Originally released on Prestige in 1957, this is the third LP from NYC street performer and avant-garde/minimalist composer Moondog. Perhaps the least accessible of his early releases, this album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry, and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog reissued with its original Andy Warhol artwork.

Dame Julie Andrews DBE is an English actress, singer, and author. With a career nearly spanning eight decades, she has been the recipient of several accolades, including one British Academy Film Award, one Academy Award, two Emmy Awards, and three Grammy Awards.

Beautifully packaged two CD compilation consisting of recordings from the last 20 years of Moondog's life, when he resided and recorded in Germany. Disc One consists of studio recordings from 1977-99 and features 'High On A Rocky Ledge', 'Do Your Thing', 'I'm This, I'm That', 'Heimdall Fanfare', 'Fujiyama 2 (Lovesong)' and more. Disc Two is his last live performance, recorded a month before his death, and is wonderfully recorded, sounding as well-produced as the studio tracks on the first disc. The packaging includes 44 pages of liner notes featuring essays, interviews, photographs and other information, all packaged in a hard cardboard sleeve, creating a virtual work of art.

Label: Kopf, Roof Records Catalog#: KR 330140, 883 443-907 Format: CD, Album Country: Germany Released: 1989 Genre: Classical Style: Contemporary Credits: Organ - Fritz Storfinger (tracks: 6 to 12) Percussion, Composed By - Louis Hardin Photography [Cover] - Patrick Currant Recorded By, Mixed By - Helmut Rohlfing Notes: Track 1 to 6 recorded at Rhein-Ruht-Film Tonstudio, Bochum. Track 7 recorded at Christus Kirche, Recklinghausen Track 8 to 12 recorded at Herz-Jesu-Kirche, Oberhausen. Track 7 to 12 from the "Logrundr Book I For Organ".

Tracks 1-01 to 1-14 previously released on "Moondog Big Band" Track 2-01 previously released on "Stephan Eicher - My Place" Tracks 2-02, 2-03, 2-05, 2-07 previously released on "Bracelli" Tracks 2-04, 2-06 previously released on "Instrumental Music By Louis Hardin" Tracks 2-08, 2-20 previously released on "More Moondog" Tracks 2-09, 2-13, 2-15 previously released on "Moondog And His Honking Geese" Tracks 2-10 to 2-12 previously released on "Moondog" Tracks 2-14, 2-16 previously released on "Moondog And His Friends" Track 2-17 previously released on "Moondog's Symphony: Timberwolf / Sagebrush" Tracks 2-18, 2-19 previously released on "Moondog (2) - On The Streets Of New York"

By 1956, the early New York street recordings of the great Moondog had reached British shores. His primitive percussive sounds struck a new nerve with many artists and musicians, none more so that fine London jazzman Kenny Graham. So inspired was he by these extraordinary recordings that de decided to bring together a band of top notch session men and pay his very own musical homage. The result is this exceptionally rare and unique 1957 album of Moondog covers (Moondog Suite). Engineered by the young Joe Meek and starring Stan Tracey, Phil Seamen, Danny Moss, Ivor Slaney, soaring vocalise and a host of strange instruments this was a truly unique cocktail of sound and musical vision. The result is an exotic, ethereal and timeless recording that will inspire, haunt, beguile and charm for many years to come. Jonny Trunk

As the name implies, this album consists of pieces composed with the saxophone in mind. Nine saxophonists in all (from the London Saxophonic) pitch in on the disc, which also features some piano, folk-rock vet Danny Thompson on contra bass, several percussionists, piano, and occasional ensemble vocals; Moondog himself contributes bass drum, bongos, and (as a member of the ensemble) vocals throughout. In its swaying (at times even sing-along) melodicism, intricate arrangements, and light bounce, it's strongly reminiscent of his excellent 1969 Moondog album; in fact, "Bird's Lament" makes an appearance on both records. This is more enjoyable, toe-tapping, and life-affirming than most any other jazz or avant-garde music around in the 1990s, demonstrating that Moondog's talents remain undimmed in his eighties; it's impossible to hear the ebullient choral vocals on "Paris" without smiling.

