Robert Fripp

1.1. Birth and Family

Robert Fripp was born on 16 May 1946 in Wimborne Minster, Dorset, England, as the second child in a working-class family. His mother, Edith (née Greene; 1914-1993), hailed from a Welsh mining family, leading Fripp to consider himself half Welsh. Her earnings from working at the Bournemouth Records Office enabled his father, Arthur Henry Fripp (1910-1985), to establish a business as an estate agent. Fripp's uncle, Alfie Fripp, was a "39er" pilot during World War II who was shot down by the Luftwaffe and held in 12 different POW camps.

1.2. Education and Early Musical Influences

At the age of eleven, Fripp received a guitar for Christmas from his parents, an event he recalled as immediately signaling that "this guitar was going to be my life." Despite initially being tone-deaf and lacking a sense of rhythm, weaknesses he later attributed to music's desire to be heard through "unlikely characters," he began guitar lessons with Kathleen Gartell and Don Strike. Fripp was naturally left-handed but chose to play the guitar right-handed.

His early musical journey was eclectic. At eleven, he was playing rock and roll, inspired by Elvis Presley's guitarist Scotty Moore. By thirteen, he had moved to traditional jazz, and by fifteen, he was exploring modern jazz, citing jazz musicians like Charlie Parker and Charles Mingus as key influences. In 1961, at fifteen, Fripp joined his first band, the Ravens, which included Gordon Haskell on bass. After their split the following year, he initially focused on his O-level studies and joined his father's firm as a junior negotiator, intending to study estate management and eventually take over the family business.

However, at seventeen, Fripp decided to pursue music professionally. He became the guitarist in the jazz ensemble The Douglas Ward Trio, performing at the Chewton Glen hotel in New Milton, followed by a period with the rock and roll band The League of Gentlemen, which included two former Ravens members. In 1965, Fripp left the group to attend Bournemouth College, where he studied economics, economic history, and political history for his A-levels. A deeply moving experience in February 1965 was seeing the Duke Ellington Orchestra. He then spent three years playing light jazz in the Majestic Dance Orchestra at Bournemouth's Majestic Hotel, replacing Andy Summers. During this time, he met future collaborators such as John Wetton, Richard Palmer-James, and Greg Lake.

At 21, while returning home late one night, Fripp heard the final moments of the Beatles' "A Day in the Life" on Radio Luxembourg. Galvanized by this experience, he immersed himself in The Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band, Béla Bartók's string quartets, Antonín Dvořák's New World Symphony, Jimi Hendrix's Are You Experienced, and John Mayall & the Bluesbreakers. Fripp admired Hendrix, calling him a "genius," and Hendrix himself was reportedly impressed by Fripp's playing, asking to shake his "heart-side left hand" (both being left-handed). Fripp later reflected that "although all the dialects are different, the voice was the same... I knew I couldn't say no." As a band leader, he cited Miles Davis and Duke Ellington as inspirations for his pursuit of "constant change."

2.1. Giles, Giles and Fripp

In 1967, Fripp responded to an advertisement from Bournemouth-born brothers Peter and Michael Giles, who were seeking a singing organist. Although Fripp did not fit their initial criteria, his audition was successful, leading the trio to relocate to London and form Giles, Giles and Fripp. Their sole studio album, The Cheerful Insanity of Giles, Giles and Fripp, was released in 1968. Despite adding singer Judy Dyble and multi-instrumentalist Ian McDonald, Fripp felt the band's eccentric pop approach was limiting, preferring McDonald's more ambitious compositions. The band disbanded in 1968, paving the way for a new musical direction.

2.2. King Crimson

King Crimson has been the central pillar of Robert Fripp's career, undergoing numerous transformations under his constant guidance and evolving musical vision.

2.2.1. Formation and Early Years (1969-1974)

Almost immediately after the dissolution of Giles, Giles and Fripp, in mid-1968, Fripp, McDonald, and Michael Giles formed the first lineup of King Crimson. They recruited Fripp's old Bournemouth College friend Greg Lake as lead singer and bassist, and McDonald's writing partner Peter Sinfield as lyricist and creative consultant. The band's debut album, In the Court of the Crimson King, released in late 1969, achieved significant success and is now considered a landmark in progressive rock, blending elements of rock, jazz, and European folk/classical music.

Despite initial acclaim and predictions of stardom, internal musical differences emerged between Fripp and Giles/McDonald, leading to the band's breakup after its first American tour in 1970. Fripp offered to leave to preserve King Crimson, but Giles and McDonald decided to depart, acknowledging that the band's music was "more Fripp's than theirs."

