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▄▄▄██▀▀▀▀ ▒▒▒▒▒▒▒▒│ r e l e a s e i n f o │▒▒▒▒▒▒▒▒ ▀▀▀▀██▄▄▄
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█▒ Artist - Ron Geesin ▒█
█▒ Title - Pot-Boilers: Ron Geesin Soundtracks To Stephen Dwoskin ▒█
█▒ ▒█
█▒ Genre - Soundtrack Year - 2020 ▒█
█▒ Format - Album Time - 46:04 ▒█
█▒ Label - Trunk Records Source - Web Store ▒█
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▌░ ▒▒▒│ tracklist │▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒ ░▐
▌░ └─────────────┘ ░▐
▌░ ░▐
▌░ 01. Chinese Checkers 12:52 ░▐
▌░ 02. Moment 10:10 ░▐
▌░ 03. Pot-Boiler 6:52 ░▐
▌░ 04. Alone 12:48 ░▐
▌░ 05. Feet 3:22 ░▐
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▌░ ▒▒▒│ rip notes │▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒ ░▐
▌░ └─────────────┘ ░▐
▌░ ░▐
▌░ Proper outsider/weirdo business from Trunk here, documenting ░▐
▌░ Ron GeesinÆs soundtrack work for the films of Stephen ░▐
▌░ Dwoskin, sounding to us like a cross between Keith Fullerton ░▐
▌░ WhitmanÆs 'Variations For Oud And SynthesizerÆ, that mad ░▐
▌░ Arthur Lipsett sound document Rashad Becker reissued and a ░▐
▌░ double-speed bar room brawl. In other words, the best kind of ░▐
▌░ music from the marginsàTip! ░▐
▌░ ░▐
▌░ Sublime, unique, sexy and peculiar unreleased scores by ░▐
▌░ electronic and jazz pioneer Ron Geesin, made for the sublime, ░▐
▌░ unique, sexy and peculiar films by maverick director Stephen ░▐
▌░ Dwoskin. There. weÆve said it. And if you have not heard of ░▐
▌░ one or either of these two dudes it doesnÆt really matter. ░▐
▌░ Geesin made great music and worked with Pink Floyd. Dwoskin ░▐
▌░ made odd films, most of them are in the BFI permanent ░▐
▌░ collection. They are great and a bit strange. ░▐
▌░ ░▐
▌░ These superb unreleased soundtracks come from a fascinating, ░▐
▌░ progressive and important period in British film history. ░▐
▌░ They represent an intriguing collaboration between the lively ░▐
▌░ Ron Geesin from Scotland and the American Stephen Dwoskin, ░▐
▌░ who both met in London. Musically they are minimal, ░▐
▌░ charismatic and quite groundbreaking. Here is the storyà ░▐
▌░ ░▐
▌░ Steve Dwoskin arrived in London in 1964, aged 25, with ░▐
▌░ several 16mm films in his trunk, shot in the cold-water flats ░▐
▌░ of Greenwich Village. He had been on the fringe of the ░▐
▌░ Factory scene, and some of his films starred Beverly Grant, ░▐
▌░ æthe queen of the undergroundÆ. But they had scarcely been ░▐
▌░ seen, and they didnÆt have soundtracks. For almost a year ░▐
▌░ they stayed in the trunk, and stayed silent. Then he met Ron ░▐
▌░ Geesin, somewhere around Portobello Road. ░▐
▌░ ░▐
▌░ æSlept last night, completely dressed after working over 12 ░▐
▌░ hours on sound tracks at RonÆs,Æ wrote Dwoskin in his diary ░▐
▌░ for 29 July 1965. æMy films are not anywhere near being ░▐
▌░ anything. I need more energy, more concise and positive ideas ░▐
▌░ and less inhibition. And of course space, money and people.Æ ░▐
▌░ Dwoskin, who taught and practised graphic design by day, had ░▐
▌░ recently decided to stay in London beyond the term of the ░▐
▌░ Fulbright scholarship that had brought him there. ░▐
▌░ ░▐
▌░ Ron, living with Frankie in a basement flat in Elgin Crescent ░▐
▌░ û they would marry the next year, with Dwoskin as best man û ░▐
▌░ was about to leave the Original Downtown Syncopators, the ░▐
▌░ trad jazz band he had joined aged seventeen-and-a-half, and ░▐
▌░ was trying to go solo. On stage he would make vigorous use of ░▐
▌░ piano and banjo; at home Frankie had bought him a new kind of ░▐
▌░ instrument û a tape recorder. æSoon I had one tape recorder, ░▐
