This is just about a number.

Don’t get your knickers in a twist. All this discussion about distribution overshadows the real story in the business today, which is the music itself.

We are in a crisis.

All the major media is focusing on the Grammy awards when in truth there should be touring awards. The business has flipped, completely. Now all the action, all the excitement, is in the live sector.

Used to be the live sector was dependent upon the labels to provide talent, to build it. Now the labels don’t even support their acts’ tours, they buy very few tickets. The acts are on their own. But even more interesting is the fact that so many of today’s acts are not signed to the three major label groups, and don’t need them whatsoever. Why give up AT LEAST fifty percent of your streaming revenues to your label when you can keep essentially all the money yourself. But the dirty little secret is for so many of these acts, the streaming income amounts to one extra show. So…

Recorded music is sexy. We love the bling, the stars. We’re eager for the new.

Then again, the big story this week is the Apple Vision Pro. When was the last time we had an act that was a great leap forward, that gained everybody’s attention? Music used to be the land of innovation, where the envelope was pushed, but the classic acts are usually superior to the vaunted acts of today. I can’t find one person in the business who feels the same way about boygenius as the press. Most can’t even listen to the album. Talk about a disconnect.

But there is one breakthrough story in music this year. And that is the Sphere. Quick, ask someone, ANYONE, if they know about the Sphere. And you will find out they do. The Sphere has penetrated the consciousness of America. And almost all of these people will tell you that U2 is the Sphere’s opening act. Why? Because the Sphere itself is sexy, a breakthrough far bigger than that of any acts putting out music this year. Come on, have you seen the graphics on the OUTSIDE of the Sphere? They were the highlight of Formula One in Vegas, far superior to the race itself. And as far as what’s inside… Talk to anybody who’s been to the show, no one is equivocal, absolutely everybody testifies. Many have been more than once. This is the excitement we used to see in the music itself!

I can’t tell you that the Sphere makes economic sense, but you’ve got to give credit to Jim Dolan, the most hated man in New York, for taking a risk, a very big risk. How is it that Jim Dolan is more of a visionary, is willing to risk more than any act plying the boards. Interesting, don’t you think? But that’s what happens when you think outside of the box, literally. That’s what we’re all hungry for, that which we cannot conceive of, that blows our minds.

TikTok is something different. TikTok is like the music itself. TikTok is selling humanity. It’s a reflection of American society. And the cognoscenti don’t like to look at it. Because they don’t like what they see. They want everybody to be like them, to turn off their devices and do what? All this banter about TikTok in D.C… Never have so many talked about something they know so little about. And in moribund D.C. they no longer legislate, they just hold grandstanding hearings. Mark Zuckerberg apologized yesterday, whoo-hoo! Are we going to see meaningful change? No. Then again, when will D.C. realize you don’t hamper, don’t change what already exists, you get out in front of it. Like Spotify.

Yes, Spotify gave the public what it did not know it wanted. All of the music for a low monthly sum, on demand. And if you wanted to kick the tires, you could even listen for free, albeit with ads and a few restrictions.

And Spotify saved the recorded music business. You may not know this, but believe me, Lucian Grainge does.

Got to give Lucian credit, unlike his predecessor, Doug Morris, he’s not trying to hold back innovation, he’s trying to harness it, go along for the ride, hopefully lead the pack. But the music industry has failed consistently when it comes to tech innovation. Because it’s a different mindset. How many musicians are great business people? That’s how many record executives are good techies.

But at least Lucian is willing to license the music.

And that’s what this TikTok fight is all about, licensing music.

But TikTok does not need the music. Sans the music, Spotify is dead. Music is Spotify’s engine, its heart. As a matter of fact, Spotify is trying to broaden its business to be less dependent on music, which does not scale financially for them.

But TikTok has a business without music. TikTok can survive completely without music. And the Chinese company knows it.

But Universal knows that when the most powerful social media outlet only represents 1% of its revenues, something is wrong. And Universal is right.

But techies have no respect for content. And isn’t it interesting, Hollywood was scooped and trumped by Netflix. Turns out that even Disney and Warner don’t know how to compete. Weren’t the big boys supposed to come in and teach Netflix a lesson? Well, that didn’t happen, now these old wave studios are licensing content to Netflix for the income. Turns out Netflix is forever, the big kahuna. As for the rest… Wait for the consolidation. And never forget that music has it much more together than streaming television. Pay a bit over ten dollars a month and you can get everything. Whereas streaming TV is Balkanized. And now there are ads, which was the big breakthrough of Netflix, no ads. And you can’t get everything for one low price, and you hate all the companies and players as much as you hated the cable company of yore. But you don’t hate Spotify.

And maybe you love Apple and Amazon, Spotify’s two biggest competitors. But let’s be clear, they don’t need music. It’s a zit on the ass of their business. And that’s not a good partner to have, one that does not need you.

And TikTok… It’s not only the heart and soul of America, but the world!

And TikTok is asking for heinous things. Right to use music in ads without permission, much more. I don’t believe ByteDance really thinks it can get all of this, it’s just a negotiating ploy, if they ask for everything, the final result will be closer to their desires.

So Universal pulled their music from TikTok. Did TikTok shut down? Do you see public blowback? Not yet.

But TikTok not only brought a Fleetwood Mac song back from obscurity, TikTok breaks acts. Not only Universal acts, but acts with no label at all!

