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ROBERT FRIPP

Eclectic Prog • United Kingdom


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Robert Fripp biography
FRIPP is best known as a founder and continuing member of KING CRIMSON, from the debut album "In The Court Of The Crimson King" in 1969, through "Larks' Tongues In Aspic" (1972), "Red" (1974), "Discipline" (1981), "VROOOM" (1994), "THRAK" (1995), "THRaKaTTaK" (1996), and the H.O.R.D.E. tour of 1996. Well known collaborations and contributions include FRIPP & ENO's "No Pussyfooting" (1973) and "Evening Star" (1975), ENO's "Nerve Net" (1993), the first three Peter GABRIEL albums, David BOWIE's "Heroes" (1977) and "Scary Monsters" (1980), Daryl HALL's "Sacred Songs" (1979), and The Roches (1979 & 1982). FRIPP left the music industry between 1984 and 1991 to establish the Guitar Craft seminar program, which continues around the world.

Robert Fripp official website

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  • Midnight Blue A Blessing of Tears 1995 Soundscape-Vol 2 - Live in California, 1995

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ROBERT FRIPP discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ROBERT FRIPP top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.66 | 171 ratings
Exposure
1979
3.20 | 44 ratings
God Save the Queen / Under Heavy Manners
1980
2.89 | 45 ratings
Let The Power Fall
1981
2.73 | 39 ratings
The League of Gentlemen
1981
3.57 | 53 ratings
I Advance Masked (with Andy Summers)
1982
2.76 | 31 ratings
Bewitched (with Andy Summers)
1984
3.00 | 34 ratings
Robert Fripp / The League Of Gentlemen - God Save The King
1985
2.25 | 13 ratings
Toyah And Fripp - The Lady Or The Tiger?
1986
3.96 | 43 ratings
Robert Fripp & The League of Crafty Guitarists - Show of Hands
1991
3.59 | 31 ratings
Sunday All Over The World - Kneeling At The Shrine
1991
3.90 | 37 ratings
The Robert Fripp String Quintet
1993
3.71 | 30 ratings
That Which Passes: 1995 Soundscapes, Vol. 3
1996
4.06 | 42 ratings
The Gates Of Paradise
1997
3.55 | 27 ratings
The Repercussions of Angelic Behavior (with Trey Gunn and Bill Rieflin)
1999
3.81 | 19 ratings
A Temple In The Clouds
2000
2.63 | 19 ratings
Thread (with Theo Travis)
2008
4.22 | 26 ratings
Follow (With Travis)
2012
4.27 | 15 ratings
Robert Fripp | Andrew Keeling | David Singleton - The Wine Of Silence
2012
3.88 | 8 ratings
Discretion (With Travis)
2012

ROBERT FRIPP Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.66 | 15 ratings
Robert Fripp & The League of Crafty Guitarists - Live!
1986
4.50 | 5 ratings
Robert Fripp & The League Of Crafty Guitarists - Live II
1991
4.08 | 12 ratings
Kan-non Power
1992
3.46 | 17 ratings
1999 Soundscapes - Live in Argentina
1994
3.97 | 15 ratings
Robert Fripp & The League of Crafty Guitarists - Intergalactic Boogie Express
1995
4.32 | 23 ratings
A Blessing of Tears 1995 Soundscape-Vol 2 - Live in California
1995
3.50 | 12 ratings
The League of Gentlemen - Thrang Thrang Gozinbulx Official Bootleg: Live in 1980
1996
4.14 | 17 ratings
Radiophonics 1995: Soundscapes Volume 1 - Live In Argentina
1996
4.05 | 15 ratings
November Suite Live at Green Park Station
1997
3.94 | 21 ratings
Love Cannot Bear
2005
4.48 | 19 ratings
At The End Of Time
2007
3.38 | 8 ratings
Live at Coventry Cathedral (with Travis)
2010
4.86 | 2 ratings
Keneally
2015

ROBERT FRIPP Videos (DVD, Blu-ray, VHS etc)

4.00 | 4 ratings
The Robert Fripp String Quintet - Live In Japan
1994

ROBERT FRIPP Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.00 | 1 ratings
1995 Soundscapes Live
1996

