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  • Exposure
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Audio CD, August 31, 1990
$19.98 $3.48

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Product Details

  • Audio CD (August 31, 1990)
  • Number of Discs: 1
  • Label: E.G. Records
  • ASIN: B000003S16
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (69 customer reviews)
  • Amazon Best Sellers Rank: #475,573 in Music (See Top 100 in Music)

1. Preface
2. You Burn Me Up I'm A Cigarette
3. Breathless
4. Disengage
5. North Star
6. Chicago
7. NY3
8. Mary
9. Exposure
10. Haaden Two
11. Urban Landscape
12. I May Not Have Had Enough Of Me, But I've Had Enough Of You
13. First Inaugural Address To I.A.C.F. Sherborne House
14. Water Music I
15. Here Comes The Flood
16. Water Music II
17. Postscript

Editorial Reviews

Audio CD

Customer Reviews

Having had three decades to listen to it now, I can honestly say I love revisiting this album.
The 2-disc set contains the original album release and 22 bonus cuts, with a booklet which has excerpts from Fripp's personal notes during the remastering process.
Best Of All
The alternate takes reveal fascinating variations on these compositions and overall provide interesting insights into the music and the performers.
Peter Dorfman

Most Helpful Customer Reviews

114 of 116 people found the following review helpful By Michael Stack VINE VOICE on June 6, 2006
Format: Audio CD
The late 1970s was a period of reinvigoration and rediscovery for Robert Fripp-- in 1974, after dissolving King Crimson, Fripp withdrew from the music industry only to be drawn back a couple years later working with Peter Gabriel and the David Bowie/Brian Eno partnership. A relocation to New York and musical reawakening due to the punk and new wave scenes burgeoning there led to the recording of "Exposure", Fripp's first and only "proper solo album" (his words, not mine).

Drawing on an unusual list of collaborators-- vocalists Daryl Hall (of Hall & oates), Terre Roche (the Roches), Peter Hammill (Van der Graf Generator) and Peter Gabriel with instrumental contributions by Tony Levin on bass, Barry Andrews (XTC, Shriekback) on organ, session man Sid McGinnis on guitar and drum contributions by Jerry Marrotta, Phil Collins (back when he was a drummer) and Narada Michael Walden, Fripp ends up with a pretty unusual stew. The music is like King crimson dragged through a New York filter-- post-punk, new wave, progressive rock, art rock and others all come filtering through. Commercial considerations limited some contributions-- Daryl Hall's label forced Fripp to remove some of his contributions for fear association with Fripp would damage his marketability (Hall's first solo album, "Sacred Songs", produced by Fripp, was also delayed several years by the label for the same reason) and a cover of "I Feel Love" featuring Blondie was stopped by their label, again for commercial concerns, but nonetheless "Exposure" works out to be one of those startlingly diverse and undatable albums.
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42 of 43 people found the following review helpful By Gareth Davies-Morris on July 12, 2007
Format: Audio CD
Enough has been written about the importance of this album and how it has stood the test of time. It says something about this listener's growth, at least; when I first heard Exposure in high school, I called it the biggest waste of talent on record, given the roster of musicians playing on it yet the distinctly non-Crimson results. But I wasn't ready for punk rock, I suppose, and Fripp was - hence this stellar effort (as I grew to see it within a couple of years!) that fuses New York avant-garde, punk (in spirit if not in yobbish playing), ambient music, and - yes - even a touch of King Crimson (in the devastating Breathless). And I was too young and uninformed to know anything about the fight between Fripp and RCA record boss Tommy Mottola over Daryl Hall being the main vocalist on the album, with Fripp's loss in this tiny power struggle resulting in Peter Hammill, Terre Roche, and Peter Gabriel sharing the vocal duties.

That said, I'll aim my comments at this reissue. In a nutshell, Fripp does the same thing here that he's done before, producing the same infuriating results: he tampers with the original artifact to reflect his present attitude towards it, instead of just reissuing the recording as first released. I find it as frustrating now as I did when he remixed Exposure in 1985, just the same as with individual discs within the various generations of Crimson reissues, whether earlier, like Islands and Larks' Tongues (where tiny changes produced annoying results) or more recent, like Discipline and Three Of A Perfect Pair (with bonus tracks that marred the spirit of the record in the first case and radically improved it in the second).
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35 of 37 people found the following review helpful By drefractor on December 8, 2006
Format: Audio CD Verified Purchase
What a great compilation! I had read some complaints about the earlier '83 release being remixed and have stuck with the vinyl until now. These discs have the best of all worlds:

'79 original tapes brightened up a bit, but interestingly, not as sonically open as the '83 remix
'83 remix version, which has some negatively noticable differences from the '79 edition:
- "Exposure" remix mutes the rythm section and excises Terry Roche's exclaimation "Hah!" from the end of the song. I guess Robert didn't like the implied triumph over Suffering : )
- "Chicago" has a slightly different vocal take and (again) muted rythm
- "Breathless" alters the Frippertronics and (noticing a trend?) mutes the rythm section. I know RF has long running battles with Rythm musicians, but in these cases I found that less was not more.

All in all, only a few of the songs were "improved" enough for me to prefer the clearer sound of the '83 remix. Beautiful songs that begged for little improvement: "Mary" with a slightly different vocal ending and "Northstar" are stellar and the umpteenth version of Gabriel's "Here Comes the Flood" has some of the Frippertronics replaced by a flute and is the best version of the song I've heard.

The 3rd component of this Exposure release is the inclusion of Daryl Hall's original vocals on several songs and a couple of other unmemorable alternate vocal takes by other artists. Hall's take on the song "Exposure" pales in comparison to the looped vocals of the Roche who must have had to have had vocal chord surgery afterwards, and while very good, his version of "Mary" is not quite up to Roche's version.
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