Not being on TikTok hurts Universal, but once again, TikTok is not Universal’s only avenue of distribution, not only does it have Spotify, et al, it’s got YouTube and radio, but…

This is where the younger, impressionable generation is.

Universal needs TikTok, unfortunately more than TikTok needs it. So Universal wants to make a deal, just one more favorable to them.

And by not making a deal with Universal, TikTok’s image is tarnished. Government already hates the platform, and now it’s using its power to marginalize one of America’s major industries, entertainment? In an era where all the music is available to everyone?

And this is not like the auto strike. That shut the plants down, completely. Eventually the manufacturers caved, on very positive terms.

Ditto the writers and actors. Eventually a deal had to be made, without one there would be no production. (However, no production did help in the short run, for those with a backlog of product.)

But TikTok does not need Universal’s music to survive. As big as Universal is, it’s still got Sony and Warner, and even if it lost those two no one is preventing amateurs from coming up with new tunes on their computers and uploading it.

In other words, Universal has lost control of distribution. That was the major labels’ ace in the hole, the essence of their business model. They controlled the number one avenue of exhibition, i.e. radio, and an indie might be able to get a record in a retail store, but good luck getting paid.

A record store without records has to close. But not TikTok.

So it’s all about the number. Universal can’t stay out of this forever. It’s not like there’s an alternative, although Instagram’s Reels has turned out to be great competition for TikTok.

But, once again, this battle is a sideshow, taking eyeballs off the main issue, which is the music itself.

Distribution is easy to understand. We argued about it for a decade. We heard people would never pay for music again, that turned out to be untrue. That the major labels would sink, that proved to be untrue if for no other reason than their catalogs.

TikTok has a vaster audience than Taylor Swift, Morgan Wallen, the Beatles and the Eagles. That’s the outlet’s power, which is humongous.

But it’s not only TikTok, look at Apple. Some of the world’s most powerful content companies are railing against the App Store changes in Europe. Which are an improvement, but not anywhere near as much as they thought it would be, and want.

And in myopic America, we think it’s all about America. The EU is stepping up for Ukraine, and when it comes to business regulation, the EU is far out in front of the U.S.A.

But you can’t say that, because no one in America wants to believe they’re inferior in any way, U.S.A, U.S.A!

So if you’re focused on this TikTok/Universal kerfuffle, you’re missing the point. You’re focused on the battle instead of the war.

It’s hard to come up with innovative music. And it’s harder to quantify. Which is why everybody talks about these business and tech issues.

But music runs on that, music. That’s the lifeblood of the music industry, not Universal, Spotify or TikTok. It’s all about the fuel. And we’ve got more fuel than ever before, but if you want to know which way the wind blows, you don’t listen to a record.

And there are many causes. The young and impressionable have been overloaded with imitative dreck, what would inspire them to create a breakthrough?

And income inequality is so bad and the odds of creative success so low that the best and the brightest don’t go into music creation, it’s too risky.

And as great as Morgan Wallen is, there’s no artistic breakthrough there. As for Swiftmania, you very rarely hear about the music itself. Great business stories, but don’t confuse this with the Talking Heads, who couldn’t sell out stadiums but showed that what was in your mind, your conception, was more important than your looks.

MTV made music about the trappings. That has faded in the twenty first century, and there are all those acts that can sell tickets who don’t stream in prodigious numbers.

But if you want to know what is going on in the music business, call Michael Rapino, not Lucian Grainge. Want to know what is happening? Talk to your local promoter/booker, you’ll be surprised what is selling tickets.

But we’re still looking for that one breakthrough act that will lift all boats, that will gain our attention and inspire others to follow them.

But for now, we’ll go to the Sphere.

But we’re waiting for what’s inside the building to be just as exciting as the Sphere itself. It will happen, could take decades, we never got a new Beatles, but that’s where our focus should be, not on a negotiation between titans who will come to an agreement that will be quickly forgotten.

I loved talking to this guy. He wrote songs, played in cover bands and then connected with a last chance demo tape. He’s a fan, just like you and me. You’re going to enjoy this.

https://podcasts.apple.com/us/podcast/christopher-cross/id1316200737?i=1000643785991

https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/ca278f0f-d11c-4106-96b8-07670c7d803c/the-bob-lefsetz-podcast-christopher-cross

Brand New Key is so good. You have never been so wrong. Same with all the replies of everyone trashing that song. It’s epic. It’s a perfect little pop song and always makes me smile.

Next time I see you I’m gonna sing it right in your ear. Really close. I mean really close so you can feel the energy in your neck down to your cold Brand New Key hating heart. I’ll sing it loud and soft. And then you can punch me in the face and I won’t hit back. I’ll turn the other cheek and sing it again. Then I’ll follow it up with Dead Skunk In The Middle Of The Road by Loudo!

And then Hello Muddah Hello Faddah here I am at Camp Granada by the Shermster.

Melanie was lucky to have that hit. It still sounds great. It’s all a part of her story.

I rode my bicycle past your window last night -I roller skated to your door at daylight.

This is poetry Bob. Poetry!

Have some fun for once. Relax. Smoke a J. Eat a brownie.

