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  Blast of fresh air July 10, 2008
Written by desol81
There was word floating around(Musician magazine?) that the ’81 Crim was possibly considering adding "Breathless" to their repetoire. Would that this was so.
Ignore My Ignorance April 9, 2008
Written by MixteryMike
Sorry about the previous review. I went over to the shop and bought the CDs. Excellent material.
Where is It? March 13, 2008
Written by MixteryMike
When will this product be available for consumption again?
10 Stars January 1, 2008
Written by billcampion
i bought this record many many years ago, i think when first came out,what can i say about this genius, plus did you see all the guys playing with him? i love you man and your music expecially with KC.
Excellent September 12, 2007
Written by MozoMan
It has taken me quite a while to finally get this reissue. What I loved was just how fresh it sounds. Well done Mr Fripp.
August 23, 2007
Written by sicilia
ok very nice
Exposure September 19, 2006
Written by Francis
Exposure In 1978, I worked in a record store in Sarasota, Florida. I spent hours on the floor alphabetizing vinyl and praying that the Bee Gees, and their hell-spawn disco music, would fade into a quick and shallow grave. Unbeknownst to our customers, a savage war of greed raged within the halls of the record companies. They were planning the death of rock and roll. Of particular interest to our record buyer, who was from New York City, and myself was the fate of the rumored collaboration between Daryl Hall and Robert Fripp. Originally, I had grown up in Philadelphia listening to the classic Abandoned Luncheonette album by Daryl Hall and John Oates. Their next LP, War Babies, was a 180-degree change in direction for the blue-eyed Philly soul boys. H & O’s label, Atlantic Records, didn’t care much for the result, so Hall & Oates found themselves moving to RCA where they produced two monster singles; Sarah Smile and Rich Girl were both chart toppers in the late seventies. They had reached #1 and became pop idols, but the ultra-talented Daryl Hall secretly yearned acceptance as a serious musician. At about the same time, Robert Fripp, the venerated anchor and guitarist of King Crimson, arrived in NYCNY. He had experienced his share of being screwed by his band’s label, EG Records and retired the fifth incarnation of Crimso in 1974 swearing never to return to the record industry. In his own words, he’d seen a terrifying vision of the future. Nevertheless, return he did, and he did it with an intellectual vengeance that would provoke the record bosses to stall the release of any of Fripp’s music for almost three years. The album in question here is Exposure. It was, this reviewer believes, the first album to pioneer rock and roll music as media. It contained a message still causing a profound ripple in the 21st century. Fripp was called out of retirement in 1977 by David Bowie to play the burning lead guitar on Bowie’s Low album; made in Berlin, it featured old friend Brian Eno. Eno, who also recorded with Roxy Music on EG and understood how record company management was exploiting the artists. Somehow inspired to travel to America, Fripp and Eno would land in New York City’s Hell’s Kitchen and bring together a very distinguished group of musicians to create Exposure. Among them was Daryl Hall who, looking to launch a solo project after ten years with John Oates, found a kindred soul in the veteran of the rock wars: Robert Fripp. The idea arrived to create a trilogy. Fripp and Hall along with Peter Gabriel, who was on his second outing after exiting Genesis, planned to release three albums simultaneously. Back at the record store, the blurbs in the music trade magazines and the rumors of this momentous collaboration fascinated the record buyer and me. We waited for the record company reps to arrive with vital news. We wondered how in the world Daryl Hall and Robert Fripp could possibly sound together. We knew the resulting music would be far from Top 40. Would anyone hear it? The same question must have been running through the mind of Hall & Oates’ manager, Tommy Mottola. Today he is the president of Sony Entertainment. Mottola was out keep his source of income away from Fripp and return him to the side of John Oates, where they could resume cranking out the singles. Hall & Oates were still under contract with RCA and it was clear the record company wanted another Rich Girl, not some avant-garde, proto-punk