| Author |  Topic  | | | Cult_Of_Frank
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Canada
11669 Posts |  Posted - 03/21/2006 : fourteen:37:04  
| | I've just finished compiling my "Todo" list for FB.Net. It's nearing 40 items and many are general. That's a lot for one person and I can but thank you lot guys that there'southward not waaaay more to practise on there. One of the items that's fairly high on the list is the neglected bios. Not but have I not updated several in some time, non only did we lose the original FB bio in a server switch, but I still haven't gotten around to the very reason I got involved in this site to begin with: a biography of Eric Drew Feldman. So, here'south where you come in. Scour the net, books, magazines, you name it. Observe facts info, tidbits, any, and mail it hither (with references, please, or hearsay marked as such). I'm looking specifically for stuff on Eric Drew Feldman, Lyle Workman, and Nick Vincent. Why should you lot? Well, bated from helping out your favourite site named frankblack.net, Josh has given me several copies of the US Version of Fool The World to requite abroad. I figured that it was fitting to give away a few of these oral histories of the Pixies to those helping us construct the oral history of Frank Black'due south solo career. So, if you lot'd like to win yourself a re-create of Fool The World, but go dig upwardly facts and postal service them here. You're entered once for every item you post - don't exist afraid to put multiple items in a single mail service or even put them together with sentences. I'll weigh them accordingly and make a random draw. FB.Net staff are welcome to enter, so please, everyone, assistance me collect a biography on these important players in FB's world. I'll be giving away the books, if all goes well, mid-April, probably only after Podcast #5. Thank you! And expert luck.
 "If we hit that bullseye, the rest of the dominos will autumn similar a firm of cards. Checkmate." | | | kathryn
~ Selkie Helpmate ~
Belgium
15320 Posts | Posted - 03/21/2006 : 16:fifteen:43
| | I'll start with EDF because I dug how last dark Frank referred to him equally "Ricky" and because at a Catholics gig in Montreal, Frank joked that he never refers to him as anything other than "ericdrewfeldman" really fast! Born in 1956, Eric Drew Feldman is an American keyboard and bass guitar player. Feldman has worked with Captain Beefheart, Pere Ubu, Frank Blackness, The Polyphonic Spree, Charlotte Hatherley and PJ Harvey. He joined Captain Beefheart'due south Magic Ring in 1976. He played keyboard and bass.Of Don Van Vliet/ Helm Beefheart's way of working (i.e. band members had to capture on pad or record his musical ideas, then after instrumental parts had been created, the band members had to play them exactly as equanimous) EDF said, "I never had a problem with that. I felt like I was getting parts dictated to me from 1 of the best, specially when they were designed for me. You lot only experience similar a model in a fashion show wearing a really overnice dress, I gauge." Feldman worked on the acclaimed trio of Beefheart albums in the late 1970s and early on 1980s that turned out to exist the final of the Helm's musical career, Shiny Beast (Bat Chain Puller) (1978), Md at the Radar Station (1980), and Ice Cream for Crow (1982). Later working with The Residents' Snakefinger, in 1988 Feldman was drafted in to replace departing Pere Ubu keyboard thespian Allen Ravenstine. He worked on their anthology Worlds in Collision (1991). Feldman met Charles in 1991, when Pere Ubu were the Pixies' opening act. He played keyboards on the Pixies' Trompe le Monde and toured with the band. According to aleceiffel, it was Gil Norton who suggested to Frank that he piece of work with
