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Rating: This review will inaugurate a series of 'writings' specifically dedicated to important guitar works called: "DeBaser guitarrists section". This is Vol.1.1 (Vol.1.0 has been irretrievably lost due to a small memory problem in the central computer). Currently, Adder is engaged in the 'recalibration' of the solar sail, so he personally tasked me with reviewing this album recovered from the 'music library' of the spaceship C57D.
This review is divided into two parts: the first will describe the most interesting tracks (in my opinion), while the second will delve into the human, artistic, and, unfortunately, economic aspects concerning the character Fripp.
First Part - The Review.
With the establishment of the LOCG, Fripp had the chance to dedicate himself more extensively to the research and experimentation of the possibilities offered by Ovation guitars outfitted with a special tuning (for those who want more information, you can refer to the review RF & TLOCG - Live!). This live album (1995 DGM) was recorded in March '91 between Dusseldorf, Hannover, and Bonn. Patricia Leavitt's vocal inserts are not included in this recording, so if you want to listen to them, I recommend the RF & TLOCG "Show of Hands" album. The emotions this CD manages to convey are quite varied, particularly "Circulation I & II" which are much more than simple 'pieces', as they have their own meaning difficult to explain in words, also because the internal 'strength' of this formation extends far beyond the classic concepts of music. "Larks' Thrak" is a hard and sharp piece that connects not only musically to the works of the Crimson (guess which ones!). "G Force" is probably the most 'decorated' and intriguing piece. Also noteworthy is the title track "Intergalactic Boogie Express" thanks to a 'heart-stopping' rhythm (for the more curious, this track was used as an introductory soundtrack of... guess what!). "Eye of the Needle" is delicate and polite (this track is also present in the previous two albums). "Corrente", "Prelude Circulation", and Bach's "Prelude in C minor" are simply fabulous, so nothing more needs to be added. The most evocative piece is "Asturias" while the lively "Wabash Cannonball" curiously ventures towards Country sounds. At this point, according to the booklet notes, the performance should end at track 19, but it does not conclude here because the player detects... but I don't want to reveal everything about this excellent live album. The essential logos of DGM and GC were designed by guitarist Steve Ball. The album's rating was also obtained in this case with the help of the 'phantasmagoric' Analytical Engine. Album rating 4.4 out of 5 (guitars).
Second Part - Beyond the Review.
The booklet contains a long and detailed 'mega-Frippian speech' divided into 9 chapters (complete with GC aphorisms) concerning both the economic (the failure of EG) and personal vicissitudes of Fripp (the months between May 1991 and February 1992 were as dark as any I have known, without hope, without light, without end). I will spare you the figures reported, also because they would probably make even cognitive scientist Marvin Minsky 'blush'. However, I would like to emphasize how the Artist (but also the Man) Fripp managed to continue with his music and his ideas, even though royalties were not available to support the pre-production costs of the LOCG, by selling his rarest guitar (D'Angelico Excell). Behind the inscrutable and serene gaze lies a Man who is also 'simple', endowed with sensitivity and sensibility, let's not forget that he is left-handed, even though he plays the guitar like a right-handed person. Fortunately, even the darkest periods end, and even thanks to the support of the GC, Robert will continue with his musical research. From these somewhat negative experiences, the DGM was born, a small, mobile, proportionally intelligent company, independent, and artistically friendly. This second part is dedicated to this brilliant Artist.
Intergalactic greetings (brv). Robby the robot.
Tracklist and Videos
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