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:: Posted by acroyear on February 09, 2016
"After hearing him insult the world’s greatest guitarists, I didn’t feel so bad."
1) they were legitimate criticisms of attitude and technique, inferred through at least a cursory analysis of the performances on record, and
2) why should Fripp’s opinion on other guitarists matter in the first place?
I actually agree with him on all 3. Clapton’s choice of material limited his expression a bit, and it only got worse as the 70s progressed. Hendrix was definitely better in the long slow jams where he could stretch and be free of the constraints of structured rhythm. Beck is indeed fun (heard Guitar Shop recently?), and there’s nothing wrong nor insincere about aiming to be a fun guitarist and taking fun seriously and with some passion. Fun is not "funny", nor an insult.
I’d look to Steve Vai and Joe Satrioni and Steve Morse and Adrian Belew for other examples of that.
On being helpful...
:: Posted by Bakullama on February 08, 2016
I can think of many instances where being helpful with good intentions can be a nuisance for the recipient of said "help" or well meaning suggestion. One instance comes to mind when I, being the helpful kind of guy I am, suggested on this forum, around 1998 or so, that King Crimson should try their hand at The Blues.
Make of that what you will... You say potato, I say pie.
:: Posted by dermis on February 08, 2016
The Raging Heartless Venal Leader! Sorry to be a nuisance!!
:: Posted by SarmagoandDavid on February 08, 2016
"Helpful people are a nuisance"
Who posted and/or posted this gem?
66 Shades of Lipstick
:: Posted by albemuth on February 06, 2016
I have a big collection of old LP’s and tapes and, now and then, find time to listen to items I’ve neglected for a while. Today I gave a spin to 66 Shades of Lipstick by Keith Tippett and Andy Sheppard. It’s a fine disk produced by RF for EG, back in 1990, before the world ended. I am not always fond of Tippett’s playing but here his jagged style is offset perfectly by Sheppard’s sax. RF did an excellent job (to my ears) of balancing the sound. I’m glad I have a copy of 66 Shades since it is hard to find. It certainly is worthy of reissue.
:: Posted by mikefrost on February 05, 2016
Will KCCC42 be available to buy in regular brick and mortar record shops? Thank you.
mail order only through Inner Knot only, Mike
New material featuring full lineup
:: Posted by jeremyooi on February 05, 2016
The new King Crimson lineup is such a powerful statement. There will never be King Crimson the legacy act, but a work in progress. Speaking of which, can we look forward to any studio work of King Crimson featuring the fantastic lineup? Seven is such a mythical number; King Crimson at present is like a beacon of white light; when refracted reveals a spectrum on which seven different basic colours can be discerned among others.
(Apologies if the question on new material has been answered before)
Wonderfully weird and wondering where the heck is RF?
:: Posted by AndrewJohn on February 03, 2016
...many moons ago I bought Pawn Hearts on vinyl. Only recently have I added various other VDGG albums that feature ’Legs Quiqley’ ....but please someone end my misery.
I pride myself on always being able to spot RF’s distinctive playing and tone on countless pieces. But his PH stuff still eludes me. Now well done to RF for keeping me guessing but I want to know..
(Where and in which tracks; minutes & secs in the usual form?...please)
Here’s your handy cut out and keep RF / Pawn Hearts reference guide.
Timings taken from the 2005 CD reissue
from the section that ends “he tells me true...” 05.58 and an around David Jackson’s sax solo the plaintive high-ptiched notes gradually build to a crescendo, near 6.56.
A Plague Of Lighthouse Keepers
At around 8.38 Fripp adds little Moonchild-esque flourishes during the Presence Of The Night section and more audibly at 9.34 onwards.
“Would you cry if I died” section at 10.38 he chips in morse code notes and brings in a counter riff that goes up against the sax and keys at around 12.02 for a couple of bars.
Many people cite Fripp appearing in the “Camps of panoply...” section at around 20.18 but the Fripp-like sound is clearly Hugh Banton’s modified organ. Again, Banton is responsible for the majestic solo at 21.18 and not Fripp.
:: Posted by AndrewJohn on January 28, 2016
..as we struggle with words labels positions players that come go and leave , lets just remember it’s the music we enjoy...
...and as a lucky punter today and early recipient in the UK I can re-assure you Dream Theater’s The Astonishing is.
High standards set early this year with new music for 2016 I fear but also very encouraging... keep going everyone...
Fripp on Heroes
:: Posted by Undergrounddriver on January 28, 2016
This really nice quote is from the new review on pitchfork:
But setting "Heroes" apart was the crucial addition of King Crimson guitar god Robert Fripp, who sprayed his signature metallic tone all over many of the album’s most memorable moments. According to legend, Fripp recorded all of his parts in one six-hour burst of wiry bliss and feedback, often just soloing over tracks he was hearing for the first time. That spontaneity—most of the album’s jam-based backing rhythm tracks were also recorded quickly, over just two days—is part of what makes "Heroes" live and breathe to this day. It’s an album that is constantly morphing, never static. As Fripp’s guitar is shooting electrical shocks, Bowie is bleating saxophone blasts, and Eno is summoning sonic storm clouds that pass as soon as they arrive.
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