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Crimson, London 2015
:: Posted by brighton on January 31, 2015
If the rumours are true and Crimson will tour the UK later this year then I’m confused by the possible decision to avoid London to give the UK overall more of a look-in. Would it not make sense to play venues such as Manchester, Birmingham, Cardiff, Glasgow etc and also London?? A venue in the ’London area’ would be just as difficult for Londoners as it would be for all southern folk as the main transport links all head there!!
:: Posted by Bakullama on January 30, 2015
Thanks bro, I love you too, and although our paths have led us in different directions, we still have grunion Run.
Free(PP) Consulting, part II
:: Posted by Antonion on January 30, 2015
"King Crimson already has its audience, but in the case of Soundscapes and The Vicar, we are nothing less than hopeless." David Singleton, Diary, entry dated 5th January 2015.
I received my copy of Travis & Fripp - Discretion (silver marble vinyl) today.
This happened in spite of the fact that all three versions of the vinyl edition have been sold out - for quite some time - at Burning Shed, and as I was just about to accept the harsh reality that they were no longer available.
It just happened that I had a look at Tonefloat’s website, and lo and behold, all three flavors were still available at their online shop!
So, here’s the free part:
E J McCarthy, in the 1960s, came out with the 4P’s of Marketing: Product, Price, Promotion and Place (to which Kotler, the marketing guru, recently added a 5th P: Purpose).
It seems obvious, from the description of my recent purchasing experience, that 2P of the marketing mix are not: Promotion and Place (aka distribution).
1. Only one front-office - at www.dgmlive.com - to place orders, from anywhere in the world, of all things DGM.
2. This centralized interface would - through stock management and order routing - avoid situations, like the one I just described, where sellers and buyers are willing to trade, but the information about the precise location of the market to carry on such transactions are, to say the least, diffuse.
3. DGM may have as many back-offices as they want to take care of the administrative and logistics of the ordering process (could be Burning Shed, Tonefloat, Inner Knot, etc.). But the customers need not to know, or even care, about it.
This would take all the hassle out of the purchasing experience, leading to an increase in sales (hopefully!) and customer satisfaction.
And, last but not least, it would provide a tighter sense of connection with the artist(s), i.e., “I am purchasing directly from the RHVL himself” rather than from “some greedy capitalist business operation”. That’s promotion.
Time to move from Fripp to Fripppp (and beyond)…
:: Posted by Bakullama on January 29, 2015
...Is this thing on?
:: Posted by KantspelldiKc on January 29, 2015
Proud to have you as a friend. For the record his piano melodies reflect his interpretive skills. If I had a capable group of musicians I’d be hitting him up for some tunes, jus sayin
KC live Town Hall May 22nd 1971
:: Posted by Wilbert on January 29, 2015
Yesterday I bought myself a wonderful live concert (DGM Download) of Mel, Ian, Bozz and Mr Robbie McFripp, as Bozz puts it....
very very good recordings and a enthusiastic band.
Now, in 2015, everybody is glad that Mel joins the current line up, so am I. But listen to his blow out on the Sailor Tale of this recording. Man, this is so extremely powerful, strong and full of fire, pure free jazz!.
For those who are interested in this line up: amongst a few other recordings in that period of time, this one is a must!.
Mind you: Cadence and Cascade is only half, however with one of the most beautiful Mel Collins Flute solo’s...
Review of sorts
:: Posted by Bakullama on January 28, 2015
A gushing review is all I could come up with... This music got to me good.
Before I write down my thoughts on this wonderful live 40 minutes of incredible beauty and fury, I must say I was unfortunately unable to attend the Seattle show, and am thrilled to so quickly have this recording. Also, Knowing that I am in no way qualified to write a comprehensive and truly meaningful review or "critique" of this album, I best leave that to better heads.
Also, Being a 57 year old armchair "musicologist" with a 30 year old stereo and a longtime love for the music of King Crimson in all of it’s many so called incarnations, I will attempt to convey my thoughts, imaginings, hallucinations, and ramblings with my 3rd Modelo Chelada in hand. Knowing full well that all music that is able to get ones attention, affects us all in many different ways. Duh.
