Product Description
The feminine spirit soars as Eleanor of Aquitaine dictates her memoirs. "Power of a Woman. Memoirs of a turbulent life: Eleanor of Aquitaine" reveals the mind of medieval Europe's most exceptional woman recalling her own astonishing odyssey. Why did Eleanor wait until her eighty-first year to dictate her life story? Because "Life was for living. Bloodless recall is better suited to old age!" Betrayals and loyalties; triumphs and trials; stormy marriages to two warring kings, France's Louis VII and England's Henry II: "They left me worn, these men, but they didn't level me."Eleanor recalls wars, intrigues, her travels, troubadours and ruthless diplomacy while confessing her loves, hopes for her children and their fates:"God Almighty, let me die before You gather in another child, or the child of a child, of mine!"To secure her children's wellbeing she even tries threatening God: "I would prefer to relinquish this old body quietly, but be warned! If I must be borne hence cursing Christ, as Henry was, I shall." Eleanor looks back dispassionately, analyzing the Grace she enjoyed as the femme fatale of her day--"This old carcass once embodied the feminine ideal"--and she explains the role her Court of Ladies played in freeing women's minds from an "iron, bearded world." Chicago's Margaret Schmidt calls author Robert Fripp "a rare magician, a 'writer's writer'." ... Read more

Customer Reviews (10)

Eleanor of Aquitaine
"Power of A Woman by Robert Fripp turned out to be a disappointment.I was looking for a book that would provide, in clear and concise language, the history of Eleanor's origins; her life as a young French Queen and her marriage to Henry, King of England.There is too much historical information that is presented in a way that separates the woman from the experience. Perhaps it is Fripp's language, which seemed an effort to speak in the manner that Eleanor would have used were she alive today.I found this aspect laborious and this created a difficulty in maintaining interest.It is only at the end of the book that I began to feel a sense weariness from a turbulent and difficult life.

Fripp's finest work since "Lark's Tongues in Aspic, Part IV"
The earnest, quirky and bespectacled tunesmith from Dorset, long knownaffectionately as the "Mr. Spock of Rock", has now turned wordsmith, and the resulting work exhibits the high level of intellect and painstaking attention to detail that we have come to expect from the King Crimson genius. (But please don't ask him to sign your copy of the book.)

"Power of A Woman" is a spellbinding read and a fascinating complement to the edgy rock of the recent and similarly-named "Power to Believe" album. From the very first page, I couldn't put this book down. The chapters flew by faster than Pat Mastelotto's electronic drum fills on the blistering composition "EleKtriK".

The thoroughly engaging foreword, penned by Adrian Belew from the comfort of his home studio in Mt. Juliet, TN, puts the whole fascinating story in context for those uninitiated in this genre of historical writing. And when you finish this fine work, don't forget to take advantage of the coupon in the back to get a 40 percent discount on your own set of Tony Levin's "Funk Fingers". However, while this exhaustively researched tome is a real page-turner, please don't attempt to use Levin's trademark digit enhancers to turn the book's pages, as they are for funk only.

Historical Novel or History Disertation?
As a lover of historical fiction, I was looking forward to reading this book. I was disappointed. The book reads more like a history disertation written under the 'guise' of a 'memoir' than it does a piece of finely crafted fiction.Eleanor comes across as flat and one dimensional, instead of the fullsome and complex woman that she was. The barebones of the story are here - and accurate - you can check the endnotes.This is a good beginning for what should have been a much better developed work of writing. For the vehicle that the author chose to use for writing about his subject, it would have been helpful to have an appendix that included a family tree - with at least the dates of Eleanor's marriages, and the birth and death dates of all her children.

Not really that good
My rating is extra low for two reasons: one, I expected the writing to be worthy of 5 stars and so was sorely disappointed, and two, those 5 star ratings need to be balanced into reality.

Eleanor of Aquitaine had the fascinating life depicted in this book, but she was also famous for her intelligence, which is in no way mirrored here. I'm sure the author is a nice guy, and he did do his homework on Eleanor and the period she lived in, but he's not the right person to be trying to capture the thoughts of such a person as Eleanor of Aquitaine. Dame Dorothy Dunnett or Dame Rebecca West would have done Eleanor proud, I'm sure. And there are probably others out there who could match her intelligence with the facility of expression of the above two authors.

Besides mistakenly presuming he could write from Eleanor of Aquitaine's point of view (a point of view informed by a thoughtful intelligence), he writes full history in the style of mass-market books, and thus should disappoint both the true history buffs (like me), and the mass-market book readers (who don't want so much information).

A Woman For All Seasons
How captivated I was with "Power of a Woman"!

I found the ruthless nature of the twelfth century shocking, wrought
with not only loveless, but murderous marriages! I understood that
alliances (marriages) were the crucial scaffolding on which the survival
of a clan depended, but I did not realize that royal issue became
betrothed as infants, and that the female of the match went to live with
future in-laws in order to be more completely absorbed into the social
intricacies of that clan. Simply, the toddler was held hostage in the
face of present and future intrigues. Shocking indeed.

What particularly fascinated me in this telling saga of noble, military
and religious life during the Middle Ages was the description of how
Eleanor developed her own spin on Chivalrous Love. What a creative way
of compromising three conflicting demands: an individual's yearning for
love and intimate recognition, the passionate and artful culture of
courtship and restraint, and the absolute necessity of loveless,
politically-sanctioned marriage.

