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Little Red Record Import


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Audio CD, Import, April 13, 1999
$27.68
$10.02 $4.97
Vinyl
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Product Details

  • Audio CD (April 13, 1999)
  • Original Release Date: 1999
  • Number of Discs: 1
  • Format: Import
  • Label: Columbia Europe
  • ASIN: B00000JAXT
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Best Sellers Rank: #414,437 in Music (See Top 100 in Music)

1. Starting In The Middle Of The Day We Can Drink Our Politics
2. Marchides
3. Nan Trues Hole
4. Righteous Rhumba
5. Brandy As In Benj
6. Gloria Gloom
7. God Song
8. Flora Fidgit
9. Smoke Signal

Editorial Reviews

1972 album with Brian Eno on synthesizer and Robert Fripp producing for Robert Wyatt. 9 tracks. Sony.

Customer Reviews

Take the time, make the effort, and you will be rewarded.
James HS
Side one (if you own the original LP, I think it was the first four or five cuts) seems to fumble, but side two (the last three or four songs) tends to work better.
BENJAMIN MILER
Its just such an incredible mix of genius UK musicians at the very top of their game.
W. T. Hoffman

Most Helpful Customer Reviews

23 of 24 people found the following review helpful By Paul Minot on June 26, 2000
Format: Audio CD
Those familiar with the post-spinal injury'song-oriented output of Robert Wyatt, or with his more restrained contribution to Soft Machine, will be thrilled to hear the no-holds-barred BLOWING he does on drums here. The music hints at the style he was to subsequently pursue on his later albums, but does so in the context of a fine Canterbury style fusion outfit including Dave MacRae and Bill MacCormick of Quiet Sun, Phil Miller of Hatfield and the North (never better than here), and a guest appearance by Eno on synthesizer. Add the spartan "audio verite" production of Robert Fripp, and you have a witty and often thrilling avant-fusion album somewhat like a much more gritty Hatfield. Like I indicated in the title, I don't often like fusion as a style, but the energy and imagination of this recording overcomes any such inhibitions on my part. A MUST for fans of Hatfield, National Health, or Henry Cow, in my opinion, and an absolute revelation regarding the wonder that was Wyatt on drums. (Check out Marchides for confirmation.) It is a shame this band had to stop at this point due to Wyatt's injury--they likely had much more to offer as an ensemble. At any rate, you have this to enjoy--buy it!
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16 of 18 people found the following review helpful By James HS on July 19, 2005
Format: Audio CD
In sharp contrast to the debut self-titled "Matching Mole", there's a great deal of evidence - to the ear alone - that each band member collaborated and contributed throughout the process from song-writing to final product.

Robert Wyatt's presence, as always, obvious ... one very tall man regardless of his stature or, later, wheelchair.

Bill McCormick: a soloist, a tunesmith, and a solid reliable Canterbury sound. And that's precisely what a bass player should be in this context.

Phil Miller always seemed to have to suffer pain to play. He puts an incredible amount of effort into doing what he does, and it showed when I saw him live. I was happy to hear him more to the fore, both playing and writing.

Dave McCrae. He's no Joe Zawinul, he's Dave McCrae. This album made his mark for me. He pushed the early 70's gear further than it was designed to go, and without him this album would not be so remarkable. As good as Dave Sinclair was, I don't think he could have managed the same effect.

Miller and McCrae give the whole direction of the album more of a fusion sound than the first album had, and although some feel it doesn't work too well, I disagree strongly.

The most notable difference, however, is the atmospheric contribution of Brian Eno on VCS3. Don't expect to hear something of what might now be called the "Eno sound", though. This was before digital, where synth players had to know about the construction of sound as well as the construction of music. Eno gives an air of Morton Subotnick, The Twilight Zone, and inhaled surrealism to this album. Not Roxy Music, not Music For Airports.

The same goes for Bob Fripp's production ... this isn't Swastika Girls, not Septober Energy (although it comes close).
Read more ›
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6 of 7 people found the following review helpful By Leo Sullivan on December 18, 2004
Format: Audio CD
When I first got my used, abused, scratched wreck of an import LP copy in the 1970's, I could not escape from this dense 'beer coaster' sound fast enough. Seems it's true, this one do grow on you. It finds a crack in your brains, then the living experiments just slither in. I have been praying for this re-release for 20 years ever since.

Here is a true sound scientist's sweeping, edging into-and-outa chaotic jubilation, and the roiling clouds of beyond all glory.

I can understand utterly why listeners are all-go-or-no-show. What I don't get is how this disc remains one undiscovered masterpiece, absent on anyone's best-o'.

It is true this disc is demanding-So much that I compare this creation to the imaginary, rarely-all-there Grateful Dead roadtrip-- or better, the ultimate source that is The Holy First Velvet Underground Disc.

Wyatt's writing resides right alongside the 'literary experiment' of Lou Reed. What the "Little Red Record" may lack of VU's 3-minute pop-gem voidsongs of one heroin-doomed chanteuse, it surely makes up for with musicianship an' an elemental riot of complicated kaleidoscopic Lysergi-political fun. Share with until it is all yours all over again.
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6 of 7 people found the following review helpful By Carl Johnson on September 3, 2003
Format: Audio CD
I love Robert Wyatt. Matching Mole was the last band he was in before the accident that took his walking away. My Gosh, my gosh! I am listening to this record, recorded in late 71 or early 72 and with this band, they take it WAY outside! This record hints at the Canterbury scene that was and is to come. Lush and wild keyboards, great guitar, and supurb band unity! You can here how the Hatfield and the North were influenced as well as MANY other bands (many played on that album a year or so later). Robert acknowledges his socialist view point, which is probably why this record was not pushed too hard in the United states. It is a shame really as this recording was in it's time and AHEAD of it in many ways. Phenominal spin!
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1 of 1 people found the following review helpful By W. T. Hoffman TOP 500 REVIEWERVINE VOICE on May 18, 2008
Format: Audio CD Verified Purchase
I cant BELIEVE i never heard of this album before. Then again, why would an american who grew up under the New Wave scene, know about a band that only made two albums, and was barely heard outside of England? WHY? Well, maybe because Brian ENO plays on a large part of the album. Or, maybe because Robert Fripp produced the album. (and I'm SURE he plays a guitar piece on one song, down in the mix. It's his guitar, his sound, his melodies, etc.) ANYWAY, if you like the first three SOFT MACHINE albums, then you know the star of this band, ROBERT WYATT. (He was the drummer.) After this album, Robert Wyatt had an accident, and ended up paralysed from the waist down. THat ended this band, but started his solo career, which is also quite fantastic music. But MATCHING MOLE is an animal all its own. You have some of the psychedelic jazz sounds that are on the THIRD SOFT MACHINE album. You also have some shorter, focused, druggy folk songs, which became perfected in WYATT's solo work. Most importantly, this is a core album in that late 60s early 70s CANTERBURY SOUND, that included Caravan, Gentle Giant, Gong, Hatfield and Rotters Club, Egg, and Soft Machine. Its PROG/ART ROCK/FUSION JAZZ/mixed with lighthearted British humour. ( Not humor, but "HUMOUR"...try to dig it, mate.) So, just ask yourself: DO you LIKE ENO, when he was still in his early phase, during THIRD UNCLE or SOMBRE REPTILES? Do you like Robert Fripp and that KING CRIMSON sound? (From around the LARKS TONGUE Period.) Its just such an incredible mix of genius UK musicians at the very top of their game. I admit, that I've not been listening to albums all the way thru recently. Well, after listening to the best cuts off this album, I turned right around, and played the whole CD.Read more ›
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