(Untitled) is the ninth album by the American rockbandThe Byrds and was released in September 1970 on Columbia Records (see1970 in music). It is a double album, with the first LP featuring live concert recordings from two early 1970 performances in New York City and with the second LP consisting of new studio recordings. The album represented the first official release of any live recordings by the band as well as the first appearance on a Byrds' record of new recruit Skip Battin, who had replaced the band's previous bass player, John York, in late 1969.
The studio album mostly consisted of newly written, self-penned material, including a number of songs that had been composed by band leader Roger McGuinn and Broadwaytheatre directorJacques Levy for a planned country rockmusical that the pair were developing. The production was to have been based on Henrik Ibsen's Peer Gynt and staged under the title of Gene Tryp (an anagram of Ibsen's play), with the narrative taking place in the south-west of America during the mid-19th century. However, plans for the musical fell through and five of the songs that had been intended for Gene Tryp were instead recorded by The Byrds for (Untitled)—although only four appeared in the album's final running order.
Untitled (Selections From 12) is a 1997 promotional-only EP from German band The Notwist which was released exclusively in the United States. Though the release of the EP was primarily to promote the band's then-current album 12, it contains one track from their 1992 second record Nook as well as the non-album cover of Robert Palmer's "Johnny and Mary". The version of "Torture Day" on this EP features the vocals of Cindy Dall.
Untitled was Almond's first album away from Soft Cell and was made concurrently with the latter's The Art of Falling Apart album. Almond collaborated with a number of artists for this album, including Matt Johnson of The The and Anni Hogan. The album was produced by the band, with assistance from Stephen Short (credited as Steeve Short) and Flood.
Jeremy Reed writes in his biography of Almond, The Last Star, that Untitled was "cheap and starkly recorded". He states that Almond received "little support from Phonogram for the Mambas project, the corporate viewing it as non-commercial and a disquieting pointer to the inevitable split that would occur within Soft Cell". An article in Mojo noted that "from the beginning, Almond and Ball had nurtured sideline projects, though only the former's - the 1982 double 12 inch set Untitled - attracted much attention, most of it disapproving." The article mentions that Almond "who preferred to nail a song in one or two takes" stated that it was all "about feel and spontaneity, otherwise it gets too contrived" when accused of singing flat.<ref name"mojo">Paytress, Mark. "We Are The Village Sleaze Preservation Society". Mojo (September 2014): 69.</ref>
Untitled is an outdoor 1977 stainless steel sculpture by American artist Bruce West, installed in Portland, Oregon, in the United States.
Description
Bruce West's Untitled is installed along Southwest 6th Avenue between Washington and Stark streets in Portland's Transit Mall. It was one of eleven works chosen in 1977 to make the corridor "more people oriented and attractive" as part of the Portland Transit Mall Art Project. The stainless steel sculptures is 7 feet (2.1m) tall. It was funded by TriMet and the United States Department of Transportation, and is administered by the Regional Arts & Culture Council.
Untitled is an outdoor 1975 sculpture by Lee Kelly, installed at Louisa Boren Park in Seattle, Washington, in the United States. The abstract, welded Cor-Ten steel piece measures approximately 19 feet (5.8m) x 14 feet (4.3m) x 10 feet (3.0m). It was surveyed and deemed "treatment needed" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in November 1994. The work is part of the Seattle One Percent for Art Collection and administered by the Seattle Arts Commission.
References
Further reading
Rupp, James M. (1992). Art in Seattle's Public Places. Seattle: University of Washington Press. pp.150–151.
The sculpture, which looks like a sea creature, comprises numerous tentacles of varying lengths that stream up and out from a main stem. The stem is mounted on a rectangular base made of Indiana limestone (approx. 83 x 20 x 20 in.) and weighs 400lbs.
A plaque sits nearby mounted on a piece of driftwood stating:
Information
The sculpture, which cost $7,500, was originally located on a limestone bench fifteen feet from its current location. Between 1977 and early 1978 it was moved and installed on a higher base to help prevent vandalism. The museum was renovated in 2007 and the sculpture was moved inside and placed within one of the many fountains (representing the Falls) that were built.
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