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Games without frontiers
:: Posted by dermis on October 06, 2015

I too had accredited the guitar work on "Games without frontiers" to Robert, turns out to be David Rhodes, long time guitarist with PG’s band.

Re: Games Without Frontiers
:: Posted by rkipp683 on October 06, 2015

The album sleeve credits RF with guitar contributions on"No Self-Control," "I Don’t Remember" and "And Through The Wire", but not "Games Without Frontiers." So we might presume that David Rhodes is playing the Fripp-esque lead lines on that track, unless RF can confirm otherwise?


King Crimson 2015
:: Posted by valleygate on October 06, 2015

After waiting for 40 years I finally had the chance to see King Crimson live, this in Birmingham September 15th. After this nothing is the same, all other concerts I have enjoyed before this event have just faded into the background as at best mediocre and this experience continues to grow on me every day.

Ideally I would like to see KC in concert very soon again but until then I would love to see DGM record and release this amazing constellation on DVD. This would help to at least in parts relive this cosmic experience in wait for the next round of concerts. In addition, my friends that missed out needs to see what real music at is best is about and how brilliant the current setup of KC is.

Dear Mr. Fripp, any possibilities to have this dream fulfilled?

Re: Burning Questions
:: Posted by apisch on October 06, 2015

In an attempt to get Sid to answer "Yes":

1)  Is the release date of USA II being kept a secret?

2)  Will audience photos/videos be strongly discouraged at the Crim Japan shows?

3)  Is single malt Scotch whiskey the best remedy for the common cold?

- Tony

New dates added to European Tour?
:: Posted by Antonion on October 06, 2015

For a moment I thought they were announcing that KC were playing in Portugal...


Games without frontiers
:: Posted by orrason on October 05, 2015


does anyone knows Fripp’s contribution to Games without Frontiers from PG3 ?

I always hear Fripp’s guitar there, the guitar is superb.  But Wikipedia doesn´t list him https://en.wikipedia.org/wiki/Games_Without_Frontiers_%28song%29


Are they still going?
:: Posted by Lamont on October 05, 2015

In a pub the day after the Edinburgh gig, someone said:

’Last night Norman was at a King Crimson gig.’

The responses round the table (all people I didn’t know):

’King Crimson - are they still going?’

’Was it a tribute band?’

’Is John McLaughlin still with them?’

I changed the subject.

Getting into Dweezil and Ghost
:: Posted by albemuth on October 05, 2015

I’m looking forward to seeing KC in Toronto.  I have also taken time out to see Zappa Plays Zappa and Ghost.  What terrific fun I have had (and will have)!  What can I say about Dweezil, who is keeping his father’s great tradition and music alive?  His "One Size Fits All" tour re-asserted the importance of Frank’s life work.  How wonderful that such great beauty can arise out of the detritus of American culture.  Go see it!

Meanwhile, the Swedish crazies Ghost have created a wonderful and tasty rock-metal-pop-prog-rock treat.  It would not be wrong to claim that they exemplify "the man with an aim."  Check out their Deezer session and I think you will see what I mean.  They have a vision!

Utrecht 25/09/2015
:: Posted by Erik_Skysawed on October 04, 2015

Fall 2015… So the Mighty Beast comes close... very close to where I grew up… and off I went to the 25/09/2015 concert in Utrecht (700 km train ride), combining family visit with the next aural experience. Naturally this was going to be my first encounter with the latest incarnation of KC.

(I declined to open the Live at the Orpheum CD when I bought it earlier this year, when I learnt that KC was setting up a tour through Europe.. (well England/Scotland + Paris + Utrecht). That would keep my ears fresh and have the option of hearing a new KC without any expectations.)

Never been before in the Vredenburg concert hall in Utrecht before..Looking / scanning the crowd led me the conclude that my 16-year son was a genuine contender for the Youngest-Attendee-Award at this concert of KC.