Dog bless you my friend,

Steve Poltz

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Pete Fornatale and WNEW-FM played Melanie all the time. She was the soundtrack for us  free spirit hippie high school kids eating granola. In the summer of my freshman year of college I went to work for Michael Lang’s Just Sunshine records which was part of Paramount Records in the tall building at Columbus Circle. Just Sunshine shared  a suite of offices with Neighborhood Records (the label owned/run by Melanie’s husband Peter-Tony Martell was President of Paramount and his office was across the hallway)-Michael and Peter  did not like each other to put it mildly -they hated each other. One morning when I came to work-(Michael and staff did not come in til late afternoon)-Michael had hired a carpenter to build a wall between Neighborhood and Just Sunshine so Michael didn’t have to see Peter. Many years later when I was consulting Live Nation in New York I tried to put together  concert with Melanie-Richi Havens-John Sebastian and Donovan. Long story and  it never happened but I had a meeting with Melanie and her husband Peter and son Beau in Florida.  Wild  fun meeting -their son had written a  classical concerto that was fantastic-Peter was trying to get me to invest in this magic lotion for your body that would “cure all” and had to kept in the freezer. Peter and Melanie were rubbing  it all over their arms and faces and  then rubbed in on my arms. Never felt a thing.  Anyway Melanie agreed to do the concert that never happened and said ” I would love to play my music for my people”-she then proceeded to tell my how all her fans and the people who attended Woodstock were her love people.  She was a real hippie that believed in the magic of the 60’s and the summer of love. The last time I saw Melanie was at BB Kings on 42nd street-she had taken over Mama Cass’s body but still sang like an angel!

In high school my wife Nancy loved Melanie and played her music all the time and also played guitar and sang Melanie songs. One of Nancy’s fav songs was Alexander Beetle by Melanie-a fairly obscure fun kid like song.  If you dont know it check it out-

Melaine-rest in peace-the above is the same as the below and the below is the same as the above. Eternal peace.  Ring the Living Bell!!

Harvey Leeds

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I have some comments about Melanie who we just lost.  I’ll confess, (like you, Bob), I hated her silly hit, “Brand New Key.”   However I was a fan of so much of her work — having discovered her years earlier via a couple of recorded versions of her great “Beautiful People.”   Also her fine cover of The Rolling Stones’  “Ruby Tuesday” as well as originals like “What Have They Done To My Song Ma.”   Saw Melanie perform several times — always good — she had incredible stage presence and was so nice when I met her.  Yet, for me, her best was when she was amongst almost every known folkie still alive then (except Dylan) as part of a fantastic 5 hour Felt Forum (NYC) tribute to Phil Ochs in the spring of 1976 shortly after he left us.  She excelled that night – more than just ‘holding her own’ performing along with the likes of Tim Hardin, Tom Paxton, Joan Baez, Ritchie Havens, Peter Yarrow, Linda Ronstadt, Oscar Brand, Judy Collins, Eric Anderson and a score more!    And it was recorded with highlights shown nationally on PBS over the next couple of years (when their ‘pledge begging was tolerable).  It’s now a lost historical gem and no one (not even Phil’s bro, famous archivist Michael Ochs) can locate it!  This was, perhaps, one of the 3 best concerts I ever saw!   And, trust me, I was fortunate to attend well over 1000 shows during my four decades in ‘the biz!’   Melanie was indeed a star — so deserving of the praise you and others are giving her!

Ron Farber

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Melanie did play a Garden Party.

It was mine at the  Crystal Palace Bowl Garden Party in June 1972.

The artists who played in addition to Melanie were : The Beach Boys, Joe Cocker, Richie Havens and Sha Na Na.

15,000 people attended and it was a great day.

Keith Moon arrived in a Helicopter and after trying to loop the loop finally arrived on stage by Hovercraft! He came to introduce The Beach Boys. Elton John played piano for The Beach Boys.

It was filmed for a special on NBC.

 

Best

Harvey Goldsmith

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Her husband, Peter came to me after he heard that I helped Motown change the perception of Little Stevie Wonder to Stevie Wonder (the man).

I had a total marketing, graphic design and advertising agency

in the music industry at that time and had just opened a branch

office and studio in LA and brought Tom Wilkes in as a partner!

Peter wanted to get away from the teeny “Brand New Key”image!

We spent a lot of time together Melanie, Tom and myself. I called Tom Zito at The Washington Post and asked him to help us

rebrand her as part of a feature story about Wilkes & Braun.

Then we took her to Joshua Tree and photographed her for the

Stoneground Words album package, which I’d conceived as a

Portfolio for Melanie dressed in soulful, outfits from that period

ala Joanie Mitchell.

She was impressive, genuine and committed to our overall concept

and a delight to know and work with! She was loved by so many!

I’m pleased to see all the comments and stories about her and

the talent she possessed… souvenirs for a lifetime!

All my best,

Craig Braun

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hey Bob…..I worked Melanie’s tour press a few years back.  she was a joy to work with and larger than life.  I’m glad you highlighted “Lay Down (Candles in the Rain)” as that is my favorite track of hers.

her kids are extremely talented as well, especially Jeordie…..check out this song and her voice, SO good: https://open.spotify.com/track/6dI1UBPUUY5XJVrABifcju?si=707f32af0fa7432d

Mike Farley

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Wow, Bob — you put your finger on exactly why I quit loving Melanie — I Got A Brand New Key.  Such a vapid follow up to Candles in the Rain.  Even before she passed away, I would occasionally watch her You Tube performance with the Edwin Hawkins singers to feel that sense of discovery again, as you described.

