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T O P I C    R E V I E W
Cult_Of_Frank Posted - 03/21/2006 : 14:37:04
I've just finished compiling my "Todo" list for FB.Net. It's nearing 40 items and many are general. That's a lot for one person and I can only thank you guys that there's not waaaay more to do on there.

One of the items that's fairly high on the list is the neglected bios. Not only have I not updated several in some time, not only did we lose the original FB bio in a server switch, but I still haven't gotten around to the very reason I got involved in this site to begin with: a biography of Eric Drew Feldman.

So, here's where you come in. Scour the net, books, magazines, you name it. Find facts info, tidbits, whatever, and post it here (with references, please, or hearsay marked as such). I'm looking specifically for stuff on Eric Drew Feldman, Lyle Workman, and Nick Vincent. Why should you?

Well, aside from helping out your favourite site named frankblack.net, Josh has given me several copies of the US Version of Fool The World to give away. I figured that it was fitting to give away a few of these oral histories of the Pixies to those helping us construct the oral history of Frank Black's solo career.

So, if you'd like to win yourself a copy of Fool The World, just go dig up facts and post them here. You're entered once for every item you post - don't be afraid to put multiple items in a single post or even put them together with sentences. I'll weigh them appropriately and make a random draw.

FB.Net staff are welcome to enter, so please, everyone, help me collect a biography on these important players in FB's world. I'll be giving away the books, if all goes well, mid-April, probably just after Podcast #5.

Thanks! And good luck.

"If we hit that bullseye, the rest of the dominos will fall like a house of cards. Checkmate."
23   L A T E S T    R E P L I E S    (Newest First)
Cult_Of_Frank Posted - 04/03/2006 : 07:15:08
Weird. Maybe it's just too low a resolution. I'll size that photo down p'haps.

"If we hit that bullseye, the rest of the dominos will fall like a house of cards. Checkmate."
starmekitten Posted - 04/03/2006 : 06:43:36
Um, IE I'm afraid at 1024 by 768, I get something like this:

Cult_Of_Frank Posted - 04/02/2006 : 16:48:11
What browser are you using? At what resolution? Thanks for letting me know, I don't see this problem.

"If we hit that bullseye, the rest of the dominos will fall like a house of cards. Checkmate."
starmekitten Posted - 04/02/2006 : 15:59:36
Dean, I don't know if it's just me but the EDF picture is all over the writing in the bio.
Cult_Of_Frank Posted - 03/31/2006 : 13:19:54
OK, thanks guys. Managed to put something together for Eric. No wonder I don't keep these up to date! Took me four hours even with all the reference material you found me. Will probably add Nick Vincent, then Tony Mamone, then go back and update everyone except McDave (just updated him recently thanks to his wife) and then do the Pixies.

"If we hit that bullseye, the rest of the dominos will fall like a house of cards. Checkmate."
starmekitten Posted - 03/23/2006 : 07:38:51
From Rolling Stone:

Eric Drew Feldman was a teenager sitting on his bicycle in 1968 when Captain Beefheart stepped from a phone booth and spoke to him for the first time. "I just remember this very large man with a goatee," Feldman says. "And in a voice about four octaves lower than any I've ever heard, he said, 'That phone just ripped me off for ten cents.'"
Feldman believes it was the following summer that Trout Mask Replica became a musical bible for him. And a decade later he would be the keyboardist in a new Beefheart band that helped the good Captain return to classic form -- following the release of a pair of disastrous records in 1974 -- with three amazing albums starting with 1978's Shiny Beast, 1980's Doc at the Radar Station and 1982's Ice Cream for Crow, after which the Captain retired and returned to life as Don Glen Vliet. When that gig wrapped, Feldman continued to work just outside the spotlight, contributing to a series of albums by bands including the Pixies, PJ Harvey, Pere Ubu, Snakefinger and the Polyphonic Spree.

After more than a quarter-century in the music business -- much of which has been spent in the company of some acute Type A's -- the soft-spoken Feldman has finally gotten around to recording a project of his own. For liner-note hounds familiar with Feldman's name, Miserycord, the set of songs he's recorded as Knife and Fork is a predictable album. After all, the artists he's worked with over the years have in common a decidedly unorthodox working definition of rock & roll, and similarly, Knife and Fork take fundamental rock constructs and turn them inside out. If the group name suggests another piece of cutlery on the table, it's found in Laurie Hall of San Francisco band Ovarian Trolley.