I enjoyed the book immensely, and am astonished that the author was able
to write from inside such a particular, feminine persona as Eleanor of
Aquitaine. I was immediately hijacked by the voice of Eleanor, and
became a willing victim of her extraordinary prowess. What a dame!
... Read more

Product Description
Robert Fripp has been an influential presence in contemporary music since he founded King Crimson in 1969. Renowned among fellow musicians for his electric and acoustic guitar technique, Fripp is also a producer, teacher, composer and writer. He has worked with Brian Eno, David Bowie and Talking Heads and has produced albums for Peter Gabriel and Darryl Hall. Eric Tamm is the author of "Brian Eno: The Vertical Colour of Sound". ... Read more

Customer Reviews (6)

A glimpse of a guitar genius
Eric Tamm's book started out as a master's dissertation and became an enjoyable, although at times heavy, insight into rock music's quirky guitar genius Robert Fripp.Much background and insight is given to King Crimson, all the way up to and including the album Three of a Perfect Pair (the book was released in 1991 and so doesn't cover anything subsequent, nor does it go into great detail on the touring life within the band).Tamm then takes the reader into a week in GuitarCraft, Robert Fripp's week long guitar seminar.Much is also discussed on Fripp's philosophical views and a number of pages are devoted to Fripp's study of the teachings of George Ivanovich Gurdjieff, from which I was able to cull enough information to develop a sense of curiousity about this 'prophet'.

At any rate, the book is out of print, and hard to find (even harder to pay for, or so it would seem).For those who'd like a chance to read this book, may I suggest going to Eric Tamm's personal web site, where you can download the text of the book for free.

This book is a fascinating read, and the only reason I gave it 4 stars instead of 5 is that it does get pretty heavy at times, but for the reader who perseveres comes the reward of some greater insight into a complex musical genius.

An excellent book that's gone out of print
Eric Tamm originally envisioned this book as a master's thesis and, in the process of researching the book by enrolling in a Guitar Craft session, was encouraged instead to write a thesis on Brian Eno instead.He later returned to the subject of Fripp to write this book.What is offered is a more technical approach to Fripp's life than most biographies.As a fan, it was most satisfying.

I searched for my copy of this book for about 2 years, finally finding a copy in Salisbury, England while travelling.When I expressed my surprise to the clerk on finding the book, he replied that they felt obligated to carry it since he shopped at the store.I hope that's at least slightly amusing.

If you want to read more about the author and check out some related links, I recommend visiting [...]

MORE WAYS THAN ONE
A case could easily be made againstthe widespread cultural abuse of music. From muzak in its many and more "progressive" forms to advertising jingles to radio and clubs, music has been enslaved to commerce, to celebrity and to perpetuating fairly vacuous states of mind among listeners. (Someone still has to prove that a majority of people actually listen to music instead of simply "hear" it). It's also become clear that, even considering the popular music press, we approach our understanding of music in a purely colloquial way. Reviewers resolutely do not take on music as music, they simply describe it through metaphor and excessive use of the word "like". Listeners seem to accept this. Through the wordless collusion of the industry, the publications and even the artists themselves, current popular musical culture is essentially illiterate, bigoted and unable to imagine any other future for itself.

Eric Tamm's book on the work of Robert Fripp is precisely the sort of cure music needs. The book actually manages to combine a musician whose work and music strives to change both the business and the audience with a writer whose own musical credentials are up to the task specifically because the author's perspective on the work and on the man is one that remains open, receptive and critical. This is not a book about being a fan. This is not a book for fans. This is a book about how music can shape and guide us to a more profound view of the lives we live by giving the practice of music the importance and attention it actually deserves.

Mr. Tamm is eloquent on both the music and the meanings which Fripp seems to intend. The author never lapses into a false certaintyabout what he hears and what he understands, giving the book the right sense of investigation and learning. He manages to tell us things that matter about the music in musical terms. Fripp's propensity for odd meters are made intelligible. Some fundamentals on scales are also very helpful. The writing does not descend into a parochial tone accessible only to those who have studied music theory. The facts of the music are made quite clear and are readily graspable by anyone interested in getting at the content of what he or she happens to be listening to. Besides, it's never a bad idea to read a little over your head.

But beyond the recorded catalog of Fripp's work, Mr. Tamm is eloquent in his presentation of time spent in Fripp's Guitar Craft classes. These pages provide a glimpse of how music might function among artists and audience, free of the preoccupations of the industry. And, as we can at least assume Fripp inteads, Guitar Craft goes further, to connect principals of music with principals of life. Reading it lets us ask a question about what the practice of music can really be about, and how the pursuit of music can ultimately affect our lives and our thinking about the world. If you care about music it's worth the effort to find this book.

Well Worth Seeking Out
I pretty much agree with the other two reviews that are here: it's a good book with lots of detail about each KC album as well as Fripp's solo material.The chapters devoted to the author's Guitar Craft experiences are particularly interesting.There *is* a lot of musical "pedagogy", but you have to remember that book was originally begun as a dissertation.(Tamm ended up dropping the project at the time and instead wrote his dissertation on Brian Eno, published as "Brian Eno: His Music and the Vertical Color of Sound".That book is also good, but is REALLY HEAVY on the pedagogy!)

Anyway, the Fripp book, while out of print, is well worth seeking out.If you can't find it, though, don't despair:Tamm has made the full text available on his .......

