Robert Fripp or Jimi Hendrix

Hendrix was far more groundbreaking and influential but I prefer Fripp’s playing. Why do we have to compare?!?? It’s pointless. (I’m not a fan of polls as you might imagine)…..

Saperlipopette! wrote: Duddick wrote: Hendrix was far more groundbreaking and influential but I prefer Fripp’s playing. Why do we have to compare?!?? It’s pointless. (I’m not a fan of polls as you might imagine)….. If you think comparing is pointless and you're not a fan of polls in general, why not simply stay away from the poll-lounge?

Without getting into free will and determinism, I'd add that we don't have to compare. Still Duddick did compare the two before asking the why question.

^ I know. Just because we are asked to doesn't mean we have to. I find it kind of bemusing that someone compares the two then writes "Why do we have to compare?!?? It’s pointless."

Edited by Logan - 8 hours 7 minutes ago at 11:13

Head and discipline versus Heart and Intuition I would imagine both would have admiration for each other's different qualities and approach. For that reason i can't 'pick' one over the other.

Edited by Cosmiclawnmower - 6 hours 23 minutes ago at 12:57

Mellotron Storm wrote: It's pretty cool that they did meet once. Hendrix in England watching King Crimson live and sitting next to Fripp's sister's table. The label had asked Fripp to play standing like a normal guitarist which he had been doing, but this was the first show where he reverted back to sitting, and for good. I actually love the contrasting styles between these two legends. Fripp said when he met Hendrix after that show that Hendrix insisted in shaking his hand with his left because it was closer to his heart. Just too cool. I prefer Fripp's angular style and his soundscapes.

Jimi was ambidextrous but favored his left.

Jimi Hendrix was an unorthodox type of player. Several aspects to guitar as to be defined as methods ...evolving into rules...he broke. Certain positions of his fingering hand felt unnatural to guitar players . Certain showmanship standards he displayed on stage were not uncommon in the Southern States..such as playing guitar with your teeth.

His idea to emulate the sound of a police car siren ..perhaps in France..., his high pitched strings played with a fast motion on his whammy bar emulated the sound of a horse winnie....his high unbearable volumes where he produced the sounds of war combat...as such by emulating missles soaring and machine guns firing...and these ideas of experimentation were very unusual and unique for the times and for a few years many fine national guitarists were trying to figure out how he got those sounds. Mainly he depended on volume and a few stomp boxes. It was the way he played that lured most people in...regardless of sound effects ...it was him.

On 1983 ..A MERMAN I SHALL Be...with Chris Wood on flute..he has recorded sections of electric guitars playing backwards..They are not outright distorted but closer to clean. This is played underneath an odd improvisation played clean on a Fender Stratocaster. This style of playing creates a perfect backing for a story about Atlantis.

His improvisation on the Blues song "Bleeding Heart" from the CD CONCERTS ...( released by Alan Douglas)...sets an example of how he could play beautifully unique guitar.

On New Rays Of Rising Sun many of the songs were much darker than before. In a sense..you could compare a few of the songs to House Burning Down from Electric Ladyland..yet something was darker. "Astro Man", "In From The Storm" "Driftin", "Night Bird Flying" and others were different sounding from his other albums obviously because his mind being in a different place...a different mind set than before . It's unfortunate that he didn't live to finish thee album, but the Hendrix estate referenced a track listing order written by Hendrix and the album does in fact have a strange flow. Alan Dougless' Voodoo Soup covers this time period as well. It is decent...but I prefer Rising Sun.


Robert Fripp was more of a skilled player. Prime example would be his guitar playing on The Cheerful Insanity Of Giles, Giles, and Fripp. At that time he was able to play Paganini with the plectrum style. He was fast and clean.

From the very beginning of King Crimson's career he used tri tone intervals in a unique way. He made them sound off in the music of King Crimson. They immediately created a sinister sound. Robert Fripp tried many variations when using them. They sometimes sounded mysterious...other times aggressive.
They produced an eerie sound and that was combined with Pete Sinfield's lyrics which were sometimes bewitching.

Fripp is not a Blues guitarist or at least he wasn't in the early 70s and it was unfair for Collins, Burrell, and Wallace to have those expectations. In the case of Collins, Burrell, and Wallace taking over the band and trying to turn King Crimson into R&B was ridiculous. I've heard several live recordings from 72' where this is evident and obviously Fripp is just along for the ride...or finishing out the tour. His soloing over top of R&B is a shoe that doesn't fit. Fripp was not that KIND of guitarist. He had skill in Jazz, Classical, Folk and Rock...but he shouldn't have been forced to play a style of music that he possibly wasn't interested in and also not sounding as if he understood how to play it fluently.

He was very intricate and a fine writer as well. He kept expanding and eventually worked with Jamie Muir and Bill Bruford. Mostly based on improvisation...the music created atmosphere. Several pieces that he wrote between 72 and 74 were like extensions of each other. The Pieces " Red", Larks Tongues In Aspic, and Fracture are all reminiscent of each other in a loose way.



Edited by Jacob Schoolcraft - 1 hour 45 minutes ago at 17:35