Denise Madden

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Interesting article. Regardless of anything else she ever did, and your opinion of “Brand New Key” is unnecessarily dismissive, “Lay Down (Candles in the Rain)” is an absolute tour de force. Every time I hear it, I get goosebumps. Her commitment to the song was complete, and her 1970 live performance in the Netherlands demonstrates her willingness to risk it all on stage. What a performance! I wasn’t a big fan, but that is a song of songs. I’m sad that she’s gone.

Sam Folmar

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Brand New Key was my introduction to Melanie, and I liked it. It WAS still her voice, after all.

David Shilman

Toronto, ON

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As for ‘Brand New Key’, I was almost 14 and loved her ‘Ruby Tuesday’, and read about her at The IOW festival (that I was livid I wasn’t allowed to go to). It was a great pop song. I doubt as many people claiming to hate it, did so back then.
Hope you are well, Bob.

Hugo Burnham

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Melanie played on the first day/night of Woodstock and went on in the rain right after Ravi Shankar. She played from 1:00am to 1:30am..She played in the rain because the Incredible String band who was scheduled to play after Ravi would not play in the rain. After she played Arlo Guthrie and then Joan Baez played. Sly did not play the festival until about 4 am on the Sunday the 17th right before The Who. Melanie was a  friend of mine who I saw many times when I lived and played in the village at places like Village Vanguard, Gerdes Folk City, Cafe Wha?, Bitter End, Night Owl during the late 60s before Woodstock.

Al Marks

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Melanie! I saw the headline and thought you had her on your podcast.
I set it aside to read later.. and then saw the responses and realized she’d f*cking died.

How rude of her.

She’s forever linked in my memory, to one of my close high school friends.
We went to see her when she played in Winnipeg when we were in high school and there’s a silly memory there.

I mean we never saw Joni, but Melanie was this kind of hippy goddess..so, a big deal for us.

I lost track of my friend and about four or five years ago thought it was time to search her out.
The last I heard she was in Vancouver, so I searched her name and Vancouver and came across her memorial page at a funeral home..

She died when she was 57 or 58..

So for me, Melanie is intertwined with Pam and I’m still so sad about it that I haven’t been able to write anything on her memorial page although I’d like to.

Your column said it all.. Each death like this is, for me, a reminder of something not just fading, but disappearing.
At least that’s how it feels to me these days.. And I don’t believe we die, but rather that we transition..

but these days that’s not enough comfort.

Karen Gordon

I have a wonderful Robert Fripp story….

I was working for Polydor records at the time…

We released the Fripp album, “Frippertronics”…

Mr. Fripp came to L.A. for a promotion tour…

He was an “odd duck” to say the least….

I took him to KROQ and Jed the Fish interviewed him and Fripp started

playing.. it did not go over very well….

Our next outing was to drive to San Diego and do an interview with 91X and and in-store at Tower Records..

When I picked him up at his hotel, he said that he hadn’t finished

doing his laundry…

I replied, “Now, we gotta’ go”!

He said to me… and it has stuck with me to this day…

“A man is not a man until he does his own laundry.”

Ever since my week with Robert Fripp I’ve always done my

own laundry… not very glamorous but certainly cathartic

Jeff Laufer

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I was Peter Gabriel’s road manager during the making of ‘Scratch’ Peter’s second solo album which was produced by Robert Fripp. I got to know him quite well. Many years later we re met at Ronnie Scott’s club in London where we were attending a rare appearance by L’image, Tony Levin’s jazz band with Steve Gadd etc. I shook his hand and the first thing he said to me was, – “Please tell me that you are no longer in the music business”.  I think that tells you a lot about what he thinks of this business.

I absolutely loved the documentary.  So many gems in there.

Best wishes

Richard Macphail

Author of ‘My book of Genesis’

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I worked with Fripp when I first moved to Toronto..

He was here for 4 or 5 days doing an insane number of interviews.

We’d work all day and I’d be ready to drop, but Robert would go out in the evening and hang out with people, have dinner..

and be ready to start the next day when I dragged myself back to the hotel.

I’d never really heard King Crimson before and was terrified for a bunch of reasons–

It’s a funny story now, but I’ll spare you because this is already long.

But within five minutes of Robert getting in the car, I realized it was going to be ok.

He’s just released Discipline and that was the leitmotif of his life–at least his artistic life, at that point.
But he was a total joy of a human being.

Inspiring, funny, kind, generous in his way,

He didn’t want or like fuss..

So I was interested in seeing this movie..
The way he comes is interesting..
You do see a bit of his humour–but it’s not until the end, where you see the mischievous side of him..

I can’t claim to know him well at all..so what do I know.
Still,  I was very moved by the documentary..

Karen Gordon

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I’m sorry I let Covid keep me away from their last shows. I was never into them, really – had the one album that everybody bought – the 1st one. I bought Red out of curiousity while cruising the bins at the Westwood Warehouse store in 1975 during my UCLA days. Didn’t really like it all that much.

But I passed the time during Covid by, among other things, reading the biography-for-hire about the band which was so fascinating I ended buying all the 20+-disc Crimson box sets with every take and every live show of his bizarre, ever-changing outfit. Fripp is a fascinating character. Coincidentally, Covid caused him to do all these hilarious cover song videos with his wife, who I only knew as the rejected mod girl from the “My Generation” party in Quadrophenia back in ’79.

