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!!1974-75 — Fast Food Band ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Laurie Anderson also performed with such ad hoc groups as the ''Blue Horn File'' (a trio that included Peter Gordon on keyboards and sax and percussionist David Van Tieghem, both of whom would play on Anderson's subsequent albums), the ''Love of Live Orchestra'' (idem), and ''Fast Food Band'' (which also included Gordon), playing in both art venues like The Kitchen or punk haunts like The Mudd Club.''\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {br}{br}''The ''Fast Food Band'' performing at the Fine Arts Building, New York, 1975 :{br} Laurie Anderson, Jack Majewski (bass), Scott Johnson (guitar), Arthur Russell (drums), and Peter Gordon (sax).''{br}{br}\|t \|t \|t [../files/articles/anderson/1979_bluehornfile_19791110_300.jpg\|../files/articles/anderson/1979_bluehornfile_19791110.jpg]{br}{small}(Annonce Blue Horn File, concert 10 Nov 1979){/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ---- ''— — I had a very short-lived band. A ''fast food band'', and we did some things about a year and a half ago mostly as a joke. I was invited to be in a series that I thought was going to be sort of an art performance thing, and I wanted to do something. I wanted to just have a rock band like every one else on the block, you know, with a drummer and all. We only rehearsed about eight times and then just did three songs. I was the lead singer and since I’ve never sang at all before it was really terrifying. I wanted to do something like that, I mean be in that position. I also played electric violin. There was a sax player, Peter Gordon, and Scott Johnson played guitar, and Arthur Russell made his debut on the drums ^[, and finally Jack Majewski on bass^]. He never played drums before — he is a bass player ^[and played cello^]. And it was really fun. I just discovered that it was really a lot of fun. ^[I loved Arthur Russell’s sense of panic, and that he was always much more worried than anybody else. Your heart kind of goes out to someone who looks like they’re going to fall apart. But he was also very, very funny, and dark. ^[…^] And he was more taken with Talking Heads.{br}^[The ''Fast Food Band''^] helped me a lot on arrangements. The first time we played the reggae-like song for Chris Burden, ''It’s Not the Bullet that Kills, It’s the Hole'' and that was like…it’s gone through a couple different versions at this point but it had real art subject matter. And there was also a fast food blues about what to do with your old art and sort of a blues recipe song. There was a song for a friend of mine who to me is the Doris Day of the art world, smiling sort of, you know, goodie-goodie, which hit me at sort of an odd angle. Because a lot of my work…I mean it wasn’t tortured and it wasn’t really theoretical; so at any rate, there was a song dedicated to him. It was a real nasty song and I felt good about doing it; and then after that sort of purge, I mean getting rid of all the stuff, I started to do other kinds of music and things that I was much happier about myself rather than just doing it totally ironically.'' {br}— {small}(Laurie Anderson, [Interview by Kate Horsfield and Lyn Blumenthal, 1977\|http://www.fnewsmagazine.com/2006-apr/interview_1.html], published Apr. 2006, Fnews, The School of the Art Institute of Chicago){/small}\| {br}{br} ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/anderson/1976_peter-gordon-feature-symphony_300.jpg\|../files/articles/anderson/1976_peter-gordon-feature-symphony.jpg]{br}{small}(Poster, The Kitchen, Feb. 4, 1976 - with , Philip Glass, Laurie Anderson, Rhys Chatham, etc.){/small}{br}{small}^[[Listen to one movement of the Symphony - "Juvenalia"\|https://www.youtube.com/watch?v=Zrw2fq_G178]^]{br}^[[Listen to one movement of the Symphony - "Chamber Disco"\|http://jazztimes.com/community/articles/154728-composer-musician-peter-gordon-his-love-of-life-orchestra-present-symphony-no-5]^]{br}^[[Listen to the whole the Symphony - 5 mvts - (and see below)\|https://soundcloud.com/foommusic/sets/peter-gordon-symphony-5]^]{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/anderson/1975_Extended_Niceties_1980_300.jpg\|../files/articles/anderson/1975_Extended_Niceties_1980.jpg]{br}{small}(LP Love of Life Orchestra, Extended Niceties, 1980){/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {br}{br}---- '' ''[Love of Life