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David Sylvian & Robert Fripp - Damage

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David Sylvian & Robert Fripp - Damage Live recording of Sylvian/Fripp 1993 tour Damage Surprisingly gentle, synth and vocals, joined by stick, then infinite guitar. God's Monkey More laid-back than the album version - two or three guitars instead of the Fripp array. Obviously Michael Brooks swoops and swells in the background, Fripp squeals to the fore, presumably Sylvian chops in the middle. Nice harmonies Trey - in the studio, I'd assumed Sylvian was double-tracked, perhaps not. Maybe a bit lacking in bite relative to the original, though I do like Brooks' imaginative background. And there's a lovely Fripp solo at the end. Brightness Falls Again, a shade less up-front than the original, though the distorted guitar is faithfully reproduced. Everything stops in the middle for a subdued passage of guitar, drums and infinite guitar, quite dreamy. This runs into... Every Colour You Are ... which sounds pretty like the original on Rain Tree Crow, well until the middle, where it floats off elsewhere. Also, Sylvian's inflections are quite different. Firepower Yet again, I find that this lacks the sheer energy of the original, but perhaps the extra finesse and breathing space makes up for it - the stick playing stands out more, I think. The intentional distortion on the vocals is maintained. Hey, there's a string quartet making a noise here - tapes or midi-triggered samples, I suppose. After about 3 minutes, they break away from the original for a quite frippertronic passage over the same stick/drums riff. Gone To Earth Yet another version, utterly utterly different from the album version (except for the vocal melody, and the middle bit with the funny old codger speaking about the soul going beyond being). A much straighter rendition, followed by some nice dreamy frippery and infinite guitar. Then... 20th Century Dreaming BANG! we go into this, and for the first time, something like the power of the original. A wild fripp solo, and things start to disintegrate (in the nicest possible way). In sneaks a quote from another Sylvian song which I recognise but can't quite place (off Secrets of the Beehive I think). A return of the frenetics, before falling into a free-form frippertronics show, which is quite lovely, but ends rather abruptly. Wave One of my favourite Sylvian tracks, so I'm a little disappointed (but not surprised) that the notes rather than the spirit of the opening are adhered to: not quite as lush as the original. But fine nonetheless, Brooks' guitar making a nice different background. This song has some stunning chord progressions, by the way. A fine alternative version (I'm just too attached to the sound of the original). Riverman Again, radically different from the original: I was expecting the stick to mimic that deep thumping bass, but it's a much lighter tone. The drum pattern is different too. I miss the guitar that (in the original) comes in after most vocal lines. But in the middle, things hot up a little, and it begins to be more than an approximation of the original. Darshan No attempt made to fully recreate the hiphop automata percussion of the original. Here, concentration is on fripp's screams (elephant talk). The original left me quite cold, I just couldn't concentrate on it - just an unstructured jam. This version's holding my attention a bit longer, because it's more varied, and more seems to be happening - better interplay, livelier playing. Only to be expected, I suppose! Blinding Light Of Heaven Now this sounds live! Nice raw guitar twiddles, good reverb on the drums. The lyrics aren't in the book but I think this is new. Sounds a bit like Jean The Birdman. The music is almost straight guitar-rock. The First Day What, piano! and atmospherics. Sounds like a companion-piece to the opener, something of a "time for bed now, folks" song. Nice frippery in the background. Sylvian's end-of-line warbles here are simply wonderful. (Here's hoping there's another album of ballads in the pipeline...) I presume this track was live, though it ends without applause (shades of Oil On Canvas here). In Conclusion A fine album. It's 72 minutes fairly chug by (some long albums can really drag, not so here). If there's anything that disappoints me, by the end of my first listen, it's the feeling that the players have never really let rip, apart from Fripp. The stick and drums seem to have played almost entirely supportive roles, with no showcasing in their own left. I don't mean that I miss a 10-minute drum solo! By Brian Ritchie

