![\"exposure.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2006\/06\/exposure.jpg\")
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Robert Fripp’s 1979 album, Exposure<\/em> (DGM0601), was intended to form part of a trilogy together with Peter Gabriel’s second solo album and Sacred Songs<\/em>, by Daryl Hall. Fripp produced all three albums and also plays on all three. As things turned out, the scheme was too much for “dinosaur” (Fripp’s term) record company executives, they regarded Hall’s album as uncommercial then buried its release.<\/p>\n Exposure<\/em> is (for me) the most successful of the three. Although it mixes styles and vocalists (Daryl Hal, Peter Hammill, Terry Roche and Peter Gabriel singing his own Here Comes The Flood<\/em>), it manages to maintain a consistent atmosphere very much influenced by Fripp’s life in New York and his connections with the NYC New Wave of the time (he played on Fade Away And Radiate<\/em> by Blondie). It also forms the bridge between the King Crimson of old and what would become the Eighties’ Crimson. Fripp’s experimental side is to the fore here, with the first showcasing of his “Frippertronics” in a musical setting and many taped conversations being mixed into the music.<\/p>\n The new CD set released this week manages to reinvent the album to some degree, presenting the original album on one disc then a whole disc of different vocal mixes on the other, some of which use different singers, such as Daryl Hall singing on tracks that featured Peter Hammill originally. The sound is also considerably enhanced, making the heavier pieces sound especially ferocious. An album that’s nearly thirty years old suddenly sounds fresh again.<\/p>\n More details after the jump.<\/p>\n <\/p>\n Original sleeve notes:<\/p>\n This album was originally conceived as the third part of an MOR trilogy with Daryl Hall’s solo album Sacred Songs and Peter Gabriel II both of which I produced and to which I contributed. With the non-release of Sacred Songs and the delay by dinosaurs of this album it is impossible to convey the sense which I had intended.<\/p>\n Instead Exposure is now the first part of my own series and will shortly be followed by \u00bbFrippertronics\u00ab and \u00bbDiscotronics\u00ab . Taken together these should provide an overview different in kind but similar in nature to that of my original intention.<\/p>\n Recorded mainly and mixed entirely at The Hit Factory, New York between January 1978 and January 1979.<\/p>\n Engineer: Ed Sprigg N.B. Ms. Roche’s voice on \u00bbExposure\u00ab was Fritched. The album of pure Frippertronics for release in September 1979 is drawn mainly from these recordings.<\/p>\n Location recordings mainly at W. 51st and the West Village. Contributors: Album Cover: This Fripp is indebted to all those who took part in the hazardous series of events culminating in this record, and several who do not appear but who helped determine the final shape: Tim Cappella, Alirio Lima, Ian MacDonald and John Wetton. For the enthusiasm of all involved, thank you. Additional gratitude to Paul Higgins for equipment, moving and kitchen support; Charlene, Walter and the perennial Dik Fraser; latterly Ann and Ed; Managers Mark and Sam for following despite disbelief, to Brian Eno for generously introducing me to the technology of skysaw guitar and the tape system which enabled the development of Frippertronics and for advice; Joanna Walton for her unerring criticism and sense of the appropriate; the Fripp family for withstanding my investigation of family customs; and J. G. Bennett for infinitely more than words could repay.<\/p><\/blockquote>\n Disc: 1 Disc: 2 The Exposure<\/em> pages<\/a> are an excellent in-depth look at the creation of this album.<\/p>\n","protected":false},"excerpt":{"rendered":" Robert Fripp’s 1979 album, Exposure (DGM0601), was intended to form part of a trilogy together with Peter Gabriel’s second solo album and Sacred Songs, by Daryl Hall. Fripp produced all three albums and also plays on all three. As things turned out, the scheme was too much for “dinosaur” (Fripp’s term) record company executives, they … Continue reading “Exposure by Robert Fripp”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3],"tags":[1605,145,343,3599,270],"class_list":["post-572","post","type-post","status-publish","format-standard","hentry","category-music","tag-blondie","tag-brian-eno","tag-king-crimson","tag-peter-gabriel","tag-robert-fripp"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-9e","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/572","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=572"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/572\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=572"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=572"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=572"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nAssistant Engineers: Jon Smith, Michael Ruffo, David Prentice
\nTrack for \u00bbExposure\u00ab recorded at Relight Studios, November 1977.
