Robert Wyatt - (1975) Ruth Is Stranger Than Richard

Ruth Is Stranger Than Richard is the third solo album by Robert Wyatt.

The follow-up to Rock Bottom, recorded either during or shortly after the sessions for that album, Ruth... is actually a collection of material Wyatt had written earlier in his career. Like its predecessor, the album was produced by Nick Mason of Pink Floyd and once again features a host of Wyatt's Canterbury scene musical colleagues, including Fred Frith.

The album contains several pieces which recall the complexity and despair of Rock Bottom, but much of the record echoes the relaxed, almost jokey feel of earlier Wyatt efforts such as The End of an Ear or his work with Matching Mole. This becomes evident from the choice of title (a pun on "truth is stranger than fiction") onwards; the two sides of the original LP release were not labelled "Side A" and "Side B", but rather "Side Ruth" and "Side Richard", the implication being that Side B was less outlandish than Side A. True to his word, Wyatt punctuated the three "serious" pieces on Side A/Ruth - the beautiful ballad "Solar Flares", "5 Black Notes And 1 White Note" (a funereal instrumental, supposedly a cover of Jacques Offenbach's Bacarolle, which degenerates into a series of noises somewhere between free jazz and electronic noise) and the piano-led Rock Bottom-esque Fred Frith collaboration "Muddy Mouth" — with a series of brief, nonsensical interludes featuring only sparse piano accompaniment and some very strange high-pitched yelping vocals under the collective title "Muddy Mouse".

The songs on Side B/Richard all have more traditional structures; the rollicking "Soup Song", written several years earlier, has the air of a pub singalong. The remaining songs are all covers or collaborations; the lengthy Mongezi Feza trumpet piece "Sonia", featuring a guest appearance by Feza himself (as do a number of other songs on the album) in the last year of his life, "Team Spirit" — written with Phil Manzanera, who would include the same song on his album Diamond Head under the title "Frontera" — and a straight cover of "Song for Che" by Charlie Haden round off the album.

For me is also essential just like Rock Bottom.

Track Listings

1. Muddy Mouse (0:50)
2. Solar Flares (5:35)
3. Muddy Mouse (0:50)
4. 5 Black Notes and 1 White Note (4:58)
5. Muddy Mouse (6:11)
6. Soup Song (5:00)
7. Sonia (4:12)
8. Team Spirit (8:26)
9. Song for Ché (3:36)

Total Time: 39:38

Line-up/Musicians

- Robert Wyatt / vocals, keyboards, drums
- Bill MacCormick / bass
- Laurie Allan / drums
- Gary Windo / tenor saxophone, alto saxophone, bass clarinet
- Nisar Ahmad Khan / tenor saxophone, baritone saxophone, soprano saxophone

With:
- Fred Frith / piano
- Brian Eno / guitar, synthesizer
- Mongezi Feza / trumpet
- John Greaves / bass

Robert Fripp, The League of Gentlemen - (1985) God save The Queen

Studio Album, released in 1985

Track Listings

1. God Save the King (13:13
2. Under Heavy Manners (4:56)
3. Heptaparaparshinokh (2:07)
4. Inductive Resonance (4:37)
5. Cognitive Dissonance (2:56)
6. Dislocated (4:35)
7. H.G. Wells (3:27)
8. Eye Needles (3:14)
9. Trap (4:42)

Total Time: 43:47
Line-up/Musicians

- Robert Fripp / guitar
- Sara Lee / bass
- Barry Andrews / organ
- Johnny Toobad / drums (3 & 6)
- Kevin Wilkinson / drums (4, 5, 7, 8 & 9)

Including:
- David Byrne / vocals (2)
- Paul Duskins / disco drums (1 & 2)
- Buster Jones / disco bass (1 & 2)

Robert Fripp and Andy Summers - (1984) Bewitched

Bewitched is the second and final collaboration between Fripp and Summers, and finds the duo branching out into other styles not covered on their first outing. Their first record, I Advanced Masked, consisted of a lot of short unaccompanied guitar instrumentals that were heavily influenced by classical and folk music from Asia and Africa. The overall tone of that album was very somber and austere. Bewitched, on the other hand, features a full backing band on many of the cuts, and is often more light-hearted than Masked.

Side one of Bewitched opens with Parade, which is an upbeat Police influenced 80’s techno instrumental that would have been a great opening theme for an 80’s sports show. This is followed by What Kind of Man Reads Playboy, an overly long disco beat driven instrumental that features many pointless and silly solos and goes on for what seems like forever. Side one closes with Begin the Day, which sounds like a world beat cross between Santana and The Police and features great solos from both guitarists. This song is one of the better highlights on this otherwise inconsistent album.

Side two opens with Train. This is an excellent futuristic techno-lounge number that sounds a bit like Eno or Kraftwerk crossed with an early 60s exotic synth record. This is followed by the title track, Bewitched, which is a nice instrumental with a short repeating melody that recalls Eno’s work on Another Green World. The following song Tribe, features classic King Crimson style tense chord progressions and buildups, but sounds more detailed and miniature than a Crimson song because it is played by the two guitarists, instead of a full band. The album closes with four very nice ambient instrumentals, each becoming a little more vague than the one before.

This is not one of Fripp’s best records, but it still has some nice music, especially if you like artists like Bo Hanson, Phil Manzenera or Eno who sometimes create music that is a missing link between instrumental progressive rock and 60s synth-lounge exotica.

Studio Album, released in 1984

Track Listings

1. Parade (3:01)
2. What Kind of Man Reads Playboy (11:12)
3. Begin the Day (3:33)
4. Train (4:33)
5. Bewitched (3:53)
6. Tribe (3:23)
7. Maquillage (2:16)
8. Guide (2:34)
9. Forgotten Steps (3:57)
10. Image and Likeness (1:30)

Total Time: 40:18
Line-up/Musicians

- Robert Fripp & Andy Summers / guitars, Roland guitar synthesizer, Jupiter 6 synthesizer, sequencer, drum machine, percussion, tape loop
- Chris Childs / bass
- Sara Lee / bass
- Paul Beavis / drums
- Chris Winter / saxophone
- Jesse Lota / tablas

Robert Fripp and Andy Summers - (1982) Advance Masked

1 I Advance Masked (5:14)
2 Under Bridges of Silence (1:41)
3 China - Yellow Leader (7:09)
4 In the Cloud Forest (2:30)
5 New Marimba (3:38)
6 Girl on a Swing (2:03)
7 Hardy Country (3:00)
8 Truth of Skies (2:07)
9 Painting and Dance (3:24)
10 Still Point (3:08)
11 Lakeland/Aquarelle (1:43)
12 Seven on Seven (1:38)
13 Stultified (1:26)

Robert Fripp & The League of Gentlemen - (1980) Thrang Thrang Gozinbulx Official Bootleg Live

Robert Fripp & The League of Gentlemen - Thrang Thrang Gozinbulx Official Bootleg: Live in 1980
“Ooh! Mr.Fripp” indeed,as this has surprised me like few Robert Fripp albums did. The five stars with which I’ll rate this album are a bit euforical,I admit,still not far from reflecting the real value. A truly surprising album,coming in the lights of opinion exactly at the point of abunding soundscaping (the trend started just one year ago--).And besides surprising (as style and value),it is close to the most original thing existing in Robert Fripp’s discography (if we are to think of all the perspectives of Robert Fripp’s solo carrier,it comes as the only album with this orientation;”Let The Power Fall” lost its title of unique after the response of 11 soundscaping years given to it).” Thrang Thrang Gozinblux-Official Bootleg 1980” is an alternative to the casual Fripp,but also individually it represents Fripp.A diversity of styles is most welcome and here is one: the manifest of genius in the proportions of popular session. The concert is thrilling,the sensation is one desirable and the quality is beyond good.As unusual as it can be,Fripp’s approach towards dance music turns out masterfull.

The only League Of Gentleman album besides this one (“officialy”) is “God Save The King”,a project that is full of flaws and unattractive moment,practicly a muddy,low point.This bootleg gem distinguishes completely as effect and grand height from its related album,still not that much concerning the concept and the elements assemble. ” Thrang Thrang Gozinblux-Official Bootleg 1980” is an uncommon,yet perfect demonstration of the Fripp guitar force,mixed with the orchestration of the Gentleman own contribution.Helds great moments of “string streaming” and goes wild on the mind effects. The concerts is a brute demonstration of imaginative pieces,performed for the delight of the audience and the style statement. Half-improvisatorical,half-enroutened in a precise maneuver play, music is glamorous and creates a booming effect.Magnitude is the main things that caught my attention and that serve as an impulse of positive opinions. The sound is beautiful through its abrazive,sharp substance and melody is denoted as a poliphonic output of casual mastermind action from the guitar master and his colleagues.

