Paradox One - Dimensions Of Paradox One (Download)
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- Egg Man
- Childhood's End
- Childhood's End Part 2
- The End Of All Things
- Regeneration
- Urbmon
- Dimensions
- Reality Quake
- Crompton's Divide
- Loomis The Hedonist
- Big Brother
- Spaceship In The Sky
- Out Of The Void V2
- The Moon
- Kinderscenen
- Waves Across The Ocean
- The End Of All Things V2
All tracks written by PHIL JACKSON except for track 14 (Jones/ Burgess) and track 15 (based on a piece by Robert Schumann adapted by Jackson)
MUSICIANS: Phil Jackson: keyboards and everything else with:
IGOR SAVICH, guitar, CONSTANTINE SAVICH, bass and VLAD NEMTINOV, drums on tracks 5 & 7.
SEAN JACKSON, guitar and JIM TRIBBLE, violin on track 13 and RICHARD GORMAN: guitar on track 16
COVER ART is by James Jones
SPECIAL THANKS to Arthur C. Clarke, Robert Sheckley and Robert Silverberg for literary inspiration, and to Rick Ray, Tim Jones, John and Maxine Simms and all at Stone Premonitions, Stuart Hamilton for my original website and support, Klemen Beznikar and Barry Lamb for their interest and support, and to my friend and fellow music writer Thierry Sportouche.
This album is dedicated to the astronomer and musician PAUL FOLEY and to speculative sci-fi giant ROBERT SHECKLEY. Both are sadly missed.
CONTACTS: Please visit www.dimensions-in-sound-and-space.com for loads of current reviews & interviews and please do get in touch with Phil at [email protected]. For a comprehensive interview with Phil conducted by Klemen Beznikar, please follow the link for PSYCHEDELIC BABY magazine: https://www.psychedelicbabymag.com/2024/10/paradox-one-interview-phil-jackson.html
DIMENSIONS OF PARADOX ONE
To commemorate the 25th anniversary of pArAdOx OnE, Phil Jackson, the man behind the project, has selected some tracks and some opinions on the music to give listeners 25 years on some idea of what to expect. My grateful thanks to Tim Jones for his help and encouragement and to Barry Lamb for releasing this compilation on his Falling A Records. Also, to James Jones for the stunning artwork. Great appreciation and heartfelt thanks also to Ohio guitarist Rick Ray who released my first four albums on his Neurosis label and used to sell them at his gigs; I still have the $5 note from the first sale as proof!
I asked Rick for his reflections and this is what he said, “Upon first hearing Paradox One music it put a big smile on my face. Kept on listening to it and eventually released Paradox One on my label Neurosis Records. As time went on the music would get better and better. Neurosis Records eventually released three Paradox One albums, (four actually!) my favourite being Escalators To Mars; the music got a lot of airplay in the States and Canada. Love this music!”
Some opinions to start with: Spacey ambient electro music with prog rock influences, fine melodies, atmospheric songs; amongst the best of contemporary electronic music; strange electronically symphonic landscapes, diverse and profound music that NASA should play on their Mars search; couldn’t get the exquisite music out of my head.” The great thing about making music is the images that are conjured in the listener’s head; it’s a rarified kind of magic, begging the question – where does it come from? To be compared to Lord, Emerson, Crimson, Hawkwind, Holst etc! For Robert Urban to say “Phil’s intuitive mastery of analogue synth-art-rock should get him be-knighted as a living national treasure in the country where prog rock started.” was quite overwhelming. And musician Larry Vilchek said, “I’d forgotten how cool a well-tempered synth could sound.” Now let’s not get carried away here: the praise was not universal; some just did not get it, but to my tremendous relief the majority of reviewers did!
About the first Paradox One album REALITY QUAKE: (2000) Markus Weis on DURP.COM said “spacey ambient electro music with prog rock influences (wide keyboard carpets), fine melodies, highly atmospheric songs, cool stuff.”; in PROGRESSION magazine Bill Knispel said, “an impressive effort that should rate amongst the best of contemporary electronic music.”
On ZEITGEIST: Stuart Hamilton: “Judicious use of sound samples, evocative mood swings; if you are in the least bit musically adventurous there is much to enjoy here.” (Influences like Emerson and Tangerine Dream were picked up).
