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Topic ClosedRobert Fripp - Please make him amazing for me
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Points: 119 		Direct Link To This Post Posted: June 17 2009 at 12:22
I am surprised nobody has mentioned what he did on Evening Star. The second track of the same name has the most beautiful guitar solo I have ever heard (and tone imo).

http://www.youtube.com/watch?v=5J_FvEqY--0

http://www.youtube.com/watch?v=CzfVYB4UsQ4&feature=channel_page (me attempting to play like Fripp Tongue)
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Points: 6393 		Direct Link To This Post Posted: June 17 2009 at 14:59
As others have said, there are many layers to Fripp's playing.  He can work within the context of the song exclusively, be subtle, full of delicacy and nuance, or he can be so blatant his playing is like stabbing hot pokers into your eardrums.  He is very precise, even when playing fast, and brother, he is fast.  Where it gets difficult for me to appreciate him is in the very early Crimson work where so many of his solos were atonal with really harsh tones.  I even got to the point where I wondered if he even understood what a key was.  His song construction is fabulous, and he makes really weird chords and changes that somehow work.  Any version of Larks' Toungues shows him off well.  Some of his best work came from the 80s version of Crimson IMO, and that's where he concentrated more on serving the song rather than wailing.
The world of sound is certainly capable of infinite variety and, were our sense developed, of infinite extensions. -- George Santayana, "The Sense of Beauty"
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Points: 708 		Direct Link To This Post Posted: June 18 2009 at 09:31
Originally posted by jammun jammun wrote:

Two great KC songs where we get to hear Fripp at his best:
 
Cirkus, from Lizard.  The acoustic guitar work on this song...the manner in which it provides texture to the song proper...is amazingly amazingly amazing. 
 
Then check out the guitar solo on LITA Part One, which solo to this day makes no sense to me but is still one of my favorite guitar solos by any guitarist.  It addles my already-addled brain. 


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"Music expresses that which cannot be put into words and cannot remain silent" - Victor Hugo
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Points: 65938 		Direct Link To This Post Posted: June 18 2009 at 09:55
Originally posted by Progosopher Progosopher wrote:

Any version of Larks' Toungues shows him off well.  Some of his best work came from the 80s version of Crimson IMO, and that's where he concentrated more on serving the song rather than wailing.
 
Thank you everybody for your contributions to this thread.  I will give a re-listen to some of the songs that have been mentioned. I am in agreement that Larks' Tongue in Aspic is an excellent musical piece, and is quite possibly my favorite piece from King Crimson.  But what I love about that song is the percussion and drum work.  I will have to give it a re-listen for the guitar work. 
 
What I find interesting are the couple of comments similar to what I have quoted.  In case any one is interested, prior to starting this thread, I have actually reviewed all of the King Crimson albums from their debut to Starless and Bible Black.  Not some of my better reviews, but they were an exercise to get me to re-listen to King Crimson and see what makes them so popular here at PA.  It was during these re-listens and reviews that I began wondering about what made Robert Fripp so popular as a guitarist, as to my ears, there wasn't all that much that stood out in the guitar category.  Translated: no Eddie Van Halen or Yngwie Malmsteen moments.  It is interesting the number of comments regarding his composition skills as opposed to his "shredding" skills, and like with comments regarding Steve Hackett's contributions to Genesis, how his guitar work is meant to be a part of the music versus being something that stands out above and beyond the music.  I am one that does enjoy King Crimson's 80's output, again mostly because of Bill Bruford's involvement and contributions.  I will hopefully get around to finishing my review tour of the King Crimson catalogue and I will give special care to listen for Robert Fripp's guitar contributions to these albums.
 
Cheers and thank you again to everyone for your assistance with this matter.
 
Scott
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Points: 732 		Direct Link To This Post Posted: June 18 2009 at 10:13
Originally posted by rushfan4 rushfan4 wrote:

... It was during these re-listens and reviews that I began wondering about what made Robert Fripp so popular as a guitarist, as to my ears, there wasn't all that much that stood out in the guitar category...
 