As 1980, ” Thrang Thrang Gozinblux” is again surprising.Nothing of “Exposure” in it.Nothing of “Let The Power Fall” as well.This is the second special and unique manifest in three consecutive years-seen generally (prog-related, electronical guitar jamming and frippertonics). Interesting,very interesting.

Three things go as brilliant in ” Thrang Thrang Gozinblux-Official Bootleg 1980”,the way I see it:The atmosphere,one of euforical state and vigurous pleasure pill. Of all the concerts session,this is the one that communicates with the people and enlightenes them (making the audience burst of excitement is a grand acomplishment,seen both individually and generally)… The creation: light (and easy) music,defined through subtile movements and impecable presentation,marked by point of very good moments and nice expressions. Each of the League shares a role and fulfilles it more than enough.The general effect is one of true artists playing with music and playing with the concept of dance music. Dynamic,robust,full of pleasant vibes, active rhythms and special connotations. A positive manifestation. A warm performance. A striking pulse. An unforgetable hour… The rafined taste of playing. Fripp and the League don’t just play,they create and develop their idea with great skill and understand. This isn’t just benevolic act. It’s a brand of genuine construction. Fripp remains “the” Fripp,even within such an easy inclination like this one.

The fourth thing and reason to experience this album is a more spiritual one: the desire to conquer a height and to express something.The message is more powerful that the appearance of the album.The impression,in the end,is what counts. Power shock of quality. A top deal. I will end calling ” Thrang Thrang Gozinblux-Official Bootleg 1980” as a highly recommend acomplishment,applauding the gesture of making it “official” and remember that excellent moments here are more than you can desire. Whoever desires to join the dancefloor are most welcomed. Whoever desire not to are most welcomed to not.
CD DGM9602 (1996)
Recorded live at El Mocambo, Toronto, 17-18 June 1980, and Harpo's, Detroit, 10 July 1980

Track listing:

1 Inductive Resonance (5:16)
2 Thrang Thrang Gozinbulx I (2:17)
3 Trap (4:53)
4 Boy at Piano (4:25)
5 Heptaparaparshinokh (2:09)
6 Thrang Thrang Gozinbulx II (3:20)
7 Christian Children Marching, Singing (3:46)
8 Ooh! Mr. Fripp (4:34)
9 Dislocated (4:25)
10 Minor Man (3:31)
11 Thrang Thrang Gozinbulx III (3:38)
12 Farewell Johnny Brill (3:58)
13 Inductive Resonance (2) (11:32)

Total Time: 57:44
Line-up:

- Robert Fripp / guitar
- Barry Andrews / organ
- Sara Lee / bass
- Johnny Toobad / drums

Robert Fripp & The League of Crafty Guitarist 'Inergalactic Boogie Express' Live in Europe

"This is a wonderful disc. Even though there is no traditional 'rhythm section (i.e. bass/drums), there are tracks that groove. There are also tracks that are beautifully delicate; particularly the Bach pieces - nice harpsicord-like sound. One thing that may get over-looked is that there is, musically, some good humour here; paricularly in 'A Connecticut Yankee...' [I'm FROM Connecticut!]. The Wabash Cannonball is another good one (even hard-core country music fans - who might not care for the 'spacier' stuff - would appreciate the way it's covered here; I betcha Roy Acuff would like it!!)."

A brilliant live recording of Robert Fripp's League of Crafty Guitarists. From King Crimson covers and Fripp-written exercises (the several "Circulation" tracks, that turn the assembled group into a web of interconnected notes) to Bach preludes and a cover of "Wabash Cannonball," the group is incredibly sharp, disciplined, and the total opposite of loose. The title track is all that and more: a unstoppable machine rushing headlong at the listener. Probably one of the best League recordings, this is almost a final statement on the ideas and techniques of Fripp's Guitar Craft workshops (though they continue to this day). You will soon forget these are acoustic guitars--it's pure steel.

Full performer name:
Robert Fripp & The League Of Crafty Guitarists: Robert Fripp, Steve Ball, Tobin Buttram, Guido Ernst, Nigel Gavin, Curt Golden, Bert Lams, Hideyo Moriya, David Pittaway, Paul Richards (guitar). Recorded live in Dusseldorf, Hannover and Bonn, Germany in March 1991. Includes liner notes by Robert Fripp. A 1995 live album by Robert Fripp's League of Crafty Guitarists, a performing ensemble made of students from his Guitar Craft school, INTERGALACTIC BOOGIE EXPRESS is a showcase for 10 acoustic guitarists. They take occasional solos, but most often, all ten play in unison with one or two soloing on top, a remarkable feat of precision and skill. Luckily, they don't try to simply get by on their chops; these guitarist/composers (Fripp writes very few of the group's compositions) are genuinely talented at both. The pieces have structural and melodic interest, even on structured improvisations like "Circulation I" and "Circulation II," and there are moments of genuine wit in the music. The King Crimson homage "Larks Thrak" is an unusual blending of Fripp's two musical worlds, and it succeeds beautifully.

Live Recording

Tracks:

Recorded Live in Europe in 1991.

* A Connecticut Yankee in the Court of King Arthur (Gavin)
* Rhythm of the Universes (Gavin)
* Larks Thrak (Fripp)
* Circulation I (Fripp, LCG)
* Intergalactic Boogie Express (Fripp)
* G Force (Gavin)
* Eye of the Needle (Fripp)
* Corrente (Bach BWV 825) (Bach, arr. Lams)
* Driving Force (Fripp)
* Groove Penetration (Buttram)
* Flying Home (Golden, McSurely)
* Circulation II (Fripp, LCG)
* Fireplace (Ball)
* Fragments of Skylab (Fripp)
* Asturias (Lams)
* Prelude Circulation (Bach)
* Cheeseballs (Ball)
* Prelude in C minor (Bach BWV 847) (Bach, arr. Lams)
* Wabash Cannonball (trad. arr. Ernst)
* [hidden track] Fractal Jasm (Fripp)
* [hidden track] Askesis (Geballe)

Robert Fripp & The League of Crafty Guitarist - (1985) Live

Guitar Craft

Fripp was offered a teaching position at the American Society for Continuous Education (ASCE) in Claymont Court, West Virginia in 1984. He had been involved with the ASCE since 1978, eventually serving on its board of directors, and had long been considering the idea of teaching guitar. His course, Guitar Craft, was begun in 1985, one of the results of which was a performance group, "The League of Crafty Guitarists," which has released several albums. In 1986, he released the first of two collaborations with his wife, Toyah Willcox. The members of the California Guitar Trio are former members of The League of Crafty Guitarists, and Gitbox Rebellion includes several former Guitar Craft students.

"From the opening cascade of harmonics that greet the listener in "Invocation", to the Fripp leads that soon follow, Robert Fripp and the League of Crafty Guitarists' first release, "Live!", immediately confirms Mr Fripp's commitment during this period of his life to the craft of guitar. While occasionally recalling bits of his works with Andy Summers, this release primarily marks new ground in Mr Fripp's recording career.

""Tight Muscle Party ..." weaves simple, fast patterns with several guitars; "The Chords That Bind" manages to convey a lovely, Asian influence in its peacful setting while in fact being--a chord study. It is followed by the precision playing of the appropriately titled "Eye of the Needle", the even more demanding "All or Nothing II", and the beautiful "Aspiration", which begins with more harmonic work, and then showcases a slow, extended solo.

"The second half of the recording begins with another version of "All or Nothing", in which the close listener will hear Fripp count off before the playing begins. "Circulation" is obviously influenced by a scale, but rather than simply run through the scales, the players play the notes in an order and with a timing that creates a truly "musical" effect. "A Fearful Symmetry" is, comparably, more chaotic, as the Crafties (who are given co-writing credit with Fripp) are allowed to stretch out just a small bit.

"What is particularly impressive about this recording is that, as noted several times above, these pieces are primarily tools with which one learns the craft of guitar. Yet those who enjoy Mr Fripp's solo playing will find this recording well worth listening to for its own musical merits.

"But with all due respect to the Crafties, the high point for enthusiasts of Mr Fripp's guitar playing will still be his solo showcase, "The New World". This track is among the most beautiful and fulfilling Frippertronic works on record. The basic track is a combination of short bleeps and long notes, over which he plays melodic leads with his signiture style. As enjoyable as it is to have some extended recordings of "acoustic Fripp", this track shows him at his best: Fripp the experimental electric guitarist.

