanding. A time when Kids Really Had Fun, without a lot of the pressures people have to worry about today...Earl Lewis & The Channels' Music is Happy, Pure, Innocent and Hopeful...Good For The Soul...#1 In My Book.

This group is still performing (I saw them perform on TV, and they sound better than ever!) Do Yourself and your Sweetheart a Favor....Start Slow Dancing Again! ...I Highly Recommend this Soulful, Passionate CD to Everyone!

Waiting for the Next End of the World
Average customer rating:

Not as good as Open, but it's growing on me :)

amazing album

full-length lives up to promise of "Open" EP

Waiting for the Next End of the World
Channels
Manufacturer: Dischord
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

Not as good as Open, but it's growing on me :).......2007-03-12

I've been a big fan of Channels and it's previous incarnations (Burning Airlines and Jawbox). This is still a *great* album, but I think it's a bit weaker than Open. That being said, their music usually takes a while to grow on me, so I might have to post an update in a month or two.

amazing album.......2006-10-19

yes, the review above (or below) reflects what i have to say. this album is well above what you hear on the radio. old fans of J. Robbines should think of this as a mix between jawbox and burning airlines. good music.

full-length lives up to promise of "Open" EP.......2006-09-23

I admit it -- I was way behind the curve on Jawbox, J. Robbins' first band. By the time I'd caught on, they'd already thrown in the towel (after 1997's "Jawbox").Then his next project, Burning Airlines, came and went after only TWO albums. Come on, how am I supposed to keep up with that?

Now, with his band Channels' first offering, the ep "Open," out for over two years, it's fair to say my Pavlovian anticipation for this album has caused a fair amount of salivary overdrive, and has been richly rewarded. That, at least, would explain the ear-to-ear grin as I sit listening.

The full-length album more than lives up to the promise of "Open." Robbins & Co. build on the band's strengths, and the breadth of offerings shows how thoroughly his experience as a producer of other bands has informed his own songwriting and arranging. There are echoes of the tack Burning Airlines was taking -- "New Logo" and "Little Empires" recall "Pacific 3-2-1" and "Carnival" -- short bursts of pure, stylized aggro-pop.

This is how great guitar pop can sound; I would unequivocally rank this release with the benchmarks of yesteryear: The Pixies' "Surfer Rosa," Weezer's green album, or Nirvana's "Nevermind." The play of extremes that was a highlight of Cobain's songwriting has been a hallmark of Robbins' efforts from the beginning, and "Waiting" is as much a product of its time (namely, the second term of Bush the Lesser) as any of those antecendents.

The music seethes with post 9-11 angst (as in the lead track "New Mandarins:" "It's tricky to relax/when bracing for impact/but that's how your patriots act/the panic room's in back"), but then soothes in equal parts. The band pummels when necessary (with drummer Darren Zentek providing flailing propulsion), then pauses for breath as Robbins delivers a succinct summation on the state of the world. His exhortations, delivered in his trademark velvety roar, always stop short of mere bombast; his musings are leavened with enough humanism that he avoids the trap of wry condescension.

"New Logo" is the set's most concentrated blast of verbal j'accuse, recalling Burning Airlines' "A Lexicon" in its intensity: "Well-armored with a taste for the absurd/New logo for the next end of the world/I wanna feel the art in heartless, get the urge/For ever brighter effigies to burn/& more vicious circuses to unwind."

I'd be willing to put Robbins' lyric gifts on a par with some of the best songwriters working today. Consider "The Licensee," which neatly encapsulates the nightmare of the 9-to-5 grind, replete with the mind-numbing commute. "Living in a dead letter but the money is the measure/and you're tethered to the treasure where the pressure is a pleasure/half a lifetime sleeping on the Camden line." It's tempting to call such word-play clever for its own sake, but to this commuting nine-to-fiver, it's bloody brilliant.

The good news gets even better with reprise of "Chivaree," arguably the best cut on "Open," in a different, edgier take, now updated to remove the dating reference to 2003; now it's "This ****ing century" that puts bombs in his dreams. The song sends Pixies-esque shivers up the spine, especially during the last chorus, with Robbins and bassist-vocalist Janet Morgan brokenly yelping their seamless harmonies over the raging rhythm.