Feldman and Hall were introduced by a mutual friend at a PJ Harvey concert. "I was intrigued," he says. "If nothing else, her band's name [taken from Henry Miller's description of New York City's subway system] has gotta get to you. But I like finding things I haven't heard, musical things that are well done. I thought her voice might sound good and operatic against a droning backdrop."

Over the years, Feldman has developed a keen ear for production touches that benefit the songs of others. But he fesses that he's sometimes struggled to be able to see his own songs in a similar light. "I've always had a problem finishing compositions," he says. "I could never get them to how I wanted to hear them. I was never really attracted to vocals, but I presented Laurie with a few tracks to see what she could do with them and they came out quite well. Sometimes I'd intentionally try to stump her. I gave her '7 Hands,' an odd track. And what she sang was even more odd. It reminded me of my favorite stuff from the early era of Captain Beefheart. She could always handle it."

Taking into account Beefheart's role as mentor, Feldman's odd musical footsteps do have some semblance of sense to them. He logged time with guitar whiz Phil "Snakefinger" Lithman from 1982 until a heart attack claimed Lithman's life in 1987. It was during that tenure that Feldman bluffed his way into a more pronounced role in album construction. "I was in my early thirties," Feldman says, "I was starting to have those thoughts: 'I'm too old to play rock & roll.' Production felt like a more interesting way to grow up in music." Feldman co-produced the final Snakefinger record, Night of Desirable Objects, in 1986. In the early Nineties, he manned the keys for the Pixies on tour and on Trompe le Monde, and he continued to work with Frank Black, as keyboardist and producer, after the Pixies ran out of musical magic dust.

Feldman would work on some of the finest albums from the Nineties that failed to find their listeners. He played on PJ Harvey's Is This Desire?, and as a producer helped Tripping Daisy better realize their grandiose psychedelic aspirations on Jesus Hits Like the Atom Bomb. With Belgian indie rock ensemble dEUS, he produced the fantastic In a Bar Under the Sea, which included a bit of a Beefheartian homage in its vintage-blues-sounding opening cut.

More recently, Feldman worked with the Polyphonic Spree on their much-anticipated second album, Together We're Heavy, due next month. "He's got a great ear for stripping everything down," Spree ringleader Tim DeLaughter says. "He gets into the guts of the song, which was kind of nice for us, because we hadn't been doing that -- we'd really been playing songs how we'd been playing them live. In recording this album, he really dissected it."

That approach carries over to Feldman's own recording. His music shares with that of Harvey (with whom Knife and Fork will tour later this year), Beefheart and Frank Black a desire to put new skin on the bones of the blues. Miserycord, which Feldman plans to release later this year, sounds something like classic blues filtered through avant garde composer Tony Conrad, an atmospheric alchemy with Feldman's keys providing a droning sense of menace (as on the spooky "Fire" and "Last Rites") and Hall's wraithlike vocals, particularly on "Wild," exuding a modern take on a distorted Delta moan that echoes bluesman Charley Patton. "I know it doesn't sound like Howlin' Wolf," Feldman says. "But to me this music is the blues. When I sit down to play, that's what I'm shooting for."

Feldman is currently involved with several other projects that require his production touch, but he seems to relish the opportunity to direct Knife and Fork after years of quietly contributing on the periphery. "I dunno, maybe I just have an under-achieving ego," he says, laughing. "It does seem that I'm often involved with intense leader figures. This project is so much more work in a way, but I like to shake up what I do. I like working with a mix of musicians who know what they're doing and others who are inspired, but don't have a clue as to what to do."

Regardless of his role, Feldman's quick to credit the large man with the goatee and the booming voice. "I learned from him how and how not to do things," he says. "I was in the presence of someone who was the master of what he did. It ruined me for fame and fortune. And it was the best education I could have gotten."

More information about Knife and Fork can be found at knifeandforkmusic.com.


