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Curious about Red
:: Posted by ericbest on March 25, 2013

Hi. I just read in Robert’s diary that he is working on Red. As the 40th anniversary edition is already out, why is it being reworked? (Personally, I have never been convinced by the lessening of the prominence of Robert’s guitar on the 40th anniversary mix.)
Appreciate any responses.
Eric.

working with Bowie
:: Posted by siggister on March 25, 2013

Following my question:
"Would Mr. Fripp like to comment on rumours that he was not keen on working with Edgar Froese in 1977 during the recording sessions for a Bowie album?" Mr. Fripp asked in his diary:
"What rumours are those, please?"
First of all, apologies for the insinuation in my original question from the 9th of March. It may
make me look like a bad amateur interviewer, working with rumours, repeating what someone possibly just made up. In attempt to formulate a better question: Allegedly Edgar Froese was asked to work on Bowie’s album (not sure about the exact year), in which Mr.Fripp was also involved. Mr.Froese arrived in the studio, but then decided not to work on the album. Maybe, accidentally, Mr. Fripp knows the reasons for Mr.Froese’s final decision?

*The Magic Pinky*???
:: Posted by Ornate_Coal_Man on March 24, 2013

What? So, Fripp has unique musical qualities because he uses his, ahem, pinky in the left hand?

Practically EVERY guitar player uses the pinky on the left hand. Ever hear of the ubiquitous 2 octave scale pattern that goes a bit like this: 2-4, 1-2-4, 1-3-4, 1-3-4, 3-4, 1-2-4? What’s the 4 for? :)

If you are going to point out a distinguishing technical trait, you are looking at the wrong place--- all aspiring players wish for the following technical trait. I will even scream it for you: MONSTER RIGHT HAND.

See, for example: Bruno, Jimmy. Or Gambale, Frank.

It Was 40 Years Ago Today...
:: Posted by Antonion on March 24, 2013

On this day 40 years ago, The Dark Side of the Moon was released.

Anyone got any jokes?
:: Posted by J_Godfrey on March 24, 2013

If there’s one thing more dated and and irrelevant than a drummer joke, surely it’s a Skoda joke.

(sic)
:: Posted by cantspelldiKc on March 24, 2013

   atain is the place between my brain and my ass that don’t know shit. i still say Dweezil could produce a fair amount of frippery and is probably in need of a good job

A Door Better Left Closed . . .
:: Posted by cloudscapes on March 24, 2013

Steve Hackett is a lovely musician whose work at it’s best, "Serpentine Song", as well as many others, stands as a model of sensitivity and intelligence.  That said, Crimson with Hackett would not have been Crimson at all.  For all his fine qualities Hackett still lacks that near-nigh indefinable spirit that so drove Fripp, the willingness to throw caution to the four winds and seek what is beyond the horizon . . .  On a more pragmatic plane, Hackett’s expectations of and writing for a ’rhythm’ section pales in comparison to Fripp’s.  Wetton/Bruford c. 74 would have simply overwhelmed him.  The discrepancies in the sonic palettes of the two gentlemen is, I believe, profound, one example:  Hackett seems only vaguely aware that his left hand possesses a little finger whereas Fripp makes free and frequent use of his well-conditioned pinky, a seemingly minor detail which nonetheless contributes mightily to the expansiveness of his playing that we all so appreciate and love.  I, for one, am not sure I can see Hackett navigating "Fracture", or some of the 81-84 material come to that.  Anyway.  Lest we forget, Hackett had an opportunity to Crimson it up, to wit:  his invitation to join the 21st Century Schizoid Band.  He sensibly passed on that, pursuing instead, and quite successfully, his own vision.  Finally, I equate Fripp, and by extension King Crimson, with a novel by, say, William Gaddis or Mark Danielewski, where the reader/listener  immediately understands that challenges are being issued that not only subvert the status quo but necessitates the respective audient to actively participate in this shared exploration of uncharted territories . . .  More than this no-one should expect.  Cheers!

Crimson Projekct & the road to red
:: Posted by DanAnderson on March 24, 2013

I, too, am a bit ambivalent on the CP. Mostly it’s the songs I’m not do much interested in but the instrumentals I’m curious about the reworking. Not being a frequent follower of the RF diary, I am interested in news about the road to red - what is it?

:: Posted by octopus92 on March 24, 2013

When reading last Fripp’s diaries, I’m very curious about the new mixes of the "Red" album...

Does it mean that the 40th Anniversary Edition will be replaced by a "Deluxe 40th Anniversary Version" including this new mix and extra bonus yet to be determined ?

Maybe Sid could give us some informations or someone else...

It will be a part of The Road To Red as mentioned previously in Robert's diary. Details on content and release, etc still being finalised.

Sid

The Real Thing
:: Posted by AndrewJohn on March 24, 2013

I agree with many of the recent views posted.
To find that Graham Bonnet is to play a local music venue, ie a re-vamped pub is mind-blowing in the context of how we as fans viewed the rock star from the early seventies to today. His work especially with Impellitteri is brilliant.
Today is clearly a very different world. A humbleing is present with us all perhaps.

Gentle Giant more than many exhibited the band ethos where the members created and controlled the sound rather than it being ’magically plucked by the players with a good fairy present’in the tradition that KC promotes.

It can be fun to be academic and nostalgic with history but the most fun is to be had hearing the music. Some of which stays remarkably powerful. To see the many Japanese faces so warmly responding to The Crimson ProjeKct must be a great boost to the musicians and one I fear would not be as enthusiastically greeted by the more cynical UK audiences.

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