 

The scene where he takes close to 3 minutes to answer a question, perfectly still, until a small tear is coming out of his eye was incredibly powerful. 3 minutes of a guy staring into the camera thinking about how to answer a question. I’m glad the director left that in. By the end of this scene, I had a lot of empathy for the guy, even though he was obviously a difficult employer.

 

3 minutes of silence. Incredible.

 

You describe the film perfectly. It really was unlike any documentary of a musician I’ve ever seen.

 

Gary Lang

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Big KC fan; incredible live show-front line of 3 drummers was amazing. My feeling on exiting the film-what an as*hole Fripp was . Lost years of respect for him. Drummer Bill Rifkin’s story very sad, necrophelia joke was pretty funny though.

Jeffrey Crowley

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I was 12 years old, at Summer camp. hating almost every minute of it, but kept hearing this amazing song which I’d first heard on the radio at home in Toronto. “Heat of the Moment”, by Asia. I was too young to dissect what I loved about it, but I knew it had a high tech sound, and a great chorus.

Towards the end of the Summer, we did a road trip to Cleveland and Detroit to visit family, and along the way I bugged my parents into buying me a few LPs I really wanted, and one of them was Asia’s self titled album (the other was Survivor’s “Eye of the Tiger”!).

When we finally got to Detroit, I had some hang time with some older cousins in their 20s, and my Asia purchase came up.

I was told immediately that I needed to hear King Crimson – “forget about Asia”.

“King Crimson” – that distinctive name was immediately tattooed in my brain but I didn’t take action.

Four years later, after going through a few different musical phases, I found myself sitting in the back of a friend’s car, cutting class in high-school, a few of us driving around, the driver’s hash joint going around. The guy in the passenger seat, who I didn’t know well, named Clive, was a wannabe drummer. He was given free reign over the stereo, inserting a cassette he wanted the driver, a guy named Larry who was a serious Deadhead – the first one I ever encountered, actually – to hear.

All of a sudden… a sound I’d never heard before – and I’d been into punk, and post-punk (in some of its “arty” incarnations), and Bowie (including side 2 of “Heroes”), and Classical music, and ska… My ears were far from virgin, but this was austere… precise, aggressive and menacing…. geometrical… The drumming was the feature – every heavy, layered phrase was finished by this elegant and muscular percussion. Then the vocal came in – filtered, distant, a bit cold… and a wah-wah driving things behind it.

“What is this???” I HAD to know.

“King Crimson.”

So that was King Crimson.

(“One More Red Nightmare”, from Red, 1974)

Best regards,

Jason Steidman

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Robert Fripp may be a challenge but he’s in servitude to his view of the music.

I watched the film and wasn’t really impressed with the approach to KC at 50.

We’ve always known RF to be difficult but I was hoping for more about recording of ITCOTCK.

Still, any attention given to the phenomenal KC is fun to watch. And this one is quite introspective.

When he performed Frippertronics at my record store ( Disc Records) in ’79, I found him quite the gentleman. Well he didn’t have band baggage to deal with on that tour.  He was all himself.

Tim Hurst

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Bob,

In addition to that excellent documentary, Robert Fripp published a book in 2022, “The Guitar Circle”, which illustrates his philosophy of how he approaches life. It is not an easy read but it is fascinating and thought provoking.

Jim Blaney

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I loved the Crimson Documentary, and having done two orbits of Guitar Craft with him, he is without a doubt one of the most unique characters on the planet.

I learned more about being a musician in those two orbits of GC (probably about 8 days) than I had to that point in my life. I got to play with him multiple times (in circle at GC)  which was the thrill of a lifetime.
I’ve been playing guitar since I saw the Beatles on Ed Sullivan.

Toby Amies did a terrific job with the film that we all wanted to make.

I wish you would do one of your in depth interviews with Robert. It would be spectacular.
And now would be the time. He’s coming to LA. I’ll be going to see him speak at the Canyon in Agoura. If you haven’t seen him speak it’s well worth it.
You’ll come away inspired. I always do.
The JG Bennett moment in the film was like nothing I’ve ever seen before.

Keep up the good work. You rock.

best,

Fred Raimondi

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I haven’t seen the movie yet, Bob, but it is near the top of the list. I saw the 2017 tour – from which much of this movie seems to have been filmed – at Ann Arbor’s Michigan Theater on November 22. Fripp’s “double quartet” with three drummers out front on the stage astounded a theater filled with Michigan and Detroit music cognoscenti. The crowd gave the band a standing ovation before they played a note. It was spectacular, more than I could have ever expected after being a fan of King Crimson for well over 40 years. It turned me into a fanboy that night, who bought a t-shirt (which still gets props at festivals and concerts here in Michigan) and some CDs. Anything by Fripp and King Crimson is worth diving into, and I hope Mr. Fripp keeps delivering his art.

Ross Field

Shelby, MI

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I loved this documentary. Bill Rieflin. That guy. I don’t even have the words.

Stuart Gunter

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I went to UConn in 1981 and still remember meeting a guy in my dorm who had In the Court of the Crimson King. It was my first introduction to them and I took the deep dive.
I was lucky enough to see them at Toads Place in New Haven on the Discipline tour. The combination of Bruford, Belew and Tony Levin, who I knew from his playing with Peter Gabriel, plus Fripp was one of the most amazing shows I’ve ever seen. I can see it like it was yesterday.
Excited to check out this documentary. Thanks for shedding light on it.

Kevin Bennett

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Saw them 1981 in Montreal- small venue. We sat on the floor in front of Robert. Loudest concert I ever attended, and it was terrific. Fripp, Bruford, Belew. I remember it like yesterday. Intense. Worth it.

