The Grateful and the Dead - ACE260.8

Rooftops in Britain. VO explains that most money sent overseas goes to support British musicians who haven’t had recognition. Richard Barrett and colleagues carrying musical instruments into a building. Lesh VO explains that Barrett approached the Rex Foundation for help and he was very impressed by the music. Barrett talking about how recognition from the Rex Foundation is different from that of "an Arts Council bureaucrat". Part of the score for Barrett’s Dark Ages (1990), with cellist Frances-Marie Uitti playing the music. Barrett talks about his attitude to the physicality of the relationship between player and instrument and sound. Furt (Barrett and Paul Obermayer) perform a "live composition". Barrett VO explains that he writes the kind of music he’d like to hear; he cannot guess what an audience’s reaction might be. He says that there are numerous sponsors of mainstream music but very few like the Rex Foundation, and that marginalisation of groups like his is in the interests of "those who rule us…". Barrett "… because it represents free thinking and the possibilities of a different world from the one that actually exists". Drums and Space from the Rex Show. Lesh VO. Lesh suggests that defining different kinds of music is a marketing tool. Drums and Space continues. Lesh VO says that there are no such divisions from him; music feeds on itself and is always coming up with new combinations.