The Science of understanding Robert Fripp
Overall I felt the book was fair in most conclusions regarding Fripp'scareer choices, musical directions, and mastery of his instrument.Thereseemed to be a few conflicts regarding his position as a fan or an authorof a subject.The most disappointing slections were those that includedthe authors lack of appreciation for Adrian Belew's contributions toFripp's more recent work andBelew's amazing diverse talents.Belew ismore responsible for resurrecting Crimson and their fresh sound than anyoneelse.All serious Fripp fans should read this book.Next subject Mr. Tammtry an objective biography of Adrian Belew! ... Read more

Product Description
Eleanor tells her astonishing story in "Power of a Woman. Memoirs of a Turbulent Life: Eleanor of Aquitaine": Marriages to two warring kings, court intrigues, ruthless diplomacy, crusade, exile, command of an empire and her struggle for women's rights. ... Read more

Product Description

Customer Reviews (6)

"The Music of My Perpetually 16 Year Old Self" by Bill Martin
This is one of those glorious non-fiction books where ultimately you learn more about the author-- his or her personality, pet peeves, neuroses, excruciating autobiographical vignettes-- than the actual subject they're supposed to be writing about.Another wonderful example is the stellar tome "Fish Cookery" by one Russ Lockwood-- a truly mesmerizing read.

Bill Martin is essentially writing a self-indulgent love letter to the music of his youth here with little regard to anything outside his narrow range of reference.To put the prog rockers Yes on a pedestal as the gods of "avant-rock" (a loaded term, I should mention, that Martin fails to unpack despite his hyperbolic verbosity) is ridiculous.To mention them 25 times (sometimes in great length and pseudo-analysis) in the course of a 250 page book is even more ridiculous.If Martin is so fixated on the idea that progressive rock=avant-garde, maybe he should have focused more on Fred Frith than Steve Howe.

Yet as Fripp says in his hilariously contrived and pretentious introduction, Martin's heart really is in the right place.He really has pure convictions about the music he loves, and is genuinely zealous about spreading the gospel truth about what he thinks the avant-garde is all about.But Martin is so out of touch with the developments in the underground experimental music scene that his efforts are painful to read.I just want to take him to a No-Neck Blues Band improv set, or a Boredoms drum orgy concert, or hell, even a Residents show (how could he fail to mention THEM?!?!?!?) and say, "Look-- There is life beyond 'Works Vol. 1'!"Oh Bill . . .

Philosophy meets prog
The strength of this book? Doubtless the first rock guide written by a philosophy professor (DePaul U., Chicago) steeped in humanistic Marxian and anti-capitalist social critique. This grounding in a field far removed from conventional music criticism-- which too often mixes hyperbole, b.s., trivia, and gossip-- gives Martin's observations in his opening apologia for prog and the avant-garde freshness by their intellectual diversity. As a bass player, his thirty years of playing allow him to comment on the music as a practitioner, informing his comments on what he hears and analyzes. His comments on punk are thoughtful; he succinctly targets the contradiction of a movement using technology to challenge the mass media. Finally, although I have not the slightest liking for many of his chosen bands-- notably Yes whom he slavishly admires (I know, we all have our favorite musicians whom others despise!)-- he does explain the appeal of progressive rock's "generous synthesis" (74) of varied influences into intelligent (well, depending often on your own tastes) music that challenges audiences and rewards the committed fan. It's pointless for me to cavil with his specific favorites; suffice to say they do go beyond whatever limits the poorly chosen subtitle suggests. (By the way, Martin does the near impossible for many readers; he defends Yoko Ono's artistic mission persuasively.)

The lists begin well prior to the full impact of the Beatles, by the way. If only Martin could have known at the time of writing of Matthew Barney and Bjork's future alliance-- this might have extended the cultural critiques within another fifty pages!! Why Merzbow but not Acid Mothers Temple? Any reader is doomed to pose similar questions. Still, a few of his choices, especially Scott Miller's bands Game Theory and The Loud Family, show that his interests, for once, intersect with mine! He remembers a very low-profile group like The Method Actors, and his range while uneven does show he listens to a lot of music across the innovative fringes, not only the keyboard-laden acid-tinged epics circa 1973 that one might suspect from the attention given the heyday of prog in the earlier 70s. Like any good critic, Martin allows you to understand his rationale for what he likes and dislikes even if you do not share his particular choices marshalled as support.

Weaknesses, however, make this book far less than it should have been. Typos and superficial errors mar the copy. This lack of proofreading discourages readers expecting that an established professor and author of Sartrean, Derridean, and postmodern philosophical studies would deliver a solid, carefully prepared manuscript. While I do not mind the easygoing nature of his prose, the more exacting academic may find Martin's laid-back style insufficiently rigorous, and the less brainy fan may find Martin's formidable intellectual references less than immediately comprehensible. Martin's decision to trudge year-by-year in the middle of his book with a list of pertinent albums annually released followed by his comments on them makes for scattershot coverage. It's as if part of a record guide fell into an Open University primer on the Frankfurt School.

Bjork, Coltrane, Glenn Gould, Cecil Taylor, Miles Davis, and King Crimson (the latter you'd assume as Robert Fripp contributes a brief forward) gain considerable attention (as does Yes en passim) at the expense of the lesser known, often indie releases (such as those by Scott Miller's bands mentioned above, or Faust and Pere Ubu to take two random examples) that need increased exposure to the audience that would read this book. I know one progresses from the more to the less familiar in engaging details that the general reader can follow, and Martin needs to build his investigation upon better-known musical inventions. However, he does not move into less explored territory, where less-heralded artists keep experimenting, enough. The connections between the more famed and the still overlooked needed to be drawn tighter and plotted more clearly. Instead, it's a jumble of musicians you've heard of and ones you haven't. Not bad in itself, but how the two groups intersect remains too sketchy.