Notes from the Mars release: "Moondog on the Streets of New York" is the second presentation in a series of on-the-streets recordings made as a part of my project in New York 19. While working on this projekt of recording the folk expressions of the comminity of which I live, I recorded many street musicans of whom Moondog was the most unique. Moondog, born in 1917, is a blind street musican who was born in Kansas and raised in Indian country in Wyoming. He was influenced by both Oriental and Occidental music. Snake time is the name he has given to the type of music he writes and playes. It is blending of primitive and classical elements. Moondog came to New York in 1943 to establish himself as a composer. He designs, makes and writes music for many of the intruments he playes. The Oo, Utsu and Uni are introduced in this record. Suzuko, Moondog´s wife, who has transcribed much of his music, sings and accompanies him in serveral of these selections. I have selected the music on this record from the many on location recordings I have made of Moondog his arrival in New York. (Recorded and edited by Tony Schwartz) Notes from the London release: Moondog is an itinerant musician-composer, who has appeared on the sidewalks of various parts of mid-town New York playing his original compositions on seldom heard instruments - several of which are of his own invention. Apart from the appeal he has had with sidewalk audiences, he has also attracted important attention from serious music students and composers who have evaluated his unique perception of melodies and rhythms as possessing academic qualities commensurate with the progress made by the "avant garde" composers. That Moondog has found it necessary to resort to sidewalk concerts is not a reflection on his ability, but possibly a commentary on the status of young composers in America, according to one group of disciples. On the streets of new York was recorded by Tony Schwartz as part of his project called New York 19. The music heard in the EP is the result of recording and editing several hours of taped music in order to cull the most unusual. In this record, Moondog plays several new instruments - the "oo", the utsu", and the "samisen". In one composition, recorded near the Hudson River piers, the tugboat and ocean liners' whistles and foghorns complement the composition, while Moondog plays and improvises; in another work, the actual sound of new York traffic - automobile motors, taxi horns, sounds of brakes, etc. - is used similarly. The record includes six other works, one featuring his wife, Suzuko. Moondog was born Louis Hardin, in Kansas in 1917. His parents were missionaries and he spent most of his youth in Indian reservations in the West. At the age of sixteen, he became blind and about the same time became interested in music. Influence of the primitive surroundings of his early environment is evidenced in his compositions. He can play, in addition to the various instruments heard on his records, piano, organ, clarinet, all the string instruments and most of the other woodwind instruments. He lives in new York with his wife, Suzuko. She is capable of singing in three octaves, and lately figures prominently as vocalist on his recordings and in appearances.

This Music, Played by Moondog and his Wife Suzuko, was Originally Recorded at the Spanish Music Center in New York City. It Is, Like the Legendary Honking Geese, a Very Rare Recording by Moondog which was Originally Released in the Early Fifties. Moondog's Corner is Happy to Present this Great Recording, Restored and Remastered Carefully by Andreas Torkler at Sonopress Studio Gütersloh (Germany), for the First Time on CD. Limited to 1000 Copies (400 Available) "Mini LP Look" Cardboard Sleeve.

This is a wonderful CD built from environmental sounds, gently rocking marimbas, lovely counterpoint for winds, foot-taping rhythms, and sweetly sung wisdom from a chorus. Westward Ho! is an eight-part canon for voices and gambas that depicts the western migration from Europe to the New World, and finally west on the Oregon Trail. "Suite Equestria (Trail versus Road and Rail)" is scored for the amazing and energetic texture of unison chorus, marimbas and glockenspiel in triple canon (on a sixteen-measure phrase), a steady beat percussion (Native American shaker and tomtom), and saxophones droning on a one-note rhythmic hocket. "Fujiyama 2 (Love Song)" is for speaking voice (in Japanese), unison chorus (in English) accompanied by unison koto, and a rich polyphonic texture of gambas in triple canonic accumulation (round) with the recorded sound of rain toward the end. The text, a kind of nautical Romeo and Juliet tale, is heard recited in Japanese at the beginning with the start of the complex round for gambas; the chorus then joins in a minor mode.