EDF, who ended upward co-producing Frank on his first solo endeavour. EDF too worked on Headache and TOTY and toured with FB+TheCs and helped record DITS. In 1994 EDF applied for a job with PJ Harvey, whom he knew was putting together a band. He played on To Bring You My Love (1995) and Is This Want? (1998), and has regularly toured with her. His band pocketknife & fORK has opened for her. (world wide web.knifeandforkmusic.com -- likewise check out his fan site world wide web.northernbrewer.com/rakewell/edf.html ) Of pocketknife & fORK, Frank has said: ""knife & fORK is music from a deep place, from the groin, from the belly, from behind a cage of ribs." In 1998, EDF produced Jesus Hits Like the Atom Bomb (1998) by Dallas grouping Tripping Daisy. He later produced Together Nosotros're Heavy (2004) past the Polyphonic Spree, a 24-fellow member troupe containing 3 ex-members of Tripping Daisy. EDF produced:
(work/format/characterization) Night of Desirable Objects (LP) Ralph Records�
Frank Blackness (CD) Elektra�
Hang On To Your Ego (12") 4AD�
Headache (CD5") 4AD� Teenager Of The Twelvemonth (CD) Elektra�
Teenager Of The Year (CD) 4AD�
In A Bar, Under The Ocean (CD) Island Records (UK) �
In A Bar, Nether The Bounding main (LP) Island Records (UK)�
Niggling Arithmetics (CD5") BANG! Music�
Little Arithmetic (CD5") Isle Records (UK)
Roses (7") Island Records (Britain)
Theme From Turnpike (CD5") Blindside! Music�
Theme From Turnpike (CD5") Island Records (UK)
Theme From Turnpike (10") Island Records (UK)
Grey Volition Fade (LP) Double Dragon Music�
Summer (seven") Double Dragon Music�
Bastardo (7") Double Dragon Music� Co-produced:
Los Angeles (CD5") Mix:
Grey Will Fade (LP) Double Dragon Music� Appears On:
Water ice Foam For Crow (CD) Virgin Records (Britain)�
Planet Of Sound (12") 4AD�
Hang On To Your Ego (12") 4AD�
The Black Sessions Alive In Paris Plus The Kitchen Tapes (CD)
That Was My Veil (CD5")
Is This Desire? (CD) Tracks Appear On:
Beets - A Collection Of Jazz Songs (CD) Elemental T.E.C. Tones�
Lounge-A-Palooza (CD) Hollywood Records� In March 06, a Stephen Yerkey album produced past EDF was released.
http://worlds-off-white.net/stephen_yerkey/ Longish interview with EDF on Beefheart:
www.freewebs.com/teejo/contend/ericsaga.html Lastly, EDF between his two favorite musical collaborators:  world wide web.katsiris.com/gallery/albums/2002/Portland/normal_DSCF0068.JPG" border="0">
I got some sky in my head
|
Edited by - kathryn on 03/21/2006 16:29:35 |  | | | Cult_Of_Frank
= Black Noise Maker =
Canada
11669 Posts | | | Carl
- A 'Fifth' Catholic -
Ireland
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U.k.
4903 Posts | Posted - 03/22/2006 : 02:10:35
| | Carl, that was taken at Madame Tussaud'south. The simply ane who's real is Frank.  http://www.nickvincent.com/ Nick Vincent was born in Harvey, Il., a suburb of Chicago. Both of his parents,
Bob Vincent and June Vincent, were band singers during the 1940s. His father sang on the
hit record �You Call Everybody Darling� past Al Trace. After living for 3 years in Lake Tahoe,
NV.,� the Vincent family moved to California in 1965. Nick grew up in the west San Fernando Valley,
and immersed himself in everything from top twoscore radio to jazz to evidence music.
Wanting at historic period 10 to start playing drums, his begetter took old acquaintance
Buddy Rich up on returning a favor. Nick�due south first kit was a Fibes fix from Buddy.
Presently he started an invaluable human relationship with instructor Freddie Gruber.
�������
During high school Nick was writing arrangements for the jazz and marching bands,
too as playing in many groups in and out of school. He attended University of Northward
Texas from 1975-1978, studying limerick and arranging/orchestration every bit well as drums and percussion. He came back to Los Angeles in �78 and dove into session piece of work and touring. Artists Nick has recorded / performed with include Hilary Duff, Frank Black, Hanson,
Art Garfunkel, Brian Wilson, Frank Sinatra, Sparklehorse, Donny and Marie Osmond,
Ann-Margret, Carole King, Holly Vincent, Roger Miller, Lionel Richie, and John Fogerty.