Question: the portfolio of this King Crimson sounds (looks!) really diverse… so how many King Crimsons are there then , really ?

Answer in multiple-choice form:

A) well there is KC Mark Ia, Ib, Ic, Mark IIa, IIb, Mark IIIa, IIIb, IIIc, uh… Mark IV, Mark V, Mark VIa, VIb, Mark VII…

B) well there are quintets, quartets, trios, sextets, septets, double duos, double trios, crimson ProjeKcts…

C) well I count 4 different KCs, but there could have been 6

D) King Crimson is a way of doing things, so what do you mean “How many King Crimsons”?


It is all a matter how to look at this musical combo. Looking at who made up the band, who were the fellow troopers of RHVL, cannot explain how a wallpaper shredder kind of band KC has been and still is. If it is only about head counting one would miss the similarities between the different incarnations. One should have used different names for the bands then.So answer A is not a sufficient way to describe a band with a track record extending more than 4 decades. On the other hand looking at the size of the band, would also not apply as a complete description. These gentlemen can make quite a bang, regardless of how many are one stage. Answer D then? This suggests a general underlying mechanism (see the seven principles in the KC 2015 Tourbox booklet), propelled by the Fripp Meister, and having been put into effect by this elite club of KC members now since 1969, who by the way originate from the British Isles or the US of A (so the natural question then comes, whether a musician from a more remote culture can be of Crimson stature).

No In my opinion the correct answer is C (but maybe with D as underlying mechanism). There are two –related – Crimsons based on song craft: a British one and an American one.

A) The British one is based on songwriting with British (Celtic?) roots. British songwriting has been hard to avoid for everyone as since the Beatles we have been inundated with Britpop in large amounts. Omnipresent in the 1970s, it came back into the forefront in the latest Crimson ProjeKct.

B) The American songwriting naturally can be associated with the Belew driven KCs, from the 1980s, to the 1990s and even into the 2000s.

There are two more Crimsons:

C) The third KC is what I call  Impro Crimson: only master musicians have the nerve and braveness to leap into the unknown by following their senses in freestyle mode. This version of the Mighty Crim is more present in the live recordings, less on the studio recorded discs. Early KC showed this in the live recordings, the Islands group had more a jazz approach, the Larks Tongues – Muir band had much of it in either jazz-rock flavours (hearing/watching the Bremen gig prompted me to say: Weather Report! (the Zawinul-Shorter-Vitous-Gravatt-Um Ramao one that is ) or modern classical one (where the heck does the Providence improve otherwise really comes from?). In the1980s/1990s KCs the improvisation seemingly coming from nowhere suddenly seem to erupt to full effect, in a Thrakattack kind of way. The ProjeKcts approach was much about improvisation, and this echoed into the KC 2000 version. It is also here where RHVL injecting soundscapes into the mix had best effects (for me).

D) KC # 4 is the metal band. Heavy rock with an edge.  See “Red” and “The Power to believe”. See also Larks’ II, IV, Level 5.

It is in my opinion that KC functions at it best when the different versions are in direct competition. As if we are initially dealing with one kind of Crimson and a different one breaks through. Even better when several Crimsons are around and make up a record. It is actually this what makes their first platter such a ground-breaking paradigm shift kind of creation (yup the P-word comes in here; many followers have jumped on this – for good and for bad). Creating a new musical language is a major achievement only happening under special occasions..

Unfortunately this did only happen with the two other kind of Crimsons, but only for a (too) short moment in time, and it was not continued.. by KC nor by others:

E) Minimal Crimson: This is what happens when American songcraft is mixed with Impro Crimson and repetition as dictated by Philip Glass/Steve Reich or any Gamelan orchestra. Interlocking guitars, drumming all over the place and Tony Levin defining the bottom line. This is what makes Discipline special. Unfortunately it was not continued, and also not picked up by others as far as I can see.