""Crafty March", the only obviously "live" track by the way, brings this enjoyable recording to an appropriately upbeat close."

I bought this CD when it came out and still listen to it 3-4 times a year. The large guitar ensamble sounds great. The arrangements are simple, and that's appropriate for the unique recording situation -- not only was the recording a surprise but the concert itself. As a result, there's an urgency to the recording that keeps it fresh. Using a guitar class to render a cycle of songs was a risky move that allowed Fripp to also demonstrate the technique and tuning he developed and was advocating.

Track Listing:
"The New World" features only Fripp on frippertronics and overdubbed solo guitar.

5'18 Guitar Craft Theme I: Invocation (Fripp)
1'22 Tight Muscle Party At Love Beach (Essex)
1'43 The Chords That Bind (Fripp)
2'20 Guitar Craft Theme III: Eye of the Needle (Fripp)
3'59 All Or Nothing II (Fripp)
3'58 Guitar Craft Theme II: Aspiration (Fripp)
4'44 All Or Nothing I (Fripp)
3'54 Circulation (Fripp)
3'24 A Fearful Symmetry (Fripp, LGC)
9'55 The New World (Fripp)
3'15 Crafty March (Fripp, LGC)

Personnel:
Robert Fripp (guitar)
Crafty Guitarists: Terry Blankenship, Roy Capellaro, Jon Diaz, John Durso, Andrew Essex, Tony Geballe, Claude Gillet, Curt Golden, Mike Gorman, Trey Gunn, Brian Helm, James Hines III, Danny Howes, David Mazza, John Miley, John Novak and Mark Tomacci (more guitars)

Robert Fripp - (1998) The Gates of Paradise

1 Outer Darkness: The Outer Darkness/Perimeter I/Perimeter II/Wailing I/ (23:38)
2 Gates of Paradise: Abandonment to Divine Providence/Pie Jesu (13:56)
3 Outer Darkness: In Fear and Trembling of the Lord (10:17)
4 Gates of Paradise: Sometimes God Hides/Acceptance (11:41)

Links

Robert Fripp - (1994) Damage

The heading is a misnomer. This is not simply a David Sylvian album, NO, it's much much more. You get enough Robert Fripp, Trey Gunn and Pat Mastelotto to give the impression that something more is going on. I love Sylvian's solo albums, but this collaboration is distinctive and powerful, eschewing his mainly ambient melancholy for cKrimsonian might and crashing bravado. Oh, how I wish this had been a King Crimson reformation. Three or four studio discs, a live disc and then quit. OUT with Adrian Belew's poppy and oh- so-American vocals and IN with the master of suave, sexual and languid whispers of David Sylvian. Additionally, Michael Brook's infinite guitar is the perfect understatement to Fripp buzz saw sustain. Musically delicious.

Most of the disc offers The First Day in a live format, but the tunes are more enticing and raw played before an audience. The mood seems electric, pulsing with Mastelotto's kick drum. Trey Gunn's touch guitar keeps the whole endeavour grounded, but he occassionaly reaches skyward and offers snippets of melody and fills the spaces with a deft flurry of notes. The band covers a few of Sylvian's solo material, but remember, Fripp has guested on quite a few. His presence is more central to the music on this recording.

This is, basically, a must have for any Crimson/Sylvian afficionado. Modern music played extremely well and hitting on all cylinders. It don't get any better than this.

Live, released in 1994

Track Listings

1. Damage (4:31)
2. God's Monkey (6:42)
3. Brightness Falls (6:29)
4. Every Colour You Are (5:40)
5. Firepower (7:02)
6. Gone to Earth (2:28)
7. 20th Century Dreaming (a shaman's song) (8:03)
8. Wave (6:11)
9. Riverman (5:01)
10. Darshan (the road to Graceland) (10:47)
11. Blinding Light of Heaven (4:15)
12. The First Day (4:44)

Total Time: 71:53
Line-up/Musicians

- Robert Fripp / guitar, soundscapes
- David Sylvian / vocals, guitar, keyboards
- Trey Gunn / stick
- Pat Mastellotto / drums
- Michael Brook / guitar

Robert Fripp - (1993) The Bridge Between

Studio Album, released in 1993

Track Listings

1. Kan-Non Power (3:42)
2. Yamanashi Blues (2:36)
3. Hope (5:29)
4. Chromatic Fantasy (1:37)
5. Contrapunctus (2:16)
6. Bicycling to Afghanistan (3:18)
7. Blue (5:26)
8. Blockhead (3:17)
9. Passacaglia (6:52)
10. Threnody for Souls in Torment (12:45)


Line-up:

Robert Fripp (guitar, frippertronics)
Trey Gunn (grand stick)
Bert Lams (acoustic guitar)
Hideyo Moriya (acoustic guitar)
Paul Richards (acoustic guitar, fuzz e-bow guitar)

Robert Fripp - (1981) Let the Power Fall

Thing is that when it comes to Robert Fripp solo,I have no other point of orientation or cannot put him in no other corelation that with Robert Fripp King Crimson.Which is much of a mistake.Cause Fripp’s Exposure,although containing some King Crimson essence (especially in guitar jamming),is still far detached from anything related to the great band materia.As for “Let The Power Fall”,music goes even more way off any King Crimson course.Nothing really from King Crimson (integrally!) can be held or pointed as a source of inspiration for this 1981 “lone” project.Yet,despite clear evidences like these,I can’t stop thinking,when it comes to “Let The Power Fall”,as “genius music made by genius Robert Fripp from genius King Crimson,a genius band of genius scales” (when genius is genius and nothing else that genius).This is quite a premature review since I have just recently purchased this album and,more aside,I have just listened to Exposure and an ancient other record-in which Fripp goes making music with one called Giles and another one called Giles…two Giles-at the moment of receiving this.But I just couldn’t have waited anymore.(I’ll just have to resume to interior focusing)

“Let The Power Fall” equals not “exposure”.Fripp changes sides completely after just one album.Instead of light to very light music,Fripp moves on to nebulous,mtetalic,dark and powerfull exploration-experimentation-improvisation music.It is a complete twist actually,so don’t expect anything exposurian or crimsonian.The message of this album is one and unique.Also don’t expect any Peter Gabriel,Peter Hammill,screaming chick,”Uzu Ruzu Muzu Kuzu” et caetera playing here.This is really Fripp solo.Now I can unfortunately not tell you if this is main Fripp and if we shall meet such music approach in future releases (because I do not know-at the moment-what future is).But I have a hunch that such performance like this one shall not repeat in the same large pill.And the same hunch also tells me that this is not really Fripp’s casual result.Again,neither the Exposure manifest,nor the Discipline-Beat-Three Of A Perfect Pair light fall threats don’t illustrate or announce nothing of such calibre.So I must say that this sounds much more like a Fripp special.

A genius touch surrounds the whole album.Calling it unconventional would be far fetched.It is very special,unique (as I’ve already said),has a sense towards magnitude and auditive manipulation.It is a result of intensive application.In general aspects,it is something innovating.I,for one,have not been blessed that oten to listen to such things.It is purely art-ish.There is nothing towards sell-out,fame,easy listening appreciation,thumbs up et caetera issues.Focus on nothing else than exploring sound and tasting improvisatorical concealments.

I must also put the warning sign that this is not for those who expect any easy light things.It’s actually a very hard type of listen (or at least can prove that way).We are talking about sound explorations.Creating artistic arrangements from the low filter of a note.Do not expect any tunes,do not expect anything else than instrumentall full power,do not expect absolutely anything reachable at first touch or something not challenging.If you do not have the special afinity of such movement or don’t have the heart for such an audentity test,do not “do” “Let The Power Fall” at all.