He has been a fellow member of the following bands:� Tito & Tarantula, the Surf Punks,
Chuck East. Weiss & The Goddam Liars,� and Ian McLagan�s Bump Ring.
�������
Nick has produced records, including �Pistolero,� �Canis familiaris In The Sand,�
�Black Letter Days,� and �Evidence Me Your Tears� by Frank Blackness,
and �Woman In The Moon� by Retrieve Oliver.
Nick was the house drummer for the Idiot box talk show �Donny & Marie�
He has composed for Television set and film, including "Donny & Marie," �Roseanne,�
�Can Loving cup,� and �Full House.� Songs of Nick's take been heard in TV shows such as "The Wire,"
"The Sheild," "Vegas," "CSI," and "One Tree Loma," and films like "Just A Niggling Harmless Sex"
and "Somebody To Love." http://world wide web.nickvincent.com/Bio2.htm
http://www.nickvincent.com/Credits1.htm (i already have the book, then delight don't include me) | | | | | fbc
-= Modulator =-
United kingdom
4903 Posts | Posted - 03/22/2006 : 02:31:00
| http://en.wikipedia.org/wiki/Tony_Maimone
He was a fellow member of Pere Ubu from the mid-1970s to the early 1990'due south, often playing with drummer Scott Krauss; the duo were dubbed by a critic: "ane of the cracking unheralded rhythm sections in all of rock."
Maimone currently resides in Brooklyn, New York, where owns and operates Studio G, a recording studio and rehearsal infinite. His partner in the venture is Joel Hamilton.http://www.studiogbrooklyn.com/
Studio G Brooklyn is a comfortable musicians clubhouse built by Musician/engineer/producers Tony Maimone and Joel Hamilton. A true rock veteran Tony has played with an aristocracy list of bands and artists including Pere Ubu, They Might Be Giants, Frank Black, Drumhead, Lucinda Williams, Bob Mould, Poka Poka, UV Ray, Book of Knots, Tinker, Brooklyn Nights, and countless others. In add-on to his ain musical pursuits, Tony owns and operates Studio G, Brooklyn, giving life to endless bands and artists who put their trust in the studio'due south capable easily. http://www.splendidezine.com/departments/pq/tonymaimone.html
Tony Maimone (Pere Ubu, Volume of Knots, many more) graces the POINTLESS QUESTIONS http://www.wburg.com/0103/context/maimone.html
Route 58 to 80 and Across the Bridge
The Musical Journey of Tony Maimone  | | | | | vilainde
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French republic
2715 Posts | Posted - 03/22/2006 : 07:xiv:35
| | From lyleworkman.com :) Lyle's musical career began manner dorsum as a ten-year-erstwhile who savage in love with the Beatles and using his ear, taught himself to play along with the records. His guitar playing evolved by imitating some of the best: Acts such equally The Who, Led Zeppelin and Jimi Hendrix. He studied music in college and was interested in many other forms; Jazz, Folk, Dejection, Classical, and the myriad of new music created as a result of these styles colliding, best exemplified in the 70s. Lyle taught guitar lessons for six in the San Francisco Bay Area. Touring and Alive Functioning: By his early twenties, he joined the Sacramento band, Bourgeois Tagg and recorded ii records for Isle records, including Yo-Yo a produced past Todd Rundgren. Lyle co-wrote and recorded the Conservative Tagg hit single, "I Don't Mind at All," that launched the grouping onto the international stage, with tours in Europe and the U.S. and television performances on The Tonight Evidence, American Bandstand, Tiptop of the Pops, and MTV. Lyle was enlisted as a member of Todd Rundgren'southward grouping, recording Near Human (1989) and Second Wind (1991). During this period Lyle dives deeper into recording gear, instrumentation, and production. Lyle recorded with Jellyfish on the creatively monumental Spilt Milk (1993), and from 94 to 98 began a string of records and tours with Pixies founder and artistic force Frank Blackness. Some of the recordings include Teenager of the Year and Frank Black and the Catholics. A attestation to Lyle's diversity, he began a creative endeavor with Jazz legend, drummer Tony Williams, co-writing music and discussing plans for a rock band and subsequent tape, only it never materialized due