ROBERT FRIPP Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.00 | 1 ratings
Silent Night
1979
2.00 | 1 ratings
North Star
1979
2.00 | 1 ratings
Four From Exposure
1979
3.50 | 2 ratings
Heptaparaparshinokh
1980
2.00 | 1 ratings
Under Heavy Manners
1980
2.00 | 1 ratings
The League Of Gentlemen (Sampler)
1981
2.00 | 1 ratings
Dislocated
1981
2.00 | 1 ratings
I Advance Masked (with Andy Summers)
1982
2.00 | 2 ratings
Parade (with Andy Summers)
1984
2.30 | 8 ratings
Network
1985
3.45 | 10 ratings
Pie Jesu
1997
0.00 | 0 ratings
Soundscapes - World Financial Centre, New York, New York November 30, 2000
2005
4.00 | 1 ratings
Soundscapes - Junction, Cambridge, UK December 2005.
2005
2.00 | 1 ratings
Soundscapes - Blueberry Hill, St. Louis, MO, USA March 04, 2006
2006
0.00 | 0 ratings
Soundscapes - Variety Playhouse, Atlanta, GA, USA February 25, 2006
2006
0.00 | 0 ratings
Soundscapes - St. Peters Church, Newlyn, Cornwall, UK, December 03, 2005
2006
2.05 | 3 ratings
Glass and Breath
2007
4.00 | 1 ratings
Inroads, New York, NY, USA August 06, 1981
2009
3.49 | 5 ratings
Disengage
2009
4.00 | 1 ratings
Soundscapes-Diamond Hall, Nagoya, Aichi, Japan November 27, 2006
2009
4.00 | 2 ratings
Wintergarden, Carlsberg Glyptotek, Copenhagen, Denmark May 18, 1979
2011
4.00 | 1 ratings
Theatre Le Palace, Paris, France May 27, 1979
2012
5.00 | 1 ratings
Le Trompe l'Oiel Paris, France 1979
2012
4.00 | 1 ratings
Gaston Hall Washington, DC, USA-1983
2013
4.00 | 1 ratings
Cleveland,OH, USA June 14, 1979 -Record Revolution
2015

ROBERT FRIPP Reviews


Showing last 10 reviews only
 Cleveland,OH, USA June 14, 1979 -Record Revolution by FRIPP, ROBERT album cover Singles/EPs/Fan Club/Promo, 2015
4.00 | 1 ratings

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Cleveland,OH, USA June 14, 1979 -Record Revolution
Robert Fripp Eclectic Prog

Review by admireArt
Prog Reviewer

— First review of this album —
4 stars A young man's or woman's guide to the myriad of possibilities in the use of Frippertronics.

Frippertronics, (a term coined by poet Joanna Walton, Fripp's girlfriend in the late 1970s), is an analog delay system consisting of two reel-to-reel tape recorders situated side-by-side. It evolved from a system of tape looping originally developed in the electronic music studios of the early 1960s which was FIRST used by early minimalistic, electronic music composers Terry Riley and Pauline Oliveros and then made POPULAR through its use in what was named "Ambient" music a term coined after composer Brian Eno's multiple experiments with it. Through these experiments Robert Fripp came in contact with this recording technique and ended up associated with it due to the fact before mentioned and of course Mr. Fripp's weapon of choice for experimenting.

The electric guitar sound as such became elastic and mutable in the hands of the Crimson King. His open minded, relentless attitude, transfigured the known guitar school into the unknown one. The electric guitar sound entered the realms of electronic "bleeps", drones, noises, metallic slidings, glitching glissandos, canon like ocean waves sweepings, deconstructions and reconstructions, even its fire power solos turned into something else.

So, already forwarned subtly that this Fripp CLEVELAND,OH, USA JUNE 14, 1979 -RECORD REVOLUTION live release, is not a King Crimson album, let me explain what to expect besides this "new" guitar idiom.

Imagine the slow progression of alternate electric guitar short structures, be them bleeps, noises, short or long, back n forth dronings, short circuit pizzicatos or arpeggios, among long chords of repeating string like unmelodic melodies and seagull like minimalistic solos, as they by addition start to counterpoint each other in an oncoming and ongoing ocean wave like movement, whose unexpected directions are "controlled" and transfixed by the single performer's talent, dexterity, vision, heart and knowledge of his technological possibilities.

Its multiple structures title track "Music For Revolutions" is presented and recorded as an independent organism which grows outside itself as it goes through several modulations and simultaneous modifications and reconstructions.

