Slept in this morning. Feeling as though I had too much to drink last night despite the fact that not one drop of alcohol touched my lips. The boys were duly rounded up and we headed for the bus stop, busily discussing last night’s gripping instalment of Harry Potter and the Chamber of Secrets and making the bus with moments to spare.
The sky is a bluey vastness flecked with bright yellow and gold.
On the bus, Tom and Joe take out their books and I snuggle down for the half hour journey to read Peter Ackroyd’s gripping account of William Blake and his universe. Consigned to obscurity all his life and regarded mad by many, Blake’s faith and conviction appears to have been unshakeable. Though plagued by doubts and frustration, his commitment to his vision was total.
Spoke to Russell Mills today. I started to give him the introblurb. Rather ominously, he said that Richard Chadwick had told him all about me. Russell is well known for his book covers, installation work and album covers. He is also a composer whose album Undark boasts a cast of stellar support and is well worth a listen. We had to cut the conversation short because it was a bad time due to kids and stuff but have agreed to pick up tomorrow.
I’m talking to Russell to see if he’d be interested in doing some work at the small gallery we run. His image-baking style and the use of sound would make for an interesting and challenging piece of work.
This year we should see an exhibition of prints by Tom Phillips (cover artist for KC’s SABB and Eno’s Another Green World, etc.) and hopefully a show by PJ Crook sometime around January 2001.
Following a long meeting I call in on Chris Taberham, a chum of some 25 years and counting. Chris is a supporter of RF and KC’s music though doesn’t keep up to date with all the twists and turns of the Crimson path. Not one to mince his words, Chris sits me down and plays me Healthy Colours by Fripp and Eno and asks “What on Earth were they thinking of putting that stuff out ?”.
I confess to him that I know little or nothing surrounding the lineage of Healthy Colours or the reasons for its inclusion on The Essential Fripp & Eno (with a cover by Russell Mills ???). Chris goes on to say “I can see how The Heavenly Music Corporation can be called essential but Healthy Colours ?”
So, has anyone got any take on this track and where it came from ? To my ears it sounds very similar to Can but without the interesting bits.
Today is the last day of January which means tomorrow morning I get to turn over my Mark Rothko calendar. January is represented by Violet Center. Who knows what delights February will bring.