Music Featured:
Annette Peacock – I’m The One
(LP RCA Victor - LSP-4578 (1972, US), Issued January 1972)
Reissues:
CD Ironic Records - Ironic US2 (2010, US) Remixed by Annette Peacock and 24-bit Remastered
CD Future Days Recordings - FDR 601 (2012, US)
Link to Apple Music
Link to Spotify
Links to YouTube – (I’m The One, Seven Days, Pony)
Personnel:
Annette Peacock – vocals, electronic vocals, acoustic piano, electric piano, and synthesizers
Mike Garson – piano and organ on “I’m the One”, organ on “One Way”
Mark Whitecage – alto saxophone
Michael Moss – tenor saxophone
Perry Robinson – clarinet
Tom Cosgrove – guitar
Stu Woods – bass
Glen Moore – bass on “Blood”
Rick Marotta – drums
Laurence Cook – drums
Barry Altschul – percussion
Airto Moreira – percussion
Dom Um Romão – percussion
Orestes Vilató – percussion
Apache Bley – piano on “Did You Hear Me Mommy?”
Annette Peacock’s trailblazing album I’m The One just turned 50 in January! It’s an album and a milestone worth acknowledging. I’m The One stands out for breaking down distinctions between genres with it’s stew of rock, jazz, blues, Moog-fueled electronica, and song balladry. Let’s look at what led up to this great album and think about it’s still unwritten influence.
By the time Peacock recorded I’m The One, she had already made a lasting and under-appreciated impression on music. Peacock’s beautifully minimal compositions appeared on albums from the mid 1960’s on, (prominently on those of Paul Bley) and are essential to the “ECM sound.” For a good look at Peacock’s instrumental piano-based writing, check out Paul Bley’s Ballads (recorded 1967, released 1971), Mr. Joy (1968) Open, To Love (1972) (featuring two Peacock songs), or Marilyn Crispell’s Nothing Ever Was, Anyway: Music of Annette Peacock (1997). Of this last record Thom Jurek aptly says it “establishes the deep world of Ms. Peacock’s often shadowy but nonetheless imposing and impressive lyricism that transcends all musical genres.”
The other pillar of Peacock’s influence is as a pioneer of electronic music. After listening to Wendy Carlos’ Switched On Bach (released in 1968), which used Robert Moog’s prototype synthesizers, Peacock was inspired by the possibilities for the brand new instrument. Moog agreed to give Peacock a synthesizer, on the condition she would find ways of deploying and exposing the new instrument in her music. Through trial and error, Peacock learned not only how to play the novel device, but developed an innovative technique for modulating her vocals though the synthesizer. The results were first heard on Peacock’s album released with (her then husband) Paul Bley in 1971, Revenge: The Bigger The Love The Greater The Hate. (The album was rereleased as I Belong To A World That’s Destroying Itself in 2014). The results are brisling, intense and utterly radical – check it out here)
In 1971 RCA was looking to sign new acts in the wake of David Bowie’s success on the label, which resulted in a one-record deal for Annette Peacock. She used the opportunity to record her “rock” record, and the result is I’m The One. A “rock” record is, but it also does not sound much like any other rock album you might hear!
There is so much to say just about the opening title track – it’s a song that has one surprising twist after another. “I’m The One” starts with a dramatic jolt of thick dissonant chords, and then fades into two minutes of moody instrumental haze. A drum break announces Peacock’s vocals: “I’m the One/You don’t have to look any further/I’m the One” she sings with a timbre that ranges from the guttural to swooping high notes. Peacock’s synthesizer then doubles with wordless vocals in a kind of crazed strut. In yet another turn, the song morphs into a torchlight ballad; Peacock sings “I looked all over/Put my head on somebody’s shoulder/And there is no one else.” Then, in the most intense moment of this song, Peacock modulates her vocals through her Moog – as she sings “can you hear it in my voice” those vocals sound more and more processed. But the effect is anything but robotic! Instead, the emotional intensity of this moment is heightened by the “processed” texture the Moog gives to Peacock’s voice. The effect is remarkable and way ahead of its time. A classic track.
While the title track is the undisputed high point, the rest of this record is really strong too. The second track “Seven Days” is a spare blues ballad that perfectly balances the intensity of the title cut. “Pony” features an earthy bass and guitar matched against Peacock’s double entendre wordplay. “One Way” is startlingly original, starting with a soundscape of percussion and Peacock’s Moog, then building into a blues with organ accompaniment. Peacock even does an arrangement of Elvis’ “Love Me Tender!”
I’m The One features a combination of Peacock’s trailblazing use of Moog synthesizer, and the engaging blend of the avant garde and familiar song forms. It’s style is unique, but also very accessible and immensely pleasurable too. Peacock’s music has been very influential in jazz, electronica and progressive leaning rock, but owing to how unavailable her records have been, she’s also a potent influence waiting for more to discover. Listen and spread the word!
Where to go next:
Just about anywhere! Peacock’s discography is unfortunately slender but everything’s great. We already mentioned the potent Revenge. If you Like “I’m The One”, Peacock continued in the vein of a rock hybrid on X Dreams, an amazing album that features Mick Ronson on guitar. (Peacock was an influence on the David Bowie guitarist, not to mention on Bowie himself). For The Perfect Release Peacock hired Jeff Beck’s band and used it’s jazz-rock background for a witty examination of money, extraterrestrial life, and love. Peacock’s 1980’s albums have all been out of print for ages – although some of them are on YouTube (try here and here). This is music that really needs a reissue, when that happens you’ll find out about it on this blog!
(Sonic Boom records)