The more prominent musicians here have much ink spilled and bytes devoured already devoted to their every recording; the amount of detail that Martin gives over to the "stars" of progressive rock and its offshoots often makes the familiar artists seem too familiar by critiques that rehash what a diligent fan would already know. This book falls between two chairs: it will tell the prog fan much he or she already knows, but it will frustrate the curious who wish to delve deeper. It's too shallow a guide to what the less-familiar musicians actually sound like. Many of the lesser-known musicians receive but a nod in passing. Thus the choices of less-familiar music will remain uncertain and the curious will likely stay only that. Repeatedly, the bias towards these name artists leaves the obscure artists he includes with often only a bare mention or an aside much too vague. The focus of his analysis, if it was to capitalize upon the mention of works famed and overlooked, needed to stay on the lesser-known musicians at least as steadily alongside those that any prog or avant-garde fan would already be more or less aware of. By alluding to more obscure works without explaining their appeal, Martin does those musicians needing attention too small a favor.

The critical forays that mark the last third of the book show his academic side returning. While his points on "sci-fi medievalism" (223) and the rise of a "screen mentality" (226) shared by students and musicians employing the Net deserve hearing, this portion is-- perhaps inevitably?-- not as accessible as the opening and middle sections, thus leaving the book rather disjointed into its three sections. It's also far too scattered, wandering from Deleuze & Guattari to Radiohead to chess to cognivitist vs. emotivist ethics. Martin mixes personal reflections with rock criticism and intellectual digressions. Certainly not a mix usually found in pop music writing, and for this fusion of intriguing fields, Martin's attempt deserves recognition. However, this book I suspect will be much improved upon by the efforts of future scholars-- if they can have the advantage of academic training, a steady post at a university, and enough time to pursue a love of music and a passion for thinking.

In our late capitalist times indeed, such a combination afforded a privileged few critics (or even more those rich enough to buy all the records and keep up with all of the trends that far surpass output in the 60s) becomes rarer to find in our corporatized universities, bottom-line suppression of pursuits such as philosophy, and lemming-like chain-store herded instincts towards buying a SoundScan success. Martin may bemoan his paycheck, but he occupies a key position in academia that bridges musical practice, pop music, and sophisticated critical analysis; may he use his power well. Although he seems here rather undisciplined as a writer and the book lacks cohesion, he shows a lively mind able to bridge connections to examples as disparate as Larry Bird, "Frasier," and Courtney Cox in a "Friends"-related video!

He also cites William Gibson's novel All Tomorrow's Parties on urban spaces for alternative subcultures and their decline due to their being "harvested" by commodification before they could "ripen." This analogy supports Martin's claims well, but he abandons it too early and he drifts back into arcane philosophical debate. I wish Martin had expanded his conclusion considering the dispersal of music and musicians due to computers and the effect this has on band cohesion and the marketing by photogenic "faces" of musicians. These intriguing points are mentioned, but too briefly elaborated. In the questioning of mass culture vs. a subculture placed in opposition to it that claims itself more authentic, this circles back, naturally, to the opening of Martin's book and its positioning of counter-hegemonic musical forces within as well as beyond a mass media marketing monolith. I do admire the associations Martin makes between his bass and his brain, his ears and his tomes. He must be quite a lecturer, for the book shows an ease with handling quite disparate pursuits. But the handling slips, and the seams are left half-stitched. It'll be intriguing too to see how blogging critics in our wireless, MySpace, iPod era that seems to have already superseded that he writes of a mere four years ago will expand upon the theoretical and musical directions that Martin's trailblazing, flawed but brave report suggests.

An admirable effort, but...
Sonic Youth. Jim O'Rourke. Yes. Bjork. Get used to these names right now, because Bill Martin is going to repeatedly ram them down your throat until he is certain you've gone out and purchased their entire discographies. Although perhaps I'm being too harsh - I can think of worse artists for Martin to focus on. However I am inclined to agree with what's already been stated - Martin tackles this book with a disturbingly narrow scope. There are two main reasons why Martin's book does not rise above an average rating.

1. Bill Martin himself. While the man clearly knows a great deal about music, I don't think he is necessarily the right man to write a book about such an all-encompassing term as "avant rock" (more on that later). As I said before, Martin's personal bias intrudes on almost every single page on this book. In fact, as soon as I read on the back of the book he had written books both about Yes and about progressive rock, I knew there would be trouble. I have no qualms with the inclusion of progressive rock in this book, as it has obviously made extensive contributions to the avant rock genre. But when the name Yes appears on twenty nine pages and, say, the Boredoms (who are THE band that jump to mind when I think of avant rock) appear on zero, I think there's a bit of a problem. Just leafing through the index will tell you who Martin's favorites are simply based on sheer numbers of pages they occupy; not whether or not they were crucial to the avant rock scene.
As he approaches the end of the 90's, it becomes increasingly clear that save for a few of his favorites, Martin has lost touch with whatever avant rock scene might exist. For example, in his list of essential avant rock albums for 1999, Rage Against the Machine's Battle of Los Angeles is included. Perhaps fitting if this were a book about the history of nu-metal or rap-rock, but horrendously out of place in a book such as this.
Or how about including bassist Kev Hopper's Spoombung in his 1998 list (which is just one of a meager five albums he feels noteworthy enough to list)? Would it surprise you if I told you that Martin himself is also a bassist?