Posted Jun 22, 2004 12:00 AM

Sorry, that is a bit long isn't it?
starmekitten Posted - 03/23/2006 : 07:30:48
Originally posted by Cult_Of_Frank

If nobody wants to accept the books I may have to find another way to give them away. :) Actually, I think Tre could probably use one if she doesn't have it already, lots of quotes in there...

Do I take this as a hint? as if I didn't have enough to do... [insert appropriate smiley]

Eric Drew Feldman:
more for interest than anything from: http://www.nadir-novelties.net/ubu/edf.htm

And Leaving Ubu? What happened? I assume that you went on from Ubu to playing with Frank Black, but I'm not sure of the chronology.

Yeah, it was Pixies then Frank Black. It all had to do with working with Gil Norton, before that while playing with Ubu we supported the Pixies on some shows in London. I met Charles, didn't know who he was, and saw his band. That was like one of those things, it was a bit of an eye opener. It had nothing to do with anything I'd ever listened to or thought I cared about---I mean, on the the surface. But something about it was strongly affecting, woke up something in me that had been gone for a long time, a certain simplicity and intelligence. It was still cerebral, but in a totally different way. And after that we just talked a couple of times and he ended up asking me if I wanted to work with him on making a solo record. At the suggestion of Gil Norton I believe.
And in the meantime I got invited to play on a Pixies record. They were just going to start working on what turned out to be their last record, and I considered that to be an interesting opportunity and got involved with it. Then I got the opportunity to tour with that. And I was still feeling like a member of Ubu. So I tried to be sort of the glue that put together what became a Pixies and Pere Ubu tour, with me playing with both bands.

That's got to be draining.

I was having a great time. Also, as I've learned over the years, being a support isn't that much fun, even though you think it's going to be a good idea. Ubu headlining was much more fun than opening for the Pixies because the Pixies crowd didn't care very much about Pere Ubu.

Which is pretty ironic.

Well, my impression was that Charles was pretty open to the idea and he did, but most of his comrades weren't. As it turned out, Ubu got it by default because the two or three other people they asked couldn't do it.
But it was during that experience of doing both that I started to feel a lot of different opportunities open up to work with a lot of different people, which is difficult when you're in a band because you're obligated. And I was starting to feel…

You were swinging.

Yeah. I was ready after all of this time… I'd always related being in music to being in bands, where you're IN them. And I decided that I wanted to have a lot of things---I didn't want to not be in Ubu, and I didn't want to just be in Ubu. So that was the reason I had to force myself out of it. And the thing that did it---which really had nothing to with anything being particularly bad---was the Pixies opening for U2 on their big tour. And that was right in conflict with Ubu making their next record. So that was when I said "I can't do this." Other than that I was thinking I could do both but…

I gotta ask about going on that U2 tour.

I don't know what…. I mean, you don't really have to ask anything specific… It was not a very musical experience, that's all I can say. Looking back on it now, the Pixies… There was always this idea that they were going to be the next REALLY big thing, and I don't think that ever actually transpired. And again it was like "this is going to be a great opportunity to put them through to a much bigger audience." And really, looking back on it they were over---they were just done. From my perspective, I liked each of the people involved individually, but there was just no joy or communication left at all. Everybody was doing it separately---the band just sort of met on stage for 45 minutes every two days, and the rest of the time various members had their own transportation from gig to gig. There was no sitting on the bus to discuss anything. So it's no surprise that at the end of that tour Charles announced that he wanted to take a year off to do a solo project, and that was it. They never got back together.

Completely changing the subject, which were you playing first---bass or keyboards?

Kind of both all the time. Like a lot of kids I played guitar when I was really young, and there was a piano around. I know I had a bass at some point when I was 10 or 11, but bass became more of an everyday thing when I was working with Captain Beefheart. And I basically started in his band as a keyboard player, covering bass parts on mini-moogs and things like that. I wanted to play bass, and so I started bringing a bass there and saying, "Hey, I could do it like this." And that worked out, so it was another thing to do.
I had to learn a lot of things after that, but playing there I got really good at playing bass in a way that you're not supposed to play bass. I always really liked it, and still do. It's much more visceral to me. Being on stage and performing, bass was just more fun, more immediate.
Bass has worked out for me lately, but even… Working with P.J. Harvey on the last project I got to do both. And I like just being able to do both simultaneously. I also like working with arrangements that are a little more unconventional like that, where there's not a bass in every song.

