Robert Fripp Joins Nick Cave On Grinderman Remix

Sure, it caught our interest when we heard that Nick Cave was making a comeback with his bluesy rock combo Grinderman. But it lured us in even more when we heard that Cave had enlisted Robert Fripp to workover a remix of the lead single "Heathen Child", and had retitled it "Super Heathen Child". Well, we finally got around to listening to the track, which dropped a few weeks ago, and we love it.

In typical Fripp fashion, the astute guitarist lays down guitar lines that are subversive and bizarre, but at the same time manage to give the song new definition and personality. In other words: it's very, very good. But don't take our word for it: check out a stream of the fab new remix below, and feel the love.

Reissue: Eno and Fripp - No Pussyfooting

No Pussyfooting is one of those records that isn't exactly an easy listen. For one, the only two tracks on it, "The Heavenly Music Corporation" and "Swastika Girls", each clock in at around twenty minutes. For another, it's one of the seminal pieces of ambient electronica, and as such may not exactly appeal to those who are looking for melody and structured composition in their music.

Still, when given proper attention, the record opens up to reveal a world of textures and melody that aren't apparent at first listen. Fripp's pioneering "Frippertronics" make their notable debut here, and the usage is fantastic. The lead melodies surge and sway enough to make the listener think that there are a slew of synthesizers shaping the music. Meanwhile, Eno's background textures serve as a foundation that Fripp continually builds upon over time.

For a record that at first glance has no melodies, repeated listens turn it into a remarkably melodic affair. As one familiarizes themselves with the swells of Fripp's guitar, the expectation for their appearance becomes second nature. Seemingly random synth lines turn into mini-symphonic masterpieces, and long deep drones lose the quality of seeming endless. Instead, the drones' termination becomes expected and sensible exactly where it is. It is music that demands attention and time, and once given as much, rewards the listener with an unparalleled sonic landscape. Suffice it to say, we're big fans of the record.

For us here at HAD, the truly exciting news is that No Pussyfighting (along with the second Fripp/Eno disc Evening Star) has been remastered for release as a two disc set. The second disc contains half speed and reversed versions of the original album tracks, all overseen by Fripp himself. For a record that is inherently ambient and abstract, these "redux" versions (apparently inspired by an accidental reversal of one of the tracks by the BBC) allow for a listener already familiar with the originals to take on the very same material in a wholly new and challenging way. And, for those who maybe haven't heard the originals, well - the sky's the limit.

The Eno/Fripp reissues go on sale today.

Daryl Hall: Sacred Songs

Okay, let's get this out of the way to start with: If you despise Hall and Oates, a Daryl Hall solo album isn't going to change your whole world view. The singer's voice and phrasing are so distinctive that they're unmistakeable in any form. What it does do is offer a pretty solid insight into the fact that Hall was not just all "Rock And Soul" in the late seventies, and that if the record companies hadn't gotten their way, Hall's career might have taken a noticeably different turn.

Sacred Songs was supposed to be released in 1977. Produced and conceived with Robert Fripp (yes, that Robert Fripp), the record was intended to be a vehicle for Hall to explore other facets of his musicality. Unfortunately, the record company didn't see it that way, and so the project was shelved until 1980, when it was a tad past its prime.

Despite the fact that the album missed commercial marks, it's a fascinating document of Hall and Fripp's collaboration, as well as what happens to Hall in a notably more experimental musical frame of mind. His distinctive vocals are still firmly in place, but Fripp's guitar lines challenge his ability to defer to simply accessible melodies, and as such his voice takes on a slightly more edgy, and less sacharine, tone. From the Fripp side of things, it's nice to hear his guitar work complimenting and challenging Hall. The album is also notable as being the first recorded appearance of Fripp's use of frippertronics.

When listening to the record, it's tough to take it out of context: the late seventies vibe is strong in these tracks, and at times is overwhelming. Still, if the listener can transcend some of the dated production value, the recordings present a great deal of insight into what might have happened for two musicians had they taken a slightly different path.

mp3: Daryl Hall - Survive Yousendit, click through