Basically what we are talking about in the whole scenery is a major monumental polifonic construction (or should I dare say construKction).One not in a carved rhythm and place,one by one introduced,creating at first a harsh unrecognizable as music point,then eventually notes (voices) colliding in the context of themes.At the end of “every years”,you shall experience something of glorious manifest(s) and a piece of divine gesture.It’s mostly something quite undescribable and unreviewable.You have to taste this for yourself.Nothing shall overcome your own vision and your interpretation of the drea.Microphone over at you,people…

A truly essential progressive rock experience,that’s how I can sum everything up.If your heart’s withing this Fripp beat,you will find amaxing things.Music’s genius and my critic ears shout:ALRIGHT!Highly recommended. (Prog Archives)

Studio Album, released in 1981

Track Listings

1. 1984 (12:10)
2. 1985 (11:03)
3. 1986 (5:12)
4. 1987 (5:07)
5. 1988 (6:24)
6. 1989 (11:14)

Total Time: 51:30
Line-up/Musicians

- Robert Fripp / frippertronics

Links

Robert Fripp - (1979) EXPOSURE

Studio Album, released in 1979

Track Listings

1. Preface (1:15)
2. You Burn Me Up I'm a Cigarette (2:23)
3. Breathless (4:39)
4. Disengage (2:52)
5. North Star (3:12)
6. Chicago (2:11)
7. NY3 (2:17)
8. Mary (2:10)
9. Exposure (4:26)
10. Haaden Two (1:56)
11. Urban Landscape (2:35)
12. I May Not Have Had Enough of Me But I've Had Enough of You (3:38)
13. First Inaugural Address to I.A.C.E. Sherborne House (0:04)
14. Water Music I (1:19)
15. Here Comes the Flood (3:52)
16. Water Music II (3:52)
17. Postscript (0:38)

Total Time: 49:43

Track listing of Discipline 2006 re-issue :

CD1 Exposure (first edition)
first edition -- original 1979 release as above

CD2 Exposure (third edition)
1. Preface (1:15)
2. You Burn Me Up I'm a Cigarette (2:24)
3. Breathless (4:42)
4. Disengage (2:43)
5. North Star (3:12)
6. Chicago (2:17)
7. New York, New York, New York (2:17)
8. Mary (2:08)
9. Exposure (4:25)
10. Haaden Two (1:57)
11. Urban Landscape (2:34)
12. I May Not Have Had Enough of Me But I've Had Enough of You (3:37)
13. First Inaugural Address to I.A.C.E. Sherborne House (0:07)
14. Water Music I (1:18)
15. Here Comes the Flood (3:55)
16. Water Music II (3:53)
17. Postscript (0:55)

Third edition: the 1983 remix, 1985 re-release, including 3 formerly unreleased Daryl Hall vocals

Bonus tracks: alternative takes
18. Exposure (4:28)
19. Mary (2:06)
20. Disengage (2:49)
21. Chicago (2:02)
22. NY3 (2:15)

Line-up/Musicians:
- Robert Fripp / guitars, Frippertronics
With:
- Barry Andrews / keyboards
- Phil Collins / drums
- Brian Eno / synthesizer, voice
- Peter Gabriel / vocal, piano
- Daryl Hall / vocal
- Peter Hammill / vocal
- Tony Levin / bass
- Jerry Marotta / drums
- Sid McGuinniss / guitar
- Terre Roche / vocal
- Narada Michael Walden / drums
- Joanna Walton / lyricist
- J.G. Bennett / voice

Rieflin, Fripp, Gunn - (1999) The Repercussions Of Angelic Behaviours

Studio Album, released in 1999

Track Listings

1. Blast pt. 1
2. Blast, pt. 2
3. Lost and Found Highway
4. Hootenanny at the Pink Pussycat
5. Brown Soufflé
6. Heard, Not Seen
7. Last Stop
8. Re-entry
9. Retarded (with Steam)
10.Strangers on a Train

Total Time: 53:51
Line-up/Musicians

- Robert Fripp / guitars
- Bill Rieflin / drums
- Trey Gunn / bass, Stick

Radiophonics - (1996) Soundscapes, Vol. 1

soundscape volume 1

Live, released in 1996

Track Listings

1. Radiophonic I (11:11)
2. Radiophonic II (14:47)
3. Buenos Aires Suite (31:07)
a) Atmosphere 11:56
b) Elegy (For Mothers and Children) 5:48
c) Streets 5:34
d) Sky 7:49

Total Time: 57:05
Line-up/Musicians

- Robert Fripp / guitarist

Links

Peter Gabriel - (2002) Up

It's now 12 years that had been gone as Peter Gabriel released his last studio album "Us". So it was very interestening to wait for "Up". Could the ex-Genesis mastermind set new standards again? Could he introduce the music of the last decade in his sound, but without catching trends? The question on both answers is: yes. The opener "Darkness" is a changing game off beautiful refrain and disharmonic guitars with Portishead-character, and is one of the best songs in prog since years. All songs on this masterpiece move on to think about things, like the wonderful "Sky Blue", the very melancholic "I Grieve", which moves on at the end and makes a positive mind about moving on in life, or the short, just with piano underlined ending track "The Drop". Any tune or note on this album have hand and foot, and there is enough place to breathe for the unbelievable musicianship. But there is only time to wait, how many people will interest themselves for the in truth kind of word progressive music of Peter Gabriel in a more and more faster changing world. Here's nothing really hard; the album doesn't work as background music. But who will dive in in this trip, will be very rewarded. "Up" touches the soul. Which album really can this today?


Studio Album, released in 2002

Track Listings

1. Darkness (6:51)
2. Growing Up (7:33)
3. Sky Blue (6:37)
4. No Way Out (7:53)
5. I Grieve (7:24)
6. The Barry Williams Show (7:16)
7. My Head Sounds Like That (6:29)
8. More Than This (6:02)
9. Signal To Noise (7:36)
10. The Drop (3:01)

Total Time: 66:43
Line-up/Musicians

- Peter Gabriel / vocals, bosendorfer, mutator, keys, jamMan, mpc groove, organ, keyboards
- Manu Katche / drums
- Dave Power / drums
- Mahut Dominique / percussion
- Ged Lynch / percussion, drums
- Richard Chappell / percussion
- Tony Levin / bass
- David Rhodes / guitar, background vocals
- Daniel Lanois / percussion, guitars
- Peter Green / guitars
- David Sancious / Hammond
- Melanie Gabriel / backing vocals
- The Blind Boys of Alabama / vocals
- Steve Gadd / drums
- Dominic Greensmith / drums
- Hassan Ramzy / Tabla
- Danny Thompson / double bass
- Will White / percussion
- Stephen Hague / percussion
- Richard Evans / acoustic guitar
- Shankar / double violin
- Christian Le Chevretel / trumpet
and many others....

Peter Gabriel - (2002) en France

1. Darkness
2. Red Rain
3. Intro
4. Growing up
5. Mercy Street
6. My Head Sounds Like That
7. The Barry Williams Show
8. More Than This
9. Introducing the band
10. Sledgehammer
11. In Your Eyes (with Youssou'N Dour)

Links
Links

Peter Gabriel - (2000) Ovo

More a showpiece album than a soundtrack. Ovo surprised me on release only in that it is so good. Great contributions from Elisabeth Fraser and Richie Havens ( check out also ' Please Don't Touch' by Steve Hackett). Shankar plays some mean violin too.Highlights are ' Low light', ' Make Tomorrow' ' Downside-Up' and last but not least ' The nest that sailed the sky' Worth having for sure.


Studio Album, released in 2000

Track Listings

1. The Story Of OVO (5:21)
2. Low Light (6:37)
3. The Time Of The Turning (5:05)
4. The Man Who Loved The Earth / The Hand That Sold Shadows (4:14)
5. The Time Of The Turning (Reprise) / The Weavers Reel (5:36)
6. Father, Son (4:56)
7. The Tower That Ate People (4:49)
8. Revenge (1:30)
9. White Ashes (2:34)
10. Downside-Up (6:05)
11. The Nest That Sailed The Sky (5:06)
12. Make Tomorrow (10:02)

Total Time: 61:55
Line-up/Musicians

- Peter Gabriel / Vocals, keyboards
- Richie Havens / Vocals
- Kudsi Erguner / Ney flute
- Adzido / drums
- Ravi Shankar / violin, vocals
- Paul Buchanan / vocals
- Markus Dravs / percussion
- Nigel Eaton / Hurdygurdy
- Elizabeth Fraser / vocals (Cocteau Twins)
- Steve Gadd / drums
- Stuart Gordon / fiddle, viola
- Hossam Ramzy / cymbals, tabla, crotale
- Manu Katche / drums
- Tony Levin / bass
- James McNally / piano, accordion, Whistle (instrument), Bodhran
- Peter Nicholls / photography (IQ)
- David Rhodes / guitar
- Assane Thaim / talking drum
- Simon Emmerson / cymbals, bells, drum programming
- Jim Barr / bass (Upright), guitar (12 string acoustic) electra strings, strings
- Sussan Deyhim / screams
- Johnny Kalsi / drums

Peter Gabriel - (1992) Us

The atmospheric, understated "Us" may have come as a disappointment to some following the upbeat "So", but anyone who picked up "Passion" will anticipate the mix-heavy melange of third world sounds and electronic effects present here. Coproduced by Daniel Lanois, "Us" did feature a few singles that sought to cultivate the audience developed with "So": “Kiss That Frog", “Digging in the Dirt", and especially “Steam". And more groundbreaking videos were in the offing for each, giving the impression that little had changed over the years. And yet much had changed; Peter GABRIEL and Rosanna Arquette (yes, it’s nice to be a rock star) had split, and GABRIEL seems to have plumbed the experience to its depths in a post-mortem examination of their failed attempt to connect. More indicative of "Us" are the moments when GABRIEL exposes his wounds, such as “Love To Be Loved", “Secret World” and “Blood of Eden” (one of several tracks to reference Adam and Eve as aliases for the parties involved).

