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Switched-On Rock
Solarized image of a Moog synthesizer, showing some of the keys, knobs and patch cables.
Studio album by
the Moog Machine
Released1969
GenreElectronic rock
Length29:47
LabelColumbia Records
ProducerNorman Dolph
The Moog Machine chronology
Switched-On Rock
(1969) 		Christmas Becomes Electric
(1969)

Switched-On Rock is an album by the Moog Machine, released in 1969 on Columbia Records. It comprises instrumental covers of popular songs from the 1960s, performed on the Moog synthesizer. It was one of a spate of albums capitalizing on the success of Switched-On Bach (1968), an album of Bach pieces performed on the Moog by Wendy Carlos.

Switched-On Rock was produced by Norman Dolph, who also wrote the liner notes. Dolph worked in the studio with colleagues Kenny Ascher and Alan Foust; they billed themselves as the Moog Machine for this and one more project. The album reached number 170 on the Billboard Top 200 and stayed on the chart for eight weeks.[1]

Background

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Norman Dolph joined Columbia Records in 1964. As a marketing executive, he focused on recording projects aimed at the youth market. In 1967 he paid for the recording session of the album The Velvet Underground & Nico, and he helped engineer it.[2]

After the 1968 album Switched-On Bach was seen to sell 500,000 copies, a number of albums were made to satisfy this new demand for synthesizer music. Wendy Carlos followed up Switched-On Bach with The Well-Tempered Synthesizer in the classical music category. Popular albums such as Switched On Bacharach, Switched-On Country, Switched-On Santa, Switched-On Gershwin, Moog Power and Music to Moog By were produced by others.[3][4][5]

Production

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The idea for Switched-On Rock was conceived by Columbia Records marketing executive Russell "Russ" Barnard. Barnard assigned the project to three men: Dolph supervised the album and he tuned the Moog modular synthesizer, and his associates jazz pianist Kenneth "Kenny" Ascher and arranger Alan Foust played the keyboards and wrote the song arrangements, respectively. An attempt was made to synthesize drum sounds for the songs, but Dolph felt that the results sounded "kind of mechanical and ricky-tick." Instead, a rock drum kit was played by session drummer Leon Rix.[6]

The Moog synthesizer was difficult to work with, as it is a very complex device with many knobs, and a slight movement of any knob could radically change the sound. It also tended to drift in musical pitch such that Dolph determined to tune it every 15 minutes.[6] Finally, the Moog was monophonic, meaning that only one note could be played at a time. If a chord was fingered on the Moog's keyboard, only the lowest note would sound; chords heard on the album were built up over several takes, or they were synthesized on a chordal device called the "protorooter".[6]

The songs were arranged by Foust as if any conceivable texture was available; following his charts, the Moog was tuned to synthesize each imagined texture. Some of the sounds heard on the album were discovered by "auspicious" accident while working toward something else. Using a 16-channel tape recorder, all ten songs were built up track-by-track in parallel; once a certain basic Moog sound was achieved, it could be used as appropriate for each song, with slight adjustments. Approximately 150 different textures were synthesized on the Moog for the album. In addition to the drum kit there was one other non-Moog instrument; in the liner notes Dolph challenged the listener to identify this instrument.[6]

Dolph said that the production team coined new words for some of the Moog textures, for instance they decided the word "gwiping" would describe "the act of sweeping a filter with a high regeneration setting... from top to bottom." Accordingly, a basic Moog organ sound which was "gwiped" became a "gworgan". They also coined "pagwipe" (a leaky bagpipe), "jivehive" (many bees swarming on the same pitch) and the "sweetswoop" (the roaring of a jet with harmonics).[6]

Critical reception

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Switched-On Rock was not praised by critics: at the Los Angeles Times, Robert Hilburn said, "rarely has rock music sounded so bad," while the UK's Melody Maker called it boring and "an artistic failure."[7]

