Sacred Songs is American singer/songwriter Daryl Hall's first solo album. It was produced by guitarist Robert Fripp, who also played on the album. The album was recorded in 1977 but Hall's label, RCA, did not release it for three years. According to Nick Tosches, who wrote Dangerous Dances, the authorized biography of Hall & Oates, "RCA refused to release Sacred Songs on the grounds that it wasn't commercial". When finally released, it had decent sales, but ultimately did not yield a hit single.
This 1999 release precedes the excellent new recording from perennial prog-rockers King Crimson, titled The ConstruKction of Light. Yet with The Repercussions of Angelic Behavior, electric guitarist and Crimson founder Robert Fripp, touch bassist Trey Gunn and hard hitting drummer Bill Rieflin mesh gears for some truly energetic interplay! Spearheaded by Fripp’s signature style attack consisting of loops, EFX, and sinuous lead soloing along with a keen (if not legendary) sense of the dynamic, the trio pursues booming, driving rhythms and abstract themes amid fiery improvisation and otherworldly effects. Throughout, touch bassist Trey Gunn displays the synergy and intuitiveness exhibited on recent collaborations with Fripp in King Crimson and elsewhere.
Following on from their glorious and lyrical collaborative work on Gone To Earth, David Sylvian and Robert Fripp produced the unexpectedly fiery and funky The First Day in 1993. Hypnotically groovy and intensely vicious, while showcasing Fripp's Soundscapes identity, the album marked a departure for Sylvian and can be more easily understood as a missing King Crimson link between Three Of A Perfect Pair and Thrak than a typical post-Japan Sylvian venture.
This compilation of the recorded collaborations between guitarist Robert Fripp and producer/conceptualist/musician Brian Eno is taken from two album-length recordings made for the Island subsidiary Antilles in 1974 and 1975, No Pussyfooting and Evening Star, with an unreleased 1979 session added on. "The Heavenly Music Corporation" and "Swastika Girls," totaling 39 minutes, make up the whole of No Pussyfooting. Both of these pieces are slowly evolving reel-to-reel tape experiences that are hypnotic and remain revelatory decades later.
Almost 30 years on since Evening Star, Robert Fripp and Brian Eno resume their collaboration, and remarkably, they seem to have picked up right where they left off. Remarkably, because Fripp's more recent soundscaping has had a different quality than either his collaborations with Eno or his proper "Frippertronics" albums like Let the Power Fall or the solo side of God Save the Queen/Under Heavy Manners. Surely they're not back to using the old Revox tape machine setup, but having Eno in the producer's chair (not to mention making his own musical contributions) seems to add a warmth that's been missing from albums like 1999.
At the same time Brian Eno was working on Here Come the Warm Jets, he was flexing his experimental muscle with this album of tape delay manipulation recorded with Robert Fripp. In a system later to be dubbed Frippertronics, Eno and Fripp set up two reel-to-reel tape decks that would allow audio elements to be added to a continuing tape loop, building up a dense layer of sound that slowly decayed as it turned around and around the deck's playback head. Fripp later soloed on top of this. No Pussyfooting represents the duo's initial experiments with this system, a side each.
This album is a report from Robert Fripp's guitar craft courses he gave in the 1980's, where he in a tight schedule disciplined the course attendees to approach their instrument from a new angle provided; His own tuning system was introduced, and with only a little time for sleeping the course attendees were educated to be the most committed players.
Reading the full name of this release – Jakszyk, Fripp And Collins With Levin And Harrison – A Scarcity Of Miracles – A King Crimson ProjeKct – leads to one central and almost unbelievable thought: this must be a new King Crimson album after all these years (the last album was released in 2003). But it is just like Robert Fripp, King Crimson’s mastermind and guitarist, wrote in the album’s liner notes: listening to A Scarcity Of Miracles is “like meeting a close member of the [King Crimson] family for the first time”. The music on this album is consistently mellow, sophisticated prog, similar, but smoother than the soft tunes from the Belew era, perhaps closer in tone to the Sylvian/Fripp albums.
Damage is derived from the closing shows of the 1993 Road to Graceland tour, which heralded the collaborative reunion of King Crimson's Robert Fripp (guitar) with David Sylvian (guitar/keyboards/vocals), the former leader of Japan. This hour-plus set finds Sylvian in tremendous voice and Fripp sonically enveloping spaces and respecting silences in a bout of well-manicured fretwork. The pair is augmented by soon-to-be Krim members Pat Mastelotto (drums) and Trey Gunn (Chapman stick/vocals) as well as former Martha & the Muffins axeman Michael Brook (guitar). The contrast in styles from Fripp's ethereal Soundscapes and edgy guitar inflections to Sylvian's smoother and refined demeanor is reminiscent of Brian Eno's early collaborations with Roxy Music.