Orchestra\|https://www.discogs.com/fr/artist/377186-Love-Of-Life-Orchestra]'' was created by Peter Gordon (sax, keyboards, composition) and David Van Tieghem, a talented, smart-aleck avant-garde percussionist with ties to new music composer [Steve Reich\|PENDULUM]. Both have gone on to greater fame as elder statesmen of the downtown music scene in New York, but these early works stand as an important developmental chapter. Gordon’s concept for the ''Love of Life Orchestra'' dates back to the mid-’70s. He wanted to create a “[democratic music\|http://daily.redbullmusicacademy.com/2014/06/peter-gordon-feature],” where people coming from all sorts of backgrounds – classical music, rock music, poetry, visual art – could play music together. Gordon’s education included time spent studying under the experimental composers Robert Ashley and Terry Riley during a particularly legendary time at Mills College in California in the ’70s, before moving to New York City for a rough-and-tumble informal education in art, poetry and music.{br} — Collaborators on their recording Extended Niceties have included Arto Lindsay and David Byrne{br}— Early members of the band included Laurie Anderson (electric violin), Blue Gene Tyranny (keyboards), Ken Deifik (harmonica), Scott Johnson guitar, Rhys Chatham (flute), Peter Zummo (trombone), Arthur Russell (cello), Kathy Acker (vocals), and Jill Kroesen (vocals).''{br}{br}''Gordon performed his first symphony, ''Symphony in Four Movements'', at The Kitchen in New York in 1976, with a band that included Russell, Philip Glass, Laurie Anderson, and Rhys Chatham, and formalized his ''Love of Life Orchestra'' in April 1977, initially a 12-musician group, combining disco, electronic, pop and jazz elements with experimental music.''{br}{br}\| ---- \|t \|t \|t \|t \|t \|t \|t [../files/articles/anderson/1979_lawrencewiener.jpg\|../files/articles/anderson/1979_lawrencewiener.jpg]{br}{small}There But For : A Structure of Lawrence Weiner (Mudd Club){br}^[[Source\|https://www.specificobject.com/objects/info.cfm?object_id=16132&inventory_id=18338#.V8vyxYU3Yy4]^]{/small}\|t \|t [../files/articles/anderson/1979_cassetteneedtoknow_wienergordon_300.jpg\|../files/articles/anderson/1979_cassetteneedtoknow_wienergordon.jpg]{br}{small}Need to Know (Lawrence Weiner, Peter Gordon, Britta LeVa,{br} Michael Shamberg, Leslie Schiff, Ann-Sargent Wooster,{br} James Umland, Juliet Weber){br}^[[Source\|https://www.specificobject.com/objects/info.cfm?object_id=16032&inventory_id=18229#.V8vzPoU3Yy4]^]{/small}\|t \|t [../files/articles/anderson/1979_cassettelawrencewiener_petergordon_300.jpg\|../files/articles/anderson/1979_cassettelawrencewiener_petergordon.jpg]{br}{small}Deutsche Angst / The Memories of Stu Irwin (Lawrence Weiner, Peter Gordon){br}^[[Source\|https://www.specificobject.com/objects/info.cfm?object_id=9109&inventory_id=9397#.V8vzpYU3Yy4]^]{br}^[[Listen to the audio cassette\|https://www.youtube.com/watch?v=0MeKrBwiXwA]^]{/small}\| \|t \|t \|t \|t \|t \|t \|t [../files/articles/anderson/1979_weineraltertedfilm_300.jpg\|../files/articles/anderson/1979_weineraltertedfilm.jpg]{br}{small}Altered to Suit (a film by Lawrence Weiner with Peter Gordon){br}^[[Source\|https://www.specificobject.com/objects/info.cfm?object_id=15996&inventory_id=18193#.V8v0NoU3Yy4]^]{/small}\|t \|t [../files/articles/anderson/1979_loveoflife_wiener_23avril1979.jpg\|../files/articles/anderson/1979_loveoflife_wiener_23avril1979.jpg]{br}{small}Lawrence Weiner, Peter Gordon, Love of Life Orchestra){br}^[[Source\|https://www.specificobject.com/objects/info.cfm?object_id=15996&inventory_id=18193#.V8v0NoU3Yy4]^]{/small}\|t \|t \|t \|t ---- '' “ — — ''The Love of Life Orchestra'' was founded on the coexistence of multiple musical orientations,“ Gordon explains. “Counterpoint is central to my music, and prevalent in all five movements of ''Symphony No. 5''. Each voice maintains its integrity and forward motion, but intersecting voices illuminate harmonic and rhythmic dimensions that are shared and larger than any single voice. This is both a musical and social concept: counterpoint developed in Europe during the Enlightenment, when multiple voices needed to coexist, and be heard, for society to function.“ ''\| ---- '''PETER GORDON - SYMPHONY (1976)''' {html} <iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/20348647&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false"></iframe> {/html} {br}{br} {br}{br}
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