2. The title. In choosing "Avant Rock" as the title to the book, Martin is basically free to drop the names of whatever musician he feels like without even having to justify their inclusion. Artists like Merzbow, John Cage, Cecil Taylor, Arnold Schoenberg,John Coltrane are discussed at length, and while all are outstanding musicians with obvious contributions to the avant-garde, I don't see how their connections with rock music are so deep as to warrant such extensive discussion at the expense of other musicians (perhaps no one transcends the avant-garde and rock/pop music like Mike Patton, yet he is relegated to a blurb in Martin's rambling making-up-for-lost-ground essay at the end of the book).
This book could have been (and still can be) done with someone who is a lot more involved in the avant garde scene. Martin's heart is indeed in the right place (as Robert Fripp's foreword states), but he just doesn't have the knowledge of the genre that this type of book demands.


I gave this book three stars because it is a sort of "winner by default" book. There are not too many other comprehensive guides to this kind of music, so Avant Rock would probably be a great place to start if you are just getting into the genre and want to do a little exploring. Experienced fans, however, will find it harder to look past Martin's glaring omissions, blatant idol worship, and awkward topic- and chronology-jumping.

Engaging, but chock full of errors
There are several facts that just aren't right in this book, and it bothered me. I mean, saying that Sterling Morrison is still teaching "to this day" should have been a showstopper (memo to the author: he died some 5-6 years before the book was published). And "Sweet Ray" ain't a VU song (though from the context it's pretty obvious he meant "Sweet Jane"). I'll stop here, but there's plenty more. Greg Kot and Jim Derogatis supplied blurbs for the back cover; did these guys actually read the book? I can't believe they would have let these obvious bloopers slide.

On the positive side, I did enjoy reading it and it's great to see someone who champions new rock from Tortoise and Jim O'Rourke and is unafraid to connect them to "prog", and not just the "prog" that's considered "cool" (King Crimson) but the "uncool" stuff like Yes and ELP.

One last thing: why no mention of My Bloody Valentine? "Isn't Anything" and "Loveless" were avant rock milestones arguably just as important as "Sister" and "Daydream Nation", but they didn't even merit a sentence in this book.

From Yoko Ono to King Crimson and beyond
At first glance the term "avant-garde rock" may be a contradiction in terms, but upon further reflection it provides an umbrella term for trends which emerged through the cultural and political upheavals of the 1960s. From Yoko Ono to King Crimson and beyond, Professor Martin's Avant Rock cogently analyzes both artists and groups, offering new insights into the emerging styles of this musical genre. ... Read more

Product Description
In keeping with the fast march of science, the story of Creation in the book of Genesis has come to signify an archaic view of origins without relevance or meaning to modern society. Now understood to be a Bronze Age myth, its verses bear no resemblance to the sequence of Evolution which the sciences show us. But the triumph of science stole something deeper than archaic meaning: it robbed us of wonder and of that sweep of majestic vision represented in Genesis.

If Genesis Chapter One - the Creation story - were rewritten for our time, what would it say? How would a contemporary account present the still-unfolding tale of cosmic change and of life's evolution on our planet?

Science writer and film producer Robert Fripp brings the Creation story up to date in Let There Be Life, sixty-two verses written in the style of the King James Bible, but influenced by our present knowledge of evolutionary process. Each verse, or group of verses, is followed by an essay in modern English. Let There Be Life is not an attempt to reach a compromise between the literal interpretation of Genesis' Creation on the one hand, and evolutionary theory on the other. It is the fascinating attempt, in allegorical form, to combine the spirit and the sense of Genesis with the conventional wisdom of current scientific thought. ... Read more

Customer Reviews (1)

A Scientific Parable
Even Fundamentalist Christians who read the Bible literally don't have trouble accepting Jesus's parables as parables‹as stories illustrating bigger ideas. That is because they are flagged as parables. The author of Let There Be Life asks readers to look at the "first seven days" of creation as a parable too. The way I see it, this book sees the Bible's creation account not as something outdated or wrong. He's looking at itthrough a different window, a modern window. It seems to make sense. ... Read more

Product Description
High Quality Content by WIKIPEDIA articles! High Quality Content by WIKIPEDIA articles! Robert Fripp (born 16 May 1946 in Wimborne Minster, Dorset, England) is a guitarist, composer and a record producer best known for being the guitarist for, and only constant member of, the progressive rock band King Crimson. His work, spanning four decades, encompasses a variety of musical styles. Fripp was ranked 42nd on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time" (published August 2003). Fripp's earliest professional work began in 1967, when he responded to an ad looking for a singing organist for a band being formed by bassist Peter Giles and drummer Michael Giles, despite being neither a singer nor an organist. Though unsuccessful as a live act, Giles, Giles and Fripp did manage to release two singles, as well as an album, The Cheerful Insanity of Giles, Giles and Fripp. ... Read more

