Andy Summers & Robert Fripp - I Advance masked (1982) + Bewitched (1984)

I Advance Masked

1. I advance masked

2. Under bridges of silence

3. China - Yellow leader

4. In the cloud forest

5. New marimba

6. Girl on a swing

7. Hardy country

8. The truth of skies

9. Painting and dance

10. Still point

11. Lakeland/Aquarelle

12. Seven on seven
13. Stultified

This is one of two collaborative albums between guitarists Andy Summers and Robert Fripp. It was recorded during a hiatus between albums for their respective mother bands, The Police and King Crimson. On some tracks, it is fairly obvious telling who is playing what parts, with Summers' ringing, rhythmic style as displayed in The Police running a sharp contrast to Fripp's nimble, angular fingerwork. However, on other tracks it is harder to tell who is who.
The overall effect of many tracks is a Frippian dominance (which most consider a good thing), but remember that Summers has proven quite adept at emulating Fripp stylings (e.g. "Mother" on The Police's Synchronicity). "China-Yellow Leader" and "Girl on a Swing" feature the same erratic soloing more widely recognized on King Crimson tracks like "Sheltering Sky" and "Sartori in Tangier." Similarly, both the title track and "Hardy Country" present music that would later show up on Beat's "Neurotica" and "Neil and Jack and Me," respectively. Though it probably won't blow anyone away, I Advanced Masked still makes a very interesting historical supplement for fans of 80s King Crimson.

Joe McGlinchey

An effective match of two guitarists who may not be as opposite as you might think. Summers' heavily chorused guitars were a sound familiar to radio listeners around the time of this release, as he chimed through the Police's hit records. The sounds of King Crimson, though, are what ring out on I Advance Masked. Imagine 80's Crimson without Levin and Bruford. This all-instrumental release has Summers taking Belew's role, while Fripp's backdrops and sustained leads swarm about. Most of the songs are short concise musical statements that have Fripp's stamp all over them. Though Summers does not come across as very distinctive here, the two really work well together. If you enjoy 80's era Crimson and some of Fripp's ambient soundscapes, this should slide nicely into your collection. Also, the two did release a second recording.

Eric Porter

Bewitched

1. Parade

2. What kind of man reads Playboy

3. Begin the day

4. Train

5. Bewitched

6. Tribe

7. Maquillage

8. Guide

9. Forgotten steps

10. Image and likeness

In the first installment of the Police and King Crimson guitarist collaborations, I Advanced Masked, the Fripp influence seemed to dominate. The follow-up, however, shows more of Summers' stamp, as he wrote most of the songs and is the sole producer here. Generally speaking, Fripp plays more of a supportive, 'let me know when to lay down that lead guitar track' role. Seems to me he was probably investing his energy more in King Crimson and Three of a Perfect Pair. The opening track, "Parade," was actually my first exposure (forgive the pun) ever to Robert Fripp. Those who are old enough will recall that there was a video made for this cheerful new wave instrumental that got some play on MTV, with Fripp playing the straight man role (i.e., austere owner of a mansion) and Summer doing a comic turn as Fripp's butler and head of staff. I still listen to this track fondly, in part thinking of the video. The rest of Bewitched, though, unfortunately doesn't stand out very much to me. "What Kind of Man Reads Playboy," despite the great title, is a meandering jam that really isn't worth its 11 minutes. There are some nice pieces in the second half of the album, where it sounds as if the duo are striving to achieve the Brian Eno territory of ambient instrumentals. These include the title track (somewhat reminiscent of a Talking Heads instrumental circa Remain in Light), "Tribe," the ambient "Forgotten Steps," and the clever duet of harmonics "Image and Likeness." Mostly though, this is an average album, one that is not exactly helped by its dated drum machine and keyboard sounds. Not bad, but there are worthier efforts to set your sights on. If you are curious about Summers and Fripp's work together, I'd pursue I Advanced Masked, then get this as an addendum if needed.

Joe McGlinchey