I heard that on one of the Frank Black albums you were using a computer to map out and structure songs. Is that something you're still doing?

It was something I was doing then, I'm really not doing it much these days. At the time it was a good way to work. It was a way for us to get away from where he had been at the time. And I wasn't sure who the musicians were going to be on the album, so it let us work around that. He was writing all the songs, and I would sit there and try to template them out on the computer---so when we'd say, "when we get to this part the drums will do something like this, Then when we get to this part this will happen."

To me that seems like a lot of work.

It was a HUGE amount of work! But looking back on it now, it was also me wanting to do something different with him, and I wanted to have control of where it was going to go. At the time I was nervous about not knowing the musicians, just kind of him and me going in and rehearsing it in a room. We did one record like that, and then the next one was nothing like that. It was a lot of work, and I don't regret it. I wanted something that… I didn't want to make something that on a certain level was ordinary---I wanted it to be colossally great or to colossally suck. I don't think I'm very subtle.
That was kind of the peak of that; a lot of that started in a bad way on Worlds In Collision, and I think that's part of why it left such a bad taste. And it had nothing to do with my idea---I will say that until the end. But Gil really liked that I had this particular skill to template out songs, so as soon as we started that ended up being the case. That's where I first really did it, was with me being the new guy on the block. We'd rehearse a song and learn it, and then I'd mimic the parts and put that down as a click track. Then people would play to the nuance of the sequence. Which is totally fucked up. But there was a thinking at the time that that was something good to do.

On the dEUS album "in a bar under the sea"(which is excellent by the way) EDF is credited with playing, amongst other things, the egg.

( from the Eric Drew Feldman Project and also mentioned in an archived thread)

On forum:

Film credits!?
composer on a film called buttleman? credited on the website:
Eric Drew Feldman is a veteran musician who has been in some of the most influential bands of the past three decades. He began his career as a member of Captain Beefheart, popular avant-garde band of the sixties and seventies. He then joined Pere Ubu, one of the first postmodern bands of the new wave era. He has appeared on albums and tours with The Pixies, Frank Black, the Residents, and PJ Harvey.

Frog in the Sand Posted - 03/22/2006 : 15:23:12
Thanks Dean, but you can keep the book. I don't deserve that prize anyway, I just copied/pasted Mr. Workman's official bio.

I joined the Cult of Le Cigaw Volanttt
Cult_Of_Frank Posted - 03/22/2006 : 12:46:55
It would appear not. I didn't authorize Madame Tussaud to enwax me either, she just invited me to her place for "a quiet drink" and bam. Wax'd.

Thanks Yann, got 'ya entered. Kathryn, you're entered whether you like it or not, unless you really don't want to or have the book already or something. If nobody wants to accept the books I may have to find another way to give them away. :) Actually, I think Tre could probably use one if she doesn't have it already, lots of quotes in there...

"If we hit that bullseye, the rest of the dominos will fall like a house of cards. Checkmate."
Carl Posted - 03/22/2006 : 12:29:23
Originally posted by fbc

Carl, that was taken at Madame Tussaud's. The only one who's real is Frank.

Frank is real?! I thought he was a figment of my imagination!

pas de dutchie!
fbc Posted - 03/22/2006 : 08:40:37
Originally posted by vilainde

Originally posted by fbc
Artists Nick has recorded / performed with include Hilary Duff, Frank Black, Hanson

I see Frank is in good company...

only the finest, ba duba dop ba do bop.
Frog in the Sand Posted - 03/22/2006 : 07:14:35
From lyleworkman.com :)

Lyle's musical career began way back as a ten-year-old who fell in love with the Beatles and using his ear, taught himself to play along with the records. His guitar playing evolved by imitating some of the best: Acts such as The Who, Led Zeppelin and Jimi Hendrix. He studied music in college and was interested in many other forms; Jazz, Folk, Blues, Classical, and the myriad of new music created as a result of these styles colliding, best exemplified in the 70s. Lyle taught guitar lessons for six in the San Francisco Bay Area.

