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"On the live take, [Matching Mole guitarist Phil Miller] fluffed a few notes so basically he got left to try and put his guitar parts as an overdub... across the corridor was the orchestral studio, which was huge. The abiding image I have of this was poor old Phil, who of course was rather in awe of Fripp, which I suppose most guitarists in those days would've been, on his own in the middle of this enormous studio while we all stared at him from the control room as he tried to play his part. Of course it just got to him. That's why the track Flora Fidgit has no guitar part on it because eventually it got to the point where we just couldn't put him through it anymore."
"As I recall it, I think we just decided things were getting too unhappy for words and it was about the one point in the process where it really didn't work having Fripp in the studio because, whether he meant to or not, he intimidated Phil. It didn't make any difference to me because I never liked King Crimson anyway, but if you were a guitar player of any ilk you knew Fripp was probably capable of doing things with a guitar that nobody else in the country could do."
~ Bill MacCormick, bassist for Matching Mole
Fred Frith's highly varied career included so many intriguing left turns you're not surprised to find him on a Brian Eno record. Yes, he played on Music For Films, Eno's attempt at being a soundtrack composer, even though the movies he did those pieces for were fictional. Mr. Frith guested on a few tunes there, including the one in the link, which feels like a part of a scene, where everything is revealed, though the leading characters doesn't completely agree with this. True, the entire vibe of this got achieved thanks to the weird mixture of disparate elements that somehow manage to complement each other, but then again – isn't this the way of Eno, he always locates a way to reach the impossible, which is why we shouldn't be shocked over this.
Quite Sun - Years of the Quite Sun
