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So, you can set up an orchestra down this end of the railway station playing one particular area, a
So, you can set up an orchestra down this end of the railway station playing one particular area, a
So, you can set up an orchestra down this end of the railway station playing one particular area, a
So, you can set up an orchestra down this end of the railway station playing one particular area, a
So, you can set up an orchestra down this end of the railway station playing one particular area, a
So, you can set up an orchestra down this end of the railway station playing one particular area, a
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Robert Fripp:
The perception of the audience is the interesting part. If the audience doesn't hear what is goingRobert Fripp:
The spoken form is in fact a very restrained representation of what is possible in the musical langRobert Fripp:
Then certainly for a musician timing becomes something that is immediately accessible as a concept,Robert Fripp:
To me, Bill's musical heart is in Earthworks, in the jazz they are playing, in the acoustic kit.Robert Fripp:
What is necessary is possible, what we want is expensive. What is unnecessary is unlikely.Robert Fripp:
Michael Giles the first drummer of King Crimson, never agreed to the name King Crimson. But then, iRobert Fripp:
Now, if King Crimson accepts responsibility for innovating its own tradition, you can't accept respRobert Fripp:
I'm not really interested in music. Music is just a means of creating a magical state.Robert Fripp:
My life has improved so much since I stopped doing interviews.Robert Fripp:
My life as a professional musician is a joyless exercise in futility.