Robert Forster: The 10 Rules of Rock and Roll EP

Limited edition 10" record and signed art print

Catalogue number FEP1

Black vinyl sleeved in a white disco bag and accompanied by a hand signed & numbered full colour offset lithographic art print on white card, all sleeved within a die cut outer bag - 500 copies, only available with the Limited Edition of The 10 Rules of Rock and Roll

The songs were chosen by Robert Forster to reflect some of the subjects in his book. To read Robert's track-by-track commentary on the EP CLICK HERE. 

A1 - I'LL SPEND MY LIFE WITH YOU
Written by Tommy Boyce & Bobby Hart
Originally released in 1967 by The Monkees on the Headquarters LP

A2 - THE PRISONER
Written by Ed Kuepper & Chris Bailey
Originally released in 1978 by The Saints on the Prehistoric Sounds LP

B1 - JUST A KING IN MIRRORS
Written by Robert Forster & Grant McLennan
Originally released in 1984 by The Go-Betweens as the B side to the Part Company single

B2 - WALCOTT
Written by Ezra Koenig, Chris Baio, Rostam Batmanglij & Chris Tomson
Originally released in 2007 by Vampire Weekend on the Vampire Weekend LP

Produced by Robert Forster
Recorded by Neil Coombs at The White Room, Mount Nebo, April 2010
Matthew Harrison: drums
Scott Bromily: bass, electric guitar, organ, vocals
Karin Baeumler: violin, vocals
Robert Forster: vocals, acoustic & electric guitars

CLICK THE ARROW BUTTON TO HEAR AN EDIT OF THE TRACKS:

Digital single release of Walcott

Catalogue number FEP1D1
Due to overwhelming demand, Walcott was made available as a single for digital download on 9th August 2010. No other tracks from the EP will be released.

The single can be purchased by clicking on the image below:

Peter Hook: The Hacienda EP

Limited edition 10" records and art prints

Catalogue numbers FEP2, FEP2C and FEP2WL

Black vinyl [FEP2] sleeved in a white disco bag and accompanied by a numbered full colour offset lithographic art print on white card, all sleeved within a die cut outer bag - 400 copies, only available with the Signature Edition of The Hacienda: How Not to Run a Club

Yellow vinyl [FEP2C] sleeved in a black disco bag and accompanied by a hand signed & numbered hand printed screenprint on silver Mirri board - 100 copies, only available with the Deluxe Edition of The Hacienda: How Not to Run a Club

Rubber stamped white label black vinyl [FEP2WL] authenticated with a hologram - 2 copies, only available with the Ultimate Edition of The Hacienda: How Not to Run a Club

A1 - ELEGIAC
Written by Bernard Sumner, Peter Hook, Stephen Morris & Gillian Gilbert
Exclusive re-recording of the track Elegia, originally released in 1985 by New Order on the Low-Life LP

A2 - LATER THAN YOU THINK
Written by Bernard Sumner, Peter Hook, Stephen Morris & Gillian Gilbert
Exclusive re-recording of the track Sooner Than You Think, originally released in 1985 by New Order on the Low-Life LP

B1 - THE JOYFUL ONE
Written by Bernard Sumner, Peter Hook, Stephen Morris & Gillian Gilbert
Exclusive re-recording of the New Order track The Happy One, an unreleased song from the Technique album sessions of 1988 - edited sections were later used in the Substance 1989 video 

B2 - THE VIKINGS
Exclusive new track written and performed by Manray (Peter Hook and Phil Murphy)

Produced by Peter Hook & Phil Murphy
Recorded by Phil Murphy, March & July 2010
Peter Hook: vocals, bass guitars
Phil Murphy: other instruments

CLICK THE ARROW BUTTON TO HEAR THE VIKINGS:

Promo CD release of The Vikings

Catalogue number FEP2EPC
Electronic press compendium of digital press releases & artwork plus an MP3 digital version of the original studio mix of 'The Vikings'. 300 copies pressed for inclusion with the printed press pack for the limited editions of The Hacienda: How Not to Run a Club.