Product Description
Commentary (music and lyrics not included).Chapters: (No Pussyfooting), the League of Gentlemen, Exposure, Damage: Live, the Cheerful Insanity of Giles, Giles and Fripp, Evening Star, God Save the Queen/under Heavy Manners, the First Day, I Advance Masked, Darshan, the Equatorial Stars, Beyond Even. Source: Wikipedia. Pages: 51. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: (No Pussyfooting) -Brian Eno invited Robert Fripp to his London home studio in September 1972. Eno had developed a tape system using two tape recorders set up so when a sound was played, it would be heard at a lower volume level seconds later, and seconds later again at a lower level. With this method, new sounds could be laid upon each other without overwriting them. Fripp played further material over the top with Eno selectively enabling or disabling the recording. This allowed Eno to remove portions of the loop, or add further new layers on top of the existing material. The result is a dense, multi-layered piece of ambient music. This technique later came to be known as "Frippertronics". (No Pussyfooting) 's first track is a near 21-minute piece titled "The Heavenly Music Corporation". Fripp originally wanted the track titled "The Transcendental Music Corporation", which Eno didn't allow as he feared it would make people "think serious". Recorded in two takes first the background looping track, then adding an extended guitar solo over the backing track the track features the sole sound source as Fripp's electric guitar, played through a tape loop system devised by Eno determining the amount of the time in which each piece of audio would be layered. The second track "Swastika Girls" was recorded almost a year after "The Heavenly Music Corporation" in August 1973 at Command Studios in London. The track's title refers ...http://booksllc.net/?id=17903070 ... Read more

Product Description
Musician, June 1981. Music magazine with cover-story interviews with the Clashs Mick Jones and Joe Strummer (with Robert Fripp); an interview with Fleetwood Macs Lindsey Buckingham; and articles on Ronald Shannon Jackson, Phoebe Snow, and Lennie Tristano; and more. ... Read more

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Chapters: Progressive Rock Guitarists, Progressive Rock Pianists, Alex Lifeson, Robert Fripp, Adam Jones, Steve Hackett, Steve Howe, John Petrucci, Wilhelm Schröter, Greg Lake, Ty Tabor, Mike Rutherford, Jón Þór Birgisson, Andy Summers, Michael Romeo, Alexander Kostarev, Jeff Bujak, Phil Miller, Paul Brett, Maurice Coyne, Johan Reinholdz, Bahadır Akkuzu, Thomas Youngblood, Randy Jackson, Chano Domínguez, Felix Hanemann, Gary Green. Source: Wikipedia. Pages: 127. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Robert Fripp (born 16 May 1946 in Wimborne Minster, Dorset, England) is a guitarist, composer and a record producer best known for being the guitarist for, and only constant member of, the progressive rock band King Crimson. His work, spanning four decades, encompasses a variety of musical styles. Fripp was ranked 42nd on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time" (published August 2003). In 2010, Fripp was ranked #47 on Gibson.coms Top 50 Guitarists of All Time. Fripp's earliest professional work began in 1967, when he responded to an ad looking for a singing organist for a band being formed by bassist Peter Giles and drummer Michael Giles, despite being neither a singer nor an organist. Though unsuccessful as a live act, Giles, Giles and Fripp did manage to release two singles, as well as an album, The Cheerful Insanity of Giles, Giles and Fripp. Robert Fripp, on tour with King Crimson, in 1973.Following the band's breakup, Fripp, along with drummer Michael Giles, made plans for the formation of King Crimson in 1968, with Greg Lake, Peter Sinfield and Ian McDonald. Their first album, In the Court of the Crimson King, was released in late 1969 to great success, and is now known as one of the most influential albums in the history of progressive rock. Be...More: http://booksllc.net/?id=25893 ... Read more

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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Robert Fripp, Montague Druitt, Al Stewart, Matthew Prior, George Douglas-Hamilton, 10th Earl of Selkirk, William Cox, Neil Middleditch, Leoba, William George Hawtry Bankes, Billy Burden, Thecla of Kitzingen. Excerpt:Al Stewart Al Stewart (born Alastair Ian Stewart , 5 September 1945) is a Scottish singer-songwriter and folk-rock musician . Stewart came to stardom as part of the British folk revival in the '60s and '70s , and developed his own unique style of combining folk-rock songs with delicately woven tales of the great characters and events from history. He is best known for his hit 1976 single "Year of the Cat " from the platinum album Year of the Cat . Though Year of the Cat and its 1978 platinum follow-up Time Passages brought Stewart his biggest worldwide commercial successes, earlier albums such as Past, Present and Future from 1973 are often seen as better examples of his intimate brand of historical folk-rock - a style to which he has returned in recent albums. Stewart was a key figure in a fertile era in British music and he appears throughout the musical folklore of the age. He played at the first ever Glastonbury Festival in 1970, knew Yoko Ono pre-Lennon , shared a London apartment with a young Paul Simon , and hosted at the legendary Les Cousins folk club in London in the 1960s. Stewart has released eighteen studio/live albums and two limited edition albums of B-sides and rarities between Bedsitter Images in 1967 and Sparks of Ancient Light in 2008, and continues to tour extensively around the US and Canada, Europe and the UK. In 2009, he released Uncorked (Live with Dave Nachmanoff) on his independent label, Wallaby Trails Recordings. He has worked with Alan Parsons , Jimmy Page , Rick Wakeman , Tori Amos and Tim Renwick and currently plays with Dave Nachmano... ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Tangerine Dream, La Monte Young, Jérôme Joy, Klaus Schulze, Brian Eno, Phill Niblock, Drone, Éliane Radigue, Robert Fripp, Stephen O'malley, Sunn O))), Earth, Monolake, Charlemagne Palestine, Robert Henke, Pole, Teeth of Lions Rule the Divine, Double Leopards, Halve Maen. Non illustré. Mises à jour gratuites en ligne. Extrait : Tangerine Dream est un groupe musical allemand formé en 1967. Sa production étant au départ assez différente de ce que la jeune génération pouvait entendre dans les années 70 et parce que ses créations ont été très diverses au fil du temps selon la composition du groupe, cette formation s'est vue attribuer un certain nombre de qualificatifs : musique planante, krautrock, rock électronique, Berlin School, musique électronique, ambient, New Age, etc. Ce groupe qui reste relativement inclassable pose des problèmes aux disquaires. Selon les magasins, on trouvera ainsi Tangerine Dream classé en "variété internationale", en "rock progressif", en "musique électronique" ou même en jazz. Caractérisée par l'usage quasi-exclusif des synthétiseurs, la musique de Tangerine Dream se rattache au courant de la musique électronique ; cependant les membres du groupe sont fortement en désaccord avec l'étiquette "New Age". Le groupe est fondé en 1967 par Edgar Froese qui étudie alors la peinture et la sculpture. Le groupe subit plusieurs changements de personnel au fil des années. Froese est le seul membre constant. Le musicien Conrad Schnitzler ou encore le batteur et compositeur Klaus Schulze sont des membres d'une des premières formations. Les compositions du groupe les plus marquantes et influentes sont les suivantes, pour les années 70, Edgar Froese, Christoph Franke et Peter Baumann et pour les années 80, le ...http://booksllc.net/?l=fr ... Read more

