Wednesday, 12th August 1998

David and I are on the Late Shift in DGMWCMR. For Web visitors that are acronymically challenged, we are in the central music hub which powers and informs the company, and gives us our raison d'etre.

We are continuing with the final stages of "Sometimes God Smiles" and have just been confronted with a nasty smell from our non-functioning TC5000. The power supply in this part of the English countryside is being improved. This results in discontinuities in the current and nasty spikes which blow up delicate electrical equipment.

We press onwards and sideways: while TC (a superb, innovative, reliable and speedy firm) repair the 5000, David and I will begin to assemble "Cirkus: A Young Persons' Guide To King Crimson - Live" to be released in the January, 1999 to coincide with King Crimson's 30th. birthday.

Today has been exceptionally busy, even by DGM standards. This morning I have been listening to the Mel, Boz & Ian KC live in Jacksonville, Florida, which will be the second Club Selection for December 1998.

David has just glued together a demon series of Suite P2 edits as I was in the adjoining office calling Little Horse Willcox to blow her a kiss goodnight. We are having dinner in London tomorrow night because I miss her so much.

Now back to DGM Sampler II: we are have a through-listen and "Three Of A Perfect Pair" from "Absent Lovers" begins. The more I listen to pieces from this CD I accept the view on ET that "Absent Lovers" is the missing link between "Red" and "Thrak". It effectively replaces any Young Persons' need to acquire the 1981-84 trilogy. If this is a band on its last night, I have to wonder how it played on its first nights. But I already know the answer to that question.

David has just suggested that, with the exception of "Neurotica", the 1980s material is better played by the 1980s Crimson and the 1970s Crimson material is better played by the 1990s Crim. I'll have to do more listening to arrive at a balanced opinion but, for many years, I considered the players of the Larks' formation KC too young to execute the conception which underlay the music.

David has just said: "I hope that the current King Crimson moves the esoteric into the centre. And I won't explain to the Web site what I mean by that". But David has just explained to me what he means by that. Now a segue from Peter Hammill to "Pie Jesu" that had me going "Aaaah", just as David has forecast.

The segues continue to astonish and amaze. But back to today's honourable labours...

Jacob Heringman, a 34 year old American who has lived in England for many years, visited us today. He has a vision for the lute, embracing its history and future, which resonates with Discipline's views. Jacob, along with Mr. Fall's Chamber and Matt Seattle, are our three new artists at DGM.

ProjecKt One are now blasting away from "Live At The Jazz Cafe". This has the same spirit as King Crimson blasting and ripping in "Great Deceiver" 1973/4 mode, and validates the notion of the ProjecKts working on behalf of the Greater Crim (with emphasis on "Greater").

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