Japanese reissue of their 1984 compilation, that's out-of-print in the U.S., is packaged in a miniature LP sleeve & limited to 5,000 pieces. A&M. 2002.

辑类型：Experimental / Electro-Acoustic / Ambient
专辑厂牌：Opal
专辑介绍：
FRIPP & ENO 繾綣星宿下
每位热爱音乐的朋友，大家心目中都总会有一些可一不可再的经典Crossover合作。对於我来说，其中一个典故，是Fripp & Eno这个组合。
Fripp & Eno，即King Crimson的结他手兼领队Robert Fripp加上Roxy Music的电子合成器演奏家Brian Eno，这两位各具异稟的音乐家，他们在七十年代初上旬的联袂合作，毋庸置疑是一眾英伦Progressive音乐爱好者所津津乐道的历史性时刻。
况且，当年Fripp & Eno二人就仅有合灌过No Pussyfooting（1973年）和Evening Star（1975年）这两张专辑而已，所以更见难能可贵。
那时，Eno仍作浓妆艳抹的Glam Rock乐手打扮，而Fripp则满腮浓浓的鬍子、一脸沉实，在外表上二人可谓甚格格不入，不过他们却是彼此惺惺相惜、互相欣赏的乐手。
其实他俩的合作也不仅只有这两张专辑。Eno的几张个人专辑如Here Come The Warm Jets、Another Green World、Music For Films和Before And After Science内部都有Fripp伴奏；Fripp为Matching Mole监製的Little Red Records亦有Eno客串；到了后来Eno远赴柏林为David Bowie监製Heroes专辑时，又找来Fripp担网主音结他手。那皆可见双方的密切关係。
Fripp & Eno，是二人在七十年代所留下的前卫音乐烙印。想不到跟Evening Star足足相隔了廿载，Fripp & Eno竟在这年带来他们的「复合」专辑The Equatorial Stars。其实The Equatorial Stars并非二人在廿年来的首次复合。在94年Fripp & Eno推出精选专辑The Essential Fripp & Eno时，内里已包含了全新作品Healthy Colour四部曲，可是这四首作品听来只像Eno的Outtake电子曲目而已，相当失望。
因此，The Equatorial Stars的出现，才算是Fripp & Eno睽违廿年的第三张专辑。最重要是在音乐上，也开宗明义是昔日Fripp & Eno曲风的延续。
听听Melissa、Lyra、Tarazed、Ankaa等曲目那份孤寂、憩静、萧条与勾勒出充满大自然灵秀气的天籟之美，箇中Eno营造出好比无尽星空的Ambient氛围、 Fripp哀怨寂寥的结他声，都儼如Evening Star的引伸──况且连唱片名字，也同是以「星星」为题。
Terebellum所勾勒出的漫天无际深邃星宿意像，可见是Ambient大师之出手。
在情意结底下，我想Fripp & Eno定是这年最教我动容的一个「复合」。(文by袁智聪)
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UK remixed, remastered & repackaged reissue of 1994 live album featuring David Sylvian (Japan) & Robert Fripp (King Crimson). 2001.

Recorded live at the Nakano Sun Plaza Hall, Tokyo, Japan, on 26 October 1993.
Sound: EX+, soundboard, and the mix is great.
David Sylvian (vocals, guitar, keyboards)
Robert Fripp (guitar, Frippertronics)
Trey Gunn (Grand Stick)
Pat Mastelotto (drums)
Michael Brook (guitar)

2008 release, a collection of nine improvised pieces by Theo Travis [alto flute, soprano sax] and Robert Fripp [guitar, soundscapes]. It was recorded at DGM Soundworld by David Singleton, with reediting/mixing and mastering courtesy of Steven Wilson [Porcupine Tree]. The collaboration has yielded a very beautiful sequence of recordings that neatly avoid many of the clich‚s routinely associated with terms such as 'ambient' and 'improvised', while encompassing the core elements of both forms of music. Panegyric.

Bass Guitar, Chapman Stick – Tony Levin
Design – Hugh O'Donnell
Drums – Bill Bruford
Edited By – Alex R. Mundy
Engineer – Brad Davis, Tony Arnold
Guitar – Adrian Belew, Robert Fripp
Photography By – Tony Levin
Producer – Alex R. Mundy, David Singleton

Love Cannot Bear is the brand new album of Soundscapes by Robert Fripp. Soundscapes, consisting of improvised guitar solos played through a variety of electronic processors and sound modules, have been the primary focus of Fripp's solo performances for more than a decade. The early generations of Soundscapes were presented via a quintet of albums released by DGM between 1994 and 1996. While there have been many memorable Soundscapes concerts in the interim period, allowing the sound world and approach to the work to evolve substantially, DGM's continuing commitment to Robert's work in all its forms King Crimson (live, studio and archive work), the ProjeKcts series etc., has left his key area unintentionally under-represented on CD. The Soundscapes concept has also been presented to a much larger audience over the last few years. The Soundscapes concept has also been presented to a much larger audience over the last few years. As well as the ongoing series of individual concerts, Robert has played as part of the sell-out G3 tours of Europe and South America with Joe Satriani and Steve Vai in 2004, with Porcupine Tree in the US in 2005 and ,most recently, in a series of warmly received concerts at this year's open air Big Chill festival in the UK. While most Soundscapes performances embody many moods and musical areas, Love Cannot Bear presents Soundscapes in their most positive, tonal settings and is drawn from a series of live performances in the US in June this year. 9 tracks. Panegyric. 2005.