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Chapters: People From Wimborne Minster, Robert Fripp, Montague Druitt, Al Stewart, Edward Stillingfleet, Matthew Prior, George Douglas-Hamilton, 10th Earl of Selkirk, William Cox, Malcolm Heath, Neil Middleditch, Leoba, William George Hawtry Bankes, Charles Bennett, Billy Burden, Thecla of Kitzingen. Source: Wikipedia. Pages: 80. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Montague John Druitt (15 August 1857 early December 1888) was a suspect in the Jack the Ripper murders that took place in London between August and November 1888. He came from an English upper-middle class background, and studied at Winchester College and the University of Oxford. After graduating, he took a position at a boarding school and pursued a parallel career in the law; he qualified as a barrister in 1885. His main interest outside work was cricket, which he played with many leading players of the time, including Lord Harris and Francis Lacey. In November 1888, he lost his post at the school for reasons that remain unclear. One month later his body was found drowned in the River Thames. His death, which was found to be a suicide, roughly coincided with the end of the murders that were attributed to Jack the Ripper. Private suggestions in the 1890s that he could have committed the crimes became public knowledge in the 1960s, and led to the publication of books that proposed him as the murderer. The evidence against him was entirely circumstantial, and many writers from the 1970s onwards have rejected him as a likely suspect. Druitt was born in Wimborne Minster, Dorset, England. He was the second son and third child of prominent local surgeon William Druitt, and his wife Ann née Harvey. William Druitt was a Justice of the Peace, a governor of the local grammar school, and a regular worshiper at the local Angl...More: http://booksllc.net/?id=1362402 ... Read more

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Chapters: Heavy Metal Guitarists, Progressive Rock Guitarists, Punk Rock Guitarists, Alex Lifeson, Robert Fripp, Adam Jones, Steve Hackett, Steve Howe, John Petrucci, Greg Lake, List of Heavy Metal Guitarists, Ty Tabor, Mike Rutherford, Jón Þór Birgisson, Andy Summers, Brody Dalle, Faraz Anwar, Syu, Michael Romeo, Alexander Kostarev, Petr Hošek, Luca Turilli, Freddy Marshall, Phil Miller, Liu Yijun, Mignon, Paul Brett, Olaf Thörsen, Lex Plotnikoff, Maurice Coyne, Alejandro Silva, Johan Reinholdz, Bahadır Akkuzu, Thomas Youngblood, Randy Jackson, Nabeel Nihal Chishty, Sabin Rai, Gary Green, Isaac Delahaye, Gábor Kukovecz, Luca Princiotta, Dávid Nagy, Toruxxx, Tom Kuzmic, Carl Groszman, Simon Füllemann, Enrik Garcia, Kjartan Kristiansen, Marco Biazzi, Cristiano Migliore. Source: Wikipedia. Pages: 208. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Robert Fripp (born 16 May 1946 in Wimborne Minster, Dorset, England) is a guitarist, composer and a record producer best known for being the guitarist for, and only constant member of, the progressive rock band King Crimson. His work, spanning four decades, encompasses a variety of musical styles. Fripp was ranked 42nd on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time" (published August 2003). In 2010, Fripp was ranked #47 on Gibson.coms Top 50 Guitarists of All Time. Fripp's earliest professional work began in 1967, when he responded to an ad looking for a singing organist for a band being formed by bassist Peter Giles and drummer Michael Giles, despite being neither a singer nor an organist. Though unsuccessful as a live act, Giles, Giles and Fripp did manage to release two singles, as well as an album, The Cheerful Insanity of Giles, Giles and Fripp. Robert Fripp, on tour with King Crimson, in 1973.Following the band's...More: http://booksllc.net/?id=25893 ... Read more

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Musician, Feb. 1989. Articles on the Replacements, Fleetwood Mac, Lyle Lovett, Robert Fripp, John Fogerty, Jackie McLean and more ... Read more