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Buy Book at Lowest Price on Amazon Throughout his career, guitarist Robert Fripp has continually pushed the boundaries of pop music, as well as pursuing many avant-garde and experimental musical ideas. Fripp began playing professionally with the League of Gentlemen in the mid-'60s, providing instrumental support to many American singers that were touring England. During this time he began Giles Giles and Fripp with Pete and Mike Giles. The trio only released one album, 1968's The Cheerful Insanity of Giles Giles and Fripp, yet the group soon evolved into King Crimson. Following the release of their 1969 debut album In the Court of the Crimson King, King Crimson became one of the most respected progressive rock acts of its era. From 1969 to 1974, Fripp was the one mainstay in the group, leading it through its various musical incarnations. During this time, he pursued several side-projects away from King Crimson. Fripp recorded two albums with Brian Eno — No Pussyfooting (1972) and Evening Star (1974). Both of the albums featured the musicians experimenting with avant-garde techniques, including Fripp's "Frippertronics." "Frippertronics" featured layers of guitars and tape loops, producing a harmonically-rich, humming sound; it became a familiar sound on his records. Fripp also produced a handful of albums, mainly records by experimental jazz outfits. In 1974, Fripp disbanded King Crimson and retired from music. Three years later, he returned to the business, playing on David Bowie's "Heroes." Soon afterward, he produced and played on Peter Gabriel's second self-titled album, as well Daryl Hall's Sacred Songs. Fripp released his first solo album, Exposure, in 1979. God Save the Queen/Under Heavy Manner appeared the following year and in 1981, he assembled a new lineup of King Crimson. While that band recorded and performed, he also led a new band which borrowed its name from his first group, The League of Gentlemen. After releasing three albums, the new version of King Crimson broke up in 1984; The League of Gentlemen split soon afterward. Fripp released God Save the King in 1985 and began teaching guitar, dubbing his students and school The League of Crafty Guitarists; he released an album recorded with his Crafty Guitarists in 1986, the same year he released the first of two collaborations with his wife, Toyah Wilcox. Fripp re-formed the '80s lineup of King Crimson in late 1994, releasing Thrak in 1995. He returned to recording solo in 1997, releasing That Which Passes Fripp left the music industry between 1984 and 1991 to establish the Guitar Craft seminar program, which continues around the world. Recent collaborations include David Sylvian, "The First Day" (1993), and "Damage" (1994), "FFWD" with The Orb and Thomas Fehlmann (1994), and contributions to albums by The Grid and The Future Sound of London. Soundscapes are an extension and development of Frippertronics, itself based on the tape delay system used by Brian Eno on "No Pussyfooting" and "Discreet Music". It remains the best way Fripp knows to make a lot of noise with one guitar.

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I found the way

By the sound of your voice

So many things to say

But these are only words

Now I've only words

Once there was a choice...

SONG LIST:

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 8:03

8 Wave 6:11

9 Riverman 5:01

10 Darshan (The Road To Graceland) 10:47

11 Blinding Light Of Heaven 4:14

12 The First Day 4:44

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David Sylvian : guitar, keyboards, vocals

Robert Fripp : guitar, frippertronics

Trey Gunn : chapman stick, vocals

Michael Brook : infinite guitar

Pat Mastelotto : drums

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Produced by Robert Fripp and David Bottrill

Assistant production and digital editing by David Singleton

Recorded live December 1993

Mixed at Real World Studios, Box, England, March 1994

Live recording engineered by David Kent / Mixing engineered by David Bottrill

Tour co-ordinator: Richard Chadwick / Visual projects co-ordinator: Yuka Fujii

Light and stage design: Haruki Kaito / Tour manager: Tim Hook

sound engineer: David Kent / light operator: Phil Wiffen

monitor engineer: Steve Flewin

stage manager - keyboard/guitar technician: Dave Newton / guitar technician: John Sinks / stick/drum

technician: Clint Lockyer

keyboard and recording technician: Stuart White

keyboard and recording technician (U.K. and Europe): Alan Pollard

Art direction: David Sylvian, Yuka Fujii

Artwork: details from New Taneg of Tanger 1993: Shinro Ohtake

Artwork photography: Masataka Nakano / Live photography: Kevin Westenburg

Art and design: Russell Mills

Design assistance: Michael Webster at Small World Associates

Michael Brook appears courtesy of 4AD Ltd. Pat Mastelotto plays Yamaha drums, Piste cymbals, Pork Pie percussion, and Kurzweil sampler

VIRGIN RECORDS, DAMAGE I, 7243 8 39905 2 8(CD)

(P)(C)1994 VIRGIN RECORDS LTD., UK

RECORDED: DECEMBER 1993

RELEASED: 1994, AUSTRIA

RE-ISSUED: SEPTEMBER 2001

Source:

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