\nEngineer: Steve Short
\nTrack for \u00bbHere Comes The Flood.\u00ab Engineer: Steve Short
\n\u00bbWater Music II\u00ab recorded at The House of Music, New Jersey, July 1977.
\nEngineer: Jim Bonneford<\/p>\n
\nAll Frippertronics other than \u00bbWater Music II\u00ab – recorded at the Fripp Mobile in the Lower East Side, Upper East Side, Hell’s Kitchen and the West Village of New York between June 1977 and November 1978. Engineer: Fripp.<\/p>\n
\nObviously, no one location was sufficient to contain all the action described within this record.
\n\u00ae1979 E.G. Records Ltd.<\/p>\n
\nBarry Andrews (courtesy of Virgin Records)
\nPhil Collins (courtesy of Charisma Records)
\nBrian Eno
\nRobert Fripp
\nPeter Gabriel (courtesy of Charisma Records)
\nDaryl Hall (courtesy of RCA)
\nPeter Hammill (courtesy of Charisma Records)
\nTony Levin
\nJerry Marotta
\nSid McGinness
\nTerre Roche (courtesy of Warner Bros.)
\nNarada Michael Walden (courtesy of Atlantic Records)
\nAnd the voices of (among others)
\nShivapuri Baba (courtesy of Mrs Elizabeth Bennett)
\nJ.G. Bennett (courtesy of Mrs Elizabeth Bennett)
\nMrs Edith Fripp
\nMrs Evelyn Harris<\/p>\n
\nChris Stein: design and photography:
\nSteve Sprouse: colorist
\nAmos Poe: VTR images
\nThanks to Mick and Ernie
\nMary Lou Green: hair
\nCream: typography<\/p>\n
\n1. Preface
\n2. You Burn Me Up I’m a Cigarette
\n3. Breathless
\n4. Disengage
\n5. North Star
\n6. Chicago
\n7. NY3
\n8. Mary
\n9. Exposure
\n10. H\u00e4aden Two
\n11. Urban Landscape
\n12. I May Not Have Had Enough of Me But I’ve Had Enough of You
\n13. First Inaugural Address to the I.A.C.E. Sherborne House
\n14. Water Music I
\n15. Here Comes the Flood
\n16. Water Music II
\n17. Postscript<\/p>\n
\n1. Preface [Third Edition]
\n2. You Burn Me Up I’m a Cigarette [Third Edition]
\n3. Breathless [Third Edition]
\n4. Disengage II [Third Edition]
\n5. North Star [Third Edition]
\n6. Chicago [Third Edition]
\n7. New York, New York, New York [Third Edition]
\n8. Mary [Third Edition]
\n9. Esposure [Third Edition]
\n10. H\u00e4aden Two [Third Edition]
\n11. Urban Landscape [Third Edition]
\n12. I May Not Have Enough of Me But I’ve Had Enough of You [Third Edition]
\n13. First Inaugural Address to the I.A.C.E. Sherborne House [Third Edition]
\n14. Water Music I [Third Edition]
\n15. Here Comes the Flood [Third Edition]
\n16. Water Music II [Third Edition]
\n17. Postscript [Third Edition]
\n18. Exposure [Alternate Take][*]
\n19. Mary [Alternate Take][*]
\n20. Disengage [Alternate Take][*]
\n21. Chicago [Alternate Take][*]
\n22. NY3 [Alternate Take][*]<\/p>\n