to Tony's sudden and untimely passing. Lyle, nevertheless, contributed a song on Tony's tape, Wilderness (1996), working aslope Tony, Herbie Hancock and Stanley Clarke. Recruited past Brook for a cord of earth tours, Lyle retook to the road from 1999 to 2001, performing at major European festivals and on television shows such as Saturday Dark Live, The Tonight Show, Belatedly Night with Conan O'Brien, and American Music Awards. Session guitarist: Lyle moved to Los Angeles in 1996 and became sought after as a studio musician. In the years to follow he recorded with, among others, Sheryl Crow, Shakira, Dr. Dre, They Might Be Giants, and Lisa Marie Presley, as well as Grammy wining records by Steven Curtis Chapman, All Things New, and the Hank Williams tribute, Timeless. Soundtracks and Composing: Lyle began writing commercial music for television, radio, and documentary scores, somewhen making the jump to feature flick, the first existence Made, written and directed past Jon Favreau; this collaboration led to Jon'south television receiver show DINNER FOR FIVE, featuring Lyle's Django Reinhardt inspired music. Working for film composers Edward Shearmur, Theodore Shapiro and Christopher Beck, Lyle'southward distinctive guitar piece of work can be heard on film scores including SKELETON Central, TWO FOR THE MONEY, IN GOOD COMPANY, STARSKY AND HUTCH, OLD SCHOOL and CHARLIE'Southward ANGELS (I and 2). Lyle co-produced and engineered the grouping Nail Oral fissure for the soundtrack of Mike Myers' Cat IN THE Chapeau for a remake of The Beatles' Getting Better. He faithfully recreated many classic songs for Konami game, Karaoke Revolution for Sony Playstation II. Lyle wrote additional music for the Volition Ferrell film, KICKING AND SCREAMING. One of its producers, Judd Apatow, brought Lyle on board to compose music for his directorial debut, Universal Pictures' THE 40 YEAR Old VIRGIN. Solo projects: His solo debut CD, Majestic Passages (1996), recorded in a spare bedroom, received international acclamation and was dubbed "possibly the best guitar album of the year" by Guitar Store Magazine. Having been intrigued with recording since his teens, Lyle'south newly upgraded recording studio gave birth to Lyle's second solo CD: Tabula Rasa (2000), some other instrumental project highlighting his growing interest in the facets of production, engineering, arranging and composing. Lyle is currently working towards completing his next CD. PS: I have LW'due south both albums, if it can assistance. -----
 I joined the Cult of Le Cigaw Volanttt |
Edited past - Frog in the Sand on 03/22/2006 07:xix:04 | | | | | fbc
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6370 Posts | Posted - 03/23/2006 : 07:thirty:48
| quote:
Originally posted by Cult_Of_Frank If nobody wants to accept the books I may have to find another manner to give them away. :) Actually, I think Tre could probably use ane if she doesn't accept it already, lots of quotes in there...
Practice I take this equally a hint? as if I didn't have enough to practise... [insert appropriate smiley] Eric Drew Feldman:
more for interest than anything from: http://www.nadir-novelties.internet/ubu/edf.htm And Leaving Ubu? What happened? I assume that you went on from Ubu to playing with Frank Blackness, merely I'grand non sure of the chronology. Yeah, information technology was Pixies then Frank Black. It all had to practice with working with Gil Norton, earlier that while playing with Ubu we supported the Pixies on some shows in London. I met Charles, didn't know who he was, and saw his ring. That was like one of those things, it was a scrap of an heart opener. It had nothing to do with anything I'd ever listened to or idea I cared about---I mean, on the the surface. But something about it was strongly affecting, woke up something in me that had been gone for a long time, a sure simplicity and intelligence. It was still cerebral, only in a totally unlike fashion. And after that we merely talked a couple of times and he ended up request me if I wanted to work with him on making a solo record. At the suggestion of Gil Norton I believe.
