The highly anticipated return of Giles Giles & Fripp’s seminal album, now accompanied by the “Brondesbury Tapes” demo collection, offers an unparalleled deep dive into the nascent genius that predated the legendary progressive rock outfit, King Crimson. This comprehensive reissue meticulously strips away the original album’s interspersing skits, allowing the inherent beauty and intricate complexity of its baroque pop arrangements to truly resonate with contemporary listeners and long-time aficionados alike, highlighting the foundational work of Robert Fripp.
Emerging from Bournemouth, the formidable trio comprised brothers Peter and Michael Giles, alongside the distinctive ‘singing organist’ Robert Fripp. Their innovative approach to popular music carved out a unique sonic landscape, characterised by an idiosyncratic blend of melodic sensibilities and experimental textures. Relocating to Brondesbury in north London, their early home-recorded demos caught the attention of Decca’s burgeoning progressive imprint, Deram, leading to a pivotal recording contract.
The band’s sole album was meticulously recorded in early 1968 at Decca’s historic Studio 2 in Broadhurst Gardens, West Hampstead. This venerable space, famously where Lonnie Donegan ignited the UK skiffle movement and where The Beatles once unsuccessfully auditioned, served as the crucible for Giles Giles & Fripp’s groundbreaking sounds. Their music at the time powerfully underscored the rapid evolutionary trajectory of pop music, moving far beyond its conventional boundaries.
Musically, their sound deftly navigated the spectrum between the sophisticated artistry of the Beach Boys’ “Pet Sounds” and the sun-drenched vibrancy of sunshine pop, a genre soon to be mastered by the likes of Tony Bickerton. The significance of this new edition lies in its thoughtful removal of the interspersed skits, which often obscured the original, highly collectible issue. This decision allows the raw, strange, and beautiful baroque pop elements to finally shine through, presenting a purer reflection of their avant-garde musical vision.
The collection itself is replete with highlights, showcasing the trio’s diverse influences and instrumental prowess. Fripp’s “Call Tomorrow” introduces bossa nova inflections, while “The Little Children” stands as a lovely example of ornamental pop, demonstrating their sophisticated harmonic capabilities. “Erudite Eyes,” with its vaudeville undertones, further illustrates the band’s eclectic spirit. Tracks like “Digging My Lawn” unequivocally proved Fripp’s already formidable guitar skills, and despite its Viv Stanshall-esque verses, “One in a Million” stands as a pivotal waymarker, boasting a gigantic, memorable riff that hints at future grandeur.
Had their journey concluded there, Giles Giles & Fripp would still be revered as a glorious curiosity within the Deram label’s eclectic output. However, their artistic evolution continued. By the time their debut album was released in September 1968, some material destined for what would become King Crimson’s debut, “In the Court of the Crimson King,” had already been recorded at home. This period saw the pivotal addition of Ian McDonald on saxophone and flute, who subsequently introduced his then-girlfriend Judy Dyble as a vocalist.
The true genesis of King Crimson is often traced to “I Talk to the Wind,” a poignant song with lyrics by Peter Sinfield, recorded both with and without Dyble. These two newly presented collections, the album reissue and the “Brondesbury Tapes,” distinctly represent discrete yet interconnected chapters in this foundational narrative. Whether experienced together or as separate entities, they constitute an absolutely essential addition for any discerning collector or fan looking to delve deeper into the rich tapestry of King Crimson’s unparalleled music history and the early exploits of Robert Fripp.