Glenn Hughes: The Scenes from the Life of a Rock Star EP

Limited edition 10" records and art prints

Catalogue numbers FEP3 and FEP3C

Black vinyl [FEP3] sleeved in a white disco bag and accompanied by a numbered full colour offset lithographic art print on white card, all sleeved within a die cut outer bag - 400 copies, only available with the Signature Edition of Deep Purple & Beyond: Scenes from the Life of a Rock Star

White vinyl [FEP3C] sleeved in a black disco bag and accompanied by a hand signed & numbered hand printed screenprint on holographic Mirri board - 100 copies, only available with the Deluxe Edition of Deep Purple & Beyond: Scenes from the Life of a Rock Star

A1 - WHAT IS A WOMAN’S ROLE?
Written by Glenn Hughes
Exclusive re-recording of the track originally released in 1972 by Trapeze on the You Are The Music ... We're Just The Band LP

A2 - HOLY MAN
Written by Glenn Hughes, Jon Lord & David Coverdale
Exclusive re-recording of the track originally released in 1974 by Deep Purple on the Stormbringer LP

B1 - DYING TO LIVE
Written by Glenn Hughes
Exclusive new previously unrecorded track

Produced by Glenn Hughes
Recorded by Jono Brown at Word of Mouth Recording, California, June 2010
Glenn Hughes: vocals, acoustic guitars
Jono Brown: percussion on What Is A Woman’s Role?

CLICK THE ARROW BUTTON TO HEAR AN EDIT OF THE TRACKS:

Promo CD release of The Scenes from the Life of a Rock Star EP

Catalogue number FEP3CDP
CD version of the vinyl EP. 50 copies pressed for distribution to press and radio.

Ginger Baker: The Hellraiser CD

Limited edition CD single

Catalogue numbers FCDS1 and FCDS1D

One of Ginger Baker's first recordings - never before released on CD 

CD single [FCDS1] - 400 copies, only available with the Signature Edition of Hellraiser

CD single [FCDS1D] - 100 copies, only available with the Deluxe Edition of Hellraiser

DO WHAT ORY SAY

Bob Wallis and The Storyville Jazzmen
Recorded in London, 13th July 1957

Bob Wallis: vocals, trumpet
John R.T. Davies: trombone, alto
Les Wood: clarinet
Hugh Rainey: banjo
Johnny Macey: bass
Peter "Ginger" Baker: drums

Bill Bruford: From Conception to Birth

Limited edition double 10" album with art prints

Catalogue number FEP4/5

Double black vinyl sleeved in black disco bags and accompanied by two numbered offset lithographic art prints, all sleeved within die cut outer bags - 500 copies, only available with the Signature Edition of Bill Bruford: The Autobiography 

A1 - BRIDGE OF INHIBITION: DEMO

Composer: Bill Bruford
Publisher: EG Music / Universal Music Publishing
Recording date: 1986
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK

A2 - BRIDGE OF INHIBITION: MASTER

Composers: Bill Bruford, Django Bates, Iain Ballamy
Publisher: EG Music / Universal Music Publishing
Recording date: October 1986
Performers: Bill Bruford (drums), Django Bates (horn, keys), Iain Ballamy (saxes), Mick Hutton (bass)
Producers: Dave Stewart and Bill Bruford
Recording location: Terminal 24 Studios, London, UK

A3 - PRESSURE: DEMO

Composer: Bill Bruford
Publisher: EG Music / Universal Music Publishing
Recording date: 1986
Performers: Bill Bruford (drums), Iain Ballamy (alto saxophone), Patrick Moraz (keys)
Producer: Bill Bruford
Recording location: Home demo, UK

A4 - PRESSURE: MASTER

Composer: Bill Bruford
Publisher: EG Music / Universal Music Publishing
Recording date: October 1986
Performers: Bill Bruford (drums), Django Bates (horn, keys), Iain Ballamy (saxes), Mick Hutton (bass)
Producers: Dave Stewart and Bill Bruford
Recording location: Terminal 24 Studios, London, UK

A5 - HOTEL SPLENDOUR: DEMO

Composer: Bill Bruford
Publisher: EG Music / Universal Music Publishing
Recording date: 1990
Performer: Bill Bruford
Producer:  Bill Bruford
Recording location: Home demo, UK

A6 - HOTEL SPLENDOUR: MASTER

Composers: Bill Bruford, Django Bates, Iain Ballamy
Publisher: EG Music / Universal Music Publishing
Recording date: January 1991
Performers: Bill Bruford (drums), Django Bates (horn, keys), Iain Ballamy (saxes), Tim Harries (bass)
Producers: David Torn and Bill Bruford
Recording location: CMP Studios, Zerkall, Germany

B1 - LINGO: DEMO

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 1993 
Performers: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK

B2 - LINGO: MASTER

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: May 1994
Performer: Bill Bruford (drums) with the Buddy Rich Orchestra
Producer: Neil Peart
Recording location: Power Station, NYC, USA

B3 - IF SUMMER HAD ITS GHOSTS: DEMO

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 1996
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK

B4 - IF SUMMER HAD ITS GHOSTS: MASTER

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: February 1997
Performers: Bill Bruford (drums), Ralph Towner (guitar), Eddie Gomez (bass)
Producer: Bill Bruford
Recording location: Make Believe Ballroom, West Shokan, NY, USA