And in the meantime I got invited to play on a Pixies tape. They were only going to start working on what turned out to be their last record, and I considered that to be an interesting opportunity and got involved with it. Then I got the opportunity to bout with that. And I was even so feeling like a member of Ubu. Then I tried to exist sort of the mucilage that put together what became a Pixies and Pere Ubu tour, with me playing with both bands. That'due south got to be draining. I was having a great time. Also, as I've learned over the years, existence a support isn't that much fun, fifty-fifty though you think it'south going to exist a good thought. Ubu headlining was much more than fun than opening for the Pixies because the Pixies crowd didn't care very much most Pere Ubu. Which is pretty ironic. Well, my impression was that Charles was pretty open to the thought and he did, but almost of his comrades weren't. As it turned out, Ubu got it by default considering the two or three other people they asked couldn't practice it.
But it was during that experience of doing both that I started to experience a lot of different opportunities open up up to piece of work with a lot of unlike people, which is difficult when you lot're in a band considering you're obligated. And I was starting to feel� You were swinging. Yeah. I was set after all of this time� I'd always related beingness in music to being in bands, where yous're IN them. And I decided that I wanted to have a lot of things---I didn't want to not be in Ubu, and I didn't want to only be in Ubu. And then that was the reason I had to force myself out of it. And the thing that did it---which really had nothing to with anything being particularly bad---was the Pixies opening for U2 on their big bout. And that was correct in disharmonize with Ubu making their next tape. So that was when I said "I tin can't do this." Other than that I was thinking I could practise both but� I gotta ask near going on that U2 tour. I don't know what�. I mean, you don't really have to ask anything specific� It was not a very musical feel, that's all I can say. Looking back on it now, the Pixies� There was always this idea that they were going to exist the adjacent REALLY big thing, and I don't call up that ever actually transpired. And again it was similar "this is going to be a swell opportunity to put them through to a much bigger audience." And really, looking dorsum on it they were over---they were just washed. From my perspective, I liked each of the people involved individually, but there was just no joy or communication left at all. Everybody was doing it separately---the band only sort of met on stage for 45 minutes every 2 days, and the rest of the fourth dimension diverse members had their ain transportation from gig to gig. At that place was no sitting on the bus to hash out anything. Then information technology's no surprise that at the terminate of that bout Charles announced that he wanted to take a year off to do a solo project, and that was it. They never got dorsum together. Completely changing the subject area, which were you playing first---bass or keyboards? Kind of both all the time. Like a lot of kids I played guitar when I was really young, and at that place was a pianoforte effectually. I know I had a bass at some point when I was 10 or xi, but bass became more of an everyday thing when I was working with Captain Beefheart. And I basically started in his band as a keyboard player, covering bass parts on mini-moogs and things like that. I wanted to play bass, and so I started bringing a bass in that location and saying, "Hey, I could do it like this." And that worked out, and so information technology was some other thing to do.
I had to learn a lot of things later on that, but playing there I got actually skillful at playing bass in a way that you're not supposed to play bass. I always really liked it, and withal do. It's much more visceral to me. Being on stage and performing, bass was just more fun, more immediate.
Bass has worked out for me lately, merely fifty-fifty� Working with P.J. Harvey on the concluding project I got to do both. And I like simply being able to do both simultaneously. I as well similar working with arrangements that are a little more unconventional like that, where at that place's not a bass in every song. I heard that on one of the Frank Blackness albums you were using a computer to map out and structure songs. Is that something you're all the same doing? Information technology was something I was doing then, I'm really not doing information technology much these days. At the fourth dimension it was a good mode to piece of work. It was a fashion for us to go away from where he had been at the time. And I wasn't sure who the musicians were going to be on the album, then it let us work around that. He was writing all the songs, and I would sit there and try to template them out on the figurer---so when we'd say, "when we become to this part the drums will practise something similar this, Then when we get to this function this volition happen." To me that seems like a lot of piece of work. It was a HUGE amount of work! Simply looking dorsum on it now, it was also me wanting to do something different with him, and I wanted to accept control of where it was going to get. At the fourth dimension I was nervous near not knowing the musicians, but kind of him and me going in and rehearsing it in a room. Nosotros did ane record like that, and so the side by side one was zero like that. It was a lot of work, and I don't regret it. I wanted something that� I didn't want to make something that on a certain level was ordinary---I wanted it to exist colossally peachy or to colossally suck. I don't retrieve I'thou very subtle.
