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:: Posted by Teledan on April 24, 2015
Thank you for the prompt and very interesting response to my question, Sid. Whoever it was that actually played those memorable nine-or-so seconds of guitar can claim an interesting, perhaps unique, distinction: his (or her) guitar playing is featured on a studio album by the Beatles, and a live album by King Crimson. Are there any other examples of the "patches" provided with a stock mellotron(as opposed to the pitched notes produced by the keyboard itself) being used on KC albums (or perhaps on other well-known recordings) of which you are aware?
Travel Bleary Capricorn
:: Posted by Teledan on April 24, 2015
I just noticed that the guitar lick that starts the improv entitled "Travel Bleary Capricorn" from December 14th, 1969 at the Fillmore West (from the "Epitaph" set) is, I believe, identical to the lick that ends "Wild Honey Pie" as it segues "The Continuing Story of Bungalow Bill" on the Beatles’ eponymous album. I always thought this was an amazing guitar lick- does anyone know if it’s George Harrison that plays it on the Beatles’ recording? And was Robert consciously playing the lick verbatim to the Beatles’ music? Or is it not verbatim? Is it simply considered a "stock cliche" Spanish-sounding guitar riff?
The lick in question is one of the patch sounds that came standard with the Mellotron at the time and which The Beatles used on the White Album. Having the same version of the 'tron, KC were able to slip this into their set.
In the moment...respect..
:: Posted by AndrewJohn on April 24, 2015
I spot a link between a ’walking off’ and Fripp’s soloing guitar as practised over many years.
I recall well seeing Paul Tortelier at The Free Trade Hall Manchester many years ago. No filming then, in the 70’s, and as the place was packed we were behind him on extra seating on the stage. Wondrous music and playing from another age, but after the ’gig’ I was unexpectedly in the position to receive an autograph. His daughter attempted to usher him on as he was shattered and obviously elated & stressed form his performance and its response. ’But ..No just one more was his answer’...I don’t recall asking, but there was a clamour around me.
Being in the moment is tender and fantastic, not easily achieved. For me many of Fripp’s solos, outside the KC camp, have caught this. This is what makes KC so incredible and certainly not The Fripp Band. Being lucky enough to, or be able to put yourself in a place that might, enjoy a joy can be a skill to recognize. ’Heroes’ illustrates this as well.
The forest of mobile phones held aloft for Ted Nugent’s turn in Nottingham in 2006, disappointed me and was a great distraction. Nugent’s attitude then was impossible to fathom. It made no difference, he didn’t care and why should he. His indifference illustrates his well worn live and let live, freedom to do what you will but don’t tread on me stance. The KWSBand’s recent Holmfirth visit was a revelation though. I only really spotted 2 phones being used with abandon. Wonderful audience & band in harmony with attention on the music.
This is what KC does for me and I’m sure many others. Respect for other players and audience for the greater expression of whatever the KC muse wishes to unleash on us all. If we all suffer for one miscrient, then we’ll have to wait for another day. First take fever is what you get at a live event and an expectation of a high level of respect should be offered, but with a freedom to expect the unexpected without limiting self control. A high wire act for us all.
A real event is not a recorded one, but hell yeah it’s marvellous to hear Fripp go off on one; tender, mean, spiky, fuzzed, frizzed.....well... just playing really. Lucky RF, always in the playground when he straps on his Guitar Toy. Have a good day!
walking out on a gig
:: Posted by andyfromozz on April 24, 2015
I do have sympathy for an artist who may politely request nobody films the gig, but I’m not sure I agree with walking out on the gig. Seems like a big crowd of people who DID respect the artist had to be punished for the actions of one.
Perhaps simply pausing the show until the person stopped might have been better? or maybe asking one of the security guards to go down and ask the person to stop filming. Or perhaps asking the crowd for help, to raise their hands in front of the camera..."there must be 50 ways to leave your lover".
Walking offstage for a bottle being thrown, yes I’d agree with that, but it seems a little bit diva-ish to walk offstage, just because of one person filming, after all, that can (mostly) be ignored...
In walking out, she seems not to have shown very much respect for all the other nice people there to support her.
:: Posted by Bakullama on April 22, 2015
Dunno what Trey Gunn is charging for his music but I think it’s a very good idea. I’m willing to support.
Think of all the hard work and dedication it takes to produce and tour an entire album. 10-15 bucks a copy hardly seems enough for an accomplished and professional musician to carry on with, unless your selling thousands upon thousands of cds or downloads. I’m aware they do it for the love of the music and craft, and that monetary (compensation) is secondary, ... but jeez.
