Remixes

This is a list of the correct Frippertronics performances and dates where the original loop was created for subsequent release on God Save the Queen and Let The Power Fall.

It is understood that Fripp did not wish these performances recorded.

It was viewed as a disruption of the environment he was attempting to establish between the audience

and the performer. It was also seen as an encapsulation of the vampiric relationship he despised with King Crimson back in 1974, which in part, resulted in its eventual demise.

This endeavour is an attempt to counter these illicit violations by freely returning them to the performer

some 25 years later in hopes that he might benefit either financially from them or on a personal level.

Like a photo album of forgotten memories.

The goal was to create a version of both of those releases overlaid with the solo element that Fripp intentionally excluded. No solos were recorded by Fripp. The stereo backing loops were preserved and selectively released as a natural by-product of the Frippertronics process of the two Revox tape recorders. However, the solos performed overtop of these were necessarily excluded from the tape signal path and are therefore only audible on these audience recordings. By coincidence, it appears that on every one of these dates, someone in the audience illicitly captured (at least part of) the performance.

So for fun … a digital recreation of each of these performances, using a pitch-corrected audience recording, enhanced with Fripp’s official releases has been made where possible.

Due to the recorded Discotronic element which includes the contributions of Busta Jones, Paul Duskin, David Byrne and Fripp himself, the solo enhancement element is not available for all but the opening phrase of “Under Heavy Manners” and the second half of “The Zero of the Signified”.

As for which “solo” to overlay … as far as possible, the first “stereo” replay of the creation loop on the day of it’s creation will be used. The actual act of creating the loop elements, prevents Fripp from soloing on top, and it is in mono and the first played loop elements are often disproportionately loud, differing from what is heard on the official releases, because of the room PA. Unfortunately, due to the dubious nature of these recordings, occasionally the piece in question was either missed or incomplete or encountered some other technical problem (such as pitch stability). So if that audience recording is unavailable or has some technical problem, then the best sounding and/or most complete available subsequent “stereo replay” will be used.

The results so far are very beautiful and hint at what might have been released had Fripp made the alternate decision to include a specific solo element. In other words … create the best sounding live recording of these specific selections, as might have been heard by an attending audience. Similar in spirit to what Fripp himself did with the Thrang Thrang Gozinbulx live release of The League of Gentlemen tour.

Many of these pieces were used as backing tracks at numerous subsequent performances.

This enhancement treatment has been successfully utilized most all of these cases except

the 1979/08/18 FM broadcast, where it’s beneficial effect on the sound is negligible.

Here’s a summary list compiled so far :