So I put the CD into my old machine while the kids were in school and I turned the volume way up as JKelman had instructed in his excellent review. Immediately "walk on" prompted me to have a seat on the couch between both speakers and I listened to the faux tuning session that I remembered so well from many moons ago. It even had a new twist. The show was about to begin. I lit up a camel.
The opening riff of "One more red nightmare" has 3 or 4 notes and is deceptively simple but oh so powerful and intense... A real classic riff it is... Created somewhere in the 70s, but sounding new again. I am of the opinion that if you want to hear new music, you must look back first. Oh yeah, the riff... Three (four?) simple notes played just so... Summoning the old gods of rock once thought long lost, now have returned to a new century, a century overflowing with cookie cutter, manufactured, overproduced, and under-imagined pap and drivel, mass produced and distributed like fine grains of digital sand thrown right in our faces.
I am a big John Wetton fan and his original vocals on OMRN are benchmark, but Jakko’s very capable vocal rendition on this brings a new dimension to the song... A much needed new dimension for these times... A promise of great things to come... This new King Crimson is an experiment... And the ELEMENTS are newly being fused together with thoughtful, loving, and very careful, alchemy. I feel the magic.
So good to hear Mel Collins cutting loose again with his mother band. I bet he felt like a young man laying on the grass again. Freeform and jamming. I thought we lost him to the Kenny G phenomenon for a minute on scarcity. Which is a fine album for a quiet evening with white wine and a classy date who spent hours putting on just the right lingerie... but its not King Crimson. And you guys already know that. Although the title track is quite haunting and beautiful. I have not yet heard it performed by King Crimson... But I bet I will one day.
If there was ever a band member I would hate to see leave King Crimson, it would be Tony levin. Strong, commanding, precise, fast, AND imaginative basslines. The ability to hang in pocket with correct or even experimental notes, seemingly on the fly, while the whole orderly chaos and crescendo is flying in so many directions at once, and then in a heartbeat turn it down so low... A moving and sad crying bass note... Who else can do that? A testament to his longevity, soulfulness, and professionalism. The man has just been so many places musically. I often find obscure albums with his name on them. Not to mention his work with the greats.
Anyway on to Bell hassle tassle. (I know). A nod to the Bill Bruford inspired talking drum. A tradition kept alive and well thankfully. A soft wind blowing between the furies. The way It was handled here is really quite nice... Like many different wind chimes in a fair breeze randomly making their own music... But somehow they all manage to coalesce and become one. Thats the way I like to imagine these bells. Its really quite a nice way to listen. I have a neighbor who collects wind chimes and every now and then you can hear them jamming in unison (and in time). Magic I tell ya. Gavin Harrison is a powerhouse. I own many porcupine tree LPs and am looking forward to his new jazz project about lie detectors and stuff... (Haha) I consider myself fairly aware of his skills and imaginative and complex drum-works, and get the feeling that Mr. Fripp is somewhat glad to have him on board.
The ConstruKction of light is one of my favorite latter day Crimson offerings. It sounds a bit fuzzy to me on the TCoL album, still awesome, but I’m glad I own a copy of Heavy ConstruKction to set all that right. I must say I miss the lyrics somewhat on the orpheum, but Mel tries his lungs out filling in that void and succeeds triumphantly. I hear this TCoL as being a work in progress, still mighty enough though to knock me down good and hard. Pat Mastelottos years in King Crimson have proven to be sort of a trial by fire kind of deal, playing alongside Bill B and all. He is obviously very experimental and talented. He and Trey played so well together in 2000 on tour. (A show I did get to see) As one of the three drummers in this group there is no doubt he is part of the team. A big part. Speaking of the team of drummers, this is a bold and bitchen idea that I hope stays put a while.