But J. Robbins is so much more than just a guitarist-producer with an over-excited vocabulary. "Iodine," on Jawbox's "For Your Own Special Sweetheart" proved that, way back in 1995. On this album the gentler side is on display on the last track, "Mercury," which, though written by Peter Grey Mansinne, gives the band ample room to flex its prowess. They make the track blossom from a simple pop song into a sort of heavy metal lullaby. The male-female vocals, mixed dead-center, create an eerie timbre; far from being asexual, it's almost unbearably intimate. Their phrasing is so exact you'd swear it was some kind of expensive effect, but it's not. It's two humans singing together, and Channels is a band smart enough to know that sometimes that's all you need.

Average customer rating:

This is just awful - I was suckered by the excellence Reich Remixed
a huge letdown...
The Ever Recyclable Glass
Pop music with only a hint of Philip Glass
Sound Effects

Glasscuts, Philip Glass Remixed

Manufacturer: Orange Mountain Music
ProductGroup: Music
Binding: Audio CD

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Release Date: 2005-09-13

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Album Description

It has been said that Philip Glass is the `Godfather of Trance' and evidence of that is found in the remixes that a number of young producers/musicians began sending to Orange Mountain Music as early as 2002. These unsolicitated mixes became the genesis for Glasscuts, Philip Glass Remixed (release date Sept 2005). This CD presents a very diverse program without any one dominant style. The artists are Androoval from Uruguay, Robert Bell from Australia, Brian Bender from the US, Hector Castillo from Venezuela, Taylor Dupree from the US, Sebastian Escofet from Argentina, impLOG, from the US, Woody McBride DJ ESP from the US, Marcos Romero from Uruguay, Kate Simko from the US, Dietrich Schoenemann from the US, Luciano Supervielle from Uruguay and Dave Wesley from the US.

We invite you to immerse yourself in Glasscuts, Philip Glass Remixed with open ears to experience a Glass that is reminiscent of the past, but with an adventurous contemporary twist.

Customer Reviews:

This is just awful - I was suckered by the excellence Reich Remixed.......2006-07-23

I just assumed that this would be as equally wonderful, and that Glass' music would be even more translatable into the "trance" genre, or whatever the kids are calling it nowadays.

Sadly, it seems that this was done by junior high kids with a computer and Acid Foundry or whatever that cheap software is.

No creativity, and, oddly enough, not even any real sense of Glass' music still being in the "remix".

I am a huge fan of Glass; I am not a fan of this kind of music, but since I am also a fan of Reich and since, to my total surprise, I am quite enthralled by the Reich Remixed CD, I figured I really needed to give this CD a shot.

What a waste. This is totally amateur, but without the occasional genius that some amateur can manage. Strictly, totally, and banal amateur yuckiness.

a huge letdown..........2005-12-21

Yeah, it's fun and easy to beat up on remix albums since there are so many mediocre and terrible ones out there... but, wait: here's a great idea... let's give the pioneering, repetitive, trance-like minimalist music of Philip Glass the remix treatment... after all, Reich: Remixed was fabulous... surely the same kind of creativity can be unleashed in this project... But alas, something went terribly wrong here... these are mostly unbearably monotonous, grating, overlong, amateurish productions by remixers who don't seem to even GET (or enjoy?) Glass' music. A real missed opportunity and a huge letdown... ick...

The Ever Recyclable Glass .......2005-11-20

This is just another insipid release from the Orange Mountain label, which keeps putting out anything with the Philip Glass
name on it - even if it is flagrant garbage. Several releases have been issued which about 90% have the same old songs, just performed by different people. In fact, Philip Glass has become more banal and bovine in the last few years because he knows anything with his name on it will sell to the trendy modernistic music crowd. Overall, I believe it is time to stop
recycling Glass.

Pop music with only a hint of Philip Glass.......2005-10-28

This music should be categorized under the "popular music" category, not "classical". All the pieces have an incessant drum beat typical of popular music. This is unlike any other Philip Glass CD that I have and I have about a dozen of them. Where can I get rid of this?

Sound Effects.......2005-09-24