That was kind of the superlative of that; a lot of that started in a bad way on Worlds In Standoff, and I think that's part of why information technology left such a bad taste. And it had nothing to practise with my idea---I will say that until the cease. But Gil really liked that I had this particular skill to template out songs, so as soon as we started that ended up existence the case. That's where I first really did it, was with me beingness the new guy on the cake. We'd rehearse a song and learn information technology, so I'd mimic the parts and put that downwardly every bit a click rail. And then people would play to the dash of the sequence. Which is totally fucked up. Merely there was a thinking at the time that that was something good to do.
--- On the dEUS album "in a bar under the bounding main"(which is excellent past the fashion) EDF is credited with playing, amongst other things, the egg. Honestly.
( from the Eric Drew Feldman Project and also mentioned in an archived thread) ---
On forum:
http://forum.frankblack.net/topic.asp?TOPIC_ID=11315
http://forum.frankblack.internet/topic.asp?ARCHIVE=true&TOPIC_ID=766
http://forum.frankblack.internet/topic.asp?TOPIC_ID=8938 ---
Moving-picture show credits!?
composer on a film called buttleman? credited on the website:
http://www.buttleman.net/crew.htm
ERIC DREW FELDMAN - Composer
Eric Drew Feldman is a veteran musician who has been in some of the most influential bands of the past three decades. He began his career equally a member of Captain Beefheart, pop advanced ring of the sixties and seventies. He then joined Pere Ubu, one of the first postmodern bands of the new wave era. He has appeared on albums and tours with The Pixies, Frank Black, the Residents, and PJ Harvey. | | | | | starmekitten
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6370 Posts | Posted - 03/23/2006 : 07:38:51
| | From Rolling Rock: Eric Drew Feldman was a teenager sitting on his bike in 1968 when Captain Beefheart stepped from a telephone berth and spoke to him for the first time. "I simply remember this very large human with a goatee," Feldman says. "And in a vocalisation about four octaves lower than any I've ever heard, he said, 'That telephone just ripped me off for x cents.'"
Feldman believes it was the following summer that Trout Mask Replica became a musical bible for him. And a decade afterward he would be the keyboardist in a new Beefheart ring that helped the good Captain return to archetype course -- following the release of a pair of disastrous records in 1974 -- with iii amazing albums starting with 1978's Shiny Creature, 1980'south Medico at the Radar Station and 1982's Ice Cream for Crow, after which the Captain retired and returned to life as Don Glen Vliet. When that gig wrapped, Feldman connected to work just outside the spotlight, contributing to a series of albums by bands including the Pixies, PJ Harvey, Pere Ubu, Snakefinger and the Polyphonic Spree. After more than than a quarter-century in the music business -- much of which has been spent in the company of some acute Blazon A'south -- the soft-spoken Feldman has finally gotten around to recording a projection of his own. For liner-note hounds familiar with Feldman'southward name, Miserycord, the set of songs he's recorded as Pocketknife and Fork is a predictable album. Afterwards all, the artists he's worked with over the years have in common a decidedly unorthodox working definition of rock & roll, and similarly, Knife and Fork take fundamental rock constructs and turn them within out. If the group name suggests another piece of cutlery on the table, information technology's found in Laurie Hall of San Francisco ring Ovarian Trolley. Feldman and Hall were introduced by a mutual friend at a PJ Harvey concert. "I was intrigued," he says. "If nothing else, her band's proper noun [taken from Henry Miller's description of New York City'southward subway system] has gotta get to you. Merely I like finding things I haven't heard, musical things that are well done. I thought her vocalization might sound good and operatic against a droning properties." Over the years, Feldman has developed a keen ear for production touches that do good the songs of others. Just he fesses that he's sometimes struggled to be able to see his own songs in a similar