Touring and Live Performance:

By his early twenties, he joined the Sacramento band, Bourgeois Tagg and recorded two records for Island records, including Yo-Yo a produced by Todd Rundgren. Lyle co-wrote and recorded the Bourgeois Tagg hit single, "I Don't Mind at All," that launched the group onto the international stage, with tours in Europe and the U.S. and television performances on The Tonight Show, American Bandstand, Top of the Pops, and MTV.

Lyle was enlisted as a member of Todd Rundgren's group, recording Nearly Human (1989) and Second Wind (1991). During this period Lyle dives deeper into recording gear, instrumentation, and production.

Lyle recorded with Jellyfish on the creatively monumental Spilt Milk (1993), and from 94 to 98 began a string of records and tours with Pixies founder and creative force Frank Black. Some of the recordings include Teenager of the Year and Frank Black and the Catholics.

A testament to Lyle's diversity, he began a creative endeavor with Jazz legend, drummer Tony Williams, co-writing music and discussing plans for a rock band and subsequent record, but it never materialized due to Tony's sudden and untimely passing. Lyle, however, contributed a song on Tony's record, Wilderness (1996), working alongside Tony, Herbie Hancock and Stanley Clarke.

Recruited by Beck for a string of world tours, Lyle retook to the road from 1999 to 2001, performing at major European festivals and on television shows such as Saturday Night Live, The Tonight Show, Late Night with Conan O'Brien, and American Music Awards.

Session guitarist:

Lyle moved to Los Angeles in 1996 and became sought after as a studio musician. In the years to follow he recorded with, among others, Sheryl Crow, Shakira, Dr. Dre, They Might Be Giants, and Lisa Marie Presley, as well as Grammy wining records by Steven Curtis Chapman, All Things New, and the Hank Williams tribute, Timeless.

Soundtracks and Composing:

Lyle began writing commercial music for television, radio, and documentary scores, eventually making the jump to feature film, the first being MADE, written and directed by Jon Favreau; this collaboration led to Jon's television show DINNER FOR FIVE, featuring Lyle's Django Reinhardt inspired music.

Working for film composers Edward Shearmur, Theodore Shapiro and Christopher Beck, Lyle's distinctive guitar work can be heard on film scores including SKELETON KEY, TWO FOR THE MONEY, IN GOOD COMPANY, STARSKY AND HUTCH, OLD SCHOOL and CHARLIE'S ANGELS (I and II).

Lyle co-produced and engineered the group Smash Mouth for the soundtrack of Mike Myers' CAT IN THE HAT for a remake of The Beatles' Getting Better. He faithfully recreated many classic songs for Konami game, Karaoke Revolution for Sony Playstation II.

Lyle wrote additional music for the Will Ferrell film, KICKING AND SCREAMING. One of its producers, Judd Apatow, brought Lyle on board to compose music for his directorial debut, Universal Pictures' THE 40 YEAR OLD VIRGIN.

Solo projects:

His solo debut CD, Purple Passages (1996), recorded in a spare bedroom, received international acclaim and was dubbed "possibly the best guitar album of the year" by Guitar Shop Magazine. Having been intrigued with recording since his teens, Lyle's newly upgraded recording studio gave birth to Lyle's second solo CD: Tabula Rasa (2000), another instrumental project highlighting his growing interest in the facets of production, engineering, arranging and composing. Lyle is currently working towards completing his next CD.

PS: I have LW's both albums, if it can help.

I joined the Cult of Le Cigaw Volanttt
vilainde Posted - 03/22/2006 : 06:25:02
Originally posted by Cult_Of_Frank
Also, I'm not sure what you mean re:private joke?

I was referring to jedi's post. Sorry to derail your thread.


I love Guitar Wolf from the Erath!
kathryn Posted - 03/22/2006 : 06:22:45
Originally posted by Cult_Of_Frank

there are three books to be given away and she can only win once, so keep the good stuff coming.

I don't need a book, Dean. I'm just doing it for the love of Frank.

I got some heaven in my head
Cult_Of_Frank Posted - 03/22/2006 : 06:16:22
Cool, thanks FBC. You're a good man! Incidentally to those intimidated by K's 15 entries, there are three books to be given away and she can only win once, so keep the good stuff coming.

Also, I'm not sure what you mean re:private joke?

"If we hit that bullseye, the rest of the dominos will fall like a house of cards. Checkmate."
vilainde Posted - 03/22/2006 : 04:51:33
could this be the privatest joke ever on this forum?