The album does take time to appreciate, slowly working its way under the skin with subtle melodies and exotic soundscapes. Although "Passion" and "So" are the albums most like it, "Us" does give a nod back to GABRIEL’s second album with “Washing of the Water", a piano-led ballad that recalls “Flotsam and Jetsam” and “Indigo". Building on his musical alliances with alternative rock’s leading ladies (Laurie Anderson, Kate Bush), GABRIEL here enlists the help of Sinead O’Connor on backing vocals, who makes an impression out of the gate with her distinctive voice on “Come Talk To Me". "Us" isn’t the happiest record in the GABRIEL arsenal, though the artist was increasingly disinterested in making commercial music (and perhaps music altogether). It is a sonically gorgeous effort, however; perhaps a little too subtle for some tastes, but bound to please his fans on at least a few levels.


Studio Album, released in 1992

Track Listings

1. Come Talk To Me (7:05)
2. Love To Be Loved (5:19)
3. Blood of Eden (6:38)
4. Steam (6:03)
5. Only Us (6:33)
6. Washing of the Water (3:52)
7. Digging in the Dirt (5:18)
8. Fourteen Black Paintings (4:38)
9. Kiss That Frog (5:20)
10. Secret World (7:01)

Total Time: 57:49
Line-up/Musicians

- Peter Gabriel / bass, harmonica, keyboards, percussion, triangle, vocals
- Richard Blair / keyboards
- Bill Dillon / guitar, guitar (electric)
- N'Diaye Rose Doudou / drum loop
- Brian Eno / keyboards
- Kudsi Erguner / flute
- Babacar Faye / djembe, drums
- Tim Green / sax (Tenor)
- Reggie Houston / sax (Baritone)
- Gus Isidore / guitar
- Darryl Johnson / drums, percussion
- Manu Katche / drums
- Daniel Lanois / guitar, shaker, vocals
- Caroline LaVelle / cello
- Tony Levin / bass
- Marilyn McFarlane / vocals
- Levon Minassian / doudouk
- Leo Nocentelli / guitar
- Sinéad O'Connor / vocals
- Ayub Ogada / vocals
- Chris Ormston / bagpipes
- Renard Poché / trombone
- Hossam Ramzy / tabla
- David Rhodes / guitar
- Doudou N'Daiye Rose / loops
- Lakshminarayana Shankar / violin

Peter Gabriel - (1990) Shaking the Tree

I’m usually now a fan of compilation albums as a “real fan” would always prefer to have all original studio albums rather than just some compilation disc. Usually it also tends to reek after some “cashing in” by the artist as many artist come up with some compilation albums when they are long lost and forgotten. This is one would be an exception to the rule I think, since Mr. Gabriel has still released many fine albums after this one. I guess it’s not a bad one to start with if you didn’t already own some (or all) of his preceding studio albums…

The track list of “Shaking the Tree” is top notch with indeed 16 golden tracks on it. However: if you don’t own this one yet I would rather go for the 2003 release “HIT” as it is a double disc set which has 15 tracks more on it. Once again the track list of “HIT” is also top notch. Since I only owned the album “SO” until “Shaking the Tree” was released this was a very nice addition to my PG collection. 4 stars once again.

Boxset/Compilation, released in 1990

Track Listings

1. Solsbury Hill (4:20)
2. I Don't Remember (edit) (3:48)
3. Sledgehammer (slight remix) (4:56)
4. Family Snapshot (4:25)
5. Mercy Street (edit) (4:44)
6. Shaking The Tree (1990 remix) (6:24)
7. Don't Give Up (edit) (5:56)
8. San Jacinto (6:41)
9. Here Comes The Flood (new recording 1990) (4:31)
10. Red Rain (5:36)
11. Games Without Frontiers (edit) (3:57)
12. Shock The Monkey (edit) (3:58)
13. I Have The Touch (1983 remix) (3:44)
14. Big Time (4:26)
15. Zaar (2:59)
16. Biko (edit) (6:54)

Total Time: 77:21
Line-up/Musicians

- Peter Gabriel / vocals, piano, fairlight, prophet, CS80, percussion
- Tony Levin / bass, stick (1-3,7,8,10,12,13), drumstick bass (14)
- Steve Hunter / guitar (1)
- Robert Fripp / guitar (1,2)
- Larry Fast / synthesizers (1,8,11-13,16)
- Alan Schwartzberg / drums (1)
- Jerry Marotta / drums (2,4,8,10-12,16), drumstick bass (14)
- David Rhodes / guitar (2-4,6,7,8,10-15)
- Manu Katche / drums (3,6,7)
- Phil Collins / snare drum (4), surdu (16)
- John Gilbin / bass (4)
- Larry Klein / bass (5)
- Youssou N'Dour / vocals (6)
- Habib Faye / bass, guitar (6)
- Kate Bush / vocals (7,11)
- John Ellis / guitar (8)
- Daniel Lanois / guitar (10,14)
- Stewart Copeland / hi-hat (10), drums (14)
- Peter Hammill / backing vocals (12)
- Simon Philips / drums (13)
- Simon Clark / bass (14)
- Shankar / doublin violin (15)
- Nathan East / bass (15)

Peter Gabriel - (1989) Passion

What Mr. Gabriel has done with Passion is truly amazing--although I have no interest in ever seeing the movie Passion was written for, I find this soundtrack no less mesmerising for it. Passion stands on its own as a richly-textured album, moodily evocative of the world of the Middle East and North Africa. In particular I must give credit for the intricate percussive rhythms--while in places this is an extremely melodic album, it is really the rhythm that most distinguishes it. This album, while I rank it a 4.5, is a masterful must-have for anyone with an interest in Peter Gabriel or traditional Middle Eastern music. I'm not the only one who thinks so...Richard Wright of Pink Floyd even named this album in his top 10 in a 1996 issue of Record Collector!

Equally important as the rhythm is the excellent vocals, particularly the Arab-styled ones. This is a very free, melodic, and very haunting mode of singing, particularly to the Western ear, which aside from perhaps a bit of exposure to blues and gospel, is generally not used to the freedoms taken with pitch in Middle Eastern singing. What may at first seem dissonant, jarring, or even undisciplined is in fact very precisely controlled--as it must be when one has more than 12 notes to choose from. Peter Gabriel himself is able to conform somewhat to this style, but easily the most impressive vocal performance belongs to the late Nusrat Fateh Ali Khan. His aching, anguished, yet still melodic cries of pain dominate the title track "Passion". This track, I believe, is intended to evoke the passion--that is, the suffering--of Christ, and while I don't actually know its placement in the movie, that's what comes to mind. This is the sound of the deepest grief and isolation--"My God, my God, why hast thou forsaken me?" one might imagine. A boy soprano contrasts marvelously with Khan.

Some of the other highlights include "In Doubt"/"A Different Drum", "Of These, Hope", "Sandstorm", "Disturbed", and "With This Love (Choir)". Particularly clever about that first set is the sudden change of mood in "A Different Drum", which starts off dark and brooding, and then explodes into exultant joy. "Disturbed" offers some interesting rhythm work, aided by the (back then) top-of-the-line Fairlight. "Sandstorm" is a particularly dissonant, unnerving use of a group chant (neither term meant negatively, rather the opposite!). The choir version of "With This Love" is a more graceful, meditative piece also worthy of note.

However, speaking of "With This Love", this otherwise fantastic album does have two weak points that lose it half a star. The first is the steamy, overly Western-sounding first version of "With This Love". Even without the distasteful associations I imagine this likely came with in the movie, this track is in my opinion way out of step musically from the rest of the album. As the second version shows, it is actually a good tune--it's the arrangement I find offputting, hence my almost always skipping this track (I never award a full 5-star rating to any album where I must skip a whole track). My other criticism is the sound production, which despite it being a strong effort for its time period, does sound dry and dated in a few places (notably "Gethsemane", and the rather murkily mixed "Of These, Hope"). Certainly no track is at all rendered unlistenable by this, but it is in my opinion an issue.

Overall, Passion is well worth the listener's time, and if you don't have it, don't hesitate- -pick up a copy now! And if my recommendation isn't enough, listen to Rick Wright; I think he knows what he's talking about!


