September 21, 1980
	Royal Exeter    Bournemouth, UK

The Power of Gurdjieffian Metaphysics   February 2, 2006
Written by harmonicscarf

First of all, I enjoy this recording immensely. Reading the posted notes about it got me very excited, so then I just had to put my pet parakeet aside and order the digital information. This gig is a bold statement and it is clear that Fripp took this band on a serious ride. He ’dropped in’ some complicatedly complexified concepts including important secrets of 7-ness, and, well, just the right amount of glistening wisdom on "Trap". Highlights: 1. "Boy at the Piano" is very rad, compelling and more or less totally cool. I feel like it should have been, like, somewhat of a number 1 hit. 2. the menacing guitar on "Thrang...", I mean, it just crawls up my spine like a three-headed Cobra-Dragon!!! 3. Fripp speaking about Gurdjieffian Metaphysics. I can only laugh at hearing him saying ’fuck’. His ’dirty’ mouth always inspires me. I will continue with this review, but it will turn now toward the contemplation of Mr. Fripp’s mysterious activities after Crimson had temporarily forever dissolved in 1974. I have many questions about this time. The first one is: Did Fripp actually meet JG Bennett ’in the flesh’ (sorry, is that a Blondie reference?). One could easily be overtaken by Bennett’s knowledge and candor simply by listening to his taped lectures, much the same way as I have in listening to Fripp’s comments here and there during recorded concerts etc., but then actually being in the presence, breathing the same air, was much much more. I finally got to witness the master this past october in pittsburgh, even asking him a question that, in retrospect, could have been replaced by one that was more corruscating and hotly burning I’m not suggesting that I know what it would matter for someone else to have such an experience, but I do think it is very crucial for certain transmissions. Sure, many swine can swim through a lake of pearls and remain oblivious, but it seems to be abundantly evident that something massive and utterly necessary took place during Fripp’s retreat into real ’realness’. And then he goes to NYC, a place for which he must have felt a certain contempt(ie. Epitaph box,a man, a city) What a brillant move!!! I can only think that this manooover was guided-’from above’, but of course with severe strategy and contemplation. I believe this corresponds to the idea of intentional suffering because one can notice how the results of, let’s say for instance, ’infiltrating’ the punk scene, stimulating or adding to the creative pool in New York at the time, caused a certain ripple that was unknown to most people, the work of a true disciple. Now, it may be argued that the solo on ’Fade Away and Radiate’ doesn’t matter that much in the long run. I would say it’s just a small symptom of a larger, more perfected idea. I have lost my concentration and must not write any more. I hope to continue this thread when I share my thoughts on Robert Fripp’s "Love Cannot Bear"

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