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Robert Fripp stands out as a true innovator, consistently pushing the boundaries of guitar playing and extracting something remarkable from the instrument.
Emerging in the late 1960s, a time when Eric Clapton was idolized and blues guitar reigned supreme, Fripp distinguished himself with an unconventional songwriting style and a fresh perspective on guitar capabilities. His unique approach garnered admiration from notable figures, including Jimi Hendrix, who once proclaimed King Crimson as the finest band in existence.
However, Fripp’s early remarks about his fellow guitarists reveal a less-than-diplomatic stance towards his contemporaries.
“I’ve never really paid attention to guitarists,as they’ve never piqued my interest,” he stated in a 1974 interview with guitar Player.
That year marked the release of Starless and Bible Black and Red, two pivotal albums from King Crimson, showcasing Fripp at the peak of his artistry.
At that point, Clapton was navigating his solo career, having released two albums following the breakup of Cream and the tumultuous journey of Blind Faith and Derek & the Dominos. meanwhile, Jimi Hendrix had passed away four years prior, yet a new generation of exceptional guitarists was emerging to fill the void.
Despite this, Fripp had little to say about the guitar’s esteemed status in popular music.
“I consider the guitar to be quite a weak instrument,” he remarked. “There’s virtually nothing about it that captivates me.”
I witnessed Cream perform live once, and I found them rather disappointing. I believe Clapton’s subsequent work has been largely uninspired.
– Robert Fripp
Fripp’s unconventional views on the guitar were shaped during his childhood, where he was captivated by the early Sun Records featuring Scotty Moore before discovering customary jazz at the age of 15. By then, he had already begun to carve out a distinct identity, one that was not merely a reflection of past genres or artists.
“I haven’t been influenced by Hendrix or Clapton in the way most would assume,” he elaborated. “I doubt Hendrix viewed himself as a guitarist. He was simply someone with a message to convey,and he did so.”
Fripp’s sentiments towards Clapton were similarly unflattering.
“I find Clapton to be rather mundane, although he did produce some thrilling work earlier in his career with Mayall. I attended a Cream concert and thought they were quite lackluster. As then, Clapton’s output has struck me as excessively dull.”
such candid remarks are not surprising to Steven Wilson,who has worked on several King Crimson anniversary reissues. He notes that Fripp’s contrarian nature often puts him at odds with those around him.
“Every single Crimson album has been a struggle,” Wilson explains. “Its been a conflict between Robert and the rest of the band, or between robert and the record label, management, or financial issues. They faced numerous challenges, including criticism from the press.”
Rather than conform to mainstream expectations, Fripp remained steadfast in his distinctive approach.
Interestingly, the one guitarist who escaped Fripp’s critical eye during his 1974 interview was Jeff Beck, who was also known for challenging musical norms with his album Blow by Blow.
“I can appreciate Jeff Beck’s guitar work as entertaining,” Fripp remarked. “It’s where the guitarist and the ‘showman’ blend into one.It’s enjoyable and quite thrilling. I wish him all the best.”
As the blues transitioned into the shred era of the 1980s, Eddie Van Halen emerged as the new face of electric guitar, becoming the aspirational figure for countless guitarists.
Reflecting on this shift, Wolfgang Van Halen suggested that his father “may have altered the musical landscape” during that time.
“As,” he elaborated, “rather of encouraging everyone to discover their own identity, they aimed to emulate him.”