During the recording of their second album, In the Wake of Poseidon, Greg Lake left to form Emerson, Lake and Palmer. King Crimson continued with Fripp and Sinfield as the only consistent members amidst a rotating lineup that included Gordon Haskell, Mel Collins, Andy McCulloch, Ian Wallace, and Boz Burrell. Fripp was credited as the sole composer during this period, expanding on the debut's blueprint with elements of jazz-rock and free jazz, complemented by Sinfield's esoteric lyrical concepts.

In 1971, Fripp dismissed Sinfield and assumed de facto leadership of King Crimson. He formally rejected the "leader" label, preferring to describe his role as "quality control" or "a kind of glue." From this point, Fripp remained the sole constant, defining the band's compositional and conceptual direction. With the addition of avant-garde percussionist Jamie Muir, violinist David Cross, bassist/singer John Wetton, and drummer Bill Bruford, King Crimson produced three more albums of increasingly experimental rock: Larks' Tongues in Aspic, Starless and Bible Black (after Muir's departure), and Red (after Cross was fired). Fripp formally disbanded the group in 1974, initiating what would become a recurring pattern of long hiatuses and subsequent transformations.

2.2.3. 1980s Lineup (1981-1984)

In 1981, a new King Crimson lineup was formed, reuniting Fripp with Bruford and introducing American musicians Tony Levin (bass/Chapman Stick) and Adrian Belew (singer/guitarist). Although initially conceived as "Discipline," the band members convinced Fripp that the name King Crimson was more appropriate, as Fripp viewed King Crimson as "a way of doing things" rather than a fixed group. With Belew as the primary songwriter and Fripp as the main instrumental composer, the band developed a new style incorporating influences from Indonesian gamelan, new wave, and classical minimalism. Both guitarists extensively experimented with guitar synthesizers during this period. The lineup released three albums: Discipline (1981), Beat (1982), and Three of a Perfect Pair (1984), before Fripp dissolved the band again in 1984.

During this era, Fripp also recorded two albums with Andy Summers of The Police. On I Advance Masked (1982), Fripp and Summers played all instruments. Bewitched (1984) was more heavily influenced by Summers, who produced the record and collaborated with other musicians in addition to Fripp. In 1982, Fripp produced and played guitar on Keep On Doing by The Roches, an album praised by critic Robert Christgau for its sound, leading him to believe Fripp was "put on earth to produce the Roches."

2.2.4. 1990s and 2000s Lineups

In late 1994, Fripp reformed King Crimson for its fifth incarnation, re-establishing the 1981 lineup (Fripp, Belew, Levin, Bruford) and adding Trey Gunn (Chapman Stick) and Pat Mastelotto (drums), forming a "double trio" configuration. This lineup released the VROOOM EP in 1994 and the THRAK album the following year.

Despite their musical and commercial success, the double-trio King Crimson proved challenging to sustain. From 1997 to 1999, the band "fraKctalised" into five experimental instrumental sub-groups known as ProjeKcts. By 1998, Bruford had left the band. In 2000, Fripp, Belew, Gunn, and Mastelotto reunited as a four-piece King Crimson. This lineup produced two industrial metal-influenced studio albums: the construKction of light in 2000 and The Power to Believe in 2003. Gunn departed at the end of 2003.

Although Levin immediately rejoined the band, another hiatus followed until King Crimson reappeared in 2007 with the addition of Porcupine Tree drummer Gavin Harrison. This version of the band toured the eastern United States in 2008, re-evaluating their 1981-2003 back catalogue and featuring extended drum duets. No new original material was recorded, and in 2010, Fripp announced another indefinite hiatus for King Crimson.

2.3. Solo and Collaborative Work

Beyond King Crimson, Robert Fripp has maintained a prolific output of solo material and extensive collaborations, showcasing his versatility and innovative spirit.

2.4. Guitar Craft and Guitar Circle

In 1984, Fripp was offered a teaching position at the American Society for Continuous Education (ASCE) at Claymont Court in Charles Town, West Virginia. Having been involved with the ASCE since 1978 and serving on its board, he had long considered teaching guitar based on the ideas of Bennett and Gurdjieff. His course, Guitar Craft, began in 1985, focusing on "mind-body training through guitar and its performance."