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Commentary (music and lyrics not included).Chapters: Lizard, (No Pussyfooting), in the Wake of Poseidon, Sacred Songs, Exposure, the Great Deceiver, the 21st Century Guide to King Crimson - Vol. 2 - 1981-2003, Peter Gabriel, Islands, the 21st Century Guide to King Crimson - Volume One - 1969-1974, Septober Energy, King Crimson on Broadway, the Roches, King Crimson Live in Hyde Park, London, Evening Star, Earthbound, Sleepless: the Concise King Crimson, the Condensed 21st Century Guide to King Crimson, God Save the Queen/under Heavy Manners, Live at the Marquee, Keep on Doing, the Power to Believe Tour Box, I Advance Masked, King Crimson Live at Summit Studios, Peter Gabriel Revisited, Live at Cap D'agde, Live at Jacksonville, the Beat Club, Bremen, the Deception of the Thrush: a Beginners' Guide to Projekcts. Source: Wikipedia. Pages: 108. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Lizard is the third album by the British band King Crimson, released in 1970. It was the second recorded by a transitional line-up of the group that never had the opportunity to perform live, following In the Wake of Poseidon. This would be the first (and only) album to feature bassist/vocalist Gordon Haskell, apart from his appearance on the song "Cadence and Cascade" from the previous album, and drummer Andy McCulloch as official members of the band. Haskell was previously a classmate of Fripp's at Queen Elizabeth's grammar school in Wimborne near Bournemouth, the pair having subsequently played together in local band the League of Gentlemen. After Haskell contributed vocals to the track "Cadence and Cascade" on In the Wake of Poseidon, Fripp asked him to become an official member of King Crimson for the recording of Lizard. Another supporting musician on In the Wake of Poseidon, saxophonist/flautist Mel Colli...http://booksllc.net/?id=974878 ... Read more

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Commentary (music and lyrics not included).Chapters: Larks' Tongues in Aspic, 21st Century Schizoid Man, Starless, Indiscipline, Thela Hun Ginjeet, Epitaph, Elephant Talk, Matte Kudasai, Moonchild, One More Red Nightmare, Sex Sleep Eat Drink Dream, Cat Food, Sleepless, Dinosaur, Heartbeat, Fallen Angel, Three of a Perfect Pair, the Sheltering Sky, the Night Watch, People, Trio. Source: Wikipedia. Pages: 64. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: from the album Larks' Tongues in Aspic, Three of a Perfect Pair, The ConstruKction of Light "Larks' Tongues in Aspic" is a multi-part epic progressive rock song by King Crimson released over the course of three albums and 27 years, Larks' Tongues in Aspic in 1973, Three of a Perfect Pair in 1984, and The ConstruKction of Light in 2000. Part II has appeared on multiple King Crimson live albums, and Part IV is one continuous track on its live releases. Part I is the longest part of the song and was first released in 1973 on the Larks' Tongues in Aspic album. It begins with a long percussion introduction, provided by Jamie Muir before entering a driving, hard rock section fuelled by Robert Fripp's electric guitar and introduced by a slowly-building violin. It slows down after a few minutes with David Cross' violin becoming more prominent until the beginning of Book of Saturday. It is this part of the song in which the influence of Ralph Vaughan Williams' composition The Lark Ascending (from which the song's title is derived) can be heard most clearly. Few live performances have been documented; however, one is available on the King Crimson Collectors' Club release The Beat Club, Bremen. The same version was released on The Beginners' Guide to the King Crimson Collectors' Club. The version on these two albums is only about seven minutes long. It ...http://booksllc.net/?id=10396115 ... Read more

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Chapters: Derek Bailey, Robert Fripp, Squarepusher, John Cale, Aphex Twin, Richard Youngs, Muslimgauze, Kevin Ayers, Cornelius Cardew, Peter Cusack, Hafler Trio, Neil Campbell, Gp Hall, Peter Christopherson, Eddie Prévost, John Balance, Matthew Herbert, Simon Wickham-Smith, Volcano the Bear, Anthony Moore, Edward Ka-Spel, Keith Rowe, Apatt, Charles Hayward, Christopher Hobbs, Lustmord, Matthew Bower, Daniel Patrick Quinn, Michael Bearpark, Peter Rehberg, Chris Watson, Caroline K, Robert Rental, David Cunningham, Nigel Ayers, David Jackman, Vinny Miller, Kumo, Leafcutter John, Con-Dom, Russell Haswell, Simon Bookish, Rapoon, Ultre, Peter Theobalds, the One Ensemble of Daniel Padden, Andrew Ostler, Helen Liebmann, Tom Edwards. Source: Wikipedia. Pages: 252. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Richard David James (born 18 August 1971), aka Aphex Twin, is a British electronic musician described by The Guardian newspaper as "the most inventive and influential figure in contemporary electronic music." He founded the record label Rephlex Records in 1991 with associate, Grant Wilson-Claridge. Richard David James was born to Welsh parents Lorna and Derek James in St. Munchin's Limerick Regional Maternity Hospital, Ireland. He grew up in Lanner, Cornwall; he enjoyed (along with two older sisters) a "very happy" childhood during which they, according to James, "were pretty much left to do what wanted." He "liked growing up there, being cut off from the city and the rest of the world". James attended Redruth School, located in Redruth, Cornwall. According to musician Benjamin Middleton, James started producing music at the age of 12. As a teenager he was a disc jockey at Shire Horse in St Ives, with Tom Middleton at the Bowgie Inn in Crantock, and also along the numerous beaches around C...More: http://booksllc.net/?id=18949200 ... Read more