heavy metal. Mottola and RCA succeeded in suppressing tapes from both Hall’s album, Sacred Songs (reissued in 1999 on CD by Buddha Records), while Exposure was to have all but two of Hall’s vocal tracks replaced by other vocalists. The Peter Gabriel album, simply entitled Peter Gabriel, contained only one song common to Exposure. Released on vinyl by Atlantic Records, the album failed to chart. Now, reissued after nearly thirty years, Exposure is a two-disc set, with the original Daryl Hall vocals returned to their rightful place. The new album is a combination of Hall’s inspired singing and Fripp’s fierce guitar work, contrasted by the fluid atmospheric ambient tape loop technique, Frippertronics. The album opens with a tentative sounding Fripp introducing his new work as “…possibly commercial”. A phone rings and Daryl Hall screams, “… you burn me up I’m a cigarette/ you hold my hand and I begin to sweat ”, through the receiver, with a primal ferocity unknown to the Nubian fans of Sarah Smile. The music continues, alternating between some of the hardest rock energy ever recorded and the hypnotic ambiance of Fripp’s Frippertronics. The singing by Daryl Hall on the lovely and lonely North Star is delicate and direct. The title track has Fripp and Eno quietly spelling, x-s-p-o-s-u-r-e-x-s-p-o-s-u-r repeatedly, in the background. Originally sung by Hall, it was later rerecorded with Terre Roche, who executes some of the best screams put on record. Exposure brims with brilliant performances and inspired playing from musicians who have gone on to beat the record bosses at their own game. Yet, the most astounding revelation is not the restored Daryl Hall vocals or how the other players involved went on to the BIG TIME. The key is the flowing intro to the previously mentioned track, Here Comes the Flood by Peter Gabriel. Fripp threaded a speech by scientist JG Bennett into the waves of his ambient guitar sounds. It appears only on Exposure, not Peter Gabriel II. What is the most thought provoking about the strange introduction to this soaring and beautiful music is, if you listen, Bennett is predicting Global Warming twenty-eight years ago! Is it possible that the record bosses would have had us dance like mindless marionettes to 120 BPM disco, while they aimed to destroy rock ‘n’ roll? The record store was never the same after all this went down. It is quite likely this record is a long-awaited victory along the way to solving a vast puzzle.
Groundbreaking!! August 18, 2006
Written by mark1061
This album, along with Eno/Byrne’s "Bush of Ghosts", was one of the most important recordings at the time for guiding my future tastes. I was always a Fripp fan, but to hear him reinvent himself in such a personal way was inspiring! One criticism, if I may. The re-release had a different vocal for ’Chicago’, which was very disappointing. I so loved the original, and now it is available again. Now, if we could only get a re-release of League of Gentleman with the sampled vocals restored, I could die happy.
EXPOSURE August 12, 2006
Written by millingt
Holy smoke. I have a poor audio quality version of exposure that I picked up at a used cd shop for some time. My response was: Breathless was possibly the best song Robert had written to date and I liked North Star. It was a nice album but I wasnt anxious to go out and snatch the re-release. After wandering through a local cd shop, I saw it and figured I might as well. After listening to the sencond disc once all the way through..... I cant stop. Breathless is still breathtaking. Disengage II with Daryll Hall will knock your socks off. This is one heavy duty album. Highly recommended.
The Robert Fripp Resume June 11, 2006
Written by ModernKaveman
Remember the debates of old as to whether Robert Fripp is King Crimson? When one listens to ’Exposure’ it is clear to see that Robert definitely makes a huge contribution to the King Crimson sound. But you also see that he is not totally responsible for it either. ’Exposure’ gives a nice snapshot into all Robert Fripp (at that time) is capable of doing as musician, guitarist and songwriter on his own (with a little help from his friends). The story of the making of the record (included in the liners of this new edition) add to the aura of the listening experience. Fortunately Robert Fripp doesn’t have to scrounge for any work now, but if he did, this is the record that should be his resume. And for the newbie Robert Fripp fan, you should start with this record.
