How Little We Need to Be Happy

‘a sense of dislocation’

‘I didn’t want the listener to feel comfortable when they heard this record because it wasn’t comfortable to make it. It was profoundly uncomfortable and often disturbing. Although that is the opposite of the way I tend to work, it seemed to be the right approach for this particular project. I know it’s going to alienate a lot of listeners who won’t understand how to approach the work, but I had to be true to the essence of this project and working with Derek enabled me to find another voice with which to deal with these rather difficult emotions.’ (DS, 2003)

David Sylvian’s first experience of Derek Bailey’s music came much earlier. ‘I’ve been listening to Derek’s work since ’84 or ’83. I was really drawn to the sound he produced on the guitar. I’d seen him perform over the years and sort of just tapped in to what he’s been doing on and off.’ The record that first drew Sylvian in was Aida. Released in 1980 on the Incus label – which Bailey founded with Evan Parker amongst others – it captures three live tracks recorded in London and Paris. Derek’s unique guitar sound is much in evidence as spider-like he explores every inch of the fret-board, the sound angular and unmistakeable. Continue reading “How Little We Need to Be Happy”