▌░ two tape recorders, three tape recorders.Æ ░▐
▌░ ░▐
▌░ Ron, wrote Dwoskin in his unpublished autobiography, æloved ░▐
▌░ to record, and to cut and splice the quarter-inch recording ░▐
▌░ tape to make new sounds. This triggered in me the idea of ░▐
▌░ getting back to my films and finishing themÆ. Soon he was ░▐
▌░ living in a dank basement in Denbigh Road, a few minutesÆ ░▐
▌░ walk from Elgin Crescent. RonÆs soundtracks for DwoskinÆ ░▐
▌░ films, recorded in the GeesinsÆ flat, encompassed RonÆs very ░▐
▌░ eclectic range of styles û madcap piano and fretted banjo as ░▐
▌░ well as tape manipulation. ░▐
▌░ ░▐
▌░ Aside from RonÆs soundtracks, some of which belong to films ░▐
▌░ that no longer exist (including Pot Boiler), Frankie would ░▐
▌░ act in one of the films that Dwoskin either lost or never ░▐
▌░ finished during these years. He was disabled, having ░▐
▌░ contracted polio as a child, and Ron and Frankie were both ░▐
▌░ carers and collaborators; Ron had met him when he was ░▐
▌░ struggling into his car. ░▐
▌░ ░▐
▌░ There was no London equivalent to the underground film scene ░▐
▌░ that Dwoskin had known in New York, and his films remained ░▐
▌░ unseen until such a scene began to come into being, in the ░▐
▌░ autumn of 1966. Some of them made their debut at the Mercury ░▐
▌░ Theatre, near Notting Hill Gate, that September. Dwoskin ░▐
▌░ wrote that Alone, starring Zelda Nelson (from Ron RiceÆs ░▐
▌░ Chumlum), and Chinese Checkers, with Beverly Grant and ░▐
▌░ DwoskinÆs friend Joan Adler, went over best. ░▐
▌░ ░▐
▌░ Soon both Dwoskin and Geesin became involved in the nascent ░▐
▌░ London Film-MakersÆ Co-op, which put on screenings in Better ░▐
▌░ Books on Charing Cross Road û æif you can call them ░▐
▌░ screenings,Æ Ron recalls; æIÆd call it fifteen blokes in ░▐
▌░ various stages of disarray, peering through the smokeÆ. One ░▐
▌░ or more of the films had been æstripedÆ with magnetic ░▐
▌░ audiotape; with others æwe had no means of direct syncing to ░▐
▌░ the picture, so he started the film and I started the tape ░▐
▌░ recorderÆ. ░▐
▌░ ░▐
▌░ In the same autumn, Dwoskin moved into a flat almost opposite ░▐
▌░ the Geesins on Elgin Crescent. More collaborations followed, ░▐
▌░ including Naissant, on which Gavin Bryars, whom Geesin had ░▐
▌░ met during a stint on the northern club circuit with novelty ░▐
▌░ act Dr Crock and His Crackpots, played double bass. ░▐
▌░ ░▐
▌░ Around the end of 1967 Geesin released his first solo LP, A ░▐
▌░ Raise of Eyebrows, and Dwoskin won recognition the Fourth ░▐
▌░ Experimental Film Competition, aka EXPRMNTL 4, an occasional ░▐
▌░ film festival staged at Knokke-le-Zoute in Belgium. By now ░▐
▌░ the films had optical soundtracks. ░▐
▌░ ░▐
▌░ It was only after this that Dwoskin completed his first ░▐
▌░ æBritishÆ films, including Me Myself and I, with Barbara ░▐
▌░ Gladstone, an American dancer who had appeared in Barbara ░▐
▌░ RubinÆs Christmas on Earth, and with whom Dwoskin and Geesin ░▐
▌░ had at one point devised a stage show, never produced. For ░▐
▌░ Moment, a single-shot film, Geesin provided his most ░▐
▌░ experimental score yet. At the time of its debut in 1970, ░▐
▌░ Dwoskin and the Geesins were sharing a house in Ladbroke ░▐
▌░ Grove. ░▐
▌░ ░▐
▌░ By then, Ron was working with Pink Floyd, and soon afterwards ░▐
▌░ he and Frankie moved out to the country, to be replaced by ░▐
▌░ Bryars both in the house and as DwoskinÆs principal ░▐
▌░ collaborator. Until now these scores have remained part of ░▐
▌░ the Geesin Archive and have never been issued. ░▐
▌░ ░▐
▌░ ░▐
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