Conservationist
New member
This wizard played with King Crimson, then broke loose to make classically inspired ambient music. Anyone else a fan?
Robert Fripp
- Thread starter Conservationist
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doctortornface
New member
Caught him live for the first time in years,at The Carling Academy in Glasgow Last year.He was supporting Porcupine Tree,Played solo for 30 mins and it was very free flowing if a bit over effected. Love all the King Crimson stuff and a lot of the solo.
MorningStar
New member
I lived and studied with him in 1985 as the first Guitar Craft class, wonderful musician and equally wonderful person.
Corno Dolce
Admiral Honkenwheezenpooferspieler
Robert Fripp - I always think *Frippertronics* when I hear Roberts name.
John Watt
Member
Robert Fripp is probably one of the more intelligent and mature acid-rock and progressive rock guitarists.
King Crimson was heavily listened to by many musicians, maybe not inspiring clone acts with their extremely high tech and expensive recordings and stage gear, but for the musical moods and variety they offered. "26th Century Schitzoid Man" with it's combination riffs with sax was fast and a creeper. "In the Court of the Crimson King" made it cool to play recorders and sound acoustic, even if that breathy and changing Mellotron sound keeps poking out at you. That was probably one of the most stuck on the wall album covers of all time, getting copied and painted on a lot of jackets. Robert Fripp kept going, pushing his musical boundaries quietly, touring small venues to introduce fans to new performances, and touring as bands under the King Crimson name.
Greg Lake, lead singer for King Crimson, parlayed this musical credibility into joining Emerson, Lake and Palmer, more successful and as influential for keyboards.
"said the sad man, to the mad man, where have you been?"
King Crimson was heavily listened to by many musicians, maybe not inspiring clone acts with their extremely high tech and expensive recordings and stage gear, but for the musical moods and variety they offered. "26th Century Schitzoid Man" with it's combination riffs with sax was fast and a creeper. "In the Court of the Crimson King" made it cool to play recorders and sound acoustic, even if that breathy and changing Mellotron sound keeps poking out at you. That was probably one of the most stuck on the wall album covers of all time, getting copied and painted on a lot of jackets. Robert Fripp kept going, pushing his musical boundaries quietly, touring small venues to introduce fans to new performances, and touring as bands under the King Crimson name.
Greg Lake, lead singer for King Crimson, parlayed this musical credibility into joining Emerson, Lake and Palmer, more successful and as influential for keyboards.
"said the sad man, to the mad man, where have you been?"
sunwaiter
New member
i always tell whoever is interested that RED is a pivotal album. listening to it today does'nt give the impression of revolution, but at the time, it must have been quite a shock.
a really heavy and impressive sound had been achieved by black sabbath, which is my favourite "rock" band; i got my first taste of sabbath on "sweet leaf", swept away by tony iommi ultra-simple chords. emerson lake and palmer did sound very dark and powerful too on the "barbarian".
RED sounds like a nightmare of the same color, an alectric lullaby, something dark but intimate (starless and bible black). on this album they returned to a simpler sound, in comparison to "the court of the crimson king", "islands" or "lark's tongue in aspic". not that the earlier recordings didn't deserve as much praise as this one, but they took a turn in style few bands take.
a little bit later i discovered the precedent record (if i'm not wrong) "starless and bible black", which is the link between the two periods. i like them both.
a really heavy and impressive sound had been achieved by black sabbath, which is my favourite "rock" band; i got my first taste of sabbath on "sweet leaf", swept away by tony iommi ultra-simple chords. emerson lake and palmer did sound very dark and powerful too on the "barbarian".
RED sounds like a nightmare of the same color, an alectric lullaby, something dark but intimate (starless and bible black). on this album they returned to a simpler sound, in comparison to "the court of the crimson king", "islands" or "lark's tongue in aspic". not that the earlier recordings didn't deserve as much praise as this one, but they took a turn in style few bands take.
a little bit later i discovered the precedent record (if i'm not wrong) "starless and bible black", which is the link between the two periods. i like them both.
bockjames
New member
O ya. Have you listened to The Nice (Essential collection) if not get it. Its from the 68, 69 era. With Kieth Emerson, Olist,Fripp, Greg Lake, Carl Palmer.
Soubasse
New member
I think his place in rock history is as well deserved as it is secure. He is without doubt one of the most formidable guitar craftsmen out there.
I use the word 'craft' quite deliberately of course in relation to his Guitar Craft projects. In fact, one of the best guitarists I've ever had the privilege of working with in a band, had lessons with Fripp many times during his attendance and participation at Guitar Craft meetings (sadly he has since died from cancer, but I'd always look on those times in the group with him as immensely fruitful. Chris said Fripp was "a hell of nice guy" so Morning Star, it seems you were clearly of the same impression).
Fripp is not without his "unique temperaments" (some might say "eccentricities" perhaps). Any seasoned Krim fans know that if they plan to use camera at a gig where Robert Fripp is playing, they rigourously check to make sure the flash is NOT on as RF's veiw on flash photography at gigs is now almost legendary. Another good friend of mine once found this out the hard way - his flash accidentally went off (he honestly thought he'd disbaled it) and Fripp actually stopped performing, stared straight at him and asked "Why?" (!!)
Unusual or individual behaviours notwithstanding though, Fripp is (IMO) a force to be reckoned with. He was at the forefront of Prog and remains quietly influential to this day.
He's also happy to step aside and let others take the limelight, I mean: Fripp as a support act for Porcupine Tree?? There's one gig I dearly wish I'd seen!!
I use the word 'craft' quite deliberately of course in relation to his Guitar Craft projects. In fact, one of the best guitarists I've ever had the privilege of working with in a band, had lessons with Fripp many times during his attendance and participation at Guitar Craft meetings (sadly he has since died from cancer, but I'd always look on those times in the group with him as immensely fruitful. Chris said Fripp was "a hell of nice guy" so Morning Star, it seems you were clearly of the same impression).
Fripp is not without his "unique temperaments" (some might say "eccentricities" perhaps). Any seasoned Krim fans know that if they plan to use camera at a gig where Robert Fripp is playing, they rigourously check to make sure the flash is NOT on as RF's veiw on flash photography at gigs is now almost legendary. Another good friend of mine once found this out the hard way - his flash accidentally went off (he honestly thought he'd disbaled it) and Fripp actually stopped performing, stared straight at him and asked "Why?" (!!)
Unusual or individual behaviours notwithstanding though, Fripp is (IMO) a force to be reckoned with. He was at the forefront of Prog and remains quietly influential to this day.
He's also happy to step aside and let others take the limelight, I mean: Fripp as a support act for Porcupine Tree?? There's one gig I dearly wish I'd seen!!