This 2 CD release is a must if you already are caught by this form of Fripp's electric guitar expression. If not, feel lucky and indulge in one of Robert Fripp's most intelligent and heartfelt, top of the game, late 70s, live FRIPPERTRONICS performances.

****4.5 PA stars.

 Soundscapes - Blueberry Hill, St. Louis, MO, USA March 04, 2006 by FRIPP, ROBERT album cover Singles/EPs/Fan Club/Promo, 2006
2.00 | 1 ratings

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Soundscapes - Blueberry Hill, St. Louis, MO, USA March 04, 2006
Robert Fripp Eclectic Prog

Review by admireArt
Prog Reviewer

— First review of this album —
2 stars It is a well known fact that Robert Fripp, as he has mentioned 1000s of times, agrees on the theory in which music LIVE compositions and performances are, as Rupert Sheldrake also wrote in his book "Seven experiments that could change the world" , aural experiments the same as that of science thereforethe scientist's attitude toward their experiments affect the results of their experiments. Meaning for us that a single composition's performance will be directly "alters" according to the environment it is exposed to, including us audiences of course. Differents strokes for different folks!

Therefore Mr. Fripp convinced of this principle, has been recording and releasing similar live programs in different venues and believe me my friend there are a lot of these recordings. So as expected, the aquisition of the best ones is subjective, according to the same principle and also luck, quiet a bit of it. But above all, if you are a close Robert Fripp follower (as I do), then you already have the knowledge of these already, mostly, already studio or live recorded pieces. I mean if you do not like the composition beforehand, no matter where or when, you probably would still not like it.

This specific program is not exactly my favorite one. Anyway, this "SOUNDSCAPES - BLUEBERRY HILL, ST. LOUIS, MO, USA MARCH 04, 2006", has some extraordinary, from their first time published, soundscapes like the mini "Threshold Bells 1" and "2" and "Starlight 1" or the longer "Time Stands Still", and "Starlight 2", which I do enjoy a lot. Then again the other 5 compositions are not the kind which gets my undivided attention, their cacophonous and incidental structures do not work for me, beforehand, even before they were composed.

2.5 PA stars.

 Exposure by FRIPP, ROBERT album cover Studio Album, 1979
3.66 | 171 ratings

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Exposure
Robert Fripp Eclectic Prog

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

2 stars For those looking to get this album expecting some long lost King Crimson opus or a prog rock gem, bear in mind that "Exposure" does not say "King Crimson" on the cover - it is a wholly Robert Fripp album through and through. And as such, it deviates quite far King Crimson's early output.

The album has a superstar guest line-up, which I feel no need to list, and each of the guest musicians offers their own flavour from time to time but overall "Exposure" is not a musical project so much as an intellectual exercise by Fripp. Much of the material is unconventional to say the least, with hard rock riffs being overlaid by cryptic, looped-and-layered dialogue and it is quite evident that the album's purpose isn't to wow with musicianship, but to convey Fripp's philosophical developments. The one exception is "Here Comes The Flood", a wonderful ballad with Peter Gabriel taking lead vocals.

Overall this is an album that will appeal very strongly to Robert Fripp fans. It has plenty of raucous but intelligent thought-based pieces and its fair share of Frippertronics. But to a listener who doesn't care to get better insight into the mind of the artist, there isn't much going for it.

 Robert Fripp & The League of Crafty Guitarists - Intergalactic Boogie Express by FRIPP, ROBERT album cover Live, 1995
3.97 | 15 ratings

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Robert Fripp & The League of Crafty Guitarists - Intergalactic Boogie Express
Robert Fripp Eclectic Prog

Review by TCat
Prog Reviewer

4 stars This album is an aural, guitar lovers delight. This album also demonstrates the reason why so many people and artists consider Robert Fripp a guitar God. It's nothing but a bunch of guitars playing with each other in some amazing ways.

Fripp took 10 of his best students and put together a tour with them that featured music mostly taken from "Show Your Hands" and "Live I" and travelled all over Europe. If it wasn't enough to put together a series of shows and fund it by selling some of his own rare guitars, then think about how much of a crazy organizational nightmare it must have been to put this together. That in itself is a feat of wonderment. But listening to how these amazing musicians can pull this off in a live setting is simply astounding. This album has no percussion, no keyboards, no vocals, nothing but guitar, and for the most part, it holds up very well and manages to not get boring at all. There is quite a variety of musical styles here, from baroque music to traditional to rock to avant garde. You can hear this amazing group of people tackle Bach and then suddenly switch to "Wabash Cannonball" with the greatest of ease. You also hear the bare bones of what would be future King Crimson classics such as "Thrak" and "ConstruKction of Light" and even the basis for the "Discipline" album.

