Robert, what kind of feedback have you gotten from King Crimson fans at the sight of you dancing or covering songs by Alice Cooper and Joan Jett? Fripp: In one word, surprise. One of my personal interests in this is to give a hefty kicking to received opinion. But in terms of the Sunday Lunches, there is an entirely different aspect of me that my wife has actually been keen to present for a very long time, the side of Robert that really no one gets to see.
I probably would not have done it without the lockdown either. How has the making of the videos changed during the course of the year? Willcox: We decide on the Friday what is going to be the song for the Sunday 10 days later. We start rehearsing Monday, Tuesday, and Wednesday. We do a test run Wednesday evening. And we did that because it was technically a great song, but technically a lot going on onscreen and we wanted to get it right.
We realized that our audience was growing and growing and growing. So since then we do a lot more prep. A lot of the earlier ones were only ever one or two takes without rehearsal. How long do you see yourselves doing these? Willcox: What we might do is move to once a month or once a fortnight.
So we will never stop completely. You two have been married since Willcox: With King Crimson, Robert has written music that has to be held within an invisible boundary to stop the train coming off the tracks. Robert has written music by which he has learned to be the rivet pin that must never be fractured. And I love that Robert has compromised that to take part in these videos and to understand [that] if something is slightly off the rail, that has broken every rule Robert has set for himself in his career.
What has been remarkable about these films is Robert has done it full stop. That is quite miraculous. My wife is a force of nature and my wife leads the way. My wife is a star. One thing has really pissed me off increasingly.
My wife is a cultural influencer from the late Seventies through the Eighties. How did that come about? That was my motive, but also to have fun doing it. It was stunningly well-presented. We were given a very good dressing room. Oh yes. They visited the house. The town stopped, there was a crowd of two hundred outside the front door, and the local paper, the Bredonborough Weekly Inquisitor , had Keith Lemon on the front page.
Originally Eno acquired a credibility through working with Robert Fripp and now, ironically, Robert Fripp is acquiring a credibility having worked with Brian Eno. There was a time when Eno was very concerned to be successful.
In he became less interesting. Very happy to be what he is. But in , when I can abandon this particular approach, I will revert to being once again quite interesting and intriguing. That led to a discussion of the ambient world he and Eno had been sound-scaping. Frippertronics falls into two sections.
Some of it is ambient. Once in Paris, I went to this restaurant for supper and asked the manager if he would let me play there and he said yes. So I went back the next two nights and played for supper and because people were eating.
I accepted the responsibility of not interfering with their digestion. It was definitely ambient music. It was an evening of instrumental soundscapes, just Fripp, a guitar, a guitar-synth, and foot pedals, all run through a delay and manipulated.
The sounds he creates may or may not be repeated. Layers are laid upon layers, calm juxtaposed with turbulence, ambience with a hint of dissonance, an ebb-and-flow celestial squall.
Fripp played for an hour and 13 minutes — he looked at his watch and announced the set length after it was over. My guides have always been Miles and Duke. And that idea was there from the beginning. Fripp has also spent plenty of time on the receiving end of such spurring. Untraceable to prog, or to any other school, the playing is utterly alien, and purely Fripp. Lots of fun. Asked what might account for his sui generis guitar sound during this period, he pauses and then offers up a concise list.
The last time Fripp recalls speaking with Bowie was in when Bowie reached him at the home of Adrian Belew, who had also played with the singer prior to joining Crimson. My wife is a very considerable Bowie fan. He goes on to stress, though, that in some ways, the collaboration never really ended. His relationship with King Crimson has been similarly constant, though somewhat more tortured.
Bennett and G. Considering that statement today, Fripp puts on his best mischievous grin. Any lingering tension with Crimson alums seems to have dissipated, though.
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