As for second album DIMENSION OF MIRACLES (2002): New York musician and record producer Robert Urban said: “Phil Jackson is a modern master of classic analogue synth tones, getting a warm sound, with effectively programmed drum machines; great bass lines, contemplative piano, laid back electric piano solos and a classic B-3 sound on overdrive.” (ELP, King Crimson, Pink Floyd, Holst, Fred Frith).
This from BABYBLAUE: “Meditative synths, contemplative piano, organ and guitar solos to electronic rhythms; sad, beautiful, spherical melodies, experimental, joyful, bombastic church organ chords, original, varied and energising.” (Hawkwind and Keith Emerson were suggested touchpoints).
AURAL INNOVATIONS said, “Spacey and symphonic ELP-styled prog rock with great melodies and skilful electronic percussion.”
ZEITGEIST said “a fine gel of prog fusion influences with spacey ambient electro”;
NO WARNING reckoned, “Musically situated half way between Keith Emerson and Krautrock with spacey themes that evoke Hawkwind”.
ESCALATORS TO MARS (2003) now: Dave Hughes in MODERN DANCE #47: “quality of recording and production spot on; analogue synths blurt, some quite beautifully; others more reflectively. Phil obviously knows where his synthesiser wants to go.”
AURAL INNOVATIONS said “in freaky alien space territory, and the realm of prog rock; cool vocal fx, contrasting soothing acoustic guitars and angelic then grooving jazz keyboards”. (Deep Purple and Hawkwind as suggested influences);
Vitaly Menshikov in Progressor said, “These strange electronically symphonic landscapes are the best Martian music I’ve heard: a rich, spacey, symphonic palette with colourful passage and synth solos; electric and acoustic guitars here and there effectively interwoven with synths, an excellently programmed drum machine; diverse and profound music”;
ASTRO ZOMBIE: next: “Ambient space music in the vein of Hawkwind; it could have been the sound track for Star Fleet or Terrahawks – out of this world!” Also, “This man is a lunatic, but a talented one!” – I’ll take that as a compliment!
ALTERNATE REALITY (2004): Maria Weeks in SPACE JUNKIES said, “an interesting mix of saucy drums and danceable keys, a one-man band that creates music that comes from joy and experimentation; the guitar piece ‘Lisette’ shows Phil’s multi-talented musical abilities.”;
Jem Jedrzejewski in HAIRLESS HEART HERALD commented on “the Deep Purple-esque keyboards; ‘The End of All Things’ recalls Manfred Mann’s Earth Band “Solar Fire” era; atmospheric music with ACE keyboard playing.”
After all the reviewers’ comments, the ones that give me as big a lump in my throat are those of fans- I wonder where they went: New Zealander DON WILLIAMS sent me many messages of support and looked forward to each release; he was so chuffed to be name-checked on one of my CDs, and wrote to me to say he had Paradox One listening evenings (shucks!).
KATHY BERNSTEIN loved ESCALATORS TO MARS calling it “wonderful”; she liked the acoustic guitar and vocal additions following the first two albums and said that these “work wonderfully well with synths”. Of ‘Wake-Up Call’ Kathy said, “I couldn’t get the song out of my head; it’s exquisite; and the synths give off such vibrational energy.” INVENTING STARS was a private release:
AURAL INNOVATIONS (Charles Van de Kree): “There are several noteworthy tracks that scud the boundaries of space rock, neo-psychedelia and prog rock; others invoke a quasi-folk dimension and symphonic jazz textures.” (Jean-Michel Jarre, Michael Garrison. 90s Hawkwind);
JOURNAL OF THE CLASSIC ROCK SOCIETY: “Has a Tangerine Dream like appeal to keyboard fans who appreciate mysterious and atmospheric music”;
LARRY VILCHEK (ROOT DECO): “Some of the music sounds like a suite cooked up by Christian Vander of Magma, and the quieter bits reminded me of Rare Bird and Keith Emerson. Overall, it could be an icy soundtrack in search of a cool French sci-fi film”; PAUL FOLEY (sadly departed musician and astronomer) commented on “the great improvisational keys work and broad range of textures and dynamics, with brave expressions of vulnerability.”;
DON CAMPAU of NO PIGEONHOLES RADIO: “I dig the new album, a fine production and a top-notch release.”
GEORGE at EUROPEAN PROGRESSIVE ROCK REVIEWS: “Influenced by sci-fi, the universe and life, the music ranges from the sentimental new age direction of the two-part ‘Invisible’. the heartfelt vocals perfectly complimenting the piano, flute and strings and winds up in Tangerine Dream territory with an unmistakeable beat, excitement and energy that is trademark Edgar Froese. The presence of Flight 09 in places offers a heavier direction and adds bite.” (85%) My grateful thanks must also go to George for such an excellent rating for my first album REALITY QUAKE, which was sent out into the world with some trepidation!