An offshoot of Guitar Craft was a performance group, "the League of Crafty Guitarists," which released several albums. The members of the California Guitar Trio are former students of Guitar Craft and have also toured with King Crimson. Fripp is the patron of the Guitar Circle of Europe, founded in 2007, and the Seattle Circle Guitar School, founded in 2010.

In February 2009, Fripp recommended that Guitar Craft cease its activities on its 25th anniversary in 2010, which it did on 25 March 2010. On 1 September 2022, Fripp published The Guitar Circle, a book containing his writings concerning Guitar Craft.

2.5. Other Projects and Activities

Beyond his primary musical endeavors, Fripp has engaged in various unique projects. In 2004, he worked at Microsoft's studios to record the startup sound for Windows Vista. Fripp designed the soundscape and composed the melody, while Tucker Martine created the rhythm and Microsoft's Steve Ball added the harmonies and finalized the arrangement. Fripp noted humorously that this made one of the planet's "least popular music forms" (Soundscapes) also its "most sounded" in 2008, given the widespread use of Windows Vista.

In 2006, Fripp contributed his composition "At The End Of Time" to the Artists for Charity album Guitarists 4 the Kids, a project aimed at assisting underprivileged children through World Vision Canada. Throughout 2006, Fripp performed numerous solo Soundscapes concerts in intimate settings, particularly in churches across England and Estonia. In October 2006, ProjeKct Six (Fripp and Adrian Belew) performed at select venues on the east coast of the U.S., opening for Porcupine Tree.

During the COVID-19 lockdowns, Fripp and his wife, Toyah Willcox, gained significant popularity by uploading numerous short, humorous videos to YouTube, mostly covers of well-known songs, titled Toyah and Robert's Sunday Lunch. These videos, often featuring costumes and comedic elements, became extremely popular, with their cover of Metallica's "Enter Sandman" being a particularly viral hit. The duo toured the UK in 2023, performing the Sunday Lunch songs in concert.

3.1. Playing Style and Philosophy

Fripp is known for his unique performance posture, always seating himself on a stool rather than standing, which is unusual for a rock guitarist. This practice led to him being called "the guitarist who sits on stage" by Guitar Player in 1974. He first adopted this seated position in 1969 during King Crimson's early performances.

His approach to music is deeply influenced by the mystical and philosophical ideas of George Gurdjieff, which he studied during his sabbatical in the mid-1970s. Fripp emphasizes discipline and continuous self-improvement in his playing and teaching. He is renowned for his improvisations, which are a prominent feature of his live performances. While he has been a driving force behind the progressive rock movement, Fripp himself dislikes the term "progressive rock" when applied to his own music, preferring to emphasize constant musical evolution. He believes that his role in King Crimson is not that of a traditional "leader" but rather "quality control" or "a kind of glue" that holds the musical vision together.

3.2. Guitar Techniques and Innovations

Fripp's guitar technique is highly innovative and distinct from the blues-based styles prevalent in rock music. He began developing the technique of crosspicking early in his studies with Don Strike, which became one of his specialties and a core element of his Guitar Craft teaching.

In 1985, Fripp began using a unique tuning system he called "New Standard Tuning" (C₂-G₂-D₃-A₃-E₄-G₄), which also became a cornerstone of Guitar Craft. He reportedly conceived this tuning while in a sauna in New York. His playing combines rapid alternate picking and crosspicking with motifs that employ whole-tone or diminished pitch structures, often executed in extended sixteenth-note patterns in a moto perpetuo style.

Two of his most significant technological innovations are "Frippertronics" and "Soundscapes." "Frippertronics," developed in the early 1970s with Brian Eno, utilized a tape delay system with two modified reel-to-reel tape machines to create ambient, layered soundscapes. In the 1990s, this evolved into "Soundscapes," a more sophisticated digitally-based system that allowed for similar looping effects with greater control and flexibility.

3.3. Musical Influences

Fripp's musical influences are remarkably diverse, spanning classical, jazz, and rock, reflecting his eclectic and experimental approach. He has cited jazz musicians like Charlie Parker and Charles Mingus as early inspirations. A pivotal moment was hearing the Beatles' "A Day in the Life" and Sgt. Pepper's Lonely Hearts Club Band, which inspired him to pursue music. He also holds a high regard for Jimi Hendrix, whom he considers a "genius." Fripp also admires 20th-century classical composers such as Béla Bartók, whose meticulous structures and melodic focus are reflected in Fripp's own compositions. Other influences include Antonín Dvořák and John Mayall & the Bluesbreakers. His interest in constant change as a band leader was inspired by figures like Miles Davis and Duke Ellington.

