This Track is no longer available at the moment, but will be part of Mr Stormy's Monday Selection Volume 8 His Seventh year of treasures from the murky, cavernous DGM archives, are now available in Full Flac Fidelity.
Here we are in the large space of Wessex Studios’ main hall in February 1970 with Giles, Giles and Fripp. Engineer Robin Thompson announces “Take Four” and we hear Michael Giles count the team in.
It doesn’t quite take off with finger-flubs from both Peter and Robert but after that, we’re off and flying with the tracking session for Cat Food.
Save for some extra guitar embellishments what we get is the basics of the piece laid out prior to the attentions of Keith Tippett and later Greg Lake.
It’s interesting to hear that when Robert switches the treble pick-up on his guitar after the second verse, another fluff causes him to yell out in frustration at around 3.47. What is perhaps even more interesting is the decision to leave Fripp’s impromptu yelp on the finished version.
Thanks to Alex ‘Stormy’ Mundy for dusting off another previously unavailable and unreleased take from the original Poseidon multi-track tapes.
This Track is no longer available at the moment, but will be part of Mr Stormy's Monday Selection Volume 8 His Seventh year of treasures from the murky, cavernous DGM archives, are now available in Full Flac Fidelity.
Here we are in the large space of Wessex Studios’ main hall in February 1970 with Giles, Giles and Fripp. Engineer Robin Thompson...
Once again, thank you Mr Stormy for this dis(un)covery. One slight quibble in the description, however; this is a very different drum performance from my biggest drum hero ever Michael G., and yet the "other" guitar tracks (besides what appears to be the "bed" track) appear to be identical to the final album version overdubs. Hmm. Anyway, I’ve always wondered why that high bending slap-echoed repeated E note guitar lick had a slightly different rhythmic pattern to it on the s...
Once again, thank you Mr Stormy for this dis(un)covery. One slight quibble in the description, however; this is a very different drum performance from my biggest drum hero ever Michael G., and yet the "other" guitar tracks (besides what appears to be the "bed" track) appear to be identical to the final album version overdubs. Hmm. Anyway, I’ve always wondered why that high bending slap-echoed repeated E note guitar lick had a slightly different rhythmic pattern to it on the single and album versions, and the evident glitch in the middle (also the apparent source of RF’s shout!) now explains that perfectly - a "patch job" must have been applied, differently each time I presume (having done similar things myself back in the dark days when Tape still roamed the Earth)....
Written by Dan Buxbaum
The Feline Flexibility of Giles, Giles and Fripp
This backing track (sans the later overdubs) reveals the rhythmic creativity of Mike Giles as foundational for this song. The Giles-Giles rhythm section--as underrated a tandem as Haskell-McCulloch on Lizard--perhaps "underrated" is an improper term, but both share the similarities where the bassist vitally retains the structure (the more ’conventional’ role) enabling the drummer to elaborate skillfully around the bass lines.
Written by Wendell Hutchins
i love it
This is worth it just to hear Mr. Fripp indeed let out an exasperated noise when a moment goes afoul. Aside from that, one of the better glimpses into the construction of an old favorite.