Thanks,

Bob Sheehan

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We were briefly talking about Fripp yesterday, re his wife.

I saw King Crimson perhaps 6 times-each some of the most amazing performance experiences ever.

I want to see this…

Eric Wynne

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There are a couple of great things about Sunday Lunch with Robert and Toyah.

1) Apparently, some women are into King Crimson

2) Robert has a sense of humour and can smile

Or does that make it four great things for the stereotypical Crimson fan?

Peter Burnside

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Im obsessed with King Crimson. My favourite band ever. I’ve seen them play all over the world.

I remember when I was at boarding school in Abingdon sneaking out to buy Court of the Crimson King in the local record store Listen .in.Company.

At the end of the year my Spotify most played tracks tells me they were Supertramp, King Crimson and Niall Horan! With a lot of the Cure, Four Tops and Miles Davis thrown in. I know that sounds weird. Particularly when you add Tears for Fears, Ozzy Osborne, Rage against the Machine and Pearl Jam!!!!!

I loved this dvd. It’s been out for awhile.

You must listen to the MacDonald and Giles album.BRILLIANT!!
I could go on and on for hours about KC but I’m going to sleep.

Sadly he’s not touring this year.

Richard Griffiths

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King Crimson is challenging in all the right ways. For a fun experience with Fripp, check out “Toyah & Robert’s Sunday Lunch” videos on YouTube. And yes, Robert DOES wear a tie in the kitchen.

Dave Logan

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Bill Bruford (Interview): King Crimson | Union | Close to the Edge | Topographic Oceans: https://youtu.be/9x4Y1vCL_9Y

wam

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I think you’ll enjoy this if you haven’t already heard it.

Podcast-The King Crimson Documentary Full Cast And Crew – 25 January 2024: https://twtr.to/qm8y4

‘Full Cast and Crew’ is always an awesome listen – and this ep is fab.

Thanks for all the incredible writing, Bob – much admired and appreciated.

Lara Acaster

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Couldn’t agree more. I posted about this doc on IG and a mutual connected me and the director Toby Amies, who I had a chat with on my podcast last week. I’ve been telling everyone they need to watch this film and not at all for the ‘King Crimson’ stuff, but the life and death and making of music stuff, which is said better in this film than in any music doc I’ve ever seen.

https://podcasts.apple.com/us/podcast/full-cast-and-crew/id1438276325?i=1000642866227

Jason Cilo

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Fripp is one of the most fascinating (and funny) men I’ve ever been around. It’s on my list!

Hugo Burnham

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The Court of the Crimson King (with Coda) – King Crimson (live): https://www.dailymotion.com/video/x8da6h1

Steve Isaacson

P.S. Here is a longer one: 

King Crimson – Rock in Rio: https://www.dailymotion.com/video/x8dif4o

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Just rented the film last week after waiting to see if someone/anyone would pick it up for distribution. Even waited to see if the International Documentary Association (documentary.com) where I’m a member, would have a screening. Nope 🙁

I thought the film was amazing and well done. I’ve been a fan since “in the court of the Crimson King” and saw them last year at the Greek Theatre by myself. My wife had no interest in joining me. Fine. I was surrounded by fellow members of the tribe and the show was amazing.

There’s still room on the bus. Hoping more will jump on for the ride.

Thanks, Bob. Great review.

David Niles White

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I got to do two Fripp shows back in the late 90s/early 2000s. I was dutifully intimidated, but I asked him how he liked his coffee and his TM pulled me aside to say “He’ll be your friend now. No one ever asks him how he likes his coffee.” I don’t know what they DID ask when they brought him coffee, but he gave me his business card (identifying him as a ‘small mobile unit’) and was all (sly) smiles for the rest of our 2-night stand. I think that my not being a fanboy made it all…to his liking.

Jesse Lundy

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Nailed it, Bob. Never a big KC fan (loved Heartbeat and I Talk to The Wind tho not much else) but the doc is excellent. (Not sure how I saw it-maybe Bittorresnt?) but yeah, it should be on a streamer.

Fripp’s videos with wife Toya Wilcox are a hoot (and far off-brand. Go figure.

Here’s one: https://www.youtube.com/watch?v=ly3nHjBx7SY

Richard Pachter

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This movie was released a year ago on DVD. I wonder if they sold enough copies to make it worth waiting a year to stream it.  .   I loved it and wished it was much longer than its 85 minute running time.  Fripp is doing in person talking shows at McCabes and the Canyon club in a month.   He was also on Live from Dary’s House recently where they played Red of all things without a rehearsal.   https://www.youtube.com/watch?v=kkb783rNjO0  Great stuff.  It’s awesome to see him still cranking away

with not a whiff of nostalgia.

Tim Redman

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Not enough credit is given to Ian McDonald and Michael Giles for their contributions to King Crimson’s masterful 1st LP (“In the Court of The Crimson King”). McDonald plays just about every imaginable instrument on the album, while Giles is a fabulous drummer /percussionist. After both departed the band at different points of time, they collaborated in 1970 on a LP release simply titled “McDonald & Giles.” It’s a combination of jazz and fusion LP, and speaks to both players enormously gifted musical chops and improvisational skills.  McDonald later became a founding member of Foreigner, which, although commercially successful, is a notch or three below his previous musical contributions to either KC or McDonald & Giles.