4.1. Guitars and Amplifiers

During King Crimson's early years (1968-1974), Fripp primarily used two Gibson Les Paul guitars from 1957 and 1959. The '57 model featured three humbucker pickups, with one volume control on the pickguard managing the middle pickup. In the 1980s, he favored Roland GR-303 and GR-808 guitars for both traditional guitar sounds and guitar synthesizer control. In subsequent years, Fripp has used customized Les Paul-style guitars by Tokai, 48th St Custom, and Fernandes.

A signature model, the Crimson Guitars Robert Fripp Signature, features Fernandes Sustainer and MIDI pickups within a Les Paul-style body. A notable difference from standard Gibson Les Pauls is its deep set neck tenon construction. For his Guitar Craft courses, Fripp recommended the Ovation 1867 Legend steel-string acoustic guitar, favoring its body shape for his distinctive right-arm picking position. While the 1867 Legend is no longer produced, it influenced the design of the Guitar Craft Pro Model of Guitar Craft Guitars, which Fripp has endorsed. For amplifiers, during the Three of a Perfect Pair era in the 1980s, he used Roland JC-120 transistor amplifiers. In the digital amplifier era, he utilized JOHNSON digital amplifiers. He also uses Stratocasters and other guitars in recordings.

4.2. Effects and Technology

Fripp's innovative sound is heavily reliant on his use of effects and technology. His pioneering "Frippertronics" technique utilized a delay system with two modified Revox A77 reel-to-reel tape machines. This was later superseded by his "Soundscapes" system, which employs digital looping technology. His effects arsenal has included Korg A-1 and A-2 multi-effects processors, programmable SansAmp pedals, and units from Eventide (H8000, H3000/3500, Eclipse). He also uses a Fractal Audio Systems Axe FX II XL, a Sound Sculpture Switchblade, a Rocktron MIDI Raider, and Boss Expression pedals, all managed via MIDI. During recording sessions in the 1980s, he would re-record guitar tracks played through a JC-120 to enrich the sound.

5.1. Marriage and Family

Fripp married English singer and actress Toyah Willcox on 16 May 1986 in Poole, Dorset. From December 1987 until July 1999, they resided at and renovated Reddish House, the former home of Cecil Beaton, in the village of Broad Chalke in Wiltshire. The couple has no children and has arranged their will to establish a musical educational trust for children.

5.2. Residences and Other Interests

Prior to Reddish House, Fripp lived at Thornhill Cottage in Holt, Dorset (1971-1980), and Fernhill House in Witchampton (1980-1987). After Reddish House, they lived at Evershot Old Mansion (1999-2001) before moving to their current home in Pershore, Worcestershire.

Fripp is the patron of the Seattle Circle Guitar School in the United States and the Shallal Dance Theatre in Penzance. He has also undertaken engagements as a motivational speaker, often alongside his sister Patricia, who is a keynote speaker and speech coach. Fripp is a pescetarian. He has shown interest in various mystical and philosophical traditions, including the Hermetic Qabalah, Wicca, the German Renaissance philosopher Paracelsus, and the teachings of George Gurdjieff through J. G. Bennett.

During the COVID-19 lockdowns, Fripp and Willcox gained widespread attention for their series of short, humorous YouTube videos, mostly covers of well-known songs, titled Toyah and Robert's Sunday Lunch. These videos, often featuring the couple in various costumes, became viral sensations. Following their online success, the duo embarked on a UK tour in 2023, performing the Sunday Lunch songs in concert.

6.1. Discipline Global Mobile (DGM)

In 1992, Fripp co-founded Discipline Global Mobile (DGM) with producer and online content developer David Singleton. DGM operates as an independent music label, releasing music by Fripp, King Crimson, related acts, and other artists in both physical (CDs) and digital (downloadable files) formats. A 1998 Billboard profile noted that DGM had ten staff members across offices in Salisbury (England) and Los Angeles (USA).

DGM's stated aim is "to be a model of ethical business in an industry founded on exploitation, oiled by deceit, riven with theft and fueled by greed." To this end, DGM insists that its artists retain all copyrights to their work. For example, even DGM's "knotwork" corporate logo, which also appeared on later versions of the Discipline album cover, is owned by its designer, Steve Ball. Musicologist Bill Martin praised DGM's aims as "exemplary," stating that Fripp's creation of DGM was "very important for the possibilities of experimental music" and played a major role in creating favorable conditions for King Crimson. DGM also publishes an online diary by Fripp, who frequently comments on performances and fan relations, and hosts a moderated forum for fan interaction.