I love Guitar Wolf from the Erath!
jediroller Posted - 03/22/2006 : 04:28:16
Moqueu d'gins !

free music
vilainde Posted - 03/22/2006 : 02:32:13
Originally posted by fbc
Artists Nick has recorded / performed with include Hilary Duff, Frank Black, Hanson

I see Frank is in good company...


I love Guitar Wolf from the Erath!
fbc Posted - 03/22/2006 : 02:31:00
He was a member of Pere Ubu from the mid-1970s to the early 1990's, often playing with drummer Scott Krauss; the duo were dubbed by a critic: "one of the great unheralded rhythm sections in all of rock."
Maimone currently resides in Brooklyn, New York, where owns and operates Studio G, a recording studio and rehearsal space. His partner in the venture is Joel Hamilton.

Studio G Brooklyn is a comfortable musicians clubhouse built by Musician/engineer/producers Tony Maimone and Joel Hamilton.

A true rock veteran Tony has played with an elite list of bands and artists including Pere Ubu, They Might Be Giants, Frank Black, Drumhead, Lucinda Williams, Bob Mould, Poka Poka, UV Ray, Book of Knots, Tinker, Brooklyn Nights, and countless others. In addition to his own musical pursuits, Tony owns and operates Studio G, Brooklyn, giving life to countless bands and artists who put their trust in the studio's capable hands.

Tony Maimone (Pere Ubu, Book of Knots, many more) graces the POINTLESS QUESTIONS

Route 58 to 80 and Across the Bridge
The Musical Journey of Tony Maimone

fbc Posted - 03/22/2006 : 02:10:35
Carl, that was taken at Madame Tussaud's. The only one who's real is Frank.


Nick Vincent was born in Harvey, Il., a suburb of Chicago. Both of his parents,
Bob Vincent and June Vincent, were band singers during the 1940s. His father sang on the
hit record “You Call Everybody Darling” by Al Trace. After living for 3 years in Lake Tahoe,
NV.,  the Vincent family moved to California in 1965. Nick grew up in the west San Fernando Valley,
and immersed himself in everything from top 40 radio to jazz to show music.
Wanting at age 10 to start playing drums, his father took old acquaintance
Buddy Rich up on returning a favor. Nick’s first kit was a Fibes set from Buddy.
Soon he started an invaluable relationship with teacher Freddie Gruber.
During high school Nick was writing arrangements for the jazz and marching bands,
as well as playing in many groups in and out of school. He attended University of North
Texas from 1975-1978, studying composition and arranging/orchestration as well as drums and percussion. He came back to Los Angeles in ‘78 and dove into session work and touring.

Artists Nick has recorded / performed with include Hilary Duff, Frank Black, Hanson,
Art Garfunkel, Brian Wilson, Frank Sinatra, Sparklehorse, Donny and Marie Osmond,
Ann-Margret, Carole King, Holly Vincent, Roger Miller, Lionel Richie, and John Fogerty.
He has been a member of the following bands:  Tito & Tarantula, the Surf Punks,
Chuck E. Weiss & The Goddam Liars,  and Ian McLagan’s Bump Band.
Nick has produced records, including “Pistolero,” “Dog In The Sand,”
“Black Letter Days,” and “Show Me Your Tears” by Frank Black,
and “Woman In The Moon” by Remember Oliver.
Nick was the house drummer for the TV talk show “Donny & Marie”
He has composed for TV and film, including "Donny & Marie," “Roseanne,”
“Tin Cup,” and “Full House.” Songs of Nick's have been heard in TV shows such as "The Wire,"
"The Sheild," "Vegas," "CSI," and "One Tree Hill," and films like "Just A Little Harmless Sex"
and "Somebody To Love."


(i already have the book, so please don't include me)
Carl Posted - 03/21/2006 : 23:57:17
That's a great pic! You da man, Dean!

pas de dutchie!
Cult_Of_Frank Posted - 03/21/2006 : 17:14:51
Wow, Kathryn, just what I was hoping for... and then some! Consider yourself entered 15 times (once for every major unique point).