C1 - ORIGINAL SIN: DEMO

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 1996
Performers: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK

C2 - ORIGINAL SIN: MASTER

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: February 1997
Performers: Bill Bruford (drums), Tony Levin (bass), Chris Botti (trumpet), David Torn (guitar)
Producer: Tony Levin
Recording location: Make Believe Ballroom, West Shokan, NY, USA

C3 - FOOTLOOSE AND FANCY FREE: DEMO

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 1998
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK

C4 - FOOTLOOSE AND FANCY FREE: MASTER

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: November 1998
Performers: Bill Bruford (drums), Patrick Clahar (saxophone), Steve Hamilton (piano), Mark Hodgson (bass)
Producer: Bill Bruford
Recording location: Livingston Studios, London, UK

D1 - TRIPLICITY: DEMO

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 2000
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK

D2 - TRIPLICITY: MASTER

Composers: Bill Bruford, Steve Hamilton
Publisher: Universal Music Publishing / Copyright Control
Recording date: November 2000
Performers: Bill Bruford (drums), Patrick Clahar (saxophone), Steve Hamilton (piano), Mark Hodgson (bass)
Producer: Bill Bruford
Recording location: Livingston Studios, London, UK

D3 - BANYAN

Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 2002
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK

Promo CD release of From Conception to Birth

Catalogue number FEP4/5CDP
CD version of the vinyl album. 50 copies pressed for distribution to press and radio.

Bill Bruford’s notes on From Conception to Birth

It’s surprisingly uncommon practice, but I thought it might be interesting to offer some sketches of how several of my tunes began life.  These audio demonstrations - or ‘demos’ for short - are extremely rough because they were only intended for the ears of the musicians whose job it would be to bring them to life. Had they been required for a record company executive’s decision for investment - the more usual purpose of demos - more care and attention would have been lavished. Musicians will tend to see the general thrust of the music more quickly than business people, and are happy enough with the rougher stone.

In the visual arts it’s quite common to see preparatory studies alongside the finished work. Indeed some prefer the incomplete sketch, holding out as it does an open-ended promise of how things might be or might have been. Audio demos or original sketches of the finished musical item have been increasingly possible  with the advent of simple home-recording devices, and it was a visit to the Van Gogh museum to see the artist’s Potato Eaters and attendant sketches that provided the gestation for From Conception to Birth.

The vinyl album From Conception to Birth has 17 tracks. 8 demos precede the relevant sections of their 8 released masters, allowing direct comparison, and there is one additional demo that never made it to master stage. The demos reflect my chequered history in the realm of home recording. Given my efforts with electronic percussion - or perhaps because of them - it may surprise some to learn I’m something of a technophobe, and nothing of a recording engineer. Early demos were more or less straight into what we used to call a ghetto-blaster. That was followed briefly by Teac Portastudio 4-track cassette recordings, which rapidly morphed into my favourite axe, the Roland MC500. I played in the midi data from my Yamaha keyboard, and outputted to sounds from my Korg O1/W orchestra-in-a-box. Everything on sides 2, 3, and 4 was recorded that way. Low tech it certainly was, but  I was pleased with my Holdsworth ‘soundalike’ guitar playing on Lingo, my cheesy 12-string guitar that I had the nerve to play Ralph Towner before the sessions for If Summer Had Its Ghosts, and the drumming on the unreleased Banyan.

There is an honourable – if fatal – tradition among musicians of ‘falling in love with the demo’. In this, the composer has played his weedy version to himself so many times that he comes to hear its manifest flaws as attributes. He becomes deaf to the beauties of the new version being produced on the session, and wastes many hours trying to recreate the un-recreatable original. Not me. I was relieved and grateful, but not surprised, when this material sprang instantly to life in rehearsal rooms under the hands of the skilled musicians with whom I was lucky to play it. The way my amateurish sketches began to breathe and flex and break free from the stone-lined, midi-data encasements in which they were conceived was a constant reminder of the value of all-at-once human playing and the value of musical relationships of the flesh-and-blood rather than the automated kind.

I never quite made it to the laptop and software world of composition that seems made for more agile brains than mine. I had written the tunes on this album and many like them because my various bands needed something to play.  When I retreated from organising groups, that need evaporated, and I ended up mostly as an improvising musician.  Arnold Schoenberg allegedly offered the notion that all composition is just very slow improvisation, and I accept the corollary to be true, that improvisation is extremely fast composition.  Things sound best to me when the composed sounds improvised and the improvised sounds composed. I was always most comfortable in the cracks between the two.

Bill Bruford, June 2011