RF in his diaries oft mentioned his interest in so called "rough music" and it’s revolutionary origins. Clanging and banging pots and pans, drums and sticks, in a unbridled cacophony to perhaps drive a crappy politician or other prick or army out of town. A means of protest if you will. (At least thats how I remember it). My imagination sees the three drummers protesting the sorry state of popular music by assaulting the institution with "rough music". (When you think about it some of king Crimsons best moments are when the music gets rough). I like to imagine also that they do this with intent. Not only does it sound awesome like no other band, but it also makes a statement of sorts. I know very little about Bill Reflin, but I will hopefully hear more from him after this. The mellotron in starless was pretty dang masterful.
Then The Letters. Once one of my sleeper KC songs I would often skip over it to get to the meat. No more... Jakko was born to sing this. I never thought I would love this song so much. A tale of woe to be sure... The lyrics are bizarre and beautiful. The music is spellbinding. I cant say enough about how this song has been reborn again. Its the lyrics man... The lyrics. I want more like this. jakko?
On to a sailors tale... What needs to be said? I can almost hear and see the old sea-beaten fucker telling his tales of distant lands and faraway ports, the ladies left behind, the boozed up bar brawls and finally towards the end of his story a storm like no other, the waves pounding from Robert Fripps guitar... Beating his ship, sending it aloft, and then back down again on the crests of whitecapped perfect storm kind of shitty seas all raining and thundering. The seas eventually calm... He lives to tell the tale. This is one instrumental that tells a story like no other. This orpheum version of Sailors tale is fucking fantastic. Every second of it counts, you wait on the sailors every note with anticipation... A masterpiece now with this new band.
Thats my take on a sailors tale... You may have heard it differently. No matter.
Finally then, STARLESS.... My favorite song of all time. I loved it when it was first unleashed, I love it even more now. The story: My twisted mind envisions a man who has lost all hope, perhaps he’s besieged by demons, his lament is on the verge of suicidal, he is drifting into insanity. Charity given by others to him makes him feel worse about himself. Helpful people have become a nuisance. Those who try to help him with charity only verify and finalize his predicament. Looking up into the skies he can see stars no more. His God has left him, his bible is nothing... Just black. This is a masterful and powerful song. It gets to the heart of what it means to have finally given up. The slow building single note that escalates and escalates and escalates to the inescapable breakdown... Maybe a panic attack so bad on the verge of dying... The crescendo if you will. But notice the notes start slow. They sound like twinkling stars. Listen close... One star at a time appearing in a black sky. More and more stars... They keep coming... Note by note star by star until the whole fucking sky explodes with stars fucking everywhere... There is hope then?
Robert Fripp has told more stories with his guitar than any guitarist ever. Sad stories come from his angular chords, tearful bleeding notes, stories of chaos and wonder, stories of precision and blessings, stories of light and fire and water, no other guitarist ever has been able to make each and every note make you look up and take notice like a fucking piano was about to fall on your head! There is a strange magic at work behind this mans music, and it lies in the very heart and soul of King Crimson. King Crimson has become a true life force... Bigger than any one musician. An entity of its own accord. I believe he only comes out if he feels its time, and I do hope its time, and its by way of Robert Fripp. A ringmaster of sorts... All the fun of the Cirkus...I believe that. Not sure if Im on the same page as everyone else here. I am mesmerized, amazed, astounded etc. by the music this band has been putting out for the better part of my life here on earth. Always new, always important, always a trip.
I know I’m fucking crazed. So is my music. I write this freeform on ipad, no edits, few corrections, right out my ass... Make of it what you will. I love this fucking band, its been my place to go since I was a teenager. Thanks for everything.
Wish to shit I had made the last show.
THE NIGHT WATCH
:: Posted by markmmarkm on January 27, 2015
Great download! Thank you!!(!)
:: Posted by markmmarkm on January 27, 2015
Some people are just interested in things that are unauthorized.
I understand Lennon collected Beatles bootlegs and Jagger Stones ones.
It seems artists divide into two camps, the haters, such as, apparently, RF, and the lovers such as when the Patti Smith group found their first bootleg of themselves and thought "We’ve arrived!"
:: Posted by Basile on January 27, 2015
Impressive extremely impresive!
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