Studio Album, released in 1989

Track Listings

1. The Feeling Begins (4:00)
2. Gethsemane (1:23)
3. Of These, Hope (4:05)
4. Lazarus Raised (0:36)
5. Of These, Hope (Reprise) (1:06)
6. In Doubt (2:07)
7. A Different Drum (6:05)
8. Zaar (4:44)
9. Troubled (2:46)
10. Open (3:18)
11. Before Night Falls (2:16)
12. With This Love (3:36)
13. Sandstorm (2:55)
14. Stigmata (2:24)
15. Passion (7:36)
16. With This Love [Choir] (3:19)
17. Wall of Breath (2:25)
18. The Promise of Shadows (2:12)
19. Disturbed (3:07)
20. It Is Accomplished (3:30)
21. Bread and Wine (2:23)

Total Time: 65:53
Line-up/Musicians

- Kudsi Erguner / flute, Ney flute, Turkish flute
- Jon Hassell / trumpet
- Nusrat Fateh Ali Khan - Qawwal
- Baaba Maal / vocals
- Peter Gabriel / synthesizer, bass, flute, percussion, piano, drums, keyboards, vocals, vocals (background), Whistle (Instrument), Surdo, producer, double bass, sampling, shaker, Fairlight, mixing
- David Sancious / synthesizer, arranger, organ (Hammond), vocals (back ground), sampling, synthesizer arrangements
- Fatala / percussion, percussion programming, African percussion
- Shankar / vocals, double violin
- David Bottrill / tambourine, engineer, slide guitar, mixing, Drones
- Billy Cobham / percussion, drums, tambourine
- Djalma Correa / percussion
- Massamba Diop / talking drum
- Nathan East / bass
- Manny Elias / drums, Surdo, Octoban
- Hossam Ramzy / cymbals, tabla, tambourine, triangle, Finger cymbals
- Manu Katche / percussion
- Youssou N'Dour / vocals
- David Rhodes / guitar
- Lakshminarayana Shankar / violin
- Robin Canter / oboe, cor Anglais
- Mahmoud Tabrizi-Zadeh
- Antranik Askarian / Doudouk, Duduk
- Mustafa Abdel Aziz / Drones, /ercussion programming, Arghoul
- Vatche Housepian / Doudouk, Duduk
- Doudou N'Daiye Rose / percussion, percussion programming
- Julian Wilkins / vocals, choir, chorus, Choir Boy
- Tabrizi Mahmoud Zadeh / Kemence
- Said Mohammad Aly / percussion, percussion programming
- Massamba Dlop / drums

Peter Gabriel - (1986) So

This little album was taken very well by all radio stations and retailers, but some fans, like myself, were a bit disappointed. What happened to Gabriel's old sound? His mix of progressive rock, excellent lyrics, and moving melodies? All we have here is a commercial set of songs, and very confident singing (which isn't always bad). Milgrim's 37 is very moving, and my favourite track. Mercy Street has fantastic lyrics, as well, and Red Rain has nice melodies and lyrics, but besides those three (and the bonus track), I always found this album to be very commercial, daunting, and not at all touching. Gabriel was using many electric sounds, which never appealed to me. (May God, in his infinite wisdom, burn the drum machine!) However, after many listens, I've come to love this memorable album. So produced some of Gabriel most known radio hits (Red Rain, Sledgehammer). Though I am not overly fond of the 80s, this album is very good.

Studio Album, released in 1986

Track Listings

1. Red Rain (5:39)
2. Sledgehammer (5:16)
3. Don't Give Up (6:33)
4. That Voice Again (4:53)
5. In Your Eyes (5:30)
6. Mercy Street (for Anne Sexton) (6:21)
7. Big Time (suc cess) (4:29)
8. We Do What We're Told (milgram's 37) (3:22)
Bonus track on CD and K7
9. This Is The Picture (excellent birds) (4:18)

Total Time: 46:23
Line-up/Musicians

- Peter Gabriel / lead vocal, piano, keys, synths, percussion etc... (All)
- Jerry Marotta / drums (1), Drumstick bass (7)
- Chris Hughes / Linn programming (1)
- Stewart Copeland / Hi-hat (1), drums (7)
- Tony Levin / bass (1-5), Drumstick bass (7)
- David Rhodes / guitar (1-5, 7-8), background vocals (1, 5)
- Daniel Lanois / guitar (1-2, 4), tambourine (2), Surf guitar (7), 12-string guitar (9)
- Manu Katché / drums (2-5), percussion (3-5), talking drums (5, 9)
- Wayne Jackson / trumpet (2, 7), cornet (7)
- Mark Rivera / saxophone (2)
- Don Mikkelsen / trombone (2, 7)
- P.P. Arnold, Coral Gordon, Dee Lewis / background vocals (2, 7)
- Richard Tee / piano (3, 5-6)
- Simon Clark / Chorus CS80 (3), Hammond, CMI, bass (7)
- Kate Bush / guest vocal (3)
- L. Shankar / violin (4, 8)
- Jerry Marotta / additional drums (5), drums (8)
- Larry Klein / bass (5-6)
- Youssou N'Dour / guest vocal (5)
- Michael Been, Jim Kerr / background vocals (5)
- Ronnie Bright / bass vocals (5)
- Djalma Correa / Surdu, congas, triangle (6)
- Mark Rivera / Processed sax (6), Alto, Tenor and Baritone saxs (7)
- Jimmy Bralower / Linn kick (7)
- Laurie Anderson: Voice (9)
- Bill Laswell: Bass (9)
- Nile Rodgers: Guitar (9)

Peter Gabriel - (1985) Birdy

Usually soundtracks don't work so well as their own. (If they do, they often differ a lot from the actual score heard on the film; Vangelis is a good example.) Gabriel's first film contribution shows Gabriel's talents in creating atmospheres. In film the music is used too sparingly, but as an album it's not for repeated listening. The decision to recycle material from Peter Gabriel albums 3 and 4 is not a bad idea at all; the songs really had this potential. In many cases it's just a fragment, e.g. piano intro of 'Family Snapshot' or outro of 'San Jacinto'. The most powerful track is 'Birdy's Flight' based on ending of 'Not One of Us' - the drumming is deliciously multiplied and the original song really pales in comparison. But as an album per se Birdy has quite little to offer in its shortness and such a cold, lonely, sad atmosphere. The film has a wider palette of emotions. And as a literature lover I must add that Alan Parker's film is not even closely as great as the novel by William Wharton.


Studio Album, released in 1985

Track Listings

1. At Night (2:43)
2. Floating Dogs (3:02)
3. Quiet And Alone (2:36)
4. Close Up (0:56) (from Family Snapshot)
5. Slow Water (2:55)
6. Dressing The Wound (4:12)
7. Birdy's Flight (2:58) (from Not One Of Us)
8. Slow Marimbas (3:29)
9. The Heat (4:46) (from Rhythm Of The Heat)
10­. Sketchpad With Trumpet And Voice (3:09)
11. Under Lock And Key (2:30) (from Wallflower)
12. Powerhouse At The Foot Of The Mountain (2:21) (from San Jacinto)

Total Time: 35:39

Line-up/Musicians

- Peter Gabriel / flute, drums, keyboards, vocals, producer, liner notes
- Larry Fast / keyboards
- Tony Levin / bass
- Jerry Marotta / drums
- Morris Pert / performer
- David Rhodes / guitar
- Jon Hassell / trumpet

Peter Gabriel - (1983) Plays Live

Always thought I would never buy a DVD of videos because my interest is having the chance to experience my favorite bands on stage (living in Perú, very rarely had the opportunity) and also by the fact that usually this compilations gather the most commercial tracks which are not necessarily the best ones.

But today went to the music store and the owner knowing my musical taste offered me “Peter Gabriel Play the Videos” at 5 bucks!!! /even when he has a lot of Prog' customers, seems nobody had real interest for a video DVD), so I said what the hell, most tracks are good and five bucks don’t make me poor, instantly bought it and honestly can't regret my decision

As in any Gabriel release, the production, sound and video are very good and the concept of the videos are (Or were in their time) innovative plus some good extras.

This DVD seems as a video biography because you can watch and listen Peter Gabriel songs from 1977 to 2003, and even when some of them are not my favorites (like Shock the Monkey or Sledgehammer) the rest of the material is excellent and the videos in all the cases (except Don’t Give Up) are impeccable.

About the tracks, I have nothing to say because along our lives we've seen this videos in many musical programs and are reviewed here in their respective albums (seems a common phrase when reviewing compilations), but it's always nice to dive in the past and watch the evolution of one of the most representative Prog' vocalists along 26 years of solid and prolific career.

