Barry first found music when he borrowed his sister's record collection when he was about eight and was hooked. When Caroline started it was a new beginning, and he listened to all the stations, but Caroline was his favourite by far. Later he became a singer in a band, then started doing discos when he was 18. He joined Caroline in 1977, touring the country with the Caroline Roadshow for 10 years, having great fun. Barry helped with tender trips and worked on the Ross Revenge in '84 and '85. ...
Manage episode 202177669 series 1301466
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Due to the political climate in Soviet Russia of the day, Yevgeny Murzin was forced to build his synthesizer in secret with little access to electronic parts. Over next two decades (pre and post war), the ANS as it was known, was a self-financed, largely secret labour of love; Murzin had to work on it in his spare time over two decades with help from a like-minded, tight-knit circle of composers and technicians. Murzin finally completed construction of the ANS in 1958 and it was subsequently used by a number of pioneering 20th Century Russian composers such as Stanislav Kreichi, Alfred Schnittke, Edison Denisov, Sofia Gubaidulina and Edward Artemiev. The unearthly tones of the ANS were perfectly suited to the era of Soviet space exploration, and became the soundtrack instrument of choice for a series of classic Russian sci-fi films, the most famous being Andrei Tarkovsky’s Solaris released in 1972. Meet those who knew Murzin and saved his instrument from obscurity: Eduard Artemiev (celebrated soundtrack composer and Tarkovsky collaborator), Stanislav Kreichi (composer and de facto guardian of the ANS), Andrei Smirnov (Theremin Institute Moscow). Other synthesiser pioneers contribute including Suzanne Ciani (US composer) and Goldfrapp’s Will Gregory (Russian synth collector) as well as current synthesiser aficionados Kaitlyn Aurelia Smith. Presented by keyboard player and long-standing Russophile, Jon Ouin. Image: Yevgeny Murzin