6.2. Copyright Issues

Fripp has been a vocal and proactive advocate for copyright protection and artist rights, taking a strong stance against unauthorized distribution of music. In 2009, Fripp issued a statement alleging that EMI and Sanctuary Universal had uploaded his music to various online stores without his consent, declaring that "every single download of any KC track represents copyright violation. or, to use one syllable instead of seven, theft."

In 2011, Fripp publicly complained that the streaming service Grooveshark continued to stream his music despite repeated takedown notices he had issued. His correspondence with Grooveshark was published by Digital Music News and in his online diaries on the Discipline Global Mobile website. Fripp's published exchange was later included in a lawsuit filed against Grooveshark by Universal Music Group in November 2011. UMG's suit cited internal documents that revealed Grooveshark employees had uploaded thousands of illegal copies of UMG-owned recordings. Fripp has consistently maintained that "unauthorised streaming or MP3 giveaways - it amounts to the same thing - copyright theft."

7.1. Critical Reception and Influence

Fripp is widely regarded as one of the most influential guitarists in progressive rock and experimental music. His unique approach to guitar playing, characterized by precision, complex rhythmic patterns, and a non-blues based style, has inspired countless musicians. His innovations, such as "Frippertronics," "Soundscapes," and New Standard Tuning, have expanded the sonic possibilities of the guitar. Critics have often highlighted his distinctive leadership style within King Crimson, which, while sometimes described as strong-willed or authoritarian, has consistently driven the band's artistic evolution and maintained its reputation for musical integrity and constant change. His emphasis on improvisation and disciplined musical practice has also left a significant mark on the broader music community, particularly through his Guitar Craft initiative.

7.2. Awards and Honors

Robert Fripp has received significant recognition for his contributions to music.

• Asteroid 81947 Fripp, discovered by Marc Buie at Cerro Tololo in 2000, was named in his honor. The official naming citation was published by the Minor Planet Center on 18 May 2019.
• He was ranked 62nd on Rolling Stone magazine's 2011 list of the 100 Greatest Guitarists of All Time, having previously been ranked 42nd by David Fricke on its 2003 list.
• He is ranked 47th on Gibson's Top 50 guitarists of all time, tied with Andrés Segovia.

8.1. King Crimson Discography

8.2. Solo Albums

• 1979: Exposure
• 1980: God Save the Queen/Under Heavy Manners
• 1981: Let the Power Fall: An Album of Frippertronics
• 1997: Pie Jesu
• 1998: The Gates of Paradise
• 1994: 1999: Soundscapes Live in Argentina
• 1995: Radiophonics: 1995 Soundscapes volume 1
• 1995: A Blessing of Tears: 1995 Soundscapes volume 2
• 1996: That Which Passes: 1995 Soundscapes volume 3
• 1998: November Suite: Soundscapes - Live at Green Park Station 1996
• 2005: Love Cannot Bear
• 2007: At the End of Time: Churchscapes Live in England & Estonia
• 2021: Music for Quiet Moments