low-cal. "I've e'er had a problem finishing compositions," he says. "I could never go them to how I wanted to hear them. I was never really attracted to vocals, but I presented Laurie with a few tracks to see what she could practise with them and they came out quite well. Sometimes I'd intentionally endeavour to stump her. I gave her '7 Easily,' an odd track. And what she sang was even more than odd. Information technology reminded me of my favorite stuff from the early era of Captain Beefheart. She could always handle it." Taking into business relationship Beefheart's role equally mentor, Feldman's odd musical footsteps do accept some semblance of sense to them. He logged time with guitar whiz Phil "Snakefinger" Lithman from 1982 until a heart set on claimed Lithman's life in 1987. It was during that tenure that Feldman bluffed his way into a more pronounced function in album construction. "I was in my early thirties," Feldman says, "I was starting to have those thoughts: 'I'thousand too former to play rock & curlicue.' Product felt like a more interesting style to grow up in music." Feldman co-produced the terminal Snakefinger record, Night of Desirable Objects, in 1986. In the early Nineties, he manned the keys for the Pixies on tour and on Trompe le Monde, and he continued to piece of work with Frank Blackness, as keyboardist and producer, afterwards the Pixies ran out of musical magic dust. Feldman would work on some of the finest albums from the Nineties that failed to find their listeners. He played on PJ Harvey's Is This Desire?, and as a producer helped Tripping Daisy better realize their grandiose psychedelic aspirations on Jesus Hits Like the Atom Flop. With Belgian indie rock ensemble dEUS, he produced the fantastic In a Bar Under the Sea, which included a scrap of a Beefheartian homage in its vintage-dejection-sounding opening cut. More than recently, Feldman worked with the Polyphonic Spree on their much-predictable second album, Together We're Heavy, due next month. "He's got a great ear for stripping everything down," Spree ringleader Tim DeLaughter says. "He gets into the guts of the song, which was kind of nice for us, because we hadn't been doing that -- we'd really been playing songs how we'd been playing them live. In recording this album, he actually dissected it." That approach carries over to Feldman'southward own recording. His music shares with that of Harvey (with whom Knife and Fork volition bout later this year), Beefheart and Frank Black a desire to put new peel on the bones of the blues. Miserycord, which Feldman plans to release later this year, sounds something like classic dejection filtered through avant garde composer Tony Conrad, an atmospheric alchemy with Feldman's keys providing a droning sense of menace (as on the spooky "Burn down" and "Terminal Rites") and Hall's wraithlike vocals, particularly on "Wild," exuding a modern accept on a distorted Delta moan that echoes bluesman Charley Patton. "I know it doesn't sound like Howlin' Wolf," Feldman says. "But to me this music is the blues. When I sit down downwardly to play, that'south what I'm shooting for." Feldman is currently involved with several other projects that crave his product touch, just he seems to relish the opportunity to direct Knife and Fork after years of quietly contributing on the periphery. "I dunno, maybe I just take an nether-achieving ego," he says, laughing. "It does seem that I'm oft involved with intense leader figures. This project is and then much more than piece of work in a style, but I like to shake up what I practise. I like working with a mix of musicians who know what they're doing and others who are inspired, only don't have a inkling equally to what to practise." Regardless of his role, Feldman's quick to credit the large man with the goatee and the booming voice. "I learned from him how and how not to do things," he says. "I was in the presence of someone who was the master of what he did. It ruined me for fame and fortune. And it was the best didactics I could have gotten." More information virtually Pocketknife and Fork tin exist constitute at knifeandforkmusic.com. ANDREW DANSBY Posted Jun 22, 2004 12:00 AM Sorry, that is a fleck long isn't it? | | | | | Cult_Of_Frank
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