|I Advance Masked|
|Produced by Andy Summers and Robert Fripp|
|Released on October 1982|
|US CHART POSITION #60|
|Find it at GEMM|
[high resolution photo]
P rior to taking early retirement from The Police, guitarist Andy Summers released this instrumental record with Robert Fripp. Despite second billing, Fripp’s fingerprints are all over this one; in fact, I Advance Masked is tantamount to the pair making a Robert Fripp album. A good Robert Fripp album, mind you, filled with Andy’s exotic bag of tricks and memorable melodies that may have gestated with Summers during his long-suffering silence in The Police. For Fripp, the album helped put him back on the map; for Summers, it banished him from the middle of the map to the edge of the known world. Not that the reconstituted King Crimson wasn’t selling records, but fans of The Police weren’t necessarily buying copies of Beat, and were likely left nonplussed by all this instrumental stuff. As time proved, Summers and Fripp shared a passion for instrumental music, with The Police guitarist carving out a modest solo career since then, but at the time only Fripp’s fans were braced for I Advance Masked. Looking back over both their careers, it’s easy to see I Advance Masked as a small triumph. Taking an approach similar to Brian Eno’s Music For Films, I Advance Masked is a series of short pieces that explore different moods, textures and settings. These range from meditative islands (“Girl On A Swing”) to tightly controlled kaleidoscopes of sound (“Hardy Country”) to noisy experiments (“Stultified”). It’s not an album of Frippertronics like Let The Power Fall, but rather a blending of Fripp’s extremes with Summers’ exotic and diverse musical interests. Thus, we’re treated to a tri-elemental world of guitars, synthesizers and percussion: something more substantive than Frippertronics and less substantive than King Crimson or The Police. Honestly, there’s nothing I can recall in The Police’s record that will prepare you for I Advance Masked, even though many of the guitar textures will sound familiar to students of the band. For all intents and purposes, Summers was prepared to put The Police behind him and follow the likes of Fripp into the strange world of the avant garde. Thus hope springs eternal for all of us.
|SP-4913 back cover|
ROBERT FRIPP -- all instruments including electric guitars, Roland and Moog synthesizers, Fender bass, Roland guitar synthesizers, various percussion
ANDY SUMMERS -- all instruments including electric guitars, Roland and Moog synthesizers, Fender bass, Roland guitar synthesizers, various percussion, design
Tony Arnold -- engineer
Tim Summerhayes -- engineer, mixing
Jimmy Rizzi -- front cover
Jill Fromanovsky (sp?) -- photo
Michael Ross -- design
|REGION||RELEASE DATE||LABEL||MEDIA||ID NUMBER||FEATURES|
|GER||1982||Editions EG||LP||2311 182|
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