Most importantly, it sounded utterly modern, and completely removed from the baggy excesses of 70s-style prog. The time signatures might still be a bit tricky, but this was an album dominated by a hypnotic twin-guitar attack influenced by systems music, gamelan, punk and funk. (HX.272506).Yet more to the point, Discipline didn’t sound anything like a progressive rock album, or certainly not as the genre had come to be understood by critics and public alike. Music notes for individual instrument part sheet music by Astor Piazzolla Robert Longfield: Hal Leonard - Digital at Sheet Music Plus.
After its posthumous release, Fripp retreated from music, immersing himself instead in the teachings of human potential advocate George Ivanovich Gurdjieff, via the work of J.G. Nevertheless, King Crimson had produced some of the most jaw-droppingly exciting and intense music of the early ‘70s, always operating at a different level from the other progressive bands and driven by a fierce improvisational spirit.However, by mid-’74, Fripp’s disillusionment with the music industry and a worsening spiritual crisis had caused him to withdraw to the point of passivity during the recording of the album Red, with bassist/singer John Wetton and drummer extraordinaire Bill Bruford forced to take over the reins in order to complete it (ironically, and perhaps not uncoincidentally, Red is regarded by many as King Crimson’s finest hour). While a guitarist of both remarkable technique and visionary power, Fripp found being a band leader more difficult, and had acquired a reputation for gnomic perfectionism which other members sometimes struggled to understand or meet.
But the collaboration that Fripp is still most renowned for is with David Bowie on his 1977 “Heroes” album.As the story goes, co-producer Brian Eno – who had previously made two proto-ambient albums with Fripp – decided that the session needed some wildcard input from the guitarist. Like Fripp, Gabriel had also felt the need to disentangle himself from the record industry before making his next move, and was beginning the process of developing a new musical identity separate from his iconic role as Genesis’ frontman, evolving a sound that was both starker and more joyful, and a good deal less calculated than his previous band.Fripp had clearly found a kindred spirit, playing guitar behind the stage curtain on Gabriel’s subsequent tour, and going on to produce the singer’s second album in 1978. (Fripp’s own account of his decision to split the band makes for eye-opening reading, with the guitarist predicting the collapse of civilisation by 1999.)Fripp had originally intended to give up music altogether but was lured back to the studio in 1976 to play on Peter Gabriel’s first solo album.
Two of the most notable contributions he made were to Blondie’s Parallel Lines’ slow burner ‘Fade Away And Radiate’ and to Talking Heads’ ‘I Zimbra’ from Fear Of Music, the Afrobeat-derived track that their classic Remain In Light album would be built upon – once again, Fripp had been invited by Heads’ producer Brian Eno.In 1979, Fripp released his first solo album, Exposure, an intriguing and diverse collection of quirky pop songs, spiky rockers, punk funk, soulful ballads and Frippertronics, ambient mood music created using a personalised version of the tape delay system that Eno had introduced him to. Soaking up the punk vibes of the Bowery and the experimental music of the art scene, not to mention the Latin, African and disco sounds that variously filled the streets, Fripp did his best to throw off the shackles of English repression and collaborate as widely as possible. He immersed himself in the city’s vibrant musical scene, from hanging out at CBGB to attending Steve Reich performances. Plugging in, the first thing he recorded was the slippery, mechanistic vamps on ‘Beauty And The Beast’, and this was quickly followed by the waves of beatific sustain that heralded and underpinned the title track, one of the most recognisable pieces of playing in the modern rock canon.Fripp was living in New York at the time, and operating by his own definition as “a small, independent, mobile, intelligent unit”.
With Andrews chopping out garage punk chords, and Lee and Elichaoff pounding out primitive but effective 4/4 rhythms, Fripp would lay down the topline, which ranged from playful cyclical riffs to abrasive sheets of noise. Alongside Fripp, the group consisted of Barry Andrews, ex-XTC, on organ, and Sara Lee (bass) and Johnny ‘Toobad’ Elichaoff (drums) from the none more punk-sounding Baby And The Black Spots (Lee would later go on to play bass in Gang Of Four).The League Of Gentlemen did 77 shows (in venues far smaller than Fripp had last played) and released just one self-titled album – featuring Danielle Dax of the Lemon Kittens on the track ‘Minor Man’ – but were a vital bridge towards what Fripp would do next, as well as producing some fantastic music in their own right. But by this point, Fripp had decided he wanted to be in a group again, and formed the instrumental ‘new wave dance band’ The League Of Gentlemen. Also playing on the album was bassist Tony Levin, who Fripp had met via his work in Peter Gabriel’s band, and Phil Collins, who lest it be forgotten drummed on a lot of very interesting albums in the ‘70s.The album was well-received, and Fripp followed it up a year later with the half-Frippertronics, half-‘discotronics’ release God Save the Queen/Under Heavy Manners.
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Also of note is Tony Levin’s use of the Chapman Stick on ‘I Don’t Remember’, a bodiless 12-string fretboard that enables the playing of seemingly impossible basslines.On 12 September 1980, David Bowie released Scary Monsters (And Super Creeps), the album that all his subsequent output would be critically compared against (right up until the glorious capstone of Blackstar). Plus, it’s also one of the first albums to use sounds from early digital sampler the Fairlight CMI. Fripp plays on three tracks, but his stylistic influence is all over the album, the guitars either stalking in the shadows or buzzing like early warning klaxons.‘Games Without Frontiers’ and ‘Biko’ may be the album’s most enduring tracks, but it pushes out much further: the nervous breakdown on a 7” that is ‘No Self Control’ – egged on by Fripp’s needling guitar – made for interesting viewing on Top Of The Pops, while the deeply sinister ‘Intruder’ featured the first use of Phil Collins's notorious gated drum sound, which would go on to dominate the pop-rock of the ‘80s. However, you can hear and find out all about them here.)It’s around about now that it becomes possible to play an art rock parlour game that we could call ‘The One or Two Degrees of Robert Fripp’, as the guitarist becomes a prime connector across a series of sonically and technologically innovative albums that would help define the tonal palette of avant rock to come, and soon be recognised as classics.On , Peter Gabriel released his third untitled album (though now usually referred to as Melt after its striking sleeve), which, despite the strange, unnerving nature of much of its musical content and lyrical themes of depression and madness, proved to be a major commercial and critical success.
The way that his guitar rampages through the title track in particular is just astonishing, as is again the fact this song was released as a single, an act of sonic terrorism that saw it blaring from the nation’s radios and discotheques – and note the bizarre drum treatment, turning them into barking rottweilers.
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