Exposure very good June 10, 2006
Written by Wilbert
Bought this one on my trip to Paris. As being a Robert Fripp fan as well as a Daryll Hall fan, I’m happy to have this one. The first cd is ok, but more than wonderfull is the second cd. The new sound is crystal-clear and the ’lost’ Daryll Hall recordings are great even if the Hammill versions sometimes have more power. I’m curious to know Hall’s opinion about these songs, knowing he’s changed his line of music through the years. Would he still be proud???
Exposure Exposed! June 9, 2006
Written by noforker
Everything about this record is improved! If you are a fan of Robert Fripp’s work, YOU WANT THIS! It is the true definitive edition, period.
So, now, when do we get Under Heavy Manners/God Save the Queen, Robert Fripp/The League of Gentlemen and Let the Power Fall?
Neil Forker
Just Plain Classic June 6, 2006
Written by mijregla
This is my all time favorite of Robert Fripps "stuff". I have always looked for this and when I saw the double disc package it was instantly bought. This disc remastered is as fresh now (better now, I have a better system to hear it) as when it was first released. I give a friend of mine a list of reissues I am interested in at the music store and this time he called and said " your boy Fripp has come to your rescue again, "Exposure" comes out on Tuesday see you 6-6-06" Today is a great day. Bonus trax are great and now I wish I could find my old promo poster of the original record. Keep em’ coming. Oh USA is fantastic also. Mij
...came with columes of feeling I have never known... May 31, 2006
Written by lotusspray
As usual THE WIRE got it wrong. This is not the SGT PEPPPER of avant-punk. This is the RUBBER SOUL of "avant-punk", an altogether different beast.
If you know you have an unpleasant nature and dislike people, this is no obstacle to work.
Damn straight.
wow! May 30, 2006
Written by chiel1
what a beast! exactly the same surprise as when I bought the original vinyl-releaseback in 79.! quite an achievement to make it sound this crisp.
(and how kind of mr fripp to leave the original "thanks to managers mark and sam" phrase intact...:))
Good To The Last Byte! May 30, 2006
Written by mannylunch
I remember when and where I first got this record - Soho Music Gallery
in May 1979, possibly sold to me by either clerk John Zorn or Tim Berne
whilst also picking up tickets to all eight Fripp Kitchen shows for the
negligible price of $5 [for which you also got a free J G Bennett tape]
Well, I performed the unforgivable sin, though increasingly harder to
avoid in contemporary life: listening to it the first time as
background to other intrusions. But then, late that night.....!!! and
hundreds of times since! Looking back now, I’d say it became even
stronger an album for it’s having been reworked from the [then unknown]
album version before it, which also served - including in a positive
way - to distance it from what would have been a perceived trilogy with
Sacred Songs and PG II. But never mind the reminisce.. Oh, by the way,
did I forget to say that this album is still a stunner, nearly 30 years
after the fact? From ballads to heavy metal crunchers, it shows the
breadth and depth of Fripp’s evolving interests as a then still young
man of 31 years. And given its totally anomalous approach REMAINS AS
UNIQUELY FRESH TODAY AS IT SOUNDED WAY BACK THEN! It’s not a King
Crimson album and it shouldn’t be (many other groups’ "stars" sorta
miss that point when doing their ’solo’ albums) but rather a personal
diary of sorts - and a compelling program from start to finish! ONE OF
THE ALL-TIME GOOGLEPLEX THUMBS-UP!!!" - MannyLunch BTW - Nice of Robert
to include my email about Hall singing ’Mary’ in trio with Fripp &
Cappella [Cappello?] in the new liner notes - now for the recording,
60th Anniversary Ed anyone? One may not live that LONG. Ultimately a
teaser, possibly reminding us all that we can never live the
experiences [no, not even just the recorded performances, ‘studio’ or
otherwise] of another fully. ... OH, and I’m not an ex-record store
owner [currently partner in Downtown Music Gallery]
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