The group of guitarists play complimentary or contrasting arpeggios against melodies and they sound like an orchestra of guitars, because that is what they become. It is amazing to listen to and marvel at how they can do it and be so precise, in time with each other. There are so many artists here with their own individual styles and personalities, that it is quite a dizzying prospect to think of how they can so effectively pull of such a concise and excellent team effort.

Quite an amazing and sometimes even dizzying listen, this is an album that seldom gets boring except when there are a few tracks back to back that sound similar, but this happens seldom. It does tend to weaken the overall power of the album and some of the slower tracks lose their impact, but the lower points of the album are few and over quite quickly. Also, ideas and concepts are not dwelt upon for too long because the tracks only last from just over a minute to not quite 4 minutes, so the music is almost always moving forward.

Because of some similarities between tracks, this is not exactly a masterpiece, but it is still quite excellent and any lover or student of guitar should hear this. KC fans and RF fans should also hear this to understand the master's contribution to music and to also hear how the transition between incarnations of KC actually came about, it makes the period of time between "Red" and "Discipline" make a lot more sense, and may make some of those who were lukewarm as far as enthusiasm towards the sound of the KC from the 80s appreciate that era of KC's discography better. Easily an important time in Fripp's history and also an excellent addition to your prog rock collection, especially your King Crimson/Robert Fripp collection.

 Glass and Breath by FRIPP, ROBERT album cover Singles/EPs/Fan Club/Promo, 2007
2.05 | 3 ratings

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Glass and Breath
Robert Fripp Eclectic Prog

Review by Neu!mann
Prog Reviewer

2 stars Recorded in 2007 and still available as a free download from the DGM website, this enigmatic experiment by the once and future Crimson King borrows a card from the oblique strategies of his colleague Brian Eno, and not for the first time (it was Eno who patented the Frippertronic tape-delay technique). The music here is a far cry from the more symphonic approach of other Fripp soundscape installations, presenting instead an hour of purely intuitive minimalism, played on guitar but hard to distinguish from the automated ambient doodles generated by Eno with synthesizers.

The long piece was built around a series of treated bell-like chimes, the same handful of tones alternating with quiet, occasional electronic filigrees over the lightest sheen of irradiating guitar sustain. The total was then arbitrarily separated into three almost equally timed, twenty-minute segments, each one exactly like the others, and every minute of performance identical to the next.

Active listening can make it almost insanely irritating: a Dorset water torture of repetitive bleeps and squiggles. But like the best ambient albums (by Eno and others) it wasn't meant to be processed in the forebrain. This is music intended for near-subliminal assimilation into the natural background of noise around us, blending into the environment instead of isolated from it.

I've just now reduced the volume to almost zero while writing this, and the effect is obvious: the music plays better when you barely notice it. Consider it the aural equivalent of light mist on a window pane, evaporating before it reaches the sill.

 I Advance Masked (with Andy Summers) by FRIPP, ROBERT album cover Studio Album, 1982
3.57 | 53 ratings

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I Advance Masked (with Andy Summers)
Robert Fripp Eclectic Prog

Review by TCat
Prog Reviewer

5 stars Robert Fripp and Andy Summers, both amazing guitarists who are better known for their soundscapes they create with guitar and their innovative use of the instrument more than they are at performing the conventional guitar solo that you can hear almost anywhere in rock music, get together to mesh their styles in this amazing collection of mostly miniature soundscapes. This is a great showcase of their amazing talents and guitar playing styles, but don't expect to hear any axe grinding solos here, most of the time the geniuses are playing together and mixing their styles together to create some amazing sounds.

Fripp, who is of course known as the frontman fo King Crimson is famous for his rapid-fire arpeggios and his sustained Frippertronics sound which is layer upon layer of looped guitar sounds that start to sound more like a synthesizer than a guitar at times, and this was created to help bands that don't have a usual keyboard player to create a more varied sound. Andy Summers is of course the lead guitarist for The Police who also has a knack to create sounds with his guitar that were previously only known to come from a synthesized format. Listening to The Police, especially "Ghost in the Machine" you can hear this sound a lot. When you listened to the 3 players in The Police, you often wonder how 3 people can make the sounds they do and who is playing keys....well a lot of that sound was from Summers on his guitar. These two innovative guitarists come together in this first collaboration from them and the effect and the sound is out of this world. I mean, really listen to this and realize, except with a few exceptions, these sounds are all coaxed from their guitars.

