King Crimson on June 16, 1973 in Berkeley

King Crimson

	June 16, 1973

	Community Theatre Berkeley, CA

Notes
You might expect King Crimson’s energies to be flagging a little by the time they appeared in Berkeley. After all this was the 34th gig on 40-plus series of concerts in North America. Yet if the chaps are tired they certainly don’t sound it in this fiery gig where they opened for The Eagles.

Doctor D and a frankly astonishing LTIApt1 suggest that in a parallel universe , Crimso could have been a top-notch jazz rock outfit giving the Mahavishnu Orchestra a run for their money. The section where Wetton solos is made all the more dramatic by a dark rumbling lines from Fripp that initially evoke the horror-tinged menace of Mars before they transform into some mutant brand of whacked-out rock. Bruford is on terrific form throughout. Not only do we get his trademark ability to swing like the clappers but his more abstract ruminations in the set-up to The Talking Drum demonstrates just how much he had absorbed from Jamie Muir’s short time within the band.

Right from the beginning of the show till its thunderous conclusion, the sheer drive and pace never lets up for an instant. This bootleg source tape has been given a bit of the old Mister Stormy wash and brush up, and despite the occasional dip in quality here and there, Crimson’s capacity to grab an audience by the lapels comes through loud and clear. If you’re a fan of this period Crimson there’s plenty of variation and detail to keep you happy.

Tracks

Disc Number 1
1.	Dr Diamond	[PREVIEW]	4.10
2.	Larks Tongues In Aspic Pt I	[PREVIEW]	10.58
3.	RF Announcement	[PREVIEW]	2.04
4.	Easy Money	[PREVIEW]	6.45
5.	Improv Intro To Exiles	[PREVIEW]	0.59
6.	Exiles	[PREVIEW]	6.57
7.	Improv I	[PREVIEW]	4.34
8.	The Talking Drum	[PREVIEW]	5.48
9.	Larks Tongues In Aspic Pt II	[PREVIEW]	6.45
10.	21st Century Schizoid Man	[PREVIEW]	7.39

All previews are MP3 192kbps

Personnel
Robert Fripp Guitar, Mellotron
David Cross Violin, Mellotron
John Wetton Bass Guitar, Vocals
Bill Bruford Drums and Percussion

Audio Source: Bootleg CD and Cassette

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Fan Reviews

Are You Okay Children?, Thu., Nov 5, 2009
Written by chipster61

Great show! I have heard several audience tapes/bootlegs of this show and it has always been one of my favorite KC performances of 1973. In general the recording sounds a little fast, much like the "Astral Navigation" boot. I have always preferred both the mix and the speed (brighter and a little more than a cent slower) of the "Berkeley 1973" bootleg.

This is a "must have" show.

My Notes:
One of the more complete and best sounding Dr. Diamonds on tape. This is Wettons song and he does an amazing job belting out the lyrics with its varied dynamics of fast and slow delivery.

Robert serves up a delicious solo in the middle of Larks’, Pt. I. This whole recording is very nearly soundboard quality as evidenced by the soft spaces afforded the section of Cross/Bruford interplay toward the end of the song. Very little interruption/participation, by this respectful audience.

Wonderful introduction and sales pitch by RF, make sure you turn up the volume during this one so that you don’t miss any of it.

Easy Money is too short in my opinion, Robert never really cranks up a sustained solo on this one, very subdued for the most part as he nimbly plays off and around the beat.

Exiles starts off slowly, David Cross carries this one. The first RF solo is very fluid, second solo very heartfelt and aching befitting this lonely Exile.

The Improv is a short feedback/drum/tron exercise which slides into The Talking Drum. DC cranks this one up gently at first and then more maniacally as RF joins the fray, ever increasing the tempo and volume until the final screeching climax is reached and Larks’, Pt. II is begun. The staccato guitar riff, echoed by the bass line and punctuated with the marshal drum beat is nailed beautifully with a great violin solo masterfully soaring over the power beneath.

Robert’s solo in Schizoid Man, is very refined as he gets those tube amps just to the edge of feedback and then finally pushes it all over the top with the buzzsaw guitar riff that shreds it all to pieces.

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