Eric and I actually did collaborate a little on a musical project... we put his keyboard away after a gig. :)

"If we hit that bullseye, the rest of the dominos will fall like a house of cards. Checkmate."
kathryn Posted - 03/21/2006 : 16:15:43
I'll start with EDF because I dug how last night Frank referred to him as "Ricky" and because at a Catholics gig in Montreal, Frank joked that he never refers to him as anything other than "ericdrewfeldman" really fast!

Born in 1956, Eric Drew Feldman is an American keyboard and bass guitar player. Feldman has worked with Captain Beefheart, Pere Ubu, Frank Black, The Polyphonic Spree, Charlotte Hatherley and PJ Harvey.

He joined Captain Beefheart's Magic Band in 1976. He played keyboard and bass.Of Don Van Vliet/ Captain Beefheart's way of working (i.e. band members had to capture on pad or tape his musical ideas, then after instrumental parts had been created, the band members had to play them exactly as composed) EDF said, "I never had a problem with that. I felt like I was getting parts dictated to me from one of the best, especially when they were designed for me. You just feel like a model in a fashion show wearing a really nice dress, I guess." Feldman worked on the acclaimed trio of Beefheart albums in the late 1970s and early 1980s that turned out to be the last of the Captain's musical career, Shiny Beast (Bat Chain Puller) (1978), Doc at the Radar Station (1980), and Ice Cream for Crow (1982).

After working with The Residents' Snakefinger, in 1988 Feldman was drafted in to replace departing Pere Ubu keyboard player Allen Ravenstine. He worked on their album Worlds in Collision (1991).

Feldman met Charles in 1991, when Pere Ubu were the Pixies' opening act. He played keyboards on the Pixies' Trompe le Monde and toured with the band.

According to aleceiffel, it was Gil Norton who suggested to Frank that he work with
EDF, who ended up co-producing Frank on his first solo effort. EDF also worked on Headache and TOTY and toured with FB+TheCs and helped record DITS.

In 1994 EDF applied for a job with PJ Harvey, whom he knew was putting together a band. He played on To Bring You My Love (1995) and Is This Desire? (1998), and has regularly toured with her. His band kNIFE & fORK has opened for her. (www.knifeandforkmusic.com -- also check out his fan site www.northernbrewer.com/rakewell/edf.html )

Of kNIFE & fORK, Frank has said: ""kNIFE & fORK is music from a deep place, from the groin, from the belly, from behind a cage of ribs."

In 1998, EDF produced Jesus Hits Like the Atom Bomb (1998) by Dallas group Tripping Daisy. He later produced Together We're Heavy (2004) by the Polyphonic Spree, a 24-member troupe containing three ex-members of Tripping Daisy.

EDF produced:

Night of Desirable Objects (LP) Ralph Records 
Frank Black (CD) Elektra 
Hang On To Your Ego (12") 4AD 
Headache (CD5") 4AD  Teenager Of The Year (CD) Elektra 
Teenager Of The Year (CD) 4AD 
In A Bar, Under The Sea (CD) Island Records (UK)  
In A Bar, Under The Sea (LP) Island Records (UK) 
Little Arithmetics (CD5") BANG! Music 
Little Arithmetics (CD5") Island Records (UK)
Roses (7") Island Records (UK)
Theme From Turnpike (CD5") Bang! Music 
Theme From Turnpike (CD5") Island Records (UK)
Theme From Turnpike (10") Island Records (UK)
Grey Will Fade (LP) Double Dragon Music 
Summer (7") Double Dragon Music 
Bastardo (7") Double Dragon Music 

Los Angeles (CD5")

Grey Will Fade (LP) Double Dragon Music 

Appears On:
Ice Cream For Crow (CD) Virgin Records (UK) 
Planet Of Sound (12") 4AD 
Hang On To Your Ego (12") 4AD 
The Black Sessions Live In Paris Plus The Kitchen Tapes (CD)
That Was My Veil (CD5")
Is This Desire? (CD)

Tracks Appear On:
Beets - A Collection Of Jazz Songs (CD) Elemental T.E.C. Tones 
Lounge-A-Palooza (CD) Hollywood Records 

In March 06, a Stephen Yerkey album produced by EDF was released.

Longish interview with EDF on Beefheart:

Lastly, EDF between his two favorite musical collaborators:

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I got some heaven in my head

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