Track listing

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No.TitleWriter(s)Original performerLength
1."Spinning Wheel[6]"David Clayton-ThomasBlood, Sweat & Tears3:17
2."Jumpin' Jack Flash"Jagger/RichardsThe Rolling Stones3:17
3."The 59th Street Bridge Song (Feelin' Groovy)"Paul SimonSimon & Garfunkel2:39
4."Get Back"Lennon–McCartneyThe Beatles2:38
5."Yummy Yummy Yummy"Arthur Resnick, Joey LevineOhio Express2:27
6."The Weight"Robbie RobertsonThe Band2:23
7."Time of the Season"Rod ArgentThe Zombies3:44
8."Aquarius/Let the Sunshine In"James Rado, Gerome Ragni, Galt MacDermotThe 5th Dimension3:10
9."You Keep Me Hangin' On"Holland–Dozier–HollandThe Supremes2:27
10."Hey Jude"Lennon–McCartneyThe Beatles3:45
Total length:29:47

Personnel

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Legacy

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After Switched-On Rock was released, Dolph, Ascher and Foust quickly regrouped as the Moog Machine to create one more album, this time featuring Christmas songs. The album Christmas Becomes Electric was released in late 1969.

In 1972, Isao Tomita produced a similar album of rock covers using the Moog synthesizer for CBS/Sony, Japan and was originally titled Switched On Hit & Rock with no artist credited on the cover. In 1974 it was subsequently issued in the UK on CBS as Electric Samurai: Switched on Rock. Tomita also incorporated his experiments in voice synthesis.[8]

Switched-On Rock has been sampled by a handful of artists. In 1994, the Beastie Boys sampled the Moog Machine's cover version of "Aquarius/Let the Sunshine In" for their song "Get It Together", using the sample prominently as a loop. In 2000 the Avalanches used several samples of "Aquarius/Let the Sunshine In" for the songs "Close to You" and "Diners Only" on their debut album Since I Left You, an album which used approximately 3,500 samples from a wide range of vinyl pressings.[9]

References

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  1. ^ "Charts and Awards". AllMusic. Retrieved April 14, 2015.
  2. ^ Harvard, Joe (2007) [2004]. The Velvet Underground and Nico. 33⅓. New York, NY: Continuum International Publishing Group. ISBN 978-0-8264-1550-9.
  3. ^ Brend, Mark (2012). The Sound of Tomorrow: How Electronic Music Was Smuggled into the Mainstream. A&C Black. p. 17. ISBN 9781623565299.
  4. ^ Pinch, Trevor J. (March 5, 2015). "Between Technology and Music: Distributed Creativity and Liminal Spaces in the Early History of Electronic Music Synthesizers". In Raghu Garud; Barbara Simpson; Ann Langley; Haridimos Tsoukas (eds.). The Emergence of Novelty in Organizations. Oxford University Press. p. 135. ISBN 9780198728313.
  5. ^ Pinch, Trevor J.; Trocco, Frank (June 30, 2009). Analog Days: The Invention and Impact of the Moog Synthesizer. Harvard University Press. pp. 166–7. ISBN 9780674042162.
  6. ^ a b c d e f g Dolph, Norman; Ballard, Russ. (1969) Switched-On Rock liner notes. Partially reproduced in Mark Jenkins (2009), Analog Synthesizers: Understanding, Performing, Buying – From the Legacy of Moog to Software Synthesis. CRC Books, page 143. ISBN 9781136122781
  7. ^ Sewell, Amanda (2020). Wendy Carlos: A biography. Oxford University Press. p. 69. ISBN 9780190053475.
  8. ^ Jenkins, Mark (2007), Analog synthesizers: from the legacy of Moog to software synthesis, Elsevier, pp. 133–4, ISBN 978-0-240-52072-8
  9. ^ Pytlik, Mark (November 2002). "The Avalanches: The Avalanches Darren Seltmann & Robbie Chater". Sound on Sound. SOS Publications Group. Archived from the original on December 25, 2011. Retrieved April 14, 2015.
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