8.3. Collaborations

• 1968: The Cheerful Insanity of Giles, Giles and Fripp (with Giles, Giles and Fripp)
• 2001: The Brondesbury Tapes (with Giles, Giles and Fripp)
• 2001: Metaphormosis (with Giles, Giles and Fripp)
• 1970: H to He, Who Am the Only One (with Van der Graaf Generator)
• 1971: Pawn Hearts (with Van der Graaf Generator)
• 1971: Fools Mate (with Peter Hammill)
• 1971: Septober Energy (with Centipede)
• 1972: Blueprint (with Keith Tippett)
• 1972: Matching Mole's Little Red Record (with Matching Mole)
• 1973: Ovary Lodge (with Keith Tippett)
• 1973: (No Pussyfooting) (with Brian Eno)
• 1974: Here Come the Warm Jets (with Brian Eno)
• 1975: Evening Star (with Brian Eno)
• 1975: Another Green World (with Brian Eno)
• 1977: "Heroes" (with David Bowie)
• 1977: Before and After Science (with Brian Eno)
• 1977: Peter Gabriel I (with Peter Gabriel)
• 1978: Parallel Lines (with Blondie)
• 1978: Music for Films (with Brian Eno)
• 1978: Peter Gabriel II (with Peter Gabriel)
• 1979: Fear of Music (with Talking Heads)
• 1979: The Roches (with The Roches)
• 1980: Sacred Songs (with Daryl Hall)
• 1980: Peter Gabriel III (with Peter Gabriel)
• 1980: Scary Monsters (and Super Creeps) (with David Bowie)
• 1981: The League of Gentlemen (with The League of Gentlemen)
• 1982: I Advance Masked (with Andy Summers)
• 1982: Keep On Doing (with The Roches)
• 1984: Bewitched (with Andy Summers)
• 1984: Andy Summers & Robert Fripp Speak Out (Promo album with Andy Summers)
• 1985: Network (EP, compilation)
• 1985: Alchemy: An Index of Possibilities (with David Sylvian)
• 1986: Live ! (with The League of Crafty Guitarists)
• 1986: The Lady or the Tiger (with Toyah Willcox)
• 1986: Gone to Earth (with David Sylvian)
• 1987: Couple in Spirit (with Keith Tippett and Julie Tippetts)
• 1991: Live II (with The League of Crafty Guitarists)
• 1991: Show Of Hands (with The League of Crafty Guitarists)
• 1991: Kneeling at the Shrine (with Sunday All Over the World)
• 1992: 456 (with The Grid)
• 1992: Nerve Net (with Brian Eno)
• 1993: The Bridge Between (with The Robert Fripp String Quintet)
• 1993: Beyond These Shores (with Iona)
• 1993: The First Day (with David Sylvian)
• 1993: Darshan (The Road To Graceland) (with David Sylvian)
• 1994: Sidi Mansour (with Cheikha Rimitti)
• 1994: FFWD (with The Orb)
• 1994: Damage: Live (with David Sylvian)
• 1994: Redemption-Approaching Silence (with David Sylvian)
• 1994: Flowermouth (with No Man)
• 1994: Battle Lines (with John Wetton)
• 1994: The Essential Fripp And Eno (with Brian Eno)
• 1995: Intergalactic Boogie Express - Live In Europe 1991 (with The League of Crafty Guitarists)
• 1995: Cheikha Rimitti Featuring Robert Fripp and Flea (Unreleased Tracks From The Sidi Mansour Album with Cheikha Rimitti)
• 1996: That Which Passes: 1995 Soundscapes, Vol. 3 (live)
• 1996: Thrang Thrang Gozinbulx (with The League of Gentlemen)
• 1996: The Woman's Boat (with Toni Childs)
• 1998: Lightness: For The Marble Palace (with Brian Eno)
• 1998: Arkangel (with John Wetton)
• 1999: The Repercussions of Angelic Behavior (with Bill Rieflin & Trey Gunn)
• 1999: Approaching Silence (with David Sylvian)
• 2000: A Temple in the Clouds (with Jeffrey Fayman)
• 2000: Everything and Nothing (with David Sylvian)
• 2001: Sinister (with John Wetton)
• 2001: The Thunderthief (with John Paul Jones)
• 2002: Trance Spirits (with Steve Roach & Jeffrey Fayman With Robert Fripp & Momodou Kah)
• 2002: Camphor (with David Sylvian)
• 2004: The Equatorial Stars (with Brian Eno)
• 2006: Side Three (with Adrian Belew)
• 2006: The Cotswold Gnomes aka Beyond Even (1992-2006) (with Brian Eno)
• 2008: Thread (with Theo Travis)
• 2011: Raised in Captivity (with John Wetton)
• 2011: A Scarcity of Miracles (with Mel Collins & Jakko Jakszyk)
• 2012: Follow (with Theo Travis)
• 2012: Discretion (with Theo Travis)
• 2012: The Wine of Silence (with Andrew Keeling, David Singleton & Metropole Orkest)
• 2015: Starless Starlight (with David Cross & Robert Fripp)
• 2021: Live in Paris 28.05.1975 (with Brian Eno)

8.4. Production Credits

• 1971: Septober Energy (by Centipede)
• 1972: Matching Mole's Little Red Record (by Matching Mole)
• 1972: Blueprint (by Keith Tippett)
• 1973: Ovary Lodge (by Ovary Lodge)
• 1978: Peter Gabriel (by Peter Gabriel)
• 1979: The Roches (by The Roches)
• 1980: Sacred Songs (by Daryl Hall)
• 1991: The California Guitar Trio (by The California Guitar Trio) - Executive producer
• 1995: Intergalactic Boogie Express (by The League of Crafty Guitarists) - Co-producer
• 1998: Pathways (by California Guitar Trio) - Executive producer