There are 2 longer tracks here which are the title track and China - Yellow Leader. "I Advance Masked" (track 1) is exactly what real fans would expect out of these two guitarists. The two styles are very evident here with the obvious arpeggio playing by Fripp and the sustained notes from Summers over a driving beat. It sounds exactly like Fripp guesting on a Police album (without vocals that is) or the other way around. Great way to start the album. Track #3 is the other long track at over 7 minutes and is actually 2 distinct songs melded together with a similar oriental inspired sound.

The other tracks here are soundscape miniatures that range from slow and pensive and somewhat ambient (though to say this album is ambient is incorrect) like "Girl on a Swing" to abrasive and dissonant like "Stultified". There are tracks where the styles are obvious and you can tell who is playing what part and others where the styles are meshed so well, that you can't tell who created what sound. Every song, even the short ones, are distinct and there is really quite a variety of sound here if you really sit back and pay attention.

This album is overall quite beautiful at times and inspirational yet innovative at others. Some people may have a hard time digesting the music here, even though it is quite a bit more accessible than most of the Frippertronic albums. These songs are much more melodic and utilize the playing styles of both guitarists quite well. Never do you hear anything that sounds like one person trying to outdo the other. These tracks were created thoughtfully with both guitarists complimenting the other. That's what makes this album so unique above other solo or collaborative instrumental albums that highlight rock guitarists. This album is nothing but a masterpiece of prog rock and of guitar rock and should be considered that. The music heard here has continued to inspire guitarists for years and still does to this day. A real student or fan of prog rock should be familiar with this music and understand how it has influenced other bands. To understand prog rock that is created today, it is always good to go back to the roots and this is where you should go to study post 80's style prog rock. This album is essential. 5 stars.

 God Save the Queen / Under Heavy Manners by FRIPP, ROBERT album cover Studio Album, 1980
3.20 | 44 ratings

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God Save the Queen / Under Heavy Manners
Robert Fripp Eclectic Prog

Review by TCat
Prog Reviewer

4 stars Inspired by Brian Eno during his work with him, Robert Fripp created a similar method of tape looping sound except he did it with guitar instead of electronics. He threaded reel to reel tape from the feeding real through the player of one unit through the player of a 2nd unit so that the tape would be taken up on the receiving reel on the 2nd unit. He would create a sound that he would layer more sounds over and do this continually so that he would become sort of like a one man band, or at least sound like he was creating more sound than what a single person would normally be able to create at one time. Thus Frippertronics was born. There were several versions of this Frippertronics method and two of them are featured on this double E.P. which was released as 1 LP.

"God Save the Queen" is the first part of this album and consists of 3 tracks. Each one is a study in minimalism, a layering of guitars improvised through the 2 reel to reel units. They are mostly sparse performances with a separate melody sometimes appearing among the guitar layers. This is Pure Frippertonics with nothing but Fripp's guitar and no other processed sound except for the tape units. The music is something like the ebb and flow of the waves and very relaxing. It is hard to understand on the first few listens, but really grows on you after a while. This style of guitar work would be used in a lot of recordings as part of the band, usually produced musically by Fripp as a guest performer and it always gave the music a much fuller sound with the payoff of fewer musicians.

The other half of the recording gives you 2 tracks that illustrates better how Frippertronics sounds with other instruments added in. This is the "Under Heavy Manners" part of the album. This style is what Fripp called Discotronics, the same recording process, but this time with an established rhythm (drums and whatnot) and bass with a few other surprises added in. This definitely gives a full sound to a smaller band. On the title track of this portion of the album, David Byrne sings what sounds like improvised words and melody and this sounds very much like the era it came from. The 2nd track on is over 12 minutes and further explores the full band sound this time without vocals. What's nice about this track is after about the half-way point, the other instruments end while the soundscape created by Fripp's guitar work is left to finish out the track, back to the bare bones of the first part of the album.