F) Drum and Bass Crimson: Having Pat and Trey breaking the sonic barriers made the ProjeKcts and KC 2000 so special. A new kind of language as it sounds  to my ears. Also this did not continue, regretfully. I am not sure whether the complains on the electronic drum sounds mattered, or whether Metal Crimson took over somewhere in 2001. Fact is Drum and Bass Crimson seemed to have disappeared by 2001-2002. Unfortunately I would say, as this version could have crushed to unchartered territories.

So with that in mind what came over me and my son in Utrecht?

Still different from my KC 2000 Berlin concert, which really was an overwhelming experience (really a lot of new sounds and material, and only a few oldies but goodies in new redressed forms + Heroes) or the Paris/DenHaag 2003 concerts (yes ! Level 5!) ,   in Utrecht the heavy bias on the 70s KC was clear.

Opening with Larks’ Tongues #1  (the soundscape before could only be absorbed with noise of people moving back and forth/talking).  From where I was sitting the sounds by the front row drummers were overwhelming and loud, whereas the contributions from the back row were initially difficult to distinguish .. quite muddy and opaque..  But a great introduction to the three drummer format: Pat Mastelloto; Bill Rieflin and Gavin Harrison playing (mostly) acoustic drums perfectly in sync with each other. A more transparent Pictures of a City, with excelling  Jakko Jakszyk and Mel Collins. Some new sounds came by, before being treated with renditions of The ConstrucKtion of Light and Level 5. Again and again the solos by Mel Collins were brilliant. Back to the 1970s with Epitaph, E-Z Money (beautiful solo by Robert Fripp), followed by some interlocking drum parts, before the strong set was getting to a high level  by Talking Drum/Lark’s #2 and Starless.  Yes Starless did have the best guitar solo of the night (for me)..  and the (sparse) lighting effects were used to much effect in getting a true “red” experience…  Encores were then 21st Century Schizoid Man and Court of the Crimson King. Well done! 

It was mostly the British songcraft  and metal Crimson I heard this evening, however Mel Collins did his best to inject some moments of Impro Crimson, and so did the drummers. The interlocking three drummer approach made for some surprise moments. It is here where I sense some new Crimson may be looming in the background. How would that sound with electronic drums? Would Drum and Bass Crimson show up? How would it sound when repetition together with some soundscaping would set inDid Jakko Jaksyk considered to sing the text lines for Construcktion of Light? ? Did Tony Levin reach the ultimate bottom line? Why did I have difficulties of distinguishing the different sounds and connect them to the individual musicians? What else I always wanted to know about the Mighty Beast, but was too distracted to formulate a question about?

So... and where again did I leave the Orpheum CD... ?

Utrecht Sept. 24 and an improbable wish list
:: Posted by gentlegenerator on October 03, 2015

On our 200 km way to the concert my friend and i killed time by speculating: what can we expect? Which songs will they play? Ok, Larks’ tongues 1 would be great but with this line-up... Genius but very improbable: The letters. Totally unique and totally out of any probability: Sailor’s tale. We didn’t even dare to hope. Just a supplication: Starless.
As you might know the concert started with Larks’ tongues part 1. Some great tracks later (esp. Level five and a intoxicating version of Easy money) the line reached our ears: "With quill and silver knife.." My friend and i looked at each other stammering "This can’t be true". The letters reached their recipients. Next song: my brain refused to accept till the inimitable and unique guitar of the Sailor battered down clay and stones in his marvellous tale. My brain began to buzz and whirr in spirals: any normal probability abolished? Are quantum mechanics just a dream? Schrödinger, Bohr and Heisenberg teller of fairy tales? Wave function just the weather on planet Mercury? When the classical keyboard chord from the intro of Starless filled the air i hit the dusty floor at the feet of the band, melt down by spiral rays from the centre of the universe (our brains), lifted up on every step of the staircase this grand, sublime and exalted song smartly paced.
As you might suggest: the best concert in my life which gave to me The Power To Believe: that dreams can come true

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