nessus@mit-eddie.UUCP (Doug Alan) (10/13/85)
> From: Barth Richards >> [Me:] Clearly because they are all wrong! The best guitarists are >> Fred Frith and Robert Frip, and there can be *no* argument. > Don't let either one of them find out the other is ranked among the top > two guitarists in the world. Neither one is overly fond of the other. What are their gripes with one another? One would think they'd each respect each other, in that they are both such innovators.... "My house" "Your house" "My house Well get out there's the door" Doug Alan nessus@mit-eddie.ARPA (or UUCP)
lp102911@sjuvax.UUCP (palena) (10/15/85)
In article <73@mit-eddie.UUCP> nessus@mit-eddie.UUCP (Doug Alan) writes: >> From: Barth Richards > >>> [Me:] Clearly because they are all wrong! The best guitarists are >>> Fred Frith and Robert Frip, and there can be *no* argument. > >> Don't let either one of them find out the other is ranked among the top >> two guitarists in the world. Neither one is overly fond of the other. > >What are their gripes with one another? One would think they'd each >respect each other, in that they are both such innovators.... > ...and of course both have the tremendous honor of being favorites of your's. Just another timely contribution to net.KateBush, Larry Palena St. Joseph's Univ. { astrovax | allegra | bpa | burdvax } !sjuvax!lp102911
barth@tellab1.UUCP (Barth Richards) (10/17/85)
In article <73@mit-eddie.UUCP> nessus@mit-eddie.UUCP (Doug Alan) writes: >> From: Barth Richards > >>> [Me:] Clearly because they are all wrong! The best guitarists are >>> Fred Frith and Robert Frip, and there can be *no* argument. > >> Don't let either one of them find out the other is ranked among the top >> two guitarists in the world. Neither one is overly fond of the other. > >What are their gripes with one another? One would think they'd each >respect each other, in that they are both such innovators.... I'm not exactly sure what their gripes are. You're right though; one would think that they would have mutual respect. I think Fred's (Frith) gripe has to do with the fact that Robert (Fripp) seems to take himself a bit too seriously. Despite the fact that Fripp is a phenominal and inventive guitarist, you really can't deny that he does sometimes seem to have gone over the edge. (e.g.<no pun intended> the back cover of LET THE POWER FALL, where he defines the laws by which "systems" operate. Whether you agree with the theories he expresses on this subject or not, you would have to say that this seems a little out of place, i.e. pretentious) on an album cover. I think Fripp's gripe might have to do with not liking ANYONE who says that he takes himself too seriously. I think that Fred is a bit irritated with the British music press. When Robert came out with THE LEAGUE OF GENTLEMEN album the BMP thought it was less than expected, and thought that Fred's album was fantastic. (I don't remember, off-hand, which Frith came out at about the same time as THE L.O.G.) When it came to publicity, however, the BMP lavished it on Fripp, with virtually none going to Frith. So, I think that that might have added to the tension between them. Hope this helps to clear things up. (Then again, it may not.) Barth Richards Tellabs, Inc. Lisle, IL "Our time has come, age of the hammerheads This is our mission, to be the DALEKS of God" -Shriekback, "Hammerheads" from the album OIL AND GOLD
rlr@pyuxd.UUCP (Rich Rosen) (10/19/85)
> I think Fred's (Frith) gripe has to do with the fact that Robert (Fripp) seems > to take himself a bit too seriously. Despite the fact that Fripp is a > phenominal and inventive guitarist, you really can't deny that he does > sometimes seem to have gone over the edge. (e.g.<no pun intended> the back > cover of LET THE POWER FALL, where he defines the laws by which "systems" > operate. Whether you agree with the theories he expresses on this subject or > not, you would have to say that this seems a little out of place, i.e. > pretentious) on an album cover. I found Fripp's inclusion of such material to be quite interesting, especially the way he relates it all to the music industry. It is applicable in the world of government, business, and society, also, to be sure, but Fripp's notions of the operations of systems apply directly to the "music business", especially how bureaucracies eventually change their purpose from their original intent to the end of preserving their own existence and maximizing it, leading to musical dinsoaurs that flourished in the late 70s and still flourish today. (If there's one thing I find more repulsive than Madonna, it's Grace Slick whining like an old woman how "we built this city" to us young whippersnappers. It seems THIS last generation is more obnoxious about its music than the previous one, wherein our parents used to tell us "you mean you don't know who Benny Goodman is?" Today, you get people like Scott Muni playing "Layla" on the radio and saying "Well, if you don't know what that is, too bad!") I digress. Fripp has always impressed me as one of the more literate and intelligent people in modern "popular" music, and despite his quirks, I find his inclusion of such material interesting. -- "There! I've run rings 'round you logically!" "Oh, intercourse the penguin!" Rich Rosen ihnp4!pyuxd!rlr
mfs@mhuxr.UUCP (Damballah Wedo) (10/19/85)
> ... It seems THIS last generation is more obnoxious about > its music than the previous one, wherein our parents used to tell us "you > mean you don't know who Benny Goodman is?" Today, you get people like Scott > Muni playing "Layla" on the radio and saying "Well, if you don't know what > that is, too bad!") > -- > Rich Rosen ihnp4!pyuxd!rlr Not to be perverse, especially since I gnerally agree with you, but not having heard Eric Clapton (or/and Benny Goodman) disqualifies one from having any sort of perspective on current musical developments. Surely you would not say that current rock'n'roll exists outside the strem of thirty years of rock history. A willingness on the part of current musicians to acknowledge their influences might help them avoid the endless recycling that plagues rock and pop. Like the sudden renewal of ersatz psychedelia. Or the short lived rockabilly revival (remember the Stray Cats?) Nice ideas that got bogged down because no one thought of acknowledging the Byrds or Gene Vincent, and wound up redoing the work, until the momentum died and the public turned to someone else. You are right that as one generation of artists exhausts its talent, its children will find other people to get excited about. That does not erase the contributions of the elders. -- Marcel-Franck Simon ihnp4!{mhuxr, hl3b5b}!mfs " Sa ou pa konnin toujou pi fo pase' ou "