Overall, this is not an album for the masses, but it is proof of Fripp's genius and shows his inventiveness in attempting to move the guitar sound into the 80's. The interesting thing here is that bands are still using his techniques and styles today, however, with more updated equipment which produces more interesting sounds. But the technique is still there, the idea is still utilized and with this album, which, even though it isn't exactly a masterpiece, should be something that gets a lot more credit as far as the progression of modern music. No it's not for everyone, but any student of music should be exposed to it and credit is due to Fripp for his experimentation and innovation which has created a lot of the sound that we hear today in music, whether it's pop music or the most innovative progressive music. Not everyone will enjoy both halves of this album, but it still needs to be appreciated. 4 stars.

 Keneally by FRIPP, ROBERT album cover Live, 2015
4.86 | 2 ratings

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Keneally
Robert Fripp Eclectic Prog

Review by admireArt
Prog Reviewer

5 stars "Silence is a distant echo of the approach of the Muse."-Robert Fripp

Space symphonic music achieved with a processed electric guitar plus loops, played as environmental music between Robert Frippīs collaborations with other quiet more famous disciples, this being the 12th gig on the G4 tour with Joe Satriani, Steve Vai and Kenny Wayne Shepherd. None of these guys except for Fripp of course, participate in this 2015 "KENEALLY", but Mike Keneally (featured here in PA ) does. Out of nowhere, but with extraordinary results.

Ok, enough credentials, to where it matters the music itself. Considering the attention, patience and mastery, Fripp has aquired in playing for not that "friendly" or indifferent audiences, somehow it adds up to the miracle of displaying this masterful pieces and achieving such an unidirectional perfection.

This live recording compresses Robert Frippīs best musical ideas transfixed with elegance into space music, which has no real resemblance in the Prog world, not even with the PE category, as to compare with. But those familiar with this kind of space trips in the classical music field (i.e.Holst, Mahler, Stockhausen), will find the time and the full-attention it requires to explore this Robert Frippīs electronic/symphonic, "planets" and "Cosmos" musical concept.

Add up a mirror image of a young Robert Fripp in the form of Mike Keneally, playing alongside "old" self Fripp, like a trip through time, as a trip through a very touching and intimate, yet universal and human to the bone space journey.

*****5 "MASTERWORK" from A to Z!

 Follow (With Travis) by FRIPP, ROBERT album cover Studio Album, 2012
4.22 | 26 ratings

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Follow (With Travis)
Robert Fripp Eclectic Prog

Review by TCat
Prog Reviewer

5 stars What a beautiful combination. Fripp's soundscapes and Frippertronics paired with Theo Travis' own Ambitronics. These instrumental experiments are pensive and lovely, very accessible mostly minimal pieces with a lot of atmosphere. The music is completely improvised, but it all has direction and the tracks are titled appropriately to fit the ambience of the music.

The recording was specifically created for the best playback on surround sound systems, and, of course, Steven Wilson was brought in to produce the album. However, the sound is also excellent and crystal clear on regular stereo systems as well. The CD comes as 2 discs, the first with the regular recording and the 2nd with the surround sound recording which also contains 3 bonus tracks.

The music is very peaceful and meticulously played. It is also quite accessible in that there is not very much dissonance involved, but there is a lot of beauty involved and could be one of Fripp's loveliest collaborations. Except for a few places, for the most part there is no harshness as was evident on Fripp and Eno's collaborations. This particular music however was composed to be able to be performed in churches.

The first 3 tracks were thoughtfully named in that their titles fit their moods and feelings. "Soaring and Gliding" does just as it says, it gives you the feeling of free floating among the clouds. "Dark Clouds" is definitely a darker feeling which evokes the feeling of approaching and threatening clouds giving the feeling of an oncoming storm. However when the storm does reach the listener in "When the Rains Fall", the sustained notes in the background give the base of a staccato and arppegiated flute and reed sound which represents the rain falling softly. Simply beautiful.

Next is a short track which is a solo by Travis called "Hear Our Voices" which is a perfect example of how "Ambitronics" works. This track flows into the next track "1979" which is named after the year that Fripp's part was recorded. Travis adds his input over the top of the original track for an interesting sound which reminds me almost of a Native American sound.

