The Artist: Annette Peacock
Annette Peacock was never part of a scene. She was the scene, briefly.
A jazz prodigy, a Moog pioneer, a poet, a provocateur. She collaborated with Albert Ayler and Paul Bley. She toured with Salvador Dalí. She spoke in melody and thought in voltage.
In the early ‘70s, she processed her own voice through a Moog synthesizer - years before most musicians even knew what that was.
The result? A sound too strange for jazz, too raw for soul, too future for pop.
She turned down major labels. She made I’m the One instead.
It didn’t chart.
But that was hardly the point.
The Record: I'm the One (1972)
This album isn’t ahead of its time - it's outside of time.
This isn’t just fusion. It’s seduction by synthesizer. Desire on tape.
The opening track, I’m the One, is part jazz, part performance art. Peacock breathes, growls, loops and whispers over a Moog that writhes beneath her. It’s confrontational, erotic and completely original.
Pony is funk stripped to the bone. A minimal groove, held together by force of attitude.
Blood slows things down - but it doesn’t soften them. The electronics swell and recede. Her voice hovers in some space between invitation and warning.
One Way is a love song from another planet. The melody bends like metal. The harmonies don’t resolve - they mutate.
Throughout, the Moog isn’t just a texture - it’s a partner. It pushes back. Talks back.
There’s no comfort here. Just presence. Power. Possibility.
You don’t hear this record. You fall into it.
Play Now:
🔊 Spotify | Apple Music | YouTube
Start With:
- I’m the One - Moog, menace, magnetism
- Pony - Avant-funk breakdown
- Blood - Raw intimacy