Lindsay Cooper

1. Speed Of Light
2. Belfast
3. The Number 8 Bus 4. Torn Away
5. Plate Dance
6. No Missiles
7. Royal Courts Of Justice
8. Iceland The Long Dance
9. As She Breathes 10. The Assassination Waltz
11. Whow Knows? 12. Exchange
13. Elegy
14. Domestic Bliss (end credits)
15. They're Moving In
16. Julia / End Credits
17. Next Century
18. From Morning Till Midnight
19. The Colony Comes A Cropper
20. Fledermaus
21. We'd Rather Fly

nml 8603 - CD 1986 - 52'30"

Cooper is an outstanding composer and musician. Her style is a subtle, none-the-less impressive example of contemporary feminist music.She is a former member of Henry Cow, David Thomas and the Pedestrians, the Feminist Improvising Group, the Mike Westbrook Orchestra etc.

" This music provides me with everything I am addicted to and enjoy: the giddy beauty of romantic and modern classics from Berliot to Berio, the immediacy of new jazz and the smell of pop in progressive rock. In all, it's a ball of humour, diversity and critical engagement." (Bad Alchemy 2/85)

Lindsay Cooper piano, electric piano, keyboards, synthesizers, alto & sopranino saxophones, bassoon, glockenspiel, bass guitar
Georgie Born guitar, bass guitar, cello, electric piano on 1
Sally Potter singing on 1,9
Dagmar Krause singing on 3,4,6
Maggie Nicols singing on 7,15,16
Kate Westbrook singing on 11,12, tenor horn
Chris Cutler drums
Celia Gore Booth musical saw
Vicky Aspinall violin
Zeena Parkins harp
Irita Kutchmy piccolo
Helena Paul cello on 5
Elvira Plenar piano, synthesizer on 17; piano on 21
Alfred 23 Harth soprano saxophon on 17; bass clarinet on 21
Annemarie Roelofs trombone on 17; violin on 21
John Harle soprano saxophon on 18
Helen Liebmann cello on 18
Peter Whyman soprano saxophon, bass clarinet, flute on 19
Robyn Archer singing on 20
Linda Patching violin on 20
Teresa Blake cello on 20

" An important figure in the British 'crossover-avantgarde', gives us an exciting cross-section of the 80's. Bizarre Easy Listening, orchestrated and served sometimes with humour, sometimes with a shot of social criticism, always with British understatement." (Collibri 10/92)