Also it's refreshing to remember those images of Peter with a monkey mask or walking through Solsbury Hills and singing Shaking the Tree on a fishing boat or a very emotional Gabriel almost crying in Biko ( A great song rarely included in his concerts)

Another addition that makes even better this good DVD are the personal comments that Peter adds before each track, an illustrative extra not featured in the box.

I believe "Peter Gabriel Play the Videos" is not essential, but surely is a good addition to any prog' collection, so according to the guidelines I have to rate it with 4 stars.


Live, released in 1983

Track Listings

Disc One (43:19)
1. The Rhythm Of The Heat (6:26)
2. I Have The Touch (4:43)
3. Not One Of Us (5:51)
4. Family Snapshot (4:48)
5. D.I.Y. (4:06)
6. The Family And The Fishing Net (7:34)
7. Intruder (4:44)
8. I Go Swimming (5:05)

Disc Two (40:30)
1. San Jacinto (8:27)
2. Solsbury Hill (4:42)
3. No Self Control (5:03)
4. I Don't Remember (4:19)
5. Shock The Monkey (7:10)
6. Humdrum (4:24)
7. On The Air (5:22)
8. Biko (7:01)

Total Time: 83:49

Line-up/Musicians

- Peter Gabriel / lead vocals, synthesizer, piano
- Jerry Marotta / drums, percussion, B-vox
- Tony Levin / stick, bass, B-vox
- David Rhodes / guitar, B-vox
- Larry Fast / synthesizer, piano

Peter Gabriel - (1982) IV

This is arguably the best of Peter Gabriel's solo albums. I remember seeing him live in 1983:, when the album had just come out: a mesmerising performance indeed from one of rock's greatest musicians and lyricists. Unfortunately, this record is mostly known for the hit single "Shock the Monkey", which is a nice song but not really representative of Peter's creativity. On the other hand, it contains some of PG's best- ever compositions, notably the powerful, intense "San Jacinto", a tale of Native American rites of passage on the background of modern-day society, with one of Peter's strongest vocal performances ever; the eerie, intriguing "The Family and the Fishing Net", featuring the atmospheric sound of Ethiopian pipes; the heavily percussion-driven "Lay Your Hands on Me" and the stirring, majestic "Rythm of the Heat", which opens the album in style.

As we have come to expect from Peter, the standards of songwriting and musicianship are first-rate, with a special mention for bassist extraordinaire Tony Levin and electronic keyboard wizard Larry Fast. Obviously, we are miles away from the pastoral soundscapes of Genesis' heyday; nevertheless, "Peter Gabriel 4" is progressive in the true sense of the word. Don't miss it.

Studio Album, released in 1982

Track Listings

1. The Rhythm Of The Heat (5:18)
2. San Jacinto (6:29)
3. I Have The Touch (4:36)
4. The Family And The Fishing Net (7:04)
5. Shock The Monkey (5:29)
6. Lay Your Hands On Me (6:11)
7. Wallflower (6:35)
8. Kiss Of Life (4:16)

Total Time: 46:04
Line-up/Musicians

- Peter Gabriel / lead vocal, keyboards, percussions etc... (All)
- Jerry Marotta / drums, Surdo drum, percussion (All)
- Tony Levin / bass, stick, Fretless bass (All)
- Larry Fast / Moog, Prophet, Moog brass, electric percussion (1-5, 7-8)
- Ekome Dance Company / Ghanaian drums section (1)
- David Rhodes / backing vocals (1,2,3,8), guitar (2, 4-8)
- John Ellis / background vocals (1,3,6,8), additional guitar (2,4,6)
- Jill Gabriel / background vocals
- Roberto Laneri / treated saxophone (5)
- Stephen Paine / CMI (Including scraped exhaust pipe, Saxy, Swanee)(4)
- Peter Hammill / background vocals (4-6)
- ???: traditional Ethiopian pipes (4)
- Morris Pert / timbales (6), percussion (8)
- David Lord / synths, keyboards, piano and effects (6-8)

Peter Gabriel - (1980) Shoot Into The Light

DISC ONE
01 - Intruder
02 - Start / I Don't Remember
03 - Solsbury Hill
04 - Family Snapshot
05 - Story Of An Experiment
06 - Milgram's 37
07 - Modern Love
08 - Not One Of Us
09 - Lead A Normal Life
10 - Moribund The Burgermeister

DISC TWO
01 - Mother Of Violence
02 - Humdrum
03 - Bully For You
04 - Band Introductions
05 - Games Without Frontiers
06 - And Through The Wire
07 - I Go Swimming
08 - Biko
09 - On The Air
10 - Here Comes The Flood
11 - Piccadilly Radio Interview (Manchester - May 28, 1980)

Peter Gabriel - (1980) III

The third Gabriel album appeared during New Wave era, and it was really an influential effort to the legions of post-punk/alternative rock bands. It was also an avant-garde work drawing more connection to the groundbreaking works of Brian Eno and Robert Fripp, plus the instrumental rhythm section (Jerry Marotta-cymballess drum kit/Tony Levin-bass and stick) created a blueprint of ethno-tribal percussive beats that along with Gabriel himself, was to be copied in the decade to come.

The crimsonesque, dark metallic opener "Intruder" and the closing World Music/Afro beat of "Biko" encapsulate an excellent album, which also launched Steve Lillywhite as the one of the best producers of the 1980s (U2, Simple Minds, Talking Heads, the Pogues...). Amidst the entire electronic and ambient picture lies an unexpected hit single "Games Without Frontiers", a song that was the first Gabriel song that I heard, so I cherish pleasant memories on this. Kate Bush sings backing "jeux sans frontieres" during the chorus, which is French translation of the title. But, it also happens to be the name of a competition TV show, which was quite popular even in SFR Yugoslavia in the late 1970s/early 1980s. There were dozen or so national teams, mainly from continental West Europe, while Yugoslavia also took part in several annual occasions, "playing silly games" in historic locations (fortresses, seaside resorts) across these countries. It was some sort of teenage mini-Olympiad or something... English name of the game was "It's a Knock Out", which Gabriel sings just before the chorus. So, obviously, Adolf, Enrique, Sasha, Hans, Jane and Andre were very inspirational to Peter.

"Family Snapshot", "And Through the Wire" and "Not One of Us" are for me sub-standard songs and in retrospect they sound quite boring too. Overall, "Peter Gabriel III" is very good album and surely ranks among the best works of 1980. Highly recommended to prog fans especially those in favour of art/experimental pop music.

Studio Album, released in 1980

Track Listings

1. Intruder (4:53)
2. No Self Control (3:56)
3. Start (1:21)
4. I Don't Remember (4:42)
5. Family Snapshot (4:29)
6. And Through The Wire (4:58)
7. Games Without Frontiers (4:07)
8. Not One Of Us (5:21)
9. Lead A Normal Life (4:15)
10. Biko (7:27)

Total Time: 45:31
Line-up/Musicians

- Peter Gabriel / lead vocals, percussion, bass synth, synth, piano
- Jerry Marotta / drums, percussion
- Phil Collins / drums
- Morris Pert / percussion
- John Giblin / bass
- Larry Fast / bass synth, synth
- Tony Levin / stick
- David Rhodes / guitar, background vocals
- Paul Weller, Robert Fripp, Dave Gregory / guitars
- Dick Morrissey / sax
- Kate Bush / background vocals

Peter Gabriel - (1978) II

Peter GABRIEL's second release, once again self-titled, is good album. It does come up short in the consistency department in comparison to its predecessor, however. There doesn't seem to be the flow and continuity that was in place on the first album. The same incredible lineup is on hand for Peter, including Robert Fripp and Tony Levin. Even with that kind of support GABRIEL's performance is fragmented.

"D.I.Y." is a clever melody with simple lyrics and its one of the highlights of the album. It really sounds like GABRIEL is in groove. "On The Air" has a harder rocking edge with a pounding piano that I particularly liked. "Exposure" is a prog-rock Picasso; any GABRIEL album would be incomplete without it.

The reason he is able to put this one behind him and move on to more success with his next release is because he is so talented and resilient. The remastered sound gives the entire record a robustness and clarity that will add more interest in acquiring this album than ever before. There are always the subtleties that you missed the first time around that the remastering brings out so beautifully. That fact alone is enough to give this listen, especially if you are a staunch GABRIEL or prog-rock enthusiasts.

