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Tonto Rides Again Import

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Audio CD, Import, June 11, 1996
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$789.99 $35.00

Product Details

  • Audio CD (June 11, 1996)
  • Format: Import
  • Label: Viceroy Music
  • ASIN: B000007UHW
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #289,286 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

23 of 24 people found the following review helpful By A Customer on August 31, 1998
Format: Audio CD
I feel that too often synthesized music is used in order that the musicians do not have to try as hard. People turn on a drum machine, and hide their inadequacies behind the beat. In the case of TONTO (The Original New Timbral Orchestra - the world's first, and still the largest, multitimbral polyphonic analog synthesizer), this is simply not true. The pivotal issue that most attracts me to this disc is the use of music to paint soundscapes - perhaps an overused term, but very applicable in this case.
For instance, the initial song, Cybernaut, is a painting of an electronic intelligence roaming the stars, done in a very traditional blues 4/12 beat. Jetsex is exactly what the title states.
One central point is that this analogue machine can do things no digital machine has been able to. It produces lower lows and a deep, layered sound that is stunning. Malcolm Cecil and Robert Margouleff have produced an electronic album that remains unsurpassed in my opinion. They were way ahead of their time then, and, in many ways, remain ahead of our time now. This unique disc shows what could be, or at least could have been, for a musical style which has languished in obscurity and ridicule.
For these reasons, this disc would be a great addition to your collection, whether you like "electronic music" or not.
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5 of 5 people found the following review helpful By DSR on August 4, 2006
Format: Audio CD
P.S. Late August 2006... If you type the bands name into a search engine and follow a couple of links, you MAY be still able to purchase a very "limited edition" CD, comprising these tracks (plus a superb "extra" track...) that was prepared for an event in the UK this Summer by Malcolm Cecil himself. To hear this music again, but with such awsome clarity and "body", compared to my LP's, is such a joyful experience I cannot describe it - "Riversong" brought tears to my eyes. Notwithstanding the "analogue" recordings, T.O.N.T.O. really has "never sounded better!"

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The music on this disc is SO important to the history of "popular" Electronic/synthesiser Music that it seems almost a tragedy that it's not available as of mid 2006.... The tracks are beautifully melodic on the whole (except "Jetsex", which is another thing entirely...), disguising their complexity, making the sounds created by Wendy Carlos in the early days seem rather crude by comparison, despite the excellence of the playing.

Living in the UK, I was short changed by the original (UK) LP release of "Zero Time", the first album (on Atlantic). The sound was muffled, although the gatefold sleeve was awsome... I caught the second album, "It's About Time" (1975 on Polydor) by the skin of its teeth and, although not as ground breaking as the first (Tangerine Dream and Klaus Schulze were well established in this genre of music by now in Europe), the second side (The Pyramid Suite), had some amazingly beautiful tracks.

I was lucky enough to find the re-release of "Zero Time" as a US import in a "sale" and, although the sleeve wasn't as elaborate, the sound quality was much improved, although the LP suffered from crackles here and there.
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5 of 5 people found the following review helpful By MikeMcC on June 2, 2005
Format: Audio CD
Tonto Rides Again is truly an original musical journey. A compliation of two earlier LPs, to my knowledge the only T.O.N.T.O.'s Edxpanding Head Band product release on CD. You've never heard anything like this before.
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6 of 7 people found the following review helpful By David Perry on September 24, 2006
Format: Audio CD
In 1973, I started at a local community college in Huntington Beach, California. They had a course in electronic musical synthesizer, and I signed right up. I had heard as much electronic music as anyone had at that time. Walter Carlos, the BBC radiophonic orchestra, and a smattering of Morton Subotnik. Getting my hands on a synthesizer, on the other hand, was a transformative experience. Our lab had an ARP2600, and some other equipment of the day. By the end of the semester I was the lab instructor in this class---a job I kept for about seven years.

Also at that time I took a job working in a record store. It was a great time to work in such a place. There were so many new influences and new movements in music, from avant garde music, to punk rock, to progressive rock to --well--you name it. And touching every single facet of new music (even bluegrass and polka) was the influence of the synthesizer.

At the time, you see, synthesizers were exotic and expensive and very difficult to use. Most of the early ones you could plug in, turn on, connect to an amp, turn up the volume, play a key---and get no sound at all. You had to program them, and you had to program them again every time you used them. An analog synthesizer is programmed by making connections between it's different modules with a patch cord. You would also set knobs, switches and sliders to the positions you needed (some of them taking very precise tweaks to get it just right) The program was called a patch. You could record your patch on a piece of paper, either by drawing it on a printed diagram of the faceplate of your synth, or by using an elaborate symbolic code developed specifically to record synth patches.

In short--synthesis in the seventies was not very spontaneous.
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