Stuart K. Marvin

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Thanks for the tip and can’t wait to watch this.

‘Discipline’ is inarguably and demonstrably the best King Crimson album, meaning the most coherent, tuneful, memorable and artistically and commercially impactful.  The irony being that this lineup and release were the product of Fripp enlisting Adrian Belew, an artist that, while incredibly skilled and DISCIPLINED, brought a quicksilver quality to the quartet that one could easily say was directly at odds with Fripp’s modus operandi.

Artists often don’t understand what makes their best work great, esp. vis a vis the contributions of collaborators and the ineffable magic of human chemistry.  There are many examples, not least of which John Fogerty, who consistently dismisses the contributions of his CCR bandmates, whose very limitations were what led to the band’s development of the “chooglin'” groove that defined them.  Or see Van Halen and David Lee Roth, Robbie Robertson’s lack of appreciation (and songwriting remuneration for) Helm and Danko and Manuel, etc.  There are so many examples.

Dave Dederer

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“There are no casual King Crimson fans.  Either you’re a member of the tribe, or you’re not.”

Truer words were never spoken.   Who starts out their first album with 21st Century Schizoid Man? Did anyone even know what schizoid meant?  Who cared, anyway?  A true schizoid man is theoretically much tamer than what’s described in those lyrics.  But he might have been able to dispassionately observe the horror.  But it was such a spooky word to hear back then for the first time.  And the heavy riff.   I was sold! And then Pictures of a City.  And all of the reinventions……..Discipline blew me away.  But if you’re a member of the tribe you know the story.  I’m just having fun reminiscing and typing prog rock sh*t.  Those were great days!  I last saw them at Chicago Theater in 2017.  I’ve not seen the doc, but I will.  Thanks for the prompt.

Bill Nelson

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I have a Fripp tale that you will love. He and the Mrs. (Toyah Wilcox) spent most of an afternoon at my house in Old Bridge, NJ back in 1990 to do an extended interview about their then new band, Sunday All Over The World. It was a wonderful record that nobody listened to, except diehards like myself. They were as “normal” and down to earth as anyone. Robert and Toyah wanted to do separate interviews, one just about Toyah, who remains much less known here in the U.S. while in the U.K. she was pretty massive Pop star. They were funny, engaging and pranksters. While I was interviewing Toyah in my studio/den, Robert was in the living room playing with my jukebox and looking through my cutting edge collection of laser discs (1990, remember) and at one point we heard a cackle out of him as he ran down to where we were brandishing a copy of the film “Quadrophenia” laughing and fake-bragging, “You know, my wife’s in this.” pointing toward Toyah. I said “I know, Robert.” and we laughed and got back to the task at hand.

This was pre-children, so at the time my complete vinyl collection was completely intact and took up the entire basement, neatly organized in row after row of strict alphabetical order reflective of the true anal retentive music nerd I remain. Robert was interested and happy to see there was a wide range of music, this was no “pop” or “resale inspired” collection. Although I’m usually reluctant to ask for an autograph trying hard to not be fanboy, I knew I had to ask him because my collection of King Crimson bootlegs of the Larks/Starless/Red line-up of the band (my fave) had already been signed by my drum idol Bill Bruford.  At the end of the day, including tuna sandwiches and tea, prepared by my Sicilian Mother-In-Law who lived with us, rest her soul. I summoned the nerve to ask for his autograph, explaining why I was breaking my own rule and he instantly replied, “Sure, if you answer a question.” I said of course and he asked, “You have a collection of wonderful music, supreme quality recordings that captured everything perfectly. Why would you be interested in a “bootleg” recording?”  He was not being flip or nasty, just genuinely concerned, which instantly made sense as his exacting recording methods and attention to detail and sonics were already the stuff of legend.  I said, fair question Robert, but as a FAN of the band, especially this particular line-up I need to hear everything I can find. I was actually in the Asbury Park audience when you recorded “Asbury Park” for the U.S.A. live album, I knew there had to be tons of tapes somewhere, so whatever I could find I picked up gladly. I wasn’t looking for great sound quality, I needed to hear the performances, see if there were any “clams” and in my case as a drummer, Bill Bruford was a master on a level with players like Joe Morello, Buddy Rich, Art Blakey or Jack Dejohnette, so anything I could find was like gold to me. I could see in his eyes that he got it.

A few years later a King Crimson officially sanctioned series of live recordings started to become available and has grown by leaps and bounds in the years since. I’d like to think the germ was planted that day, but who knows. Robert Fripp is an amazing artist and he and Toyah are warm and wonderful humans, still married and fully engaged. Have you ever seen their video series. Do a You Tube search.

Be well.

Mike Marrone

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Hail Fripp!!

Although I played drums instead of guitar, I was a Robert Fripp Acolyte.  I had a Fripp button I used to wear improbably on my Members Only jacket in High School and College.  I had no idea why, other than I wanted to be identified as someone who got Fripp and loved King Crimson as opposed to a Kiss or Madonna fan.

That button sure didn’t get me laid or make any friends.  I stuck out as a weird burnout in the halls of college where I was even more of an outsider as an engineering student instead of a Business Major like 90% of the rest of the student population.  I suppose I wanted to be recognized as a musician with taste and discrimination, which was easier to contrive than talent or any success.

