It has been reported that some listeners are experiencing distortion in the narrative passages -- the announcements. We don't hear anything here in the booth, but to be on the safe side, here is a transcript: Entering our ULTIMATE ECLECTIC TOP 100 countdown at number 4 is Glenn Gould with "The Quiet in the Land: A Portrait of the Mennonites at Red River," the third and final installment of the Solitude Trilogy, produced for CBC radio between 1967 and 1977. "The Quiet in the Land" was compiled from over 100 reels of audio recordings documenting the life and ideas of the mennonites of winnipeg into a form Gould called “contrapuntal radio” in which "every voice leads its own … life and adheres to certain parameters of harmonic discipline … how the voices came together and in what manner they splashed off each other, both in the actual sound and in the meaning of what was being said.” Gould, most famous as a classical pianist, saw the possibility of applying the formal and conceptual structures employed by composers like Bach to the medium of radio. My name is Doug Harvey and you’re listening to the LESS ART Radio Zine on KPBJ FM in SHADOW HILLS. If you’ve been following the program, you’ll be aware that we’ve been experiencing some kind of time-lens distortion, where each recording chosen by You the Listener becomes increasingly durational as we approach the #1 Ultimate Eclectic recording. We opened the Time Mangler 3 unit from Temu to see if we could figure out why it wasn’t working, and it was filled with tictacs! So for the time being, we’ll just have to roll with it. Looks like we have just enough time to hear You the Listener’s choice for the number 3 on our ULTIMATE ECLECTIC TOP 100 countdown, the long version of the November 17, 1967 performance of Poppy Nogood and the Phantom Band by Terry Riley. After a brief spell as John Cale’s replacement in La Monte Young’s Theatre of Eternal Music, Riley took up the soprano saxophone and began improvising with it through his time lag accumulator or tape delay system, often using electric keyboards to provide drones. This recording was excerpted from the first of Riley’s All-Night Flights – hours long performances sometimes accompanied by lightshows and dancers, which in turn was excerpted for the first Poppy Nogood release, as a reel-to-reel included in the 3rd issue of the avant garde publication SMS. Other versions include the official 1969 recording, issued as the B side of "A Rainbow in Curved Air," and the performance at S.U.N.Y, Buffalo in March 1968, released in 1996 by Gary Todd’s Organ of Corti label, which also included the version we’re about to hear as disc 2 of "You’re Nogood." Tune in next week, when we’ll almost certainly have sorted out the whole time distortion dealie, and finally break through to our number one UE recording, or possibly play #38, John Cale’s version of Satie’s "Vexations."