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Fifty Foot Hose

Fifty Foot Line were probably one of the most uncommon ’60s SAN FRANCISCO BAY AREA psychedelic bands, partly because they weren’t really that psychedelic. Just like a few additional acts of that time period (especially america of America), these were wanting to fuse the modern sounds of rock and roll with digital devices and avant-garde compositional suggestions. Only one recording resulted from your ambitious enterprise, which record (Cauldron, 1968) still continues to be unknown to all or any but hardcore enthusiasts. Although an erratic function, it was interesting for its mixture of jazzy psychedelic rock and roll music with digital sound files that anticipated potential types of synthesizers, but sounded fiercer and even more primitive. Fifty Feet Hose had been founded by bassist Cork Marcheschi, who got previously experienced a conventional rock and roll/R&B music group the Ethix. Under Marcheschi’s prodding, in 1967, the Ethix released one wildly atonal one, “Poor Trip,” whose violent musique concrète foreshadowed the avant-garde postures of his following group (actually, “Poor Trip” was even more avant-garde than anything Fifty Feet Hose pipe would record). (Evidently it was performed once on an area underground radio place, and then under no circumstances again.) Thinking about the suggestions of experimental composers like Edgar Varese, John Cage, Terry Riley, and George Antheil, Marcheschi built his own digital instrument from a combined mix of components like Theremins, fuzz containers, a cardboard pipe, and a loudspeaker from a global War II airplane bomber. Fifty Feet Hose were done by guitarist David Blossom and his vocalist wife Nancy, who brought both psychedelic and jazz affects to the music group, and several musicians who got used Marcheschi in various other acts. A house demo successfully confirmed their fusion of digital effects and tracks which were loosely in tune using the SAN FRANCISCO BAY AREA psychedelic vibe. It resulted in a cope with Limelight, a subsidiary of Mercury that concentrated even more upon experimental music than regular rock and roll and pop outings. Cauldron was probably even more interesting because of its experimental textures compared to the occasionally regular compositions — eerie digital swoops and jolts swam through the backdrop and foreground from the paths, enhanced by methods like putting musical instruments via an FM transmitter. The jazzier and spookier music worked much better than the bluesier hard rock and roll items, yet it had been an admirably risk-taking work. But, ultimately, a fairly uncommercial one — although they got some live function in SAN FRANCISCO BAY AREA, the record was noticed by few at its period of discharge. Fifty Foot Hose pipe were completed, ironically, with the temptations of a more commercial task — when the musical Locks came to BAY AREA, a lot of the people joined the creation to fulfill their dependence on even more reliable income. Desire for the group resurfaced in the 1990s, because they became named precursors towards the digital rock and roll sounds of organizations like Throbbing Gristle. Marcheschi is currently a well known sculptor, focusing on public function using neon, plastic material, and kinetic features.

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