Robert's solos; a curate's egg
:: Posted by surprised on April 22, 2015
I have been reading the recent words of the KC disciples in relation to some of Robert’s non KC solos, and I feel that I must point out a perhaps little known full-on star trek guitar solo of Robert’s from 1977.
Bryan Ferry released a single in 1977 called This is Tomorrow. On the first pressing the B side was a Ferry/ Eddie Jobson song called "As the World Turns". Robert plays a most wonderful solo in the middle of this most rare and poignant track.
It has only ever appeared on cd once, on a Japan only cd called Mamouna EP from 1995 (VJCP 20021).
The song is currently on you tube, but I believe it is regularly taken down. i do not know the reasons for this; but it inevitably adds to the mystery of the track. Please check it out if you have never heard it.
See some of you in Birmingham in September!
The two sides of TS McFripp
:: Posted by albemuth on April 21, 2015
Thanks for the correction Rogadaire about the BOF solo. I seem to be open to any and all April Fool’s jokes. Incidentally, I believe I know (and others know) what note you are referring to!
Still, while I enjoy Fripp’s moments of rhapsodic joy and terror, I tend to prefer his cooler and restrained playing, as though he is a little bit removed from the proceedings. Woody Guthrie wrote "This machine kills fascists" on his guitar. Robert Fripp should write "Remain in hell without despair" on his.
Honor Artists' Intentions
:: Posted by Dr_Erock on April 21, 2015
Neko Case takes a stand against disruptive audient:
"[A]fter a winning performance on Friday, Case walked out of her Saturday show early, skipping the encore, thanks to an attendee who wouldn’t stop filming -- contrary to Case’s wishes."
That solo, and a couple of others
:: Posted by rogadaire on April 21, 2015
I hope albemuth is not in any serious doubt about who played the solo on Baby’s On Fire. There was a mischievous thread concerning RF’s contribution posted on April 1, a date of sufficient significance that I trust I can safely leave any ’debate’ concerning this matter there... Personally I do very much rate the BOF solo as quintessential RF. It would probably get my vote as one of the top 5 RF contributions to other people’s albums because of one outrageous note he pulls out of the bag at a point where it just doesn’t seem ’on’, like scoring a net-busting goal from an ’impossible’ angle, back to goal, while surrounded by 3 defenders.
I seem to recall there’s another great RF solo on an Eno album that I rarely hear getting any kind of mention: Nerve Net (one of the last albums I ever bought on cassette, which probably explains why I haven’t listened to it for a good few years). Of course, a solo doesn’t need to be particularly flashy to leave its mark. Another favourite of mine from RF is on Peter Gabriel’s ’White Shadow’. It’s just so totally assured in the way it blends into and complements the sound of the other instruments, but there’s no particular stand-out part to it. One thing that I think helps make RF’s guitar playing on other people’s songs so distinctive and fresh sounding is the lack of preparation he typically has in terms of initial familiarisation with the music, it’s just plug-in and go. This leads me to the final example I’ll mention - and another personal favourite - the soloing on John Paul Jones’ ’Leafy Meadows’. The opening phrasing on that is exquisitely off the wall, a feat RF manages to augment by appearing to come in at the ’wrong time’ (I realise I should have had another listen before writing this, but I believe it comes in mid-way through a bar instead of at the start of a bar, as we’re ’trained’ to expect). It is so good that I must admit to being intrigued as to whether or not RF wrote that phrase in advance. It doesn’t detract from it if he did, it would just mean that he occasionally resorts to a kind of practiced as well as spontaneous genius.
Re; Fripp's acoustic Peace A Theme
:: Posted by Valhalla on April 21, 2015
A nice acoustic guitar sound indeed for a wonderful piece of music & it reminds me to ask, does the Fripp man still play acoustic guitar? I don’t think I have heard him play one on a recording since the early 70’s. I may be stretching the memory a little there of course, but it is something that I have thought about for eons!
What this little ’2nd take’ at the intro reminded me of, was Ian Anderson’s acoustic intro to Baker St Muse from the classic Tull album Minstrel In The Gallery. The 2nd take tit bit after a little stutter, pause & then some colourful language from Anderson before he recommences.
Heaps of acoustic guitar on those Tull albums, as there was at times with Crimson also, well maybe not quite as much as Tull of course, but still wonderful.
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