Commercials In A Plain Brown Wrapper JEAN-JACQUES PERREY Electronic LP NM/NM

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• Jean-Jacques Perrey (French: [p???]; 20 January 1929 – 4 November 2016) was a French electronic music producer and was an early pioneer in the genre. He was a member of the electronic music duo Perrey and Kingsley.[1]
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• Biography
• Perrey was born Jean Leroy in France on 20 January 1929.[2] He was studying medicine in Paris when he met Georges Jenny, the inventor of the Ondioline, a type of electronic keyboard. Quitting medical school, Perrey travelled through Europe demonstrating this precursor of the modern synthesizer. At the age of 30, Perrey relocated to New York, sponsored by Caroll Bratman, who built him an experimental laboratory and recording studio. Here he invented "a new process for generating rhythms with sequences and loops", utilising the environmental sounds of "musique concrète." With scissors, splicing tape, and tape recorders, he spent weeks piecing together a uniquely comic take on the future. Befriending Robert Moog, he became one of the first Moog synthesiser musicians, creating "far out electronic entertainment". In 1965 Perrey met Gershon Kingsley, a former colleague of John Cage. Together, using Ondioline and Perrey's loops, they created two albums for Vanguard — The In Sound from Way Out (1966) and Kaleidoscopic Vibrations (1967). Perrey and Kingsley collaborated on sound design for radio and television advertising. Perrey returned to France, composing for television, scoring for ballet, and continuing medical research into therapeutic sounds for insomniacs.
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• Perrey's return from obscurity began in 1997, when he started recording in Bordeaux, France, with David Chazam. Their album Eclektronics was first released on vinyl in France only, in 1998. A CD version of the album was released in the Netherlands on the BASTA label, with several additional tracks added. In 2000 his collaborative CD with Gilbert Sigrist was released. "Circus of Life" was first released as a "library" recording, for TV and radio (France only), then released on Perrey's own PHMP label. 2006 saw the release of the album The Happy Electropop Music Machine on Oglio Records, of Los Angeles, California. The album was a collaboration with musician/arranger Dana Countryman. The two toured the West Coast of America to promote the album. Also in 2006, Perrey began collaborating with producer Luke Vibert for a CD on England's Lo Records: Moog Acid. The result is a blend of retro and modern analogue house synth-pop, encapsulating many genres and the two respective styles of the artists. The CD was released in 2007.[3] Perrey's release Destination Space is also a collaboration with Dana Countryman. The duo performed concerts in New York City and Montreal in October 2008 to promote its release. The album is notable for Perrey's being almost 80 years old when it was released.
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• In 2015–2016, Perrey became friends with Belgian-born Australian multi-instrumentalist and singer-songwriter Wouter de Backer (known professionally as Gotye). De Backer worked with Perrey to preserve his recorded legacy. After purchasing two vintage Ondiolines (an electronic keyboard closely associated with Perrey), de Backer formed the Ondioline Orchestra in New York. The sextet made their debut performing two shows in tribute to Perrey at National Sawdust, in Brooklyn, on 22 November 2016. Perrey, who lived in Switzerland, had planned to attend the tribute, but died before it took place. In May 2017, de Backer launched a new record label, Forgotten Futures, of which the first release was Jean-Jacques Perrey et son Ondioline, a compilation of rare and previously unreleased Perrey recordings.
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• On 13 February 2018, de Backer and his Ondioline Orchestra performed Circuit Breakers: Gotye Presents a Tribute to Jean-Jacques Perrey at Roulette's Mixology Festival 2018, in New York. That same year Gotye's Ondioline Orchestra performed Gotye Presents a Tribute to Jean-Jacques Perrey in Australia. The concert won a Helpmann Award in the Contemporary Music category.[4]
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• Perrey died at the age of 87 on 4 November 2016 from complications of lung cancer.[5][6]
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• Jean-Jacques Perrey ?– Commercials In A Plain Brown Wrapper
• Label:
• Mad Ave. Records ?– Mad Ave. Records
• Format:
• Vinyl, LP, Album
• Country:
• US
• Released:
•  
• Genre:
• Electronic, Non-Music
• Style:
• Comedy
• Tracklist
• A1 Opening 0:24
• A2 Bang 1:00
• A3 Frig 0:26
• A4 Madam Airlines 0:54
• A5 Drag Detergent 0:58
• A6 Zeus 0:17
• A7 Creamy Meamy Lipstick 1:05
• A8 Boeby Beer 1:14
• A9 Praytex Girdles 0:10
• A10 Exception Headache #85 (Air Controller) 1:15
• A11 Grafitti's Grocery 0:20
• A12 Climax Magazine 1:14
• A13 The Dilly 1:10
• A14 The Daily Smirk 4:30
• B1 Little Shaver 1:13
• B2 Logeine Feminine Spray 1:03
• B3 Scrubbadubba Toothpaste 0:58
• B4 Exception Headache #4498 (Hairdresser) 1:05
• B5 Olay Potato Chips 0:52
• B6 Poo Poo Pellets 1:15
• B7 Sorry Sari 0:58
• B8 Loving Cup Coffee 0:16
• B9 Quickie 1:18
• B10 Timeless Watches 1:22
• B11 Protecto Ball 0:39
• B12 Closet Queen 1:24
• B13 Dial-A-Shrink 0:48
• B14 Exception Headache #347 (Lady Bus Driver) 1:07
• B15 The Effing Dolls 0:53
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• GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.