Studio Album, released in 1978

Track Listings

Side 1
1. On The Air (5:28)
2. D.I.Y. (2:38)
3. Mother Of Violence (3:22)
4. A Wonderful Day In A One-Way World (3:36)
5. White Shadow (5:19)
Side 2
6. Indigo (3:33)
7. Animal Magic (3:29)
8. Exposure (4:18)
9. Flotsam And Jetsam (2:22)
10. Perspective (3:29)
11. Home Sweet Home (4:40)

Total Time: 42:16
Line-up/Musicians

- Peter Gabriel / lead vocals, background vocals, piano, synthesizer
- Bayete / Keyboards
- Roy Bittan / keyboards
- Jerry Marotta / drums, background vocals
- Tony Levin / basses, stick, background vocals
- Sid McGinnis / guitar, mandolin, slide guitar, background vocals
- Robert Fripp / guitars, Frippertronics
- Larry Fast / synthesizers
- Timmy Capello / saxophone
- George Marge / recorders

Peter Gabriel - (1977) I

Peter Gabriel's first solo album was a huge success to me personally. Lyrically, 'Peter Gabriel 1' is another noteworthy accomplishment. This album is a step away (not necessarily forward or backward) from Gabriel's previous sound with Genesis. Gabriel, I think, was being more creative and experimenting a bit more on this. He tried a bluesier tune (waiting for the big one) and barbershop style (excuse me), and a very poppy song (Solsbury Hill). The other tracks are nice (for the most part) and vary to keep it interesting. The album concludes beautifully with one of Gabriel's best songs 'Here Comes the Flood'. There is a piano version as well (not on the album), but I find the instrumental a bit more powerful. Great album overall, good for an introduction to prog, methinks, and definately to the Gabe's solo works.

Studio Album, released in 1977

Track Listings

Side 1
1. Moribund The Burgermeister (4:18)
2. Solsbury Hill (4:21)
3. Modern Love (3:38)
4. Excuse Me (3:20)
5. Humdrum (3:26)
Side 2
6. Slowburn (4:37)
7. Waiting For The Big One (7:14)
8. Down The Dolce Vita (4:42)
9. Here Comes The Flood (5:56)

Total Time: 41:34
Line-up/Musicians

- Peter Gabriel / voices, keyboards, flute, recorder
- Allan Schwartzberg / drums, directories
- Tony Levin / bass, tuba, leader of Barbershop Quartet
- Jim Maelen / percussion, synthibam, Bones and Barbershop
- Steve Hunter / Full frontal guitar, electric & acoustic rhythm guitar, pedal steel
- Robert Fripp / electric guitar, classical guitar, banjo
- Jozef Chirowski / Frontal keyboard, Barbershop
- Larry (Wires) Fast / synthesizers and programming

With:
- Dick Wagner / backing voices, solo guitar on "Here Comes The Flood" and at the end of "Slowburn"
- The London Symphony Orchestra / on "Down The Dolce Vita"
- Michael Gibbs / Orchestra arranger and Conductor

Fripp and Eno - (2005) The Equatorial Stars

I was pleasantly surprised by this release. I figured that the chances were good that Fripp & Eno would phone in some half-hearted effort, perhaps cobbling together bits of old material that was cast aside from another project. Instead, they've put together an album that retains the charms of their previous collaborations while going off on some varied tangents. The best part is the fact that they didn't opt for an up-to-date, modern sound that employs lots of sampling, editing and especially "urban" hipness. Some of Eno's recent work has been diminished by that tendency, and I'm relieved that restraint was used here. I'm not saying that the overall sound is old-fashioned, just that it avoids pandering to the "youth of today" culture that permeates just about everything. I'd give it four stars, but I'll have to wait a few years to know for sure how it stacks up against their past work.


Studio Album, released in 2005

Track Listings

1. Meissa (8:08)
2. Lyra (7:45)
3. Tarazed (5:03)
4. Lupus (5:09)
5. Ankaa (7:01)
6. Altair (5:11)
7. Terebellum (9:40)

Total Time: 47:57

Line-up/Musicians

- Robert Fripp / guitar
- Brian Eno / synthesizer, electronics

Fripp and Eno - (1994) The Essential

The musical experiments of King Crimson guitarist, founder Robert Fripp and electronic music pioneer, former Roxy Music member Brian Eno were definitely groundbreaking when they were released in the early to mid '70s. The pair released two albums, 1973's "No Pussyfooting" and 1975's "Evening Star", which paved the way for ambient and so-called 'new age' music.
With the 1994 compilation "The Essential Fripp and Eno", we are offered an excellent sampling of the noise that these two musicians made so long ago. The compilation includes the "No Pussyfooting" album in its entirety plus two tracks from "Evening Star" and the previously unreleased "Healthy Colours Parts 1-4" which was recorded in 1978.
"No Pussyfooting's" "The Heavenly Music Corporation" and "Swastika Girls" consist mostly of Robert Fripp performing fluid sustained guitar lines which are manipulated by Brian Eno using tape machines and a primitive synthesizer. It's beautiful and frantic at the same time.
"Wind on Water" and the title track from "Evening Star" have a more quieter surreal mood to them. "Evening Star" in particular has beautiful melodic parts with simplistic piano and guitar lines.
The unreleased "Healthy Colours" suite is quite different from the previous music made by the duo. Each of the four sections consist of repeated rhythm guitar patterns, a bouncy elementary synthesizer line and various tapeloops of speech all set to a primitive drum machine. This music is quite minimalistic and dry-sounding.
All together, "The Essential Fripp and Eno" covers the basics of what Robert Fripp and Brian Eno did as a musical force. Since they only released two albums together, I personally think that releasing this as a 2-disc set with "Healthy Colours" tacked onto the end would have been a better idea (The lenghty "Index of Metals" from "Evening Star" is an essential piece in my opinion). However, I have no complaints with the way this compilation is put together. The sound quality is stellar on this CD and so is the music. Here's hoping that Robert and Brian will reunite for something new real soon.

Track List:

1. The Heavenly Music Corporation
2. Swastika Girls
3. Wind On Water
4. Evening Star
5. Healthy Colours I
6. Healthy Colours II
7. Healthy Colours III
8. Healthy Colours IV

Fripp and Eno - (1975) Evening Star

Fripp and Eno's second collaborative effort marked a considerable advance on their debut. On vinyl, tracks 1 - 4 took up side 1 while the lengthy An Index Of Metals filled side 2, and the contrast between the two halves of the album was striking.

Side 1 saw the duo exploring the more melodic possibilities of the guitar/tape loops/synth set up. Wind on Water, taken from a widely bootlegged French concert (Air Sculptures: the sound quality is appalling, don't bother) opens the proceedings with Fripp unleashing barrages of high speed clusters of notes over a backdrop of what would later be known as Frippertronics. For a piece created largely by tape delay systems it's a joyous, life affirming noise, which segues neatly into the gorgeous title track. Over a bed of tape loops (a couple of guitar arpeggios and a simple 6 note figure played on 12th fret harmonics) Fripp unleashes a slow paced, heartfelt solo of rare beauty and precision. Eno punctuates the music with the odd discreet synth embellishment, and at one point a few notes on piano are added to the mix. It seems that on this piece they took Miles Davis' advice and didn't play all the notes, just the beautiful ones. Side one closes with a couple of shorter pieces - Evensong is a Satie- esque piece composed of interlocking tape loops, while Wind on Wind is an extract from Eno's pioneering ambient piece Discreet Music. The mellow woodwind sound he coaxes from his synth brings the proceedings to an appropriately low key close.

The second half of the album picks up where the steely, dark ambience of No Pussyfooting left off and takes it to an altogether deeper level of intensity. Fripp's guitar noise is looped on itself to the Nth degree, creating a near impenetrable wall of sound. For much of the time it seems as though nothing is happening, although the odd fragment of something analagous to a tune can be heard from time to time. Where side 1 is full of space and light, An Index Of Metals exists in a disturbing minmal space where the odd flicker of light illuminates a distorted shape in the distance. Highly uneasy listening, but it rewards attention - there's a lot happening below the surface.

Although Fripp and Eno's paths would cross again, notably on Bowie's Heroes album, it would be almost 30 years before a third album would emerge, by which time technology had moved on an almost unimaginable distance. The fact that this album was made with a guitar, a monophonic synth and a couple of Revox reel-to-reel tape machines is remarkable. What is truly amazing is that so much could be achieved with such meagre resources. (PROG ARCHIVES)

tudio Album, released in 1975

Track Listings

1. Wind on Water (5:30)
2. Evening Star (7:48)
3. Evensong (2:53)
4. Wind on Wind (2:56)
5. An Index of Metals (28:36)

Total Time: 47:44
Line-up/Musicians

- Robert Fripp / guitar
- Brian Eno / synthesizer