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No Man's Flowermouth

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No Man's Flowermouth

Postby L.RayRojo on Fri Sep 09, 2005 2:26 pm

Andrew Keeling's Diaryhas some interesting info on Fripp recording on the No-Man record Flowermouth.
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Postby vrooom on Fri Sep 09, 2005 2:51 pm

Let's quote that, just in case the diary entry disappears into the ether:

Andrew Keeling in his diary wrote:How stories become apocryphal. The other day I wrote about how Tim Bowness and Steven Wilson, of No-Man, recorded Robert Fripp's playing on their album Flowermouth. This morning Tim sent me the authentic version of events:

To clarify, there was no glass and there was no recording booth. We actually recorded Robert in Steven's old bedroom in his parent's house! Highly professional and sophisticated, I'm sure you'll agree.

For Mel Collins, Ian Carr and other musicians on the album, we hired an outside studio, but for Robert (with David Singleton) and ourselves, we opted for the more intimate confines of a room which we still use as the main No-Man recording studio (apart from when we're recording drums, grand pianos, or Hammond organs, of course!).

The inspirations for Robert included a set of supposedly humorous 'Obvious Stategies' that I¹d devised rather quickly and stupidly before the session, and a series of photos taken from the pages of old Rock magazines (Brian May, John McLaughlin, Santana, Jimmy Page, Joe Strummer, Rick Wakeman, Hank Marvin, Frank Zappa and a magnificently hairy photo of Robert himself circa 1973 or 74). The photos were placed strategically around the room, and occasionally thrust in front of Robert when we wanted something definite out of him. Part of the fun of the session was that Robert had something pertinent or amusing to say about each and every one of the people/photos we showed him.

For our part, the above was more to create a relaxed atmosphere as opposed to generate definitive responses. In real terms, we gave Robert specific instructions for the first run through that he did on each track and then allowed him to do whatever he felt like for the next run through.

Overall, it was like witnessing a stunning Soundscapes concert in the privacy of our own front room. Robert's coda to the track Simple was superb (so good that another Soundscapes-only track developed out of it, called Born Simple).
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