72. Occasional Works (2003-2004)

An anthology of experimental and funny works. MPB (musica popular brasileira) is deconstructed and hilariously reassembled in “Oulipian Ipanemas” and “Bossa Blotto”. Experimental poets are remembered in “Vocabulary Requiem for Nicholas Zurbrugg” and “Jas Rhythms”. Corruscated electronic sound textures are explored in “And Pterodactyls Danced in Dewsbury”, the soundtracks for Elizabeth Block's films, and “Rule Gnu...” an improvisation with a wildly malfunctioning electronic keyboard. Wild improvisation with Catherine Schieve on Ecuadorian shaman's drum is also featured in “Shaman's Drum and Beat-Sliced Samples”, where the techno technique of beat slicing is taken to extremes.

67. William Gillespie and Warren Burt: The WEFT Improvs (2002)

Two mutants in a public radio studio in the middle of the American mid-West. Experimental poet William Gillespie (spinelessbooks.com) and Burt improvise “Smooth Jazz” with samples and, for everyone who ever suffered through a radio pledge drive, here's a tonic for your ears: a live performance of cut up and sampled pledge drive ads performed, that's right, as part of a radio pledge drive. Very silly.

60. Antipodean Collection: A Laptop Symphony (2000)

A suite of nine live computer pieces, performed on tour by Burt in late 2000. Includes “Looking Towards Antarctica” the piece that Merzbow fans find too aggressive (!), and “Some Physical Virtual Sensuality”, Burt's sarcastic take on laptop culture. Also the gentle beauty of “Debussy Cloud” and the sampled duck quacks of “Fractal Follies” where, conceptually anyway, Benoit Mandelbrot meets Mel Blanc.

50. A 90s Miscellany

Fourteen short pieces, mostly made for mail art and collective sound art projects. Includes “With Proper Regard for Copyright”, Burt's 1996 plunderphonic collaboration with Tim Kreger, and “A Little Lullaby for Lev and Clara, Reunited in Heaven”, where Burt plays “der Russian perfesser”, in an homage to Leon Theremin, who was one of the folks who got this whole thing started.

47. Randelli's Assortment (1994-99) ( TWO CD )

In their 20 year collaboration, Burt wrote hours of satirical music for the video art and multimedia projects of Robert Randall and Frank Bendinelli. Drawing on his experiences in the seminal California incompetence band, Fatty Acid, Burt creates a series of laughing soundscapes, where the boundary between bad taste and stupidity is frequently transgressed with almost adolescent glee. Includes the never before broadcast computer-voice science-fiction radio-play “Sexy Space Romp.”

40. Texts and Music 1987-1998 ( TWO CD )

Working with both human and machine poets, Burt here sets texts and performances by humans Amanda Stewart, Gertrude Stein, Elizabeth Block, Allyn Brodsky and Brigid Burke, Nossis, Ptolemy, Plato, etc. and cyber-authors Racter and Eliza. Performers include Howard Stanley, Susie Fraser, bernie m janssen, Ernie Althoff, and a host of others. This wide ranging collection of texts and settings is almost an encyclopaedia of ways the contemporary composer can deal with words.

19. From the Dreambooks and Lo-Fi Proposals (1980 & 86)

“The thing about Warren Burt is, he can take any thin thread of trashy material, and make a piece out of it.” -Ron Robboy. The trashy materials here are Dreambooks, gambling charts formerly used in the numbers racket in the US. Using these as a source of random information, Burt makes one of the earliest Synclavier pieces, basing each highly cyclical piece on the bogus numerology of the Dreambooks. “Lo Fi Proposals”, on the other hand, continues Burt's love affair with cheap technology and it's defects as a source for art. Here the mighty Casio SK1 toy sampler is put through its paces in a series of environmental, political, orchestral, and structural miniatures.

18. Lo-Fi Melodic Electronics (1979-81)

Low technology, low humour, low volume characterize these pieces. “Sir Gawain and the Green Knight” is the sound track for an early performance by New York cross-cultural music legend Ned Sublette. It's a kind of automated medieval music that nods to minimalism. “Dr. Burt's Microtonal Disco-Fat Arkestra” is three badly played pop tunes (so bad they're really baaad!) in the style of the legendary California incompetence ensemble Fatty Acid (that Burt helped found)- one of the earliest pieces made with the Fairlight CMI; and “Leather Disco” is an attempt to out-disco Giorgio Moroder with a table full of electronic toys and cassette recorders.

7. Nighthawk, Part 2: 3 Poems of Reassemblage (1975)

Three classic lo-tech experimental poetry pieces. Includes "Frou-Frou Flamingo", Burt's first cassette recorder piece, the dark gangland rhythms of "The Alligator Lords," and the vocal multiphonics and cut up pulp literature of "The Smirking Haddock." Cut-up poetry, toy percussion, cheap electronics - an essential piece from the 1970s sound poetry movement.

1. Trilobites and Aardvarks (1969-71)

Burt's first electronic music work. From the rampaging collage of "The Trilobite Trilogy Blues" through the barrage of roaring, whining Formula-One Grand Prix like sound of "Sleiden Sound" to the chopped up sound of 19 people reading 19 th century pornography in "The Scarlet Aardvark Strikes Back", this highly energetic and exuberant piece expresses Burt's joy at finding a medium which suited him perfectly. Made with the now historical CEMS synthesizer system designed by Joel Chadabe, early synthesizer fans will love this.