I do hope that listeners 25 years on will find something that strikes a chord with them.
MUSICIANS: Phil Jackson: keyboards and everything else with:
IGOR SAVICH, guitar, CONSTANTINE SAVICH, bass and VLAD NEMTINOV, drums on tracks 5 & 7.
SEAN JACKSON, guitar and JIM TRIBBLE, violin on track 13 and RICHARD GORMAN: guitar on track 16
COVER ART is by James Jones
SPECIAL THANKS to Arthur C. Clarke, Robert Sheckley and Robert Silverberg for literary inspiration, and to Rick Ray, Tim Jones, John and Maxine Simms and all at Stone Premonitions, Stuart Hamilton for my original website and support, Klemen Beznikar and Barry Lamb for their interest and support, and to my friend and fellow music writer Thierry Sportouche.
This album is dedicated to the astronomer and musician PAUL FOLEY and to speculative sci-fi giant ROBERT SHECKLEY. Both are sadly missed.
CONTACTS: Please visit www.dimensions-in-sound-and-space.com for loads of current reviews & interviews and please do get in touch with Phil at [email protected]. For a comprehensive interview with Phil conducted by Klemen Beznikar, please follow the link for PSYCHEDELIC BABY magazine: https://www.psychedelicbabymag.com/2024/10/paradox-one-interview-phil-jackson.html
DIMENSIONS OF PARADOX ONE
To commemorate the 25th anniversary of pArAdOx OnE, Phil Jackson, the man behind the project, has selected some tracks and some opinions on the music to give listeners 25 years on some idea of what to expect. My grateful thanks to Tim Jones for his help and encouragement and to Barry Lamb for releasing this compilation on his Falling A Records. Also, to James Jones for the stunning artwork. Great appreciation and heartfelt thanks also to Ohio guitarist Rick Ray who released my first four albums on his Neurosis label and used to sell them at his gigs; I still have the $5 note from the first sale as proof!
I asked Rick for his reflections and this is what he said, “Upon first hearing Paradox One music it put a big smile on my face. Kept on listening to it and eventually released Paradox One on my label Neurosis Records. As time went on the music would get better and better. Neurosis Records eventually released three Paradox One albums, (four actually!) my favourite being Escalators To Mars; the music got a lot of airplay in the States and Canada. Love this music!”
Some opinions to start with: Spacey ambient electro music with prog rock influences, fine melodies, atmospheric songs; amongst the best of contemporary electronic music; strange electronically symphonic landscapes, diverse and profound music that NASA should play on their Mars search; couldn’t get the exquisite music out of my head.” The great thing about making music is the images that are conjured in the listener’s head; it’s a rarified kind of magic, begging the question – where does it come from? To be compared to Lord, Emerson, Crimson, Hawkwind, Holst etc! For Robert Urban to say “Phil’s intuitive mastery of analogue synth-art-rock should get him be-knighted as a living national treasure in the country where prog rock started.” was quite overwhelming. And musician Larry Vilchek said, “I’d forgotten how cool a well-tempered synth could sound.” Now let’s not get carried away here: the praise was not universal; some just did not get it, but to my tremendous relief the majority of reviewers did!
About the first Paradox One album REALITY QUAKE: (2000) Markus Weis on DURP.COM said “spacey ambient electro music with prog rock influences (wide keyboard carpets), fine melodies, highly atmospheric songs, cool stuff.”; in PROGRESSION magazine Bill Knispel said, “an impressive effort that should rate amongst the best of contemporary electronic music.”
On ZEITGEIST: Stuart Hamilton: “Judicious use of sound samples, evocative mood swings; if you are in the least bit musically adventurous there is much to enjoy here.” (Influences like Emerson and Tangerine Dream were picked up).
As for second album DIMENSION OF MIRACLES (2002): New York musician and record producer Robert Urban said: “Phil Jackson is a modern master of classic analogue synth tones, getting a warm sound, with effectively programmed drum machines; great bass lines, contemplative piano, laid back electric piano solos and a classic B-3 sound on overdrive.” (ELP, King Crimson, Pink Floyd, Holst, Fred Frith).