But then when we’d go to the King Crimson shows – and I’ve seen many.   The most memorable was at NYC’s Savoy Theater in 1981.  I can remember having a vividly  paranoid weed induced vision that everyone waiting in the line to go into the show was exactly alike.  As different as I saw myself, I was exactly like every 4th person in the queue, air drumming to Bill Brufford’s parts that someone nearby was playing on a small portable cassette player.  And as I was just like 1/4 of the line, every 2nd and 3rd nerd was a guitar player or the guy mimicking parts on imaginary keyboards.  And every group of kids had a singer, roadie, or dad completing the quartet.

We were all in bands.  Every funny looking, grungy haired, stoned kid on that line.  We knew every song.  We worshipped Fripp and Brufford and were learning about Levin and Belew, who looked familiar from the Talking Heads show the prior year or Peter Gabriel’s solo shows.  If there was 5% female attendance on that line, I’d have been shocked.  Come to think of it’ that was the female to male ratio of my engineering program too.

It was a very uncomfortable experience, thankfully pushed somewhat to the background by a completely original and mindblowing concert by the Discipline era KC line up;  A life changing concert that stood out for everyone lucky enough to be there.  I attended two nights of their weeklong run.  But years later I came to be embarrassed by my 19 year old self and could only remember the discomfort.  I also didn’t listen to that music much anymore.

But there were 3 real world interactions with Mr Fripp that allowed me to lighten up a bit.  (And his recent COVID videos with his wife also helped.)

The first was seeing Fripp’s “League of Crafty Guitarists” play a show in a tiny church near NYC’s Washington Square Park.  I went by myself and was late.  So I had the last seat in the last row of the church.  I had a pretty poor view.  But at some point Fripp and the “League” strapped battery powered Barbie sized Marshall Amps to their belts, and marched through the audience like esoteric mariachis, coming to stop at my chair!  One dozen guitarists plus Fripp then commenced to play the surf guitar classic ‘Walk Don’t Run” followed by a reprise of “Larks Tongue in Aspic Pt 2” standing around only me, to close the show.  It was nuts.

The second improbable Fripp encounter was seeing him do a solo show of his ambient Soundscapes at the former World Trade Center’s Wintergarden space.  When he was done, he came off the stage to walk into the audience.  The guitar goons towered over Fripp yet cowered in his wake.  No one knew what to say to him or what to ask. Many were carrying his records and hoping for an autograph.  But he didn’t seem to want that kind of interaction and no one got closer than 5 feet to him.  But he had a bag of cookies in his hand and in his most erudite way said, “Would anyone like a cookie?”.   Everyone was too stunned to even answer!   I was the first one to say, “Sure!” and just like that he opened the bag and gave me a chocolate chip cookie. After that I just walked away with a smile on my face.

My 3rd experience was seeing one of the last tours of KC, featuring 3 drummers. It was probably 2017.  And of course, I was by myself again.  I was also instantly regretting going to the show.  Many of the crowd had not changed much – other than they looked so much worse for wear.  Not to mention wearing the shirts they’d bought 40 years prior (and from the smell, not washed).  In that theater, very few had gotten the memo that punk rock had cleared the decks and pretentious music was uncool.

But there I was, in the 6th row of some theater in Times Square.  Again.  And the same guys were yelling out the words at the same parts of songs they did in 1980. Again. Screaming “I Do Think It’s Good” is like the Crimson fan’s “Freebird”.   I desperately wanted to leave. I was too close. It was too loud. One drummer would have been fine – and did they need 3 where none of them were my beloved Bill Brufford?!!

And then I noticed right in front of me three 14 year old fans with a dad.  They knew every note.  One was air drumming, two were air guitar-ing, they all knew the words even from deep tracks of 1969’s Court of the Crimson King.  They were enjoying every second of the show!

And at that moment it all came back to me.  Thousands of hours in my parent’s basement trying to play these and other songs with my small group of similarly uncool friends.  Going to raging parties but sequestering ourselves into a spare bedroom to find our own weirder musical camaraderies.  Pointing at the parts where the time signatures shifted.  Dreaming of instruments we couldn’t afford or were just learning to play.  I miss those friends and those times dearly.  Some went on to play professionally.  Some like me play for the fun of it in our private bunkers.  More than a few are no longer with us.

To this day, I’m not sure why I love that strange music – really any music – as much as I do.  Part of it are the puzzles it presents.  It takes work to parse and internalize music and it’s harder when the music is less familiar, more dense, more complicated.  And you need to internalize music for it to resonate and give you pleasure.   But perhaps it’s also that I came to realize that appreciating music is similar to appreciating empathy.  And you have to appreciate empathy to give it or properly receive it.  Without empathy, what’s the point of life?

Quite a lesson to get from a cold authoritarian like Robert Fripp!   Where’s that button?….

-Bill

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A great piece and Toby Amies deserves credit for persevering and directing the movie

Gary Twinn

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I wanted to thank you for the very kind and in my opinion, perceptive, review of the King Crimson film. You describe exactly the film I had hoped to make.

I especially appreciated the comments made about how frustrating it is that it’s not been taken up by any of the streamers.

It was always my intention to make a film about the human condition using King Crimson as the medium and one that would reach out past the faithful, as King Crimson are a band who exemplify the importance of music in our lives whether as a musician or as a member of the audience.

It was not, as I’m sure you can imagine, an easy film to make, but your review has gone a long way to assuaging some of my PTSD.

Thank you again.

Cheers,

Toby

www.tobyamies.com