You might be interested to know:  Last night I watched, on YouTube, a 3-part interview that BBC2 did with him back in 1985 (search "robert fripp wimborne" and you'll find them; it's a half-hour total).  It's a great piece for a number of reasons, but your wrap-up caused me to remember something that might explain Fripp's not being so front-and-center in his band (as opposed to, say, Eddie in Van Halen or whatever).  At one point he talks about how playing with Bowie was great because Bowie gave him "freedom" as a guitarist.  He goes on to explain that, with Crimson, his role tended to be more "organizational" and that his guitar work was really secondary.  This is how he saw the band and how he best felt it would succeed (and it did).  Again, the Fripp is a different animal than most.  Anyway check out the interview.
 
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Points: 1003 		Direct Link To This Post Posted: June 20 2009 at 15:07
Nobody can appreciate Robert Fripp more than this guy does:

http://www.youtube.com/watch?v=OCAQAlw6cAU&feature=related

http:///www.youtube.com/watch?v=C2iTo63Fl48
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Points: 651 		Direct Link To This Post Posted: June 20 2009 at 15:10
Originally posted by Progosopher Progosopher wrote:

As others have said, there are many layers to Fripp's playing.  He can work within the context of the song exclusively, be subtle, full of delicacy and nuance, or he can be so blatant his playing is like stabbing hot pokers into your eardrums.  He is very precise, even when playing fast, and brother, he is fast.  Where it gets difficult for me to appreciate him is in the very early Crimson work where so many of his solos were atonal with really harsh tones.  I even got to the point where I wondered if he even understood what a key was.  His song construction is fabulous, and he makes really weird chords and changes that somehow work.  Any version of Larks' Toungues shows him off well.  Some of his best work came from the 80s version of Crimson IMO, and that's where he concentrated more on serving the song rather than wailing.


These are pretty much my feelings exactly. Clap
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Points: 81 		Direct Link To This Post Posted: June 29 2009 at 09:22
Originally posted by Epignosis Epignosis wrote:

Robert Fripp is not one of my favorite guitarists, but he is damned creative when it comes to what comes up with.  Part of that is due to his "New Standard Tuning" he began using in 1983, which makes cliche riffs and voicings all but useless.

I think Fripp's best work comes alongside Belew.  They compliment each other well.  Check out The Power to Believe if you have not already.  It is an excellent record (heavy prog, really).
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Points: 81 		Direct Link To This Post Posted: June 29 2009 at 09:24
Sorry, I have to say when Belew joined forces Fripp really lost me, although I tried several times over a period of years to get back to what was one of the original greats: listen to Lark's Tongue or Red.
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Points: 65938 		Direct Link To This Post Posted: July 01 2009 at 13:44
As a strange aside to this thread, I do have 4 albums from the California Guitar Trio and I think that these guys are phenomenal guitarists.  If my reading ability and memory serve me right, they all learned their trade under Mr. Fripp. 

Edited by rushfan4 - July 01 2009 at 13:44
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Points: 150 		Direct Link To This Post Posted: July 21 2009 at 06:38
Robert Fripp is highly-acclaimed for his creativity and innovation. About his playing-style, he is one of the most uniquest guitarist ever.

His contributions on two VDGG albums are also a highlight.
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Points: 4900 		Direct Link To This Post Posted: July 21 2009 at 15:05
Here's the thing: I wholeheartedly believe that Fripp could easily out-play many of the 'shredders' out there if he wanted to. He has proved his capability and skill on the Guitar many times. However, he chooses not to go in that direction much because he is more concerned with whether or not his instrument compliments the music itself or not. Most of the time Guitar solos are there simply to impress the ear and not enhance the song.

I think Fripp's impressiveness comes from what Robert mentioned earlier; his incredibly fresh take on the instrument itself. Wink It's how he approaches Guitar playing that is so amazing, not soecifically how fast or technically he plays, if that makes any sense . . .
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Points: 22989 		Direct Link To This Post Posted: July 23 2009 at 10:48
BTW this goes for all those who say Fripp is grumpy and has no humour.

Check out his blog for July 13 here http://www.dgmlive.com/diaries.htm?entry=15134 and see his photo-collage with the adventures of Willifred, his rabbit LOL
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Points: 29625 		Direct Link To This Post Posted: July 23 2009 at 11:42
Originally posted by harmonium.ro harmonium.ro wrote:

BTW this goes for all those who say Fripp is grumpy and has no humour.

