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Radio Experiment Rome, February 1981
| Label | Rai Trade – RTPJ 0014v |
| Format | Vinyl, LP, Album |
| Barcode | 8016190014941 |
| Country | Italy |
| Released | 07 Aug 2009 |
| Genre | Electronic, Jazz |
| Style | Abstract, Free Improvisation, Experimental |
| A1 | Opium War | 7:14 |
| A2 | Heathens Have No Souls | 7:12 |
| A3 | L'albero Degli Zoccoli | 8:28 |
| B1 | Holy War | 3:35 |
| B2 | Revolution Without "R" | 3:24 |
| B3 | Billie's Bounce | 1:30 |
| B4 | Born Again Cretin | 2:35 |
| B5 | Prove Sparse | 10:10 |
Design [Graphic Design] – Umberto Cappadocia
Engineer [Sound Engineer] – Roberto Carapellucci
Mastered By [Digital Transfer From Analog Tapes] – Marco Diodato
Other [Music Consultant] – Giorgio Sala
Photography By – Alessandro Achilli
Vocals, Piano, Keyboards, Jew's Harp, Percussion, Performer [Objects] – Robert Wyatt
Written-By – Robert Wyatt
Engineer [Sound Engineer] – Roberto Carapellucci
Mastered By [Digital Transfer From Analog Tapes] – Marco Diodato
Other [Music Consultant] – Giorgio Sala
Photography By – Alessandro Achilli
Vocals, Piano, Keyboards, Jew's Harp, Percussion, Performer [Objects] – Robert Wyatt
Written-By – Robert Wyatt
Sleeve comment by Robert Wyatt (from Michael King 'Wrong Movements: A Robert Wyatt History', SAF Publishing 1994):
I was invited to go for a week just to record the actual process of my working. Of things like that which I've seen, for example on painters, with the honorable exception of Picasso who worked on a piece of glass, people tend to cheat a bit and do an actual finished performance in front of the cameras. But I thought "If they really want to see how I work before I know what I'm doing, then that's what they're going to get and if during that week something comes out of it, then it will do, but if it doesn't then that will be more honest." I deliberately went in there and improvised what I was doing as well as how I did it. The point wasn't to have a finished result that could be listened to, the point was to see a process. It's only in retrospect that I can see that bits of some of them have some kind of coherence. Robert Wyatt
Recorded for Une Certo Discorso, a Rai Radiotre programme by Pasquale Santoli
with Francesca Albini, Teresa De Santis and Sabina Sacchi
Rome, sala M, Centro di Produzione Radio Roma, February 16-20, 1981
I was invited to go for a week just to record the actual process of my working. Of things like that which I've seen, for example on painters, with the honorable exception of Picasso who worked on a piece of glass, people tend to cheat a bit and do an actual finished performance in front of the cameras. But I thought "If they really want to see how I work before I know what I'm doing, then that's what they're going to get and if during that week something comes out of it, then it will do, but if it doesn't then that will be more honest." I deliberately went in there and improvised what I was doing as well as how I did it. The point wasn't to have a finished result that could be listened to, the point was to see a process. It's only in retrospect that I can see that bits of some of them have some kind of coherence. Robert Wyatt
Recorded for Une Certo Discorso, a Rai Radiotre programme by Pasquale Santoli
with Francesca Albini, Teresa De Santis and Sabina Sacchi
Rome, sala M, Centro di Produzione Radio Roma, February 16-20, 1981