"Open Land" has another nice ambient sound with more variation and the mood tends to drift towards a spacey feeling which is even more prevalent in the next track aptly named "Return to Saturn." From here the next track "Rotary Symmetrical" follows in what seems to be a natural way, but suddenly there is a harshness in Fripp's sound that seems to frighten up a flock of brass and wood that starts to flutter everywhere. The sound starts to approach a clinical sound somewhat more reminiscent of the earlier Frippertronic sound but with the added beauty of Travis' wind instruments. This departure into harshness prepares the listener for the final track "So There" which is a surprisingly more rock oriented sound, but not anything conventional. The last track tends to remind you that even though most of this album tends towards the classical composition, the music is really rooted in progressive rock and though the change is not abrupt which would have made the track feel like it was tacked on, the previous track makes this track feel like it is all part of the entire work.

This is an amazing sound. Even though Travis and Fripp have had previous releases, none of them have felt as cohesive and complimentary as this one does. It feels like these two geniuses have been developing their music to the point that they were finally ready for one another. Never has experimentation felt so natural and beautiful as it does here. If there are any recent Fripp albums that could be considered essential, it is this one. It feels like the culmination of the work of these two musicians has come about on this album, that the music from both artists have been waiting around for this moment to be heard in this way. I didn't expect this album to be as good as it is and maybe that sways my rating a little, but I must say that this entire album is extravagant and beautiful. Fripp fans must get this as it is essential in a cumulative sense and because it simply is a masterpiece of improvisation and experimentation.

 Exposure by FRIPP, ROBERT album cover Studio Album, 1979
3.66 | 171 ratings

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Exposure
Robert Fripp Eclectic Prog

Review by TCat
Prog Reviewer

4 stars Even with the temporary disbanding of King Crimson, Robert Fripp was a busy musician. He was playing session guitar with a host of bands including Talking Heads, Blondie, The Roches, Peter Gabriel, Daryl Hall and so on. He was also working on his first solo album which originally was supposed to be the last part of a trilogy that somehow was connected with his work on Daryl Hall's solo album and Peter Gabriel's 2nd album. Things didn't quite work out the way they were supposed to though, even though all 3 albums were eventually released to the public. Mr. Hall's solo album was not as commercial as the record company wanted. They were afraid that it would hurt the success of Hall & Oats, so the album was shelved. In the meantime, Robert Fripp's original plan for his own solo album was supposed to be completely sung by Daryl Hall, but, again the record company tried to intervene and wanted the album to be headlined by both Hall and Fripp and wouldn't back it any other way. So, Fripp got other lead singers to sing on some of the tracks and hence, you have several singers which I think actually adds to the album in a positive way. Also, there were a few different versions of the album because Fripp had some issues and thus a few versions of the album are out there, some are quite rare.

As far as the album, it is a pretty good collection of tracks. There are some great tracks here, however, because of the issues the album experienced, it is not always very cohesive. The variety in the music is great, but it does have a feeling of disjointedness, but not to the extent as to completely ruin the album. There is a mixture of past and future King Crimson sound here, some pre-Frippertronic sounds, vocals and instrumentals and sound/voice bits mixed through the album. It actually works quite well as a bridge from past to future albums for both Fripp and King Crimson. I can't help but think that if things had gone as Fripp wanted, that this would have been a masterpiece, because there are echoes of genius throughout. Some vocals are harsh sounding and some are very nice. Peter Gabriel's vocals on "Here Comes the Flood" are beautiful, Daryl Hall's vocals are sometimes very obvious while on other songs are surprisingly different. Terri Roche's vocals are very well done and even sounds similar to Joni Mitchell at times to a great effect. Peter Hammill's vocals are quite harsh and sometimes hard to listen to, but it doesn't distract from the overall feel of the album too much. The instrumentals are very obvious Robert Fripp tracks though. You get the industrial sound of KC's Discipline album on tracks like "Breathless" and "Disengage" and you get beautiful sustained notes that are obvious Frippertronic sounds on "Urban Landscape" and "Water Music II".

Overall, there is a lot going on here. It's a shame the cohesiveness that could have been there is lost probably mostly due to the issues that the record company were causing trying to compromise artistic freedom for commercialism, we all know that isn't the first or last time that would ever happen. But, even with all of that, this still turned out to be an excellent album. It is also a milestone as far as RF and KC fans are concerned as it show the transition from styles. The new KC sound that was to come makes a lot more sense and doesn't seem so abrupt now. Anyway, I still feel that RF was able to pull of an excellent album and I am proud to have it in my vinyl collection as I think anyone should be. 4 stars.

Thanks to ProgLucky for the artist addition. and to easy livin for the last updates

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