Steven Wilson arrogantly approached King Crimson’s catalog 🧐🤪😁

 

… arrogant and clever, as working side by side with Robert Fripp isn’t for feint-hearted, indeed.

When the idea of reissuing the King Crimson catalogue came up, Robert Fripp turned to someone equally determined and confident in the way he does things: Steven Wilson. Working alongside Fripp - who oversaw the project and, in some cases, was directly involved in the stereo remix - is the kind of challenge that could break a weaker man.

‘Well, yes and no,’ says Wilson. "I knew I was arrogant enough to believe that I knew how these discs should be approached, because they're part of my DNA. And I also had the experience of my own work, since my fans often know the music much better than I do.

"I think the same thing happened with the Crimson material - the fans knew those records backwards and forwards, whereas Robert hasn't heard them for 40 years. He doesn't want to hear it. It's a painful experience. Looking back at the music of the past isn't usually an easy thing for a musician. It's reliving the politics, the arguments, the problems with the record company, the tours; it's a huge thing."

What did you learn from working on those records with Robert?

I learnt that many of the Crimson records were similar to the jazz and avant-garde jazz of the British jazz movement of the early 70s. Most records made today are duh-duh-duh, with everyone arriving on time. On those records, Crimson are always speeding up and slowing down, which is why they're exciting. I didn't realise that until I worked on one of them.

What did Robert say about that - was it an intentional thing or did it happen by accident?

I think that's how people make records. There used to be bands that would play a gig and, straight afterwards, they'd put their gear in the van, go to the studio and work all night; then they'd play in a hostel the next night. That night, they'd cut four tracks. People don't work like that any more.

But we realised that what made those records exciting was that the band was flying by the seat of their trousers most of the time. The music was on the verge of falling apart in some respects - I really began to understand that with Crimson's work.

Fans often think that a band is a bunch of friends who all hang out together, which is often not the case.

I know that every Crimson record that came out was a battle. A battle between Robert and the rest of the band in some cases, a battle between Robert and the record company or management or finances or tour schedules, time constraints, budget constraints. Everything was against them, like the press telling them they were sold out - all of it. That makes these discs even more extraordinary.

Knowing that, you can almost understand why he quit the band after Red.

Absolutely - and that makes my admiration for the records even greater. But seeing Robert having to sit and listen to some of those songs, you can understand the pain he's going through just to hear them again. I thought: "This is spectacular! I turned round and Robert was obviously reliving the pain and somehow trying to find his way to appreciating it as music.

If you think about it, it's exactly the experience I'd have if I was sitting there and a kid 20 years younger than me was re-enacting The Sky Moves Sideways.

He'd be saying things like: "Shall we take away that keyboard? Shall we change that? And I'd say, "No, you can't, Robert! And he always submitted to my judgement, saying, ‘You're the fan - you know what the fans want better than I do’.

He’s unlike any others 💫

So what's Robert Fripp like?

"He's a very modest guy. He can't understand why myths have grown up around him and why there's such an incredible passion - obsession - for the music. But of course he's not seeing things the way everyone else does, and he can't.

You have to be a real egocentric to want to listen to your own music. I know some people who do that, you know; they only listen to their own records and think they're all great.

(Steven Wilson)