Check out his blog for July 13 here http://www.dgmlive.com/diaries.htm?entry=15134 and see his photo-collage with the adventures of Willifred, his rabbit LOL

The Cheerful Insanity Of Giles Giles and Fripp also makes the case. Big smile
It couldn't possibly be gust the Gileses that were cheerfully insane.


Edited by Slartibartfast - July 23 2009 at 11:44
Released date are often when it it impacted you but recorded dates are when it really happened...
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Points: 4287 		Direct Link To This Post Posted: July 24 2009 at 08:19
Sadly the original League of gentlemen is very hard to get,for those that havent got it allready., but its again proves his great sence of humour, musicaly and otherwise.
 
I think if you go trough his hole production without finding a great sence of humour, something must be wrong with your sence of houmour.
 
The David Byrne vocals on Under Heavy Manners,  For Fripp Sake -  its fun. 
Prog is whatevey you want it to be. So dont diss other peoples prog, and they wont diss yours
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Points: 17995 		Direct Link To This Post Posted: May 09 2010 at 22:51
Listen all the way through the song Fracture with the volume loud enough to pick up the quiet guitar in the middle

then listen to Starless

then listen to the guitar solo work on The Night Watch

then listen to his noodly guitar bits on Brian Eno's album Another Green World, especially the song Saint Elmo's Fire

then pick up the minimalist space jam album The Equatorial Stars by Fripp and Eno

That might be a good start

PS Rushfan4 told me to necropost here
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Points: 9669 		Direct Link To This Post Posted: May 09 2010 at 23:09
Fripp's smokin' solo on Bowie's "Scary Monsters" is very cool, and supposedly one of Fripp's own faves. Cool
"And, has thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!'
He chortled in his joy.
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Points: 3126 		Direct Link To This Post Posted: May 10 2010 at 00:06
As Greg Lake once said...Fripp is an underrated guitarist. He explained that what Fripp did on guitar with Crimson was not a full representation of his vast knowledge on the strings. There is this Paganini piece  he plays which displays him as a superior guitarist. You wouldn't be able to spot that upon hearing the beautiful, simple, and melodic chord changes that guide us through "Cadence and Cascade". "Pictures Of A City" has some very errie and rapid harmony overdubs on electric guitar. I didn't hear very many guitarists playing like that in the early 70's. I can picture him playing the bass notes and the lead melody of "The Day The Earth Stood Still" by Bernard Hermann. He is that kind of guitarist where he could figure out almost anything played by an orchestra to be transcribed for the guitar. On the "Cheerful Insanity of Giles, Giles, and Fripp he performs amazingly on Suite No. 1. King Crimson wasn't about guitar playing as much as it was composition. Fripp did some careful planning with Crimson. Especially the early recordings when he worked with Pete Sinfield.  
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Points: 732 		Direct Link To This Post Posted: May 10 2010 at 06:13
Originally posted by HTCF HTCF wrote:

Listen all the way through the song Fracture with the volume loud enough to pick up the quiet guitar in the middle

then listen to Starless

then listen to the guitar solo work on The Night Watch

then listen to his noodly guitar bits on Brian Eno's album Another Green World, especially the song Saint Elmo's Fire

then pick up the minimalist space jam album The Equatorial Stars by Fripp and Eno

That might be a good start

PS Rushfan4 told me to necropost here
Then listen to the acoustic guitar on Cirkus, carefully now, miss nothing (the in-betweens are as impressive as the parts that jump out).  You tell me, of all the electric guitarists out there who'll tear down the house once there's a little distorted warmth in the line, who else have this high level of skill and consistency on an unadulterated acoustic guitar?  Maybe you'll find, what, a few?

[edit: Cirkus, first track on album Lizard]



Edited by American Khatru - May 10 2010 at 06:15

Why must my spell-checker continually underline the word "prog"?

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Points: 29625 		Direct Link To This Post Posted: May 10 2010 at 09:49
Presto changeo, Robert Fripp is now amazing for you.
Wait a second, is it not working??? Tongue
Released date are often when it it impacted you but recorded dates are when it really happened...
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