ebb from plunderphonic songs by Spheric Plot
Tracklist
| 12. | Spheric Plot - ebb | 2:24 |
Lyrics
“first the tide
rushes in
plants a kiss, on the shore
then rolls out to sea
and the sea is very still,
once more.
so i rush, to your side
and as we kiss
through an embrace
i can tellllllllllllll, i can feel
you are love, you are real,
really oh my love, my darling,
i’ve hungered for your touch”
Credits
from plunderphonic songs,
track released October 31, 1990
including (not in order of appearance) some (maybe not all) of the following: Roy Hamilton, Frank Chacksfield, Bobby Maxwell, Eddie Albert (and Margo), Guy Lombardo, Vic Damone, Frank Sinatra, Henry Mancini, GTS Elemat (?), Tommy Morgan, Larry Ferrari, Stanley Black, Dick Contino, Percy Faith, Martin Denny, London Pops Orchestra, Living Strings, World of Strings Orchestra, Out Islanders, Pete King Orchestra & Chorus, Lew Davis Orchestra, David Rose, Fausto Papetti, Jerry Murad Harmonicats, Ralph Burns, Ferrante & Teicher, Jack Nitzsche, Andre Kostelanetz, Dick Schory,
MGM Singing Strings, and the Righteous Brothers. a coda by Nina Rota, was edited out after the pieces premiere on NPR radio.
all source recordings supplied by Hal Willner.
including (not in order of appearance) some (maybe not all) of the following: Roy Hamilton, Frank Chacksfield, Bobby Maxwell, Eddie Albert (and Margo), Guy Lombardo, Vic Damone, Frank Sinatra, Henry Mancini, GTS Elemat (?), Tommy Morgan, Larry Ferrari, Stanley Black, Dick Contino, Percy Faith, Martin Denny, London Pops Orchestra, Living Strings, World of Strings Orchestra, Out Islanders, Pete King Orchestra & Chorus, Lew Davis Orchestra, David Rose, Fausto Papetti, Jerry Murad Harmonicats, Ralph Burns, Ferrante & Teicher, Jack Nitzsche, Andre Kostelanetz, Dick Schory,
MGM Singing Strings, and the Righteous Brothers. a coda by Nina Rota, was edited out after the pieces premiere on NPR radio.
all source recordings supplied by Hal Willner.
License
CC BY-NC-SA 3.0. See the Creative Commons website for details.Tags
plunderphonics is the genre title coined by John Oswald to 'cover the counter-covert world of converted sound and retrofitted music, where collective melodic memories of the familiar are mined and rehabilitated to a new life. The blatant borrowings of the privateers of sound are a class distinct from common sample pocketing, parroting, and tune thievery.'