Artist: Henry Cow
Label: Red Records (US)
Catalog#: RED 002
Format: Vinyl
Country: United States
Released: 1974
A1 Bittern Storm Over Ulm 2:44
A2 Half Asleep; Half Awake 7:39
A3 Ruins 12:00

Recorded By [Partially] - Mike Oldfield

B1 Solemn Music 1:09
B2 Linguaphonie 5:58
B3 Upon Entering The Hotel Adlon 2:56
B4 Arcades 1:50
B5 Deluge 5:52

Alto Saxophone, Clarinet, Organ - Tim Hodgkinson
Bass - John Greaves
Bassoon, Oboe - Lindsay Cooper
Drums - Chris Cutler
Engineer - Andy Morris
Engineer - Phil Becque
Engineer [Assistant] - Charles Fletcher
Guitar, Violin, Xylophone - Fred Frith
Piano - Fred Frith
Piano - John Greaves
Piano - Tim Hodgkinson
Producer - Henry Cow
Voice - John Greaves
Voice - Lindsay Cooper
Voice - Tim Hodgkinson


Recorded at the Manor Studios February & March 1974.
Dedicated to Robert Wyatt and Uli Trepte.
On Red Records

Strawberry Bricks Entry: 
Lindsay Cooper, previously with the folk band Comus, replaced Geoff Leigh for Henry Cow's second album, Unrest, released in May 1974, again for Virgin Records. The opener, "Bittern Storm Over Ulm," is somehow based on The Yardbirds' "Got to Hurry." Nevermind the how, it is one of the most listenable tracks on the album; "Half Asleep; Half Awake" is introduced by a somber piano, but as it unfolds with the band playing, it reveals a delightfully melodic tune, though one turned sideways once the improvisation begins. Inspired by Béla Bartók's use of Fibonacci sequences, the 12-minute "Ruins" is a monster track, at least the first four minutes of it. The second side turns to improvisation and studio trickery as a lack of material and pressure for the album's completion mounted (similar to Neu!'s debacle on their second album). Chris Cutler lets loose on "Upon Entering the Hotel Adion," while a plaintive tune barely surfaces from the chaos of "Deluge." The album cover again depicted a paint sock; the artist Ray Smith was a friend of the band from their days in Cambridge. There's little doubt that the members of Henry Cow were some of the most talented musicians of the progressive genre, but unfortunately the avant-garde of their oeuvre had little to do with rock ‘n' roll, at least to this listener's ears. Henry Cow would then collaborate with the similarly-minded Slapp Happy.
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