This from BABYBLAUE: “Meditative synths, contemplative piano, organ and guitar solos to electronic rhythms; sad, beautiful, spherical melodies, experimental, joyful, bombastic church organ chords, original, varied and energising.” (Hawkwind and Keith Emerson were suggested touchpoints).
AURAL INNOVATIONS said, “Spacey and symphonic ELP-styled prog rock with great melodies and skilful electronic percussion.”
ZEITGEIST said “a fine gel of prog fusion influences with spacey ambient electro”;
NO WARNING reckoned, “Musically situated half way between Keith Emerson and Krautrock with spacey themes that evoke Hawkwind”.
ESCALATORS TO MARS (2003) now: Dave Hughes in MODERN DANCE #47: “quality of recording and production spot on; analogue synths blurt, some quite beautifully; others more reflectively. Phil obviously knows where his synthesiser wants to go.”
AURAL INNOVATIONS said “in freaky alien space territory, and the realm of prog rock; cool vocal fx, contrasting soothing acoustic guitars and angelic then grooving jazz keyboards”. (Deep Purple and Hawkwind as suggested influences);
Vitaly Menshikov in Progressor said, “These strange electronically symphonic landscapes are the best Martian music I’ve heard: a rich, spacey, symphonic palette with colourful passage and synth solos; electric and acoustic guitars here and there effectively interwoven with synths, an excellently programmed drum machine; diverse and profound music”;
ASTRO ZOMBIE: next: “Ambient space music in the vein of Hawkwind; it could have been the sound track for Star Fleet or Terrahawks – out of this world!” Also, “This man is a lunatic, but a talented one!” – I’ll take that as a compliment!
ALTERNATE REALITY (2004): Maria Weeks in SPACE JUNKIES said, “an interesting mix of saucy drums and danceable keys, a one-man band that creates music that comes from joy and experimentation; the guitar piece ‘Lisette’ shows Phil’s multi-talented musical abilities.”;
Jem Jedrzejewski in HAIRLESS HEART HERALD commented on “the Deep Purple-esque keyboards; ‘The End of All Things’ recalls Manfred Mann’s Earth Band “Solar Fire” era; atmospheric music with ACE keyboard playing.”
After all the reviewers’ comments, the ones that give me as big a lump in my throat are those of fans- I wonder where they went: New Zealander DON WILLIAMS sent me many messages of support and looked forward to each release; he was so chuffed to be name-checked on one of my CDs, and wrote to me to say he had Paradox One listening evenings (shucks!).
KATHY BERNSTEIN loved ESCALATORS TO MARS calling it “wonderful”; she liked the acoustic guitar and vocal additions following the first two albums and said that these “work wonderfully well with synths”. Of ‘Wake-Up Call’ Kathy said, “I couldn’t get the song out of my head; it’s exquisite; and the synths give off such vibrational energy.” INVENTING STARS was a private release:
AURAL INNOVATIONS (Charles Van de Kree): “There are several noteworthy tracks that scud the boundaries of space rock, neo-psychedelia and prog rock; others invoke a quasi-folk dimension and symphonic jazz textures.” (Jean-Michel Jarre, Michael Garrison. 90s Hawkwind);
JOURNAL OF THE CLASSIC ROCK SOCIETY: “Has a Tangerine Dream like appeal to keyboard fans who appreciate mysterious and atmospheric music”;
LARRY VILCHEK (ROOT DECO): “Some of the music sounds like a suite cooked up by Christian Vander of Magma, and the quieter bits reminded me of Rare Bird and Keith Emerson. Overall, it could be an icy soundtrack in search of a cool French sci-fi film”; PAUL FOLEY (sadly departed musician and astronomer) commented on “the great improvisational keys work and broad range of textures and dynamics, with brave expressions of vulnerability.”;
DON CAMPAU of NO PIGEONHOLES RADIO: “I dig the new album, a fine production and a top-notch release.”
GEORGE at EUROPEAN PROGRESSIVE ROCK REVIEWS: “Influenced by sci-fi, the universe and life, the music ranges from the sentimental new age direction of the two-part ‘Invisible’. the heartfelt vocals perfectly complimenting the piano, flute and strings and winds up in Tangerine Dream territory with an unmistakeable beat, excitement and energy that is trademark Edgar Froese. The presence of Flight 09 in places offers a heavier direction and adds bite.” (85%) My grateful thanks must also go to George for such an excellent rating for my first album REALITY QUAKE, which was